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Home > Research > Publications & Outputs > Anton Webern, Über musikalische Formen
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Anton Webern, Über musikalische Formen: Aus den Vortragsmitschriften von Ludwig Zenk, Siegfried Oehlgiesser, Rudolf Schopf und Erna Apostel

Research output: Other contribution

Published

Publication date1/04/2002
DescriptionScholarly edition
Number of pages439
Place of publicationMainz
ISBN (Print)3-7957-0450-2
Original languageGerman

Publication series

NameVeröffentlichungen der Paul Sacher Stiftung
Volume8

Abstract

The lecture notes collected in this volume were taken from the courses in musical form that Webern held in various private Viennese homes from 1934 to 1938. While the contents of his two preceding courses on the historical preconditions of twelve-tone music have been familiar since the publication of Willi Reich's notes ('Der Weg zur neuen Musik', 1960), his thoughts on musical form, especially as exemplified by Beethoven's piano sonatas, are hereby made accessible to a large public for the first time. Taken down partly by professional musicians and partly by amateurs, the notes form a major contribution to our understanding not only of Webern but of the entire Second Viennese School. Rounding out the edition is a detailed commentary on Webern's teaching activities, his circle of pupils, and the musico-theoretical premises behind the topics discussed in his courses.

Bibliographic note

The lecture notes in this volume were taken from courses given by Webern in private homes in Vienna from 1934 to 1938. Notes from over 50 lectures survive. While the contents of his two preceding courses on the historical preconditions of twelve-note music have been familiar since the publication of Willi Reich's notes ('Der Weg zur neuen Musik', 1960), his thoughts on musical form, especially as exemplified by Beethoven's piano sonatas, are hereby made accessible to a large public for the first time (the Paul Sacher Stiftung holds three of the sources, the fourth is in the Österreichische Nationalbibliothek, Vienna). Taken down partly by professional musicians and partly by amateurs, the notes contribute to our understanding not only of Webern but of the entire Second Viennese School. An extensive introduction provides a detailed commentary on Webern's teaching activities, his circle of pupils, and the music-theoretical premises behind the topics discussed in his courses. Two sets of notes were written using the now obsolete Gabelsberger shorthand. In addition to the notes, the volume draws on numerous other primary sources, many of which have not been seen in print before. Reviews of Über musikalische Formen: Julian Johnson, Music and Letters, 85 (2004), pp. 132-135; Albert Breier, Musik & Ästhetik, 8 (2004), pp. 117-120; tsr, Neue Zürcher Zeitung, 24-25 May 2003, p. 64; Rainer Nonnenmann, Neue Zeitschrift für Musik, 164 (2003), p. 92; Michael Graubart, Tempo, No. 222 (October 2002), pp. 21-24. Other outcomes: ''And two times two equals four in every climate.' Die Formenlehre der Wiener Schule als internationales Projekt', in Musiktheoretisches Denken und kultureller Kontext, ed. Dörte Schmidt, Forum Musikwissenschaft, 1 (Schliengen: Edition Argus 2005), pp. 203-229: first presented as an invited lecture at the Staatliche Hochschule für Musik und darstellende Kunst, Stuttgart, 14 May 2001. RAE_import_type : Scholarly edition RAE_uoa_type : LICA