Weberne Biography Composer

And if he left her for a short while, he always mentally remained here - in a cultural environment so close to him. But in addition to Vienna, there is Tyrol, where the ancient family of Weburnov came from. The expanses of the mountains. Unfulfilled and cold, like a crystal, air. Infinite meadows and dazzlingly clear snow. Eternal peace. This is not only the Motherland of Weberne - here is the source of his faith in the harmony of the world.

The composer Krzhenek said this: “Anton von Weberne was born in a family of an engineer on December 3 in Vienna. At first he studied at the gymnasium there, then in Graz from the year and Clagenfurt C - the first music lessons were held here, he finished his education here, after which he entered the University of Vienna, where he studied philosophy and engaged in the leadership of Gvido Adler.

In the year, weburn was assigned to the scientific degree of the Doctor of Philosophy for the study of the capital collection of the spiritual polyphonic works of Gainrich Izaak, the senior contemporary of the Josquito Open, along with his publication, were printed in the series "Monuments of Musical Art of Austria." The case is unique: the future composer begins as a theorist-musician, because the opposite examples are numerous!

Is not the scientific discipline, the organization of the composer thinking of the Weberne? Is it also not from here - his passion for strict polyphonic technology, interval -structural composition, rational verification in the ratio of sections of the form, symmetry of constructions? At first he became interested in Wagner a great impression made a visit to Bayreite in the year, then Brahms, later - Maler; The last hobby is Schounberg.

The first works, however, are not completely independent, the grains of his further searches are laid: this is an orchestra passacal, based on a variation principle, which was so widely used later by Weberne, and a relatively brief play for a mixed choir, written in a strict canonical form - in that polyphonic manner, which will further improve the composer.

Both works were written in the year. However, far before the completion of these works, he became one of the students of Arnold Schönberg, who was introduced to Egon Velles, a composer and scientist, who later gained great fame as the largest expert on Byzantine music. He recalled how "we attended all rehearsals together, on which Maler conducted this symphony, and in the following years - rehearsals of the fifth and sixth symphonies.

At the seminars of Professor Adler, we played the last quarters of Beethoven and analyzed them." Gradually, the circle of the Schoenberg students expanded BEBERN involved Berg. Since the year, they maintained almost daily communication with the teacher. Velles testifies that in the years when Schönberg embarked on the path of atonalism, that is, from a year and when he stood on the verge of opening the dodeconon method of composition, the completion of these searches falls on for a year, he often consulted with the Weburn on the issues that concerned him.

Textbooks with Schounberg stopped in the year, a new phase of relations came - creative communication, close friendship. Since the year, conducting - at least for the next twentieth anniversary - becomes the main source of Weburn's income. Places of service: mainly theaters are dramatic and opera. Cities: Prague, Danzig, Stettin. In the year, Weberne writes five plays for the string quartet, then after a year six plays for the orchestra, from which the first period of his work begins - this is a period of the so -called free atonality.

Music is distinguished by the maximum aphorism of statements. Another characteristic feature is the predominance of instrumental music. The First World War begins. In the year, Weberne was mobilized, but next year he was released due to poor vision. He returns to music and writes a new essay in the year - four songs for voice and piano. This work seems to bring a line under the initial period of Weberne's work.

In the next decade, he, under the great influence of the "lunar Pierrot" Schoenberg, writes vocal cycles with a variety of chamber-instrumental accompaniment. The works are also very brief: all twenty -five plays of solo cycles sound a little more than twenty minutes. But Weberna's music now appears even more stringent and at the same time dramatic. He is already distinguished by a reverent attitude to the sound.

The feeling of a single sound, its intensity, none of the composers of not only past times, but the modernity was as developed as that of the Weberne. The sound for him - in his specific high -altitude, timbre sound - something living, animated. Hence the weburn, which is called “pointerism”, is a dashed sound in which the thin knit of interval ratios, tone associated with each other, arise in isolation, as if born in a vacuum.

In the year, Weberne finally manages to conclude the first contracts for the publication of his works with the Vienna Universal Publishing House. This publishing house and in later, difficult times provided him with all possible assistance.After the war, the revival of conducting activities occurs in connection with the creation of closed private executions in Vienna on the initiative and under the leadership of Schounberg from the Schounberg of Closed private executions for a year.

Since the year, Weberne has been led by amateur choirs. He comes closer to the workers of orchestral and singing groups, does a great job with them: they perform the ninth symphony of Beethoven and the Eighth Malera - "Symphony of a thousand participants." Weberne was associated with working music organizations up to a year, when they were defeated by the Austrian reactionary government.

In the year, and then in the year, Weberne was awarded the musical award of the city of Vienna. In the same year, he composes his new opus - three folk texts for voice and instrumental ensemble. This is one of the vertices of the composer. So thought, for example, composer Igor Stravinsky. In the bowels of this period, a fube technique is already ripening.

In the year, Weberne becomes the conductor of the Vienna Radio. He is invited to tour and the London BBC radio organization. From a year he went to England five times. At the same time, instrumental music again prevails in Weberna - string trio, symphony, a quartet with a saxophone, a concert for nine instruments. He moves to large, large -scale plans, to more extended works, of course, the Webernovsky time to refract time!

After all, the Webernovo music is unprecedented laconic. The usual ideas about the temporary duration have shifted, and all the published works of the Weberne - 31 opus - require only about three hours for their performance. The most lengthy essay - the six -part second cantata - sounds twelve minutes, and the shortest - a few seconds. For example, in the “Bagators” the first play lasts ten seconds, the second and fourth - eight, third and sixth - nine, fifth - thirteen seconds.

Such an aphorism of expression causes a remote association with the traditional Japanese poetic three -end - hockey. Weberne introduced new time parameters in music. Moreover, it carried out this so involuntarily that sometimes he was mistaken in determining the temporary length of his work: it seemed to him that it should last longer than it really was. So, in the process of writing in the year of his last work - the second cantata Weberne wrote: "Duration - half an hour." Having finished the score, carefully putting on a metronome, the composer noted: "The duration of sixteen minutes." However, its real sound lasts no more than twelve minutes.

This psychological error is probably explained by the meaningful saturation of each sounding moment of music, which violates - not only with the Weberne, but also the listeners! At the turn of the x, the composer is in the prime of his talent. His financial situation is somewhat stronger. In total, he gave more than thirty years. Only Weberne himself probably knows how many torment the rehearsal work brought him, how he suffered from fake notes, from the rude and dense sound of the orchestra, from the misunderstanding of those who had to lead!

The listeners were struck by the unprecedented accuracy of the performance - the result of titanic work. The acquaintance of the composer - Kraft leads a curious episode. Weberne was invited in the year in Barcelona to conduct Berg by the premiere of the violin concert. Then the scandal erupted, after which the remaining rehearsal conducted a less legible conductor.

"A little is recognized, however, not so much as a composer, but as a serious musician as a knowledgeable musician as an adviser, a consultant on new music. Sometimes he acts with lectures in closed audiences. But the first chamber concert composed of it is completely composed of it. works, took place only in the year. Among those who studied from the end of the X to the beginning of the 10ths: K.

Rankl and G. Zvarovski, who later actively showed themselves as conductors, E. Ratz and V. Reich - as musicologists, P. Stadlen - as a pianist, K. Hartmann and F. Gershkovich, who moved to the USSR in the year, as composers. The latter talks about how classes with the Webern took place: “Often the lesson went like this: the student was sitting near the piano, and Weberi spoke for two hours, continuously pacing around the room that weburn was talking to both of the student and to himself.

For him, the lesson was a kind of creative training. Weberne played the role of the student who played the role of the catalyst, repeated The lesson he received by Schounberg. And at the same time - the same thing in essence. "