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	Greg Sandow -- Webern's Complete Works
		Webern's opus 1, an orchestral passacaglia which he wrote when he was 25, is already a mature work, which demonstrates how high his standards were, and why DG should have honored them.
		Webern wrote these in 1909 and 1910, when modernity, with all its shocks, was uprooting traditional stability; deprived of normal anchors, his music sounds unsettled.
		Webern said that he felt stuck; once he'd written all 12 notes of the chromatic scale, he almost helplessly became convinced that there was nowhere else to go.
	www.gregsandow.com /webern.htm (1609 words)

	Anton Webern - Wikipedia, the free encyclopedia
		Webern was born in Vienna, Austria, as Anton Friedrich Wilhelm von Webern.
		Webern was not a prolific composer; just thirty-one of his compositions were published in his lifetime, and when Pierre Boulez oversaw a project to record all of his compositions, including those without opus numbers, the results fit on just six CDs.
		Webern's tone rows are often very arranged to take advantage of internal symmetries; for example, a twelve-tone row may be divisible into four groups of three pitches which are variations, such as inversions and retrogrades, of each other, thus creating invariance.
	en.wikipedia.org /wiki/Anton_Webern (1234 words)

	Anton Webern
		Webern was not a prolific composer; just thirty one of his compositions were published in his lifetime, and when Pierre Boulez oversaw a project to record all of his compositions, the results fit on just six CDs.
		Webern's tone rows are often very intricately arranged such that within each twelve note row, the pitches are arranged into four groups of three which are variations on each other.
		This gives Webern's work a great motivic unity, although this is often disguised by his technique of moving a single melodic line around different instruments.
	www.ebroadcast.com.au /lookup/encyclopedia/we/Webern.html (1048 words)

	Anton Webern
		At the same time, Webern's music represents the most extreme statement of the ideals of the twelve-tone method of composition and is the most fundamentally radical of the three composers' works.
		Webern began his studies with Schoenberg at the same time he was completing his studies in musicology (1904–1908).
		Webern took two principal elements of the style, brevity and the focus on individual sounds, to their extremes.
	www.wwnorton.com /classical/composers/webern.htm (480 words)

	String Quartet (Webern) - Wikipedia, the free encyclopedia
		The String Quartet, Opus 28 by Anton Webern is written for the standard string quartet group of two violins, viola and cello.
		The piece was written in 1937-38 on a commission from Elizabeth Sprague Coolidge and was premiered at the Coolidge Festival in Pittsfield, Massachusetts on September 22, 1938.
		When Webern sent the score of the piece to Coolidge, he accompanied it with a letter saying that the piece was "purely lyrical" and comparing it to the two and three movement piano sonatas of Ludwig van Beethoven.
	en.wikipedia.org /wiki/String_Quartet_(Webern) (355 words)

	Encyclopedia :: encyclopedia : Anton Webern (Site not responding. Last check: 2007-10-15)
		Anton Webern (December 3, 1883 – September 15, 1945) was a composer of classical music and a member of the so called Second Viennese School.
		He was born Anton Friedrich Ernst von Webern but never used his middle names, and dropped the von in 1918.
		Webern's tone rows are often very intricately arranged such that within each twelve note row, the pitches are arranged into four groups of three which are variations on each other, which creates invariance.
	www.hallencyclopedia.com /Anton_Webern (1153 words)

	The Musical Times: Anton Webern 1885-1945
		Webern’s melodies almost invariably embrace the entire compass of the voice or the instruments he employs.
		Webern was Schönberg’s pupil and was, so to speak, in his study when the master abandoned the traditional key system.
		Typical of Webern is the way its motifs develop, how they are varied by the other instruments, and how the one pizzicato of the fourth note is part of the theme’s significance.
	www.musicaltimes.co.uk /archive/obits/194601webern.html (1208 words)

	Why give a day to the mad scientist of music?
		Webern wrote in tight little aphorisms, applying Arnold Schoenberg's 12-note method of composition with fanatical rigour to such random variables as rhythm, intervals and dynamic levels of loud and soft.
		In the modernist trinity with Schoenberg and Berg, Webern was the fundamentalist, the doctrinaire apostle who would never bend a rule or borrow a tune for the sake of beauty but who, in rigorous application of the law, achieved the clarity of morning air and mountain streams.
		This quality alone would rank Webern among the immortals but there is another rare distinction, and that can be heard only when the works are arrayed, soup to sweet, as they will be next Thursday on www.bbc.co.uk/radio3.
	www.scena.org /columns/lebrecht/050907-NL-webern.html (1094 words)

	The Music Library - Symmetrical Harmonic Progressions in the 12-tone music of Anton Webern.
		It is true, Webern’s music is credited with inspiring a whole generation of younger composers after the last World War, and so his right to some sort of place in the history of music is not disputed.
		Webern, therefore, invents a seemingly non-symmetrical melody to superimpose upon this pre-established background, or accompaniment, of symmetrical chords.
		In Webern, in the Saxophone Quartet, one may sense a new level or degree of fulfillment for this desire: one that perhaps offers a rationalization of the melodic and harmonic spheres fully on a par with the classical system of tonality.
	www.wholarts.com /music/ed/WebernQ.htm (6235 words)

	Stefan George and Anton Webern
		Significantly, this choir, Webern's step into the uncharted waters of the new school, is a setting of George's "Entflieht auf leichten Kähnen." In fact, both Webern's transition to atonality and, a few years later, to twelve-tone music, are marked by an abundance of text settings, the majority of which are poems by Stefan George.
		Webern's later correspondence with Hildegard Jone, whose texts he began to set in 1926, offer insights into what difficulties he faced during the earlier groundbreaking years, and reveal how important a role the text played in his choice of form and structure.
		Webern was no stranger to this fervor: the young composer was clearly struggling between his early training in the late Romantic tradition and the modernist calls of the new musical directions.
	www.nthuleen.com /papers/Mus928george.html (2286 words)

	Anton Webern by David Wright MusicWeb(UK) (Site not responding. Last check: 2007-10-15)
		Webern was man of his time and the remark of Edgar Varese is relevant, "It is not that composers are ahead of their time; it is that listeners to music are, at last, fifty years behind the times."
		Anton Webern was born in Vienna in 1883.
		Webern studied with Hans Pfitzner but felt that he was somewhat anachronistic in his approach and so from 1904 to 1908 he studied with Arnold Schoenberg.
	www.musicweb-international.com /classrev/2003/Jan03/webern_wright.htm (2703 words)

	Universal Edition Music Publisher - Anton Webern - Biography
		Webern resigns as conductor at the IGNM Festival in Barcelona; Concert in Winterthur conducted by Webern.
		Peter Webern dies on 11th February; the Webern family flee to Mittersill; Anton Webern is mistakenly shot on 15th September by an American soldier.
		Webern had a decisive influence on the development of modern music by transforming Schönberg’s twelve-tone music into a concentrated form.
	www.universaledition.com /truman/en_templates/view.php3?f_id=10971&spr=en (509 words)

	BBC - Radio 3 - Webern Day
		Webern's works were placed into Radio 3's regular schedule and introduced by Radio 3 presenters, along with guests including Webern biographers Malcolm Hayes and Katherine Bailey as well as composer Julian Johnson.
		Webern Day continued into the evening, when Andrew McGregor and guest panellists discussed his life and work, focussing on the music he wrote between 1924 and his untimely death in 1945.
		In the aftermath of the Second World War, on the evening of 15 th September 1945, Anton Webern stepped outside his house for a cigar and was shot dead accidentally by a cook in the US military in mysterious circumstances.
	www.bbc.co.uk /radio3/classical/webernday.shtml (272 words)

	[No title]
		Webern's nerves were so badly shaken by this tragedy that he was unable to compose.
		It is perhaps regrettable, however, that many of Webern's disciples have not had sufficient regard for some of his deeper musical philosophies that were founded on his profound religious convictions.
		Webern's great reverence for God and religion — which even the war and the death of his only son could not shake — can be seen most acutely in the texts of his sacred works.
	www.chez.com /craton/musique/webern/webern.htm (849 words)

	MTO 4.2: Alpern, Review, Webern and the Lyric Impulse
		Challenging his conventional image as a "cerebral master of control," she paints an intimate portrait of a lyrical composer of Lieder in the line of Schubert and Wolf, whose intellectual concern for logical coherence is tempered by an intuitive appreciation of the expressive potential of ambiguity.
		Shreffler condemns Webern's exclusive "association with a cerebral, detached aesthetic" as a historical bias fostered by the "anti-Romantic agenda of the post-war serialists," an overreaction against 19th-century sentimentalism, and the "Darmstadt project's" reification of systematic relationships in all music--particularly St. Anton's (p.3).
		Webern's atonality is not an embryonic, inherently flawed stage of unsystematic musical chromaticism, eventually shedding its structural deficiencies and blossoming into the rational totalization of serialism.
	mto.societymusictheory.org /issues/mto.98.4.2/mto.98.4.2.alpern.html (6682 words)

	Webern, Anton, (Site not responding. Last check: 2007-10-15)
		Webern was born Dec. 3, 1883, in Vienna, where he studied under the eminent Austrian musicologist Guido Adler (1855-1941) at the University of Vienna and, beginning in 1904, privately with Schoenberg.
		Webern's early works, such as the Passacaglia (1908) for orchestra, are richly scored, heavily chromatic works in the postromantic style.
		Webern extended the twelve-tone concept of serialization of pitch to serialization of rhythms, dynamics, and tone colors.
	www.cartage.org.lb /en/themes/Biographies/MainBiographies/W/Webern/e1.html (322 words)

	Anton von Webern (Site not responding. Last check: 2007-10-15)
		Meanwhile he had continued his atonal style, mostly in songs: the relatively few instrumental pieces of 1909-14 had grown ever shorter, ostensibly because of the lack of any means of formal extension in a language without key or theme.
		However, Webern soon recognized that the 12-note principle sanctioned a severity and virtuosity of polyphony that he could compare with that of the Renaissance masters he had studied.
		His use of the series as a source of similar motifs, especially in instrumental works, merely emphasizes the almost geometrical perfection of this music, for which he found literary stimulus in Goethe and, more nearly, in the poetry of his friend and neighbour Hildegard Jone, whose words he set exclusively during his last dozen years.
	w3.rz-berlin.mpg.de /cmp/webern.html (343 words)

	Essentials of Music - Composers
		This is perhaps truest of Anton Webern, who began his musical career as a doctoral student in musicology, writing a dissertation on the music of Heinrich Isaac (c.1450-1517).
		Webern began his studies with Arnold Schoenberg at the same time he was completing his studies in musicology (1904-1908).
		Like his fellow student Alban Berg, Webern quickly transformed his style from the rich language of post-romanticism to the more sparing world of atonality and twelve-tone writing.
	www.essentialsofmusic.com /composer/webern.html (520 words)

	Anton von Webern
		Webern studied under Guido Adler at Vienna University from 1902 to 1906.
		Webern was the conductor for the Vienna Workers' Symphony Concerts from 1922 to 1934.
		The 12-note row that Webern used in his 1925 Three Traditional Rhymes was eventually adopted, although not much attention was paid to it because of rigidly-used counterpoint already in place.
	www.music.vt.edu /musicdictionary/appendix/Composers/W/AntonvonWebern.html (274 words)

	Webern, Anton von - HighBeam Encyclopedia (Site not responding. Last check: 2007-10-15)
		WEBERN, ANTON VON [Webern, Anton von], 1883-1945, Austrian composer and conductor; pupil of Arnold Schoenberg.
		Webern was accidentally killed by a sentry during the American occupation of Germany.
		The BBC is celebrating Anton von Webern, the scariest composer who ever lived.
	www.encyclopedia.com /html/W/Webern-A1.asp (381 words)

	Anton Webern
		He was born Anton Friedrich Wilhelm von Webern but never used his middle names, and dropped the von in
		Webern's music was denounced as "cultural Bolshevism" when the
		Webern was not a prolific composer; just thirty-one of his compositions were published in his lifetime, and when
	www.mp3.fm /Anton_Webern.htm (891 words)

	The Life and Music of Anton Webern quiz -- free game
		Doomed to a total failure in a deaf world of ignorance and indifference he inexorably kept on cutting out his diamonds, his dazzling diamonds, the mines of which he had such a perfect knowledge'.
		Webern's Opus 1, for all his avant garde tendencies, was in an old fashioned form.
		Together with Schoenberg and Berg, Webern was one of the leaders of a school of composers.
	www.funtrivia.com /playquiz.cfm?qid=184051 (217 words)

	MUSIC: A WEBERN EVENING - New York Times
		IT has been a century since Anton von Webern was born, and nearly 40 years since he was accidentally shot - killed by a nervous American Army cook just after the war, when the Viennese composer stepped outside to smoke a cigar after curfew.
		While the compositions of Webern's teacher, Arnold Schoenberg, have received some fitful public attention, and while the music of Webern's fellow pupil, Alban Berg, has even attained a certain celebrity, Webern's own works have been thoroughly and consistently rejected by the mainstream musical public.
		And Miss Seltzer's program notes, with their emphasis on Webern's aid to Jewish friends during the Nazi period, must also be tempered with a recognition of his extravagant enthusiasm for Hitler (''this unique man!'') and the Third Reich.
	query.nytimes.com /gst/fullpage.html?res=9905EFDA173BF93BA35751C0A965948260 (649 words)

	Amazon.ca: Comp Webern: Music: Ensemble InterContemporain,Clemens Hagen,Anton von Webern,David Finckel,Mary Ann ... (Site not responding. Last check: 2007-10-15)
		These days, Webern is no longer seen so much as new music guru, as a major composer pure and simple--his expression as concise as it is intense.
		These performances sometimes view Webern as a curiosity, a historical anachronism, the way that your grandfather will tell you a strange story, of which he himself doesn't understand the point, but he relates as a bit of curio.
		Webern is a composer whose entire output takes about six hours to listen to in its entirety, and it's all here, on six CDs.
	www.amazon.ca /Comp-Webern-Ensemble-InterContemporain/dp/B00004R9F0 (2051 words)

	Anton Webern Retrospective
		Webern's official catalogue contains 31 works, but there is a considerable body of unpublished material, divided between youthful, post-Strauss or Scriabin-derived pieces and later works that were either insufficiently worked out in the composer's mind and thus remaining in manuscript or that were simply found to be not up to the composer's expectations.
		While the "bigger" works were parceled out over several orchestral concerts, a Sunday marathon (8 March) of four concerts focused on Webern's chamber and vocal output, including a number of selections from the "workshop".
		The Webern project was part of the Musique en Scène festival organized by a non-Parisian body, GRAME, Centre National de Création Musicale, other sponsors including the Musée d'art contemporain where an exhibition was devoted to "oeuvres sonores".
	www.culturekiosque.com /klassik/concert/rhewebern.htm (439 words)

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