Anton Mckenna Popular Books

Anton Mckenna Biography & Facts

Anton Webern (German: [ˈantoːn ˈveːbɐn] ; 3 December 1883 – 15 September 1945) was an Austrian composer and conductor. His music was among the most radical of its milieu in its concision and use of then novel atonal and twelve-tone techniques in an increasingly rigorous manner, somewhat after the Franco-Flemish School of his studies under Guido Adler. With his mentor Arnold Schoenberg and his colleague Alban Berg, Webern was at the core of those within the broader circle of the Second Viennese School. He was arguably the first and certainly the last of the three to write music an aphoristic, expressionist style, reflecting his instincts and the idiosyncrasy of his compositional process. Peripatetic and unhappy in his early conducting career, Webern came to some prominence and increasingly high regard as a vocal coach, choirmaster, conductor, and teacher in Red Vienna. With a publication agreement through Emil Hertzka's Universal Edition and Schoenberg away at the Prussian Academy of Arts, Webern wrote music of increasing confidence, independence, and scale from the 1920s onward. He maintained his "path to the new music" while marginalized as a "cultural Bolshevist". Posthumously Webern's later music was celebrated by a variety of mid-century musicians, especially composers, in a phenomenon known as post-Webernism. Yet most understanding was fledgling after years of severe disruption when his work was dismissed or opposed, nor were his musical semantics or semiotics, performance practices, or sociocultural contexts widely studied. This situation was gradually improved by musicians and scholars who helped publish and record his complete works as well as establish his music as modernist repertoire. Biography 1883–1908: Upbringing between late Imperial Vienna and countryside Webern was born in Vienna, then in Austria-Hungary. He was the only surviving son of Carl von Webern, a descendent of minor nobility, high-ranking civil servant, mining engineer, and owner of the Lamprechtsberg copper mine in the Koralpe; and Amalie (née Geer), a competent pianist and accomplished singer. He lived in Graz and Klagenfurt for much of his youth, but his distinct and lasting sense of Heimat was shaped by reading Rosegger and by summers with his parents, sisters, and cousins at their country estate, the Preglhof.After a trip to Bayreuth, Webern studied musicology at the University of Vienna (1902–1906) with Guido Adler, a friend of Mahler, composition student of Bruckner, and devoted Wagnerian who had been in contact with both Wagner and Liszt. He learned the historical development of musical styles and techniques, writing his doctoral thesis on Heinrich Isaac's Choralis Constantinus. Webern also studied art history and philosophy under professors Max Dvořák, Laurenz Müllner, and Franz Wickhoff, joining the Albrecht Dürer Gesellschaft in 1903. His cousin Ernst Dietz, an art historian studying in Graz, may have led him to the work of Böcklin and Giovanni Segantini, which he admired along with that of Ferdinand Hodler and Moritz von Schwind.In 1904, he approached Hans Pfitzner for composition lessons but left angrily when Pfitzner criticized Mahler and Richard Strauss. Adler admired Schoenberg's work and may have sent Webern to him for composition lessons. Thus Webern met Berg, another Schoenberg pupil, and Schoenberg's brother-in-law Alexander Zemlinsky, through whom Webern may have worked as an assistant coach at the Volksoper (1906–1908). Schoenberg, Berg, and Webern became devoted, lifelong friends with similar musical trajectories. 1908–1918: Early adulthood and war in Austria-Hungary Webern conducted and coached singers and choirs in light music, musical theater, operetta, and opera in his early career. A summer 1908 engagement with Bad Ischl's Kurorchester was "hell". He walked out on engagements in Innsbruck (1909) and at Bad Teplitz's Civic Theater (1910). He worked with Heinrich Jalowetz in Danzig (1910–1911) and Stettin (1912–1913), briefly following Schoenberg to Berlin (1911–1912) in-between. He repeatedly quit and was taken back by Zemlinsky at the Deutsches Landestheater Prague (1911–1918).Webern had little time to compose and often felt mistreated. Miserably ill, he sought medical advice and took rest at the Kurhaus Semmering. In 1912–1913 he had a breakdown and saw Alfred Adler, who noted his idealism and perfectionism. Adler evaluated his symptoms as psychogenic responses to unmet expectations. Webern wrote Schoenberg that Adler's psychoanalysis was helpful and insightful.He revisited the Preglhof (sold by his father in 1912 and mourned as a "lost paradise"), the family grave at the cemetery in Schwabegg, and the surrounding Carinthian-Styrian Alps (he was an avid mountaineer) for the rest of his life. He associated these places with the memory of his mother, whose 1906 loss profoundly affected him. He wrote Schoenberg (Sept. 1912), "When I read letters from my mother, I could die of longing for the places where all these things have occurred". His music enduringly reflected these memories: "my compositions ... relate to the death of my mother"; "through my work, all that is past becomes like a childhood".He served intermittently and patriotically in World War I, moving frequently and tiring. Eventually he hoped for its end. Despite Schoenberg's and his father's advice that he not quit conducting, in 1918 Webern returned to Schoenberg in Mödling, hoping to compose more. His finances were so poor that he soon explored a return to Prague, but other opportunities arose. 1918–1933: Rise in Rotes Wien (Interwar Vienna) Webern worked with friends at the Society for Private Musical Performances (1918–1921), promoting new music through performances and contests. Music included that of Bartók, Berg, Busoni, Debussy, Korngold, Mahler, Novák, Ravel, Reger, Satie, Strauss, Stravinsky, and Webern himself. Webern wrote Berg about Stravinsky's "indescribably touching" Berceuses du chat and "glorious" Pribaoutki, which Schoenberg conducted at a sold-out 1919 Society concert. There was perhaps some shared influence among Schoenberg, Stravinsky, and Webern at this time. The Society dissolved amid catastrophic hyperinflation in 1921. Webern worked as director of the Wiener Schubertbund and in 1922 of the mixed-voice amateur Singverein der Sozialdemokratischen Kunstelle and the Arbeiter-Sinfonie-Konzerte through David Josef Bach, Director of the Sozialdemokratische Kunststelle. In 1926, Webern resigned as chorusmaster of the Mödling Männergesangverein for hiring Jewish soprano Greta Wilheim as a stand-in soloist for Schubert's cantata Mirjams Siegesgesang. Österreichischer Rundfunk aired his performances at least twenty times starting in 1927. In 1933 he hired Erich Leinsdorf as Singverein pianist; they performed Stravinsky's ballet-cantata Les Noces.Social Democrat–Christian Social relations polarized and radicalized amid the Schattendorfer Urteil. Webern and others signed an "Announc.... Discover the Anton Mckenna popular books. Find the top 100 most popular Anton Mckenna books.

Best Seller Anton Mckenna Books of 2024

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