The Twelve-Note Music of Anton Webern: Old Forms in a New Language (Music in the Twentieth Century, Series Number 2)

This Important Study Reassesses The Position Of Anton Webern In Twentieth-century Music. The Twelve-note Method Of Composition Introduced By Arnold Schoenberg In The 1920s Was One Of The Most Important Musical Innovations Of The Century. Its Adoption By His Pupil 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, Particularly In His Continued Use Of Classical Forms Such As Sonata, Rondo, Theme And Variations, Etc., And In His Consistent Use Of Traditional Language And Concepts 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 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.--publisher Description. The Rows -- Row Topography -- Canon -- The Movements In Sonata Form : Opp. 20/ii, 21/i, 22/i, 24/i And 27/i -- The Movements In Variation Form : Opp. 21/ii, 24/iii, 27/iii, 28/i And 30 -- The Movements In Rondo And Ternary Forms : Opp. 20/i, 22/ii, 24/ii, 28/ii And 28/iii -- The Movement In Binary Form : Op. 27/ii -- Das Augenlicht -- Cantata I -- Cantata Ii. Kathryn Bailey. Bibliography: P. 454-458. Frontmatter Acknowledgements (page ix) Conventions in the text (page xi) Introduction (page 1) PART 1 Row and canon (page 9) Introduction to Part I (page 9) 1 The rows (page 13) 2 Row topography (page 30) 3 Canon (page 94) PART II The instrumental music (page 147) Introduction to Part II (page 147) 4 The movements in sonata form: Opp. 20/ii, 21/i, 22/i, 24/i and 27/i (page 153) 5 The movements in variation form: Opp. 21/ii, 24/iii, 27/iii, 28/i and 30 (page 195) 6 The movements in rondo and ternary forms: Opp. 20/i, 22/ii, 24/ii, 28/ii and 28/iii (page 237) 7 The movement in binary form: Op. 27/ii (page 262) PART III The music with voices (page 265) Introduction to Part III (page 265) 8 Das Augenlicht (page 268) 9 Cantata I (page 272) 10 Cantata II (page 303) Conclusion (page 331) Appendices (page 335) I A comparison of row characteristics (page 335) II Matrices (page 337) III Row analyses (1) (page 344) IV Row analyses (2) (page 354) V A note on Webern's graces (page 410) Notes (page 416) Glossary (page 449) Chronological worklist (page 451) Select bibliography (page 454) Index (page 459) 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 Important New Study Reassesses The Position Of Anton Webern In Twentieth-century Music.