Anton Webern's Zwei Lieder, Op. 19: Analysis
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- เผยแพร่เมื่อ 9 ก.ย. 2024
- Composer Samuel Andreyev analyzes Austrian composer Anton Webern's Zwei Lieder, Op. 19 (1925-26).
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Listen to the complete piece here: • Anton von Webern ~ Zwe...
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Really appreciate all your videos. When I was a freshman in college this is one of the pieces that turned me on to webern. I remember listening to these two pieces on repeat and just thinking "this is so strange! How does this work? What is this?" And also being shocked at the beauty of the piece and how poetic it is in its brevity. Personally I find that the impracticality of performing this piece adds to its beauty it's like you can only play it if you really really want to and you have to put all this work into making something happen for two minutes. Sorta a reflection of the highly compact, complex beauty of the piece it is. So much happens yet it's over in two or so minutes.
Thank you for this excellent comment, I couldn't agree more. Webern had the unique ability of putting a colossal amount into a tiny space. The fact that you could listen to these songs on repeat and never exhaust them is an indication of their depth and emotional resonance. One point I forgot to make in this video is that if you add up the instrumental forces of opp. 17 and 18, and add a choir, you get the instrumentation of op. 19, which could indicate that Webern was thinking of these three works as a triptych that could be performed on the same program..
Thats interesting. I wonder if he planned on programing it on a concert he conducted since he was a choral conductor.
I listened before watching and was completely lost. I listened after watching and felt like my ears were at a spa. Fantastic, fantastic work! You occupy a part of TH-cam that is direly needed.
That's very good to hear. Glad to do it.
Thank you...Webern is one of my all-time favourites...
Thanks again for leaving us enlightened rather than intimidated. Piano reductions are particularly helpful.
Only a genius like Webern can produce such an extraordinary work...that an analysis of it is actually about 18 times as long as the actual piece
And thank you for the insight you give in this channel, as always!
la this No problem. Although since I only discuss the first song (which lasts about 1 minute), my analysis is actually 36 times longer than the piece.. ! and far from exhaustive.
The analysis is 18 times more enjoyable than the music.
Thank you very much for your great analysis!
learning a 12-tone serial piece has been on my bucket list for years. I am studying a posthumous Klavierstuck, and am slowly figuring it out. I plan to perform it at a local recital in August.
This analysis was immensely helpful in understanding the piece, thank you for the effort.
Piotr Jurga So happy to hear it. Thank you for writing.
Many thanks for this wonderful piece. !!!! Warren
a prof of mine recommended your channel a while ago in undergrad, and i'm surprised i didn't check you out sooner as your knowledge of the music you cover is expansive, accurate, and easy to understand. you're a wonderful educator and clearly very qualified. thank you so much for the wonderful content/lectures!
Thanks, that’s very kind!
This was a great video and shows you a fuller picture of Webern's compositional technique. We need the world of classical music consumers to approach contemporary classical music in a more informed way. You are doing a great service here Samuel. You are giving due credit to the 2nd Viennese School. Thank you.
Like painting and architecture those who get past 1850 and care : won't mind doing some thinking and reading ...
I feel that his approach to harmony also comes from his admiration of natural beauty, specifically the structural manifestation seen in biology. His process of branching tone rows into separate parts sort of emulates the growth of a tree limb, both being a result of set perimeters which develop into intricate, nonsensical structures. Although, I’m sure this aspect is a common theme throughout serial music, It’s still a gorgeous abstract analogy. Thank you for introducing this style with so much clarity.
Thanks for your excellent analysis of this twentieth century gem.
Samuel, As you probably know, Schoenberg's Opus 27 Nr 4, 'Der Wunsch des Liebhabers' has some intriguing similarities to Webern's Opus 19, both in the musical texture and in the text. Plus, they were both written in 1926! It would be fun to hear your thoughts or/and knowledge, someday, regarding the various resonances between those two pieces. Love your videos!
Amazing video thank you
At 19:17 in the measure 4 the score is wrong. the phrase starts in the clarinet but in the score is written for the violin.
Bruno Soares quite right. My mistake. Thanks for the correction
There is also something wrong in the guitar part. There should have been a f clef before the chord in bar 5.
mikaelplaysguitar Right again. Apologies for the errors.
No need for apologies, it is so much easier spotting a few things here and there compared to what you are doing. Keep putting videos out!
@@mikaelplaysguitar Well said! Given the overall presentation, these are incredibly trivial points that we're discussing down here. Still, getting back to Bruno's comment, it would be interesting to know was going through Samuel's head (or "what he was smoking") when he reassigned those notes from the clarinet line to the violin line ;-)
this piece reminds me of the art bears, a Fred frith band with a German (?) opera singer Dagmar Kraus. a very unique and interesting band. I think you'd love them if you have never heard them. as always, great breakdown and explanation. thank you.
It's Dagmar Krause, and yes, she is German. I think she also was with Henry Cow.
yes, Henry Cow's "Living in the Heart of the Beast" or "Erk Gah" are some of the greatest avant-rock for my money... the latter a very rare example (supposedly) of "pure" dodecaphonic-method music with rock instrumentation...
@@the_most_ever_company Thanks for sharing this info. I always wonder how many innovations (the less obvious ones ) make it into pop music . Eno (I still don't know enough about) .Harold Budd is not an example of that . Good to see some analysis of Tom Waits . This is really music for specialists .It's like people who write papers on contemp scientific matters .
@@MrInterestingthings check out the albums by Thinking Plague "in extremis" and Captain Beefheart "lick my decals off baby" for more exceptionally well-arranged 20th century classical/rock
As for Eno, Another Green World and Before and After Science are my personal favorites, both absolutely before their time and fantastic.
Thank you so much for your video
Thank you, Maestro.
Super Cool! Very interesting to see how Webern thought while composing this piece.
Great analysis, congratulations!
16:23 Well, he used all four permutations in the second and third movement of his op. 18 as well, but you're right about the transpositions. Great video !
Absolutely wonderful and insightful. It is interesting that my analyses of both the Op. 21 Symphonie and Op. 29 Kantate both use similar techniques of row "klangfarbenmelodie" (as they seem to show the revealing of the row across multiple voices). In this respect I think (or assume, based on my lack of significant exposure to some of these works) that Webern's periods in terms of musical structure, instead of instrumentation, could be divided between juvenilia (+ Op. 1 and, to a lesser extent, Op. 2), free atonality, and, from Op. 17 onwards, serialism, mostly in terms of the structure of the music, as the major non-serial work from the period, the orchestration of Bach's Fugue from the Musical Offering, has a similar use of techniques to other compositions of the period. I was curious if you could give any recommendations for Webern biographies and strong analyses of his work, as as a student of composition of I can only find his work of the highest calibre.
The best biography in English is by Hans and Rosaleen Moldenhauer. It was revolutionary in its scholarship and insights. It's out of print now, but not too hard to find on eBay or Amazon. As far as analysis goes, I highly recommend Julian Johnson's monograph, Webern and the Transformation of Nature, one of the first books to deal properly with Webern's poetic and philosophical inspirations (and not just dry serial analyses, which often miss the point). Also, Kathleen Bailey's book, Webern Studies, which brings together various essays by musicologists.
Another excellent book on Webern was published by the London Sinfonietta. They gave a series of concerts celebrating Schubert and Webern but the voluminous biography is only of Webern. It is advertised on the Internet and there is a note saying 'add tihisi to my library The book is published by the London Sinfonietta itself. However the book suggested by Samuel may well be better, revolutionary to boot.
books.google.it/books/about/The_London_Sinfonietta_on_the_South_Bank.html?id=rAAWAAAAIAAJ&redir_esc=y
Thanks from me too for this for this analysis. I have gone to listen to the pieces several times and will then return to your analysis. I love the Webern and also Schoenberg in their atonal phase. as you know Webern also wrote instrumental works and not only songs in his middle period. Alban Berg is the one I love most in all his works. He did not allow the twelve tone system to become a fetish.
Felix de Villiers Thank you for your comments, I agree that it's a good idea to listen to the piece a few times to get a better sense of how it works. I would define the middle period as opp. 12-19, all of them vocal pieces, although that's of course somewhat arbitrary. Best regards.
Great video, thanks! One thing: You meticulously show us the net of tone rows in the end, but you only hint at the most interesting part: I would love to understand how he makes those row combinations work. I think that's the final thing that's missing because the genius of this intricate network can only be understood if one sees not only how intricate it is, but at the same time that this is not arbitrarily done or just for the sake of being complicated. But thanks again!
I love your videos on Feldman, Webern and Beefheart. Would you have any interest in discussing John Cage? A lot of people think of him more as a philosopher than a composer, but I believe some of his music remains some of the most beautiful in the classical ouvre, even without the conceptuality. His use of chance also brings about an interesting discussion about the composer's identity in music.
שלום.
Cannot like it enough!
Thank you for good videos. Would love to see your take on some interesting electronic music. If you're interested artists like Autechre, Oneohtrix Point Never, Arca, Aaron David Ross are a few suggestions.
Thanks, I'm familiar with Autechre but not the others. Will investigate.
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I really like these analyses. I am wondering : Could you do such an analyses about Pierre Boulez : Le marteau sans maitre? I really like the music of Boulez however it is quite difficult to find Boulez scores (for free).
I made a video about Boulez' Deuxième Sonate which you will find on my TH-cam channel.
bar 4 in the sound sample is clarinet, not violin
My question is: does Webern give you the information of what is his original tonal row, or do you have to “discover” it from the score?
You can find it through score analysis, or access to the composer's sketch material, or through previously published analyses.
"I'm stealing the towels"
I heard that
Y?
If you can' t recognise these row transformations why have a system at all, why not just free atonality?
I think the twelve tone rows are used mainly to ensure that there are no repetitions of notes until all twelve have been played. The idea, I think, is to maintain equality of the pitches in order to avoid any feeling of tonality as much as that's possible. To do that without working it out in some system beforehand would mean more unwanted work for the composer.
Samuel - Are you familiar with Kaoru Abe? When I sit down to listen to his work. . . I'm just awestruck (I mean that word in the best possible way).
But I can't make heads or tails of his music. Either he's from the future or he's simply from another planet, that's as far as I've come to understanding him.
I think that if anyone can take on the task of analyzing his work properly, it's you.
In case you are not familiar with his music, his album Winter 1972 seems like a fair place to start: th-cam.com/video/VI67c0Am_3w/w-d-xo.html
If you really want to question reality, check out "The Disintegration of the Sympathetic": th-cam.com/video/4zPjFQQpbu4/w-d-xo.html
Assuming he's just insane is way too simple, regardless of the fact I've heard him brushed off as "crazy" many, many times. Thoughts?
Sean Never heard ofhim, Sean, but will check this out. Thanks for the heads up.
I haven't played the video yet and I don't know what it is. Jordan Peterson tweeted this. I'll do and edit and give my thoughts when I've watched it.
More serialism, please! ;)
cutie cutie