Anton Webern (English Wikipedia)
Analysis of information sources in references of the Wikipedia article "Anton Webern" in English language version.
refsWebsite
Global rank
English rank
low place
low place
7th place
7th place
27th place
51st place
1st place
1st place
nytimes.com
- Holland, Bernard (12 September 1993). "Erich Leinsdorf, 81, a Conductor of Intelligence and Utility, Is Dead". The New York Times.; Antokoletz 2014, 75, 225; Moldenhauer 1961, 327
- Horowitz, Joseph (11 January 1981). "Felix Galimir Recalls Berg and Webern in Vienna". The New York Times.
- Page, Tim (30 June 1983). "Critic's Notebook; Re-evaluations of Webern's music". The New York Times.
- Robin, William (1 July 2022). "Richard Taruskin, Vigorously Polemical Musicologist, Dies at 77". The New York Times.; Bolcom 2004, 52; Bolcom 2016; Forte 1986, 321; Ho 2011, 200; Kosman 2014; MacDonald n.d.; Mitchinson 2001, 34; Pace 2022a; Schuijer 2008, 23
web.archive.org
- Hodin 1966, 76–77, 223n35; cf. H. Bahr's Wien.
wikipedia.org
de.wikipedia.org
- Anton Friedrich Wilhelm von Webern never used his middle names and was Anton von Webern until the 1919 Adelsaufhebungsgesetz, one social-democratic reform of many in the aftermath of World War I abolishing Austrian nobility in the newly declared Republic of German-Austria. He retook his nobiliary particle in the 1930s.[1]
- As teacher, Webern guided and variously influenced Max Deutsch (or Frederick or Friedrich Dorian),[2] Hanns Eisler, Arnold Elston, Fré Focke, Karl Amadeus Hartmann, Philip Herschkowitz, Roland Leich, Kurt List, Gerd Muehsam, Matty Niël, Karl Rankl, George Robert (briefly of the First Piano Quartet),[3] Louis Rognoni, Humphrey Searle, Leopold Spinner, Eduard Steuermann, Stefan Wolpe, Ludwig Zenk,[4] and possibly René Leibowitz.
- See Sommerfrische.
- Schoenberg's son-in-law Felix Greissle also recalled Webern's labile antisemitism, contextualizing it as part of Webern's vacillating resentment and respect toward Schoenberg[115] while also noting that Schoenberg had internalized some antisemitism ("mildly" antisemitic jokes were common in Schoenberg's home, Greissle's son George recalled, which Julie Brown contextualized as "unexceptional").[116] Schoenberg was self-conscious of his Jewish and class background, having confronted antisemitism in reading Otto Weininger.[117] He repeatedly engaged with controversies surrounding Richard Wagner, who he also read and whose possible Jewish lineage interested him.[117] He contended with Wagnerian charges as to Jewish artists' creative inabilities.[117] While working on Die Jakobsleiter on family holiday at Mattsee in summer 1921, Schoenberg was given notice that all Jews should leave the town, angering him and sparking his return from Protestantism to Judaism.[118] In response, Wassily Kandinsky wrote to him from the Bauhaus in 1923, "I reject you as a Jew. ... Better to be a human being".[116] Schoenberg responded, "what is anti-Semitism to lead to if not to acts of violence?"[116]
- The first 1924 prize, juried by Julius Bittner, Joseph Marx, and Richard Strauss, was shared by several, including Berg, Carl Prohaska, Franz Schmidt, Max Springer, and Karl Weigl; the note was signed by Karl Seitz, who asked Webern at a concert two weeks prior, "Are you a professional musician?"[145] Berg and Webern later served as jurists.[146] Only Webern received the prize in 1931.[147]
- Among these were Alfred Adler, Karl Bühler, Leo Delitz, Josef Dobrowsky, Sigmund Freud, Ernst Lichtblau, Fanina Halle, Hans Kelsen, Alma Mahler, suffragist Daisy Minor, Robert Musil, Egon Wellesz, and Franz Werfel.[152]
- Supporters included DJ Bach, Ruzena Herlinger, Werner Reinhart, Elizabeth Sprague Coolidge, Paul Stefan, and the IGNM-Sektion Österreich.[155]
- He was responding to Krenek's essay "Freiheit und Verantwortung" ("Freedom and Responsibility") in Willi Reich's 23 – Eine Wiener Musikzeitschrift (1934). Elsewhere Krenek advocated for "a Catholic Austrian avante garde", opposing "the Austrian provincialism that National Socialism wants to force on us."[181]
German Wikisource has original text related to this article: 23 – Eine Wiener Musikzeitschrift. - Adorno wrote that "Berg was little concerned with politics, although he saw himself implicitly a socialist."[191] Following the 1918 Jännerstreik and 1919 Spartacist uprising, Berg wrote to Erwin Schulhoff, who was sympathetic, "What names does the Entente have (outside of Russia) that ring of idealism as [Rosa] Luxemburg and [Karl] Liebknecht do?"[192] In weary opposition to World War I, Berg had been adapting Junges Deutschland playwright Georg Büchner's proto-Naturalist Woyzeck, with its Vormärz theme of alienation,[193] in his opera Wozzeck. Büchner's revolutionary 1834 call in The Hessian Courier for "Peace to the huts! War on the palaces!" (Friede den Hütten! Krieg den Palästen!)[192] had endured, paraphrased by August Bebel (1871 Paris Commune)[194] and Vladimir Lenin (1916, "Peace Without Annexations and the Independence of Poland as Slogans of the Day in Russia"; 1917, "Appeal to the Soldiers of All the Belligerent Countries") amid the revolutions of 1917–1923 ending World War I, the February Revolution first among them. Premiered by Erich Kleiber at the Berlin State Opera (1925), Wozzeck was then taken to Prague by Otakar Ostrčil at the National Theatre (1926), provoking a "scandal," as Berg wrote Adorno, staged by "Czech Nationalists (virtually Nazis)" and "clerical lobbies [that] was purely political! (To them I am the Berlin Jew Alban (Aaron?) Berg. Ostrčil bribed by the Russian Bolsheviks, the whole thing arranged by the 'Elders of Zion' etc)."[195] In Rudé právo, Zdeněk Nejedlý praised Berg's music, ridiculing the idea that Wozzeck was staged as a Bolshevik conspiracy, which Antonín Šilhan insinuated in Národní listy. Emanuel Žák, writing for Čech, ascribed its "degenerate" nature to Jewish influence.[196] The Bohemian State Committee forbade further performances.[195] In its third premiere (1927), Nikolai Roslavets' Association for Contemporary Music staged Wozzeck at the Mariinsky Theatre in Leningrad with Berg and Shostakovich attending.[197] Berg wired his wife Helene "huge, tumultuous success," though critical reception was mixed.[198] Amid Stalinism and deteriorating Germany–Soviet Union relations, Wozzeck was not restaged in Russia for 82 years.
- Initially inspired by his revolutionary countrymen, Liszt left it in manuscript at Carl Haslinger's discretion.[436]
- See Werktreue.[446]
- Rosen charged Taruskin's "hostile presentation ... does not result in historical objectivity".[529] Max Erwin considered Taruskin's work on the Darmstädter Ferienkurse "passionately negative"[583] and "thoroughly discredited",[584] particularly that "Adorno or Leibowitz officiated with near-dictatorial power".[585] Rodney Lister wrote, "Taruskin's purpose ... is to bury Webern, not to praise him", noting "the increasing importance of 'motivization' over the course of the 19th century and of the 'collapse' of (traditional) tonality [is] something which Taruskin flatly states never took place."[586] Larson Powell found "Taruskin's ... references to Webern's politics ... to discredit the music."[587] Christian Utz agreed with Martin Zenck that Taruskin's claims were "simplifying and distorting", granting "authoritarian rhetoric ... in ... the 1950s and 60s" and the nonexistence of "'apolitical music'".[588] Holzer also sympathized with but found Taruskin inappropriate and simplistic.[589]
- Among these was the Paul-Sacher-Stiftung.
- Berger 2003, 74; Czerwińska-Schupp 2016, 1, 20–21 (quoting Josef Redlich); Moldenhauer and Moldenhauer 1978, 497; Wodak, de Cillia, Reisigl, and Liebhart 2009.
it.wikipedia.org
- As teacher, Webern guided and variously influenced Max Deutsch (or Frederick or Friedrich Dorian),[2] Hanns Eisler, Arnold Elston, Fré Focke, Karl Amadeus Hartmann, Philip Herschkowitz, Roland Leich, Kurt List, Gerd Muehsam, Matty Niël, Karl Rankl, George Robert (briefly of the First Piano Quartet),[3] Louis Rognoni, Humphrey Searle, Leopold Spinner, Eduard Steuermann, Stefan Wolpe, Ludwig Zenk,[4] and possibly René Leibowitz.
- Goffredo Petrassi and his student Aldo Clementi were later influenced by Webern, as was Schoenberg pupil Alfredo Sangiorgi. Riccardo Malipiero organized composers, including Camillo Togni, around twelve-tone music in 1949 Milan.
- Dallapiccola's 1943 Sex carmina alcaei, on some of the Lirici greci of Salvatore Quasimodo after Alcaeus of Mytilene, were one of three groups of Lieder from his Liriche greche set (1942–1945).[459]
nl.wikipedia.org
- As teacher, Webern guided and variously influenced Max Deutsch (or Frederick or Friedrich Dorian),[2] Hanns Eisler, Arnold Elston, Fré Focke, Karl Amadeus Hartmann, Philip Herschkowitz, Roland Leich, Kurt List, Gerd Muehsam, Matty Niël, Karl Rankl, George Robert (briefly of the First Piano Quartet),[3] Louis Rognoni, Humphrey Searle, Leopold Spinner, Eduard Steuermann, Stefan Wolpe, Ludwig Zenk,[4] and possibly René Leibowitz.
cs.wikipedia.org
- As teacher, Webern guided and variously influenced Max Deutsch (or Frederick or Friedrich Dorian),[2] Hanns Eisler, Arnold Elston, Fré Focke, Karl Amadeus Hartmann, Philip Herschkowitz, Roland Leich, Kurt List, Gerd Muehsam, Matty Niël, Karl Rankl, George Robert (briefly of the First Piano Quartet),[3] Louis Rognoni, Humphrey Searle, Leopold Spinner, Eduard Steuermann, Stefan Wolpe, Ludwig Zenk,[4] and possibly René Leibowitz.
lt.wikipedia.org
- Among these were Alfred Adler, Karl Bühler, Leo Delitz, Josef Dobrowsky, Sigmund Freud, Ernst Lichtblau, Fanina Halle, Hans Kelsen, Alma Mahler, suffragist Daisy Minor, Robert Musil, Egon Wellesz, and Franz Werfel.[152]
fr.wikipedia.org
- In a case study, Martin Kaltenecker noted Taruskin's taking aim at avant-garde prestige in opposition to Célestin Deliège's Cinquante ans de modernité musicale: De Darmstadt à l'IRCAM.[592] He contrasted their polarized nomothetic "plots" with more idiographic approaches' "juxtapositions" and thick description. He considered how to move beyond this nomothetic–idiographic historiographical dichotomy.[593]
wikisource.org
en.wikisource.org
- He was responding to Krenek's essay "Freiheit und Verantwortung" ("Freedom and Responsibility") in Willi Reich's 23 – Eine Wiener Musikzeitschrift (1934). Elsewhere Krenek advocated for "a Catholic Austrian avante garde", opposing "the Austrian provincialism that National Socialism wants to force on us."[181] German Wikisource has original text related to this article: 23 – Eine Wiener Musikzeitschrift.
- German Wikisource has original text related to this article: Musikblätter des Anbruch.