Par WEBERN ANTON. Nach Alban Berg ist Anton Webern der zweite Komponist der Wiener Schule, der in den Henle-Katalog aufgenommen wird. Weberns Musik ist bekannt für ihre extreme Knappheit und strenge Organisation. Die Aufführung der Variationen op. 27 dauert noch nicht einmal zehn Minuten - eine kurze Zeitspanne, in der die Zuhörer wahre Extreme durchleben. Webern hat das Stück mit mehreren Pianisten einstudiert, und aus dieser Zusammenarbeit sind überraschend emotionale Interpretationshilfen überliefert. Nach Einsichtnahme aller verfügbarer Quellen legt der Herausgeber Ullrich Scheideler nun einen neu überprüften Notentext vor und dokumentiert überdies die verwickelte Entstehungsgeschichte und Weberns aufschlussreiche Hinweise zum Vortrag. Ein Klassiker der Moderne, nun auch in Henle-Blau./ Répertoire / Piano

Par WEBERN ANTON. Anton Webern's late instrumental works have always been admired as examples of a systematic, innovative application of twelve-tone technique. From our perspective today, however, the reliance on older models of form and movement-structure, though of course never intended by Webern as a form of 'restoration,' seems equally important. How closely these aspects are interrelated can be seen from the example of the Variations for Piano, Op. 27, which were written in 1935/36. On the one hand, Webern has in this work to a certain extent carried Schoenberg's technique of 'composition with twelve tones related only to one another' to its logical end in that he derived all of the musical themes 'directly' (...) from the abstract sequence of intervals of a basic tone row; for good reason it has been said that the process of variation has itself been made the subject of the composition. On the other hand, in his conception of the work Webern is clearly building on the historical form of the variation. lndeed, it is clear from the sketches and several remarks in his letters that Webern not only understood the third movement (which was composed first) as a series of variations, but also intended to extend this concept of form to the first and second movements composed later. (Ingrid Karlen)/ Répertoire / Guitare

Par WEBERN ANTON. Composer and choir master Clytus Gottwald comments on his transcription of Anton Webern’s Im Sommerwind (1904) as follows: “First of all I had to eliminate all those parts of the source material that had strictly instrumental designs, reducing the work – to quote Wolfgang Rihm – to its singable remnant. What was so surprising, however, was that such a reduction did not lead to a meaningless sequence of fragments, but that the fragments turned out to be – with regard to harmony and motifs – so closely related to each other that the result proved an impressive ‘work within a work’. The reduction uncovered something that could be called the ‘essence’ of the work. In order to make the singable remnant singable, I used fragments from Bruno Wille’s poem Im Sommerwind, which Webern had used as a basis for his composition.”/ Répertoire / Choeur Mixte SATB

Arrangeur: Clytus Gottwald. Par WEBERN ANTON. Gottwald, Clytus (Arr. )/ Répertoire / Choeur Mixte

Par WEBERN ANTON. / Répertoire / Voix, Violon (Alto), Clarinette (Sib) et Clarinett