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Schoenberg's Op.23 for solo piano, written between 1920 and 1923,
represented a move from his atonal music of the preceding twelve
years to 12-note music. In this analysis of the five pieces which
make up Op.23, Kathryn Bailey discusses the ways in which
Schoenberg clearly explores new ideas in these pieces in the
context of his old style. Op.23 marked the development of a new way
of organizing pitches and establishing centres of gravity in the
absence of tonality; but it was also an extension of what had gone
before. While moving on from Op.23 was not a big step for
Schoenberg, it represented a climacteric in the history of musical
composition. It was a long time before anyone outside of
Schoenberg's circle would be able to see past the revolutionary
idea of composing from a single pre-determined arrangement of the
12 notes of the chromatic scale to notice that in most ways this
New Music answered the same conditions and fulfilled the same
expectations that music had for generations.
'I listen to a piece and ask myself what has made the greatest
impression on me. What has moved me the most about it, what has
excited me the most, what it is I want to write about, what sets my
mind working, what sets off my imagination.' Derrick Puffett's
description to a group of Cambridge graduate students of his
approach to listening and writing about music is clearly evident in
the articles reprinted in this collection. For the first time, the
book makes available in one place writings previously widely
dispersed amongst many journals and symposia. Resonances emerge
that cross from essay to essay, with the result that a larger,
coherent project is revealed. Insistent on the need of music
analysis to be accompanied by a wider historical knowledge, Puffett
believed strongly that the methods to be adopted on each occasion
must be dictated by the music at hand. His work on Bruckner,
Strauss, Webern, Zemlinsky, Delius and Debussy is of enduring
importance to the study of music. With a prose style distinguished
for its elegance and clarity, Puffett's writings will enhance the
understanding and enjoyment of the music that he discusses amongst
students and teachers alike.
'I listen to a piece and ask myself what has made the greatest
impression on me. What has moved me the most about it, what has
excited me the most, what it is I want to write about, what sets my
mind working, what sets off my imagination.' Derrick Puffett's
description to a group of Cambridge graduate students of his
approach to listening and writing about music is clearly evident in
the articles reprinted in this collection. For the first time, the
book makes available in one place writings previously widely
dispersed amongst many journals and symposia. Resonances emerge
that cross from essay to essay, with the result that a larger,
coherent project is revealed. Insistent on the need of music
analysis to be accompanied by a wider historical knowledge, Puffett
believed strongly that the methods to be adopted on each occasion
must be dictated by the music at hand. His work on Bruckner,
Strauss, Webern, Zemlinsky, Delius and Debussy is of enduring
importance to the study of music. With a prose style distinguished
for its elegance and clarity, Puffett's writings will enhance the
understanding and enjoyment of the music that he discusses amongst
students and teachers alike.
This collection of essays looks at the music of Webern from several
different perspectives. Webern scholarship, based on the sketches
and other primary material now owned by the Paul Sacher Stiftung in
Basel and the Library of Congress in Washington, has emphasised
Webern's lyricism, and this is a theme running through Webern
Studies. Most of the essays are the result of work with primary
material. The volume includes entries from Webern's diaries, and
all of the row tables for his twelve-note music. A comprehensive
Webern bibliography covers thoroughly the period since Zoltan
Roman's bibliography of 1978.
This important new study reassesses the position of Anton Webern in
twentieth-century music. The twelve-note method of composition
adopted by Anton Webern had profound consequences for composers of
the next generation such as Stockhausen and Boulez, who saw
Webern's music as revolutionary. In her detailed analyses, however,
Professor Bailey demonstrates a fundamentally traditional aspect to
Webern's creativity, when describing his own music. Professor
Bailey analyses all Webern's twelve-note works (from Op. 17 to Op.
31) i.e. the instrumental and vocal music written between 1924 and
1943. These analyses draw on sketch material recently made
available at the Paul Sacher Foundation in Basel and include
transcriptions of little-known drafts and sketches. A most valuable
aspect of the book is the inclusion in appendices of such materials
as a complete explanation of the row content of each work, the
correct prime form of each of the rows from Op. 20 onwards, with a
matrix constructed for each, and exhaustive row analyses.
This book looks at the music of Webern from several new perspectives. The most recent Webern scholarship has emphasized Webern's lyricism, and this is a theme running through Webern Studies. Other techniques not generally associated with Webern are also explored: two chapters illustrate and examine his apparent early interest in octatonic and pitch-specific motivic collections. In addition to previously unpublished entries from Webern's diaries, the volume includes all the row tables for his twelve-note music. There is also a new and comprehensive Webern bibliography.
On September 15, 1945 the composer Anton Webern was shot in confusing circumstances in a small mountain village near Salzburg. The world lost a composer of extreme originality whose mature music was still almost unknown. When Webern's works did come to light, he immediately became one of the most influential figures in music of the second half of this century. This book focuses on several aspects of Webern's life that have been treated only briefly in earlier accounts: his youthful instability, his often embarrassing dependence on Schoenberg, his naive nationalism and his absolute belief in the value of the brief moments of music he produced.
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