Hostname: page-component-7479d7b7d-rvbq7 Total loading time: 0 Render date: 2024-07-11T05:25:01.587Z Has data issue: false hasContentIssue false
  • English
  • Français

Webern's Sketches (II)

Published online by Cambridge University Press:  04 February 2010

Roger Smalley
Get access Rights & Permissions [Opens in a new window]

Extract

The most extensive selection of plates in the volume (13 in all) is devoted to this work. It was originally conceived as a Concerto for Violin, Clarinet, Horn, Piano and String Orchestra and, like the Concerto op. 24, was inspired by (and presumably during) Webern's walking tours in the Carinthian Alps. This is made clear by his verbal outline of the work (top of plate 12) which reads as follows:—

Type
Research Article
Information
Tempo , Issue 113 , June 1975 , pp. 29 - 40
Copyright
Copyright © Cambridge University Press 1975

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

NOTES

16. i.e. as well as the String Trio op.20 and the Symphony op.21, for both of which Webern had begun a third movement.

17. Webern's diary, 10 December 1930. Quoted in Wildgans, , Friedrich, : Anton Webern. Calder and Boyars, London 1966, p. 139 Google Scholar.

18. The following material has been slightly rearranged in order to give a clearer impression of the probable sequence of events. Anninger and Dachstein are mountains in the Austrian Alps. See also Part I of this article, (TEMPO 112) page 11, paragraph 3.

19. Wildgans, , op. cit., p. 118 Google Scholar.

20. Perle, , George, : Serial Composition and Atonality. 2nd (revised) edition, Faber and Faber, London 1968, p. 80 (Example 113)Google Scholar.

21. Kolneder, , Walter, : Anton Webern. Faber and Faber, London 1968, p. 120 Google Scholar.

22. The following 3 paragraphs were added in 1975.

23. Perle, , George, : ‘Webern's Twelve-Tone Sketches’ The Musical Quarterly, Vol. LVII, No. 1, 01 1971, pp. 1–25 CrossRefGoogle Scholar.

24. Perle, , op. cit., p. 20 Google Scholar.

25. cf. Perle p.20: ‘Why Webern should have discontinued the projected additional movement after the promising beginnings that are found in the sketchbook remains a mystery. There is no question of a technical cul-de-sac, as in the projected third movement of the Symphony, and he does not appear to have been distracted by the conception of another work, for he makes no use of the sketchbook again until four months later’.