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Anton Webern: The Man and His MusicAuthor(s): Willi ReichSource: Tempo, No. 14 (Mar., 1946), pp. 8-10Published by: Cambridge University PressStable URL: http://www.jstor.org/stable/943713

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8 TEMPO

A N T O N WEBERN

THE MAN AND HIS MUSICBy Willi Reich

"XTON MULTA, SED MULTUM.How happy I would be, could this

saying be applied here!" Withthese words, Anton Webern dedicatedthescore of his Op. 9, the six Bagatelles for

string quartet, to his friend Alban Berg.Each of these pieces, though lasting only afew seconds, contains a truly remarkablewealth of musical

expression.But this

old Latin adage may also very suitably be

applied to the whole of Webern's work.The publishedlist commenceswith a largecomposition for orchestra,the PassacagliaOp. I (1908), writtenaftera long and strict

study with Arnold Sch6nberg. It showsthe twenty-five-year-oldcomposer in com-

pletecommandof allthe traditionalmeansof

his art. Even this work, clearly nfluenced

by Brahms's late style, betrays a peculiaroriginality,wrestling for its own means of

expressionin its melodic invention and its

endeavourto expand tonality to the utter-most. Also the next work, a doubleCanon for mixed choir a cappellao words

by Stefan George, strives for a certainconciliation between conventional ways of

writing and the new presentation of a

clearly conceived tone-world. The earlytendency to marshaland arrangeeven theboldest and freest musical thoughts byorthodox musical form-laws (passacaglia,canon), remains characteristic also ofWebern'slatest compositions.

In 1910 Webern, simultaneously withSch6nberg and Alban Berg, finally freedhimself from the ties of tonality. Alreadyin the song-cycles to poems by Stefan

George (Opp. 3 and 4, composed 19o8-1909) he follows a path prescribed solelyby the texts and the inner tension of hismusic. Subsequently,the five Movementsfor string quartet, Op. 5, give us for thefirst time in purely instrumental musicthose concise, miniature-like orms, whichbecome for a long time Webern's onlymedium of

expression.Soon, in his six

orchestral Pieces Op. 6, the new form

principleis appliedto a largerinstrumental

body without any loss of power and

intensity. Especiallythe fourthpiece, ' allamarcia funebre,' seems to me typical inthat respect: in a few bars it expressesina most convincing manner the experience

of profound mourning for the loss of abeloved friend. No one, hearing this

piece with their senses awake, can escapethe impression of deep, inconsolablepain.

The succeeding works, Opp. 7 to II,(four Pieces for violin andpiano, two songsto words by Rilke, six Bagatellesfor stringquartet,five orchestralPieces, three Piecesfor 'cello and piano) are entirely on the

lines of the ' miniature style ' originatingwith Op. 5. Each piece contains hardlymore than a single theme, presented in aconcise form and-of an extremelystrikingtone-character. They are not accessibleto analytical or theoretical explanation.Somehow they strike us as if they wereillustrations of those words with which

Sch6nberg concluded his famous Har-monielehreof 1911: "The melody oftimbre! What refined senses are requiredto apprehendsuch a subtle quality, what a

highly cultivatedmindto enjoy such things.Who daresto demandtheory!" In 1926,at the Zurich Festival of the ISCM, theeffect of Webern's five orchestral Pieces

(Op. io) was truly sensational. Everyonein the audience felt that he faced a com-

pletely new world of sound, whose pecu-liarity and profundity he could sensewithout knowing how to fathom thecauses of the experience. On the occasionof a later performance n Vienna, Webern

gave the following titles to the pieces:

Urbild(' Archetype'), Verwandlung' Meta-morphosis'), Rfickkehr('Return '), Erin-

nerung ' Recollection'), and Seele(' Soul ').These titles were not intended as pro-grammatic explanations; they simply in-dicatethe emotions by which the composerwas swayed whilst writing the pieces.

In his works up to Op. II (1914),Webern had progressed to a border-lineof musical form, whose nature was suchthat further intensification would haveentailed the disintegrationof all structureinto mereisolatedsounds.

This crisis he overcame in a number ofvocalworks (Opp. 12 to 19) writtenbetween

1917 and 1925, preparing in them thetransition to entirely new principles of

composition. Firstly, in contrast to his

previous choice of the complicated poetryof George and Rilke, he now chose folk

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TEMPO 9

songs and sacred verses, poems of the

simplest mood and strophic structure byGoethe, Strindberg, Karl Kraus, and GeorgTrakl, which promoted the moulding of

clearly shaped and easily comprehensiblemusical forms (Opp. 12 to 15). Later,

contrapuntal technique-canon, etc. -gavea new impulse to the course of his music.A characteristic feature in connection with

most of these vocal works is the uncommoncombinations of their instrumental accom-

paniments. For instance, the two choral

songs (Op. 9) to words by Goethe are

accompanied by celesta, guitar, violin,clarinet and bass-clarinet. The thematiclines are usually distributed amongst several

instruments, producing in the accompani-ment that peculiarly immaterial, swayingeffect which gives particular charm to

Webern's later works.

About 1923, Webern became acquaintedwith Sch6nberg's ' twelve-tone' technique,which the latter had perfected in themeantime. This had a most stirring effecton his impulse to proceed again to largerinstrumental forms, and in the com-

positions which followed, Webern deve-

loped Sch6nberg's theory further in hisown individual manner.

All of his later compositions had to

obey certain contrapuntal laws, (e.g. strictcanon in all possible variations) and,

beyond that, to observe traditional form

rules (sonata, rondo, etc.). This 'over-definition' of form was handled by the

composer with such virtuosity that there

was perfect freedom of life for his ideaseven under the strictest discipline. It isthis mysterious unity of freedom and lawwhich gives Webern's late works the stampof greatest mastery.

Webern's final works are headed by the

string Trio Op. 20, which, strange to say,

provoked open disapproval not only at itsfirst performance in Siena (1928) but alsoten years later in London. But otherchamber music in the new style, like the

piano Quartet (Op. 22), the Variations for

piano (Op. 27), and the string Quartet

(Op. 28), were received by their audienceswith immediate respect. The Symphony

(Op. 21) set for nine solo instruments wasfirst performed in New York in 1929, at a

concert of the League of Composers; itwas again played at the festival of the

ISCM in London in 1931, and was after-wards broadcast by the B.B.C. Webern's

greatest success in England to date was

gained by his cantata for choir and orchestra'Das Augenlicht' (Op. 26, composed

1935). It was performed at the last ISCMFestival in London, in June 1938, and was

given a truly enthusiastic reception. Ofthe last three works completed by Webern,

the scores of which are in my possession,only the Variations for orchestra (in formof an overture) Op, 30, has as yet been

performed (February 1943, in Winterthur,

by Hermann Scherchen), Webern, whoattended in person, was profoundly happyover the excellent performance, and thiswas the last time that I saw him. His twoCantatas (Opp. 29 and 31) to words byHildegard Jone have not yet been heard.In his last letter to me Webern revealedthat he was working on a concerto inseveral movements. Whether it was com-

pleted I do not know, as I had no com-munication from him after July 1944.

Webern's most important remark tome was, I think, the following from a letterof February 23rd 1944:

" To quote freelyfrom H61derlin: 'To live-that is todefend a form.'* I iell you this gladly.This poet has been occupying my attention

intensely for a considerable time. Imaginewhat an impression it made on me, whenthis passage occurred in the notes to the

(3dipus translation: 'Also, other works of

art lack reliability, as compared with thoseof the Greeks. They have, at least up to

now, been judged more by the impressionthey convey than by the artistic consider-ations and other methods through whichtheir beauty is created.' Do I still need totell you why this passage moved me somuch ? "' These words embody the wholeartist and man Webern-the ardent idealismwhich animated all his work, the strictsense of law to which both his life andwork were subject and which in return

gave the greatest, uncompromising re-liability to both. Finally, his humanity,which was mirrored so accurately in his

works, comparable in their mysterioussymmetries and perfect proportions to themost perfect crystals.

Humanity and a highly artistic mind wereunited also in his extraordinary accom-

plishments as conductor and teacher. Thiswas especially apparent in his activities asdirector of the Workers' Symphony Con-certs in Vienna. He not only worked on

a large scale as a pioneer in the performanceof the great masters, but also quicklycreated out of a group of musical laymen-all working-class people of simple circum-stances-a choral body capable of perform-ing in public the most complicated works

*'Lebin bhirrtsine Form verteidigen'.

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10 TEMPO

of Sch6nberg and Mahler. This mustremain an unforgettable experience for allthose who were privileged to watch Webernat his rehearsals. He worked with almost

superhuman patience and passionate devo-tion with these amateurs, until they reacheda standard of performance not often

acquired by professionals. Proof ofWebern's outstanding ability as conductorwas also given when on various occasionshe acted as guest conductor to the B.B.C.

Symphony Orchestra. He gave the musicof Beethoven, Schubert, Bruckner and

Mahler, as well as that of Sch6nberg andAlban Berg, whose art he served with the

greatest possible devotion.

In his work as a teacher Webern was athorough exponent of the great master-

pieces. This was by no means confined to

private lessons, but was extended to

lengthy series of lectures in popular

language, directed towards the broad masses.Webern's ability to interpret clearly tomusical laymen the most subtle problemsof Beethoven s last string quartets or

Sch6nberg s twelve-tone technique was

really astounding. The effect of his inspiring

personality was so strong that even in thetimes of Nazi terror, when Webern was

forbidden any public activity, he was urged

to-and in fact did-continue his lectures.In private life Webern was extremely

reserved. He lived in almost monastic

solitude, on the edge of the forest, in a little

provincial town about ten miles fromVienna. Here, in the closest communionwith Nature, he worked and studied, withthe care of his garden as his special recre-ation. He did not participate in the officialmusical life of the city, and his socialabilitywas restricted to a few personal friends withwhom he frankly discussed his innermost

thoughts in a simple, loving manner.His character was simple and profound,like a monk of the Middle Ages, yet theFranciscan gentleness of his personalitycould

change rapidlyinto the

burningpassion of a Savonarola if decisive matterswere called into question-the works ofthe great masters, for instance, which heheld sacred, or his own music, achievedwith such fervent enthusiasm.

Through his premature death, the musicalworld has been bereaved of one of its most

important exponents. But all who were

personally in close contact with Webernhave lost in him an unforgettable exampleof a pure life and a most lovable friend.

(Translatedromthe German

byDr.

RobertKoppel)

Re-opening of Covent GardenThe Royal Opera House, Covent Garden,

re-opened its doors to opera and ballet on February2oth-the occasion of a brilliant social and musicalevent and, it is hoped, the beginning of an auspiciousnew chapter in British operatic history based onfirmer foundations than heretofore. The per-formance of Tchaikovsky's ' The Sleeping Princess '

by the Sadler's Wells Ballet Company drew a festiveaudience that included the King and Queen, QueenMary, Princess Elizabeth and Princess Margaret,the Prime Minister and Mrs Attlee, members of theCabinet and Diplomatic Corps, and many leadingfigures in British musical life. The public responsehas exceeded even the most optimistic expectations,and the organizers at Covent Garden have secureda large initial measure of good will for their future

enterprises.

B61a Bart6kSeries of concerts in commemoration of Bart6k

have been given in Budapest and Amsterdam, andthe Hungarian Government plans to erect a publicmonument to the composer in the capital.

The posthumous third piano Concerto, Bart6k'slast work, was given in Philadelphia for the firsttime on February 8th, repeated the next day, and

broadcast on the 12th. The performers wereGyorgy Sandor (soloist) and the PhiladelphiaOrchestra under Eugene Ormandy.

The first London performances of the Concertofor orchestra were given by the B.B.C. SymphonyOrchestra (Sir Adrian Boult conducting) on Feb-

ruary 6th and ioth. This work was also given inGeneva (Ansermet) and Brussels. In Liverpooland Manchester there have been double perfor-

mances of the violin Concerto under Dr. Sargent,with Max Rostal as the 'wonderfully assured andmasterly ' soloist (LiverpoolPost).

I.S.C.M. London Festival

The first post-war festival of the InternationalSociety for Contemporary Music will be held inLondon from July 7 to July 14, 1946, under theauspices of the News-Chronicle. Events alreadyarranged include two concerts with the B.B.C.

Symphony Orchestra, a chamber-orchestraconcert,and three chamber-music and solo instrumentalprogrammes. The works to be performed will beselected by an international committee meeting inLondon during Easter. English composers andforeign composers domiciled in this country desirousof submitting works for the committee's con-sideration, should send them to The Hon. Secretary,London Contemporary Music Centre, c/o Messrs.J. & W. Chester,Ltd., ii, GreatMarlborough Street,London, W.I. Scoresshould be inscribed " I.S.C.M.Festival", and must be received not later thanApril I.

The Boosey & Hawkes ConcertsThe next concert in this series will be given atWigmore Hall, at 6.45 p.m. on Wednesday, March

2oth. Programme: Ravel, String Quartet; Webern,String Quartet, Op. 28 (first Englishperformance);Prokofiev, 8th Piano Sonata (first Englishperform-ance); Bart6k, 6th String Quartet. Artists: TheGertler String Quartet (Brussels) and Noel MewtonWood. Another concert will be given on April 24th.