Steffen Schleiermacher - Viennese School: Teachers and Followers: Anton Webern (2005)
BAND/ARTIST: Steffen Schleiermacher
- Title: Viennese School: Teachers and Followers: Anton Webern
- Year Of Release: 2005
- Label: MDG
- Genre: Classical
- Quality: FLAC (tracks)
- Total Time: 01:04:33
- Total Size: 186 Mb
- WebSite: Album Preview
Tracklist:
1. Variations, op. 27: I. sehr mäßig 02:37
2. Variations, op. 27: II. sehr schnell 00:45
3. Variations, op. 27: III. ruhig fließend 04:44
4. Zemach-Suite: Song 01:47
5. Zemach-Suite: Piece of Embittered Music 01:23
6. Zemach-Suite: Fuga à 3 (No.1) 01:32
7. Zemach-Suite: Fuga à 3 (No.2) 01:24
8. Zemach-Suite: Jubilation 01:08
9. Zemach-Suite: Complaint 05:20
10. Zemach-Suite: Dance in Form of a Chaconne 02:57
11. Frühlingsblumen 00:50
12. 3 Klavierstücke: I. Moderato, poco sostenuto e rubato 00:47
13. 3 Klavierstücke: II. Lento non troppo 02:32
14. 3 Klavierstücke: III. Allegretto pochissimo rubato 00:59
15. Sonata for Piano, op. 3: I. Moderato 02:38
16. Sonata for Piano, op. 3: II. Allegro 01:25
17. Sonata for Piano, op. 3: III. Allegro 03:04
18. Tombeau de Vincent van Gogh - 20 pièces pour piano: Barques aux Saintes-Marie 00:20
19. Tombeau de Vincent van Gogh - 20 pièces pour piano: Iris 00:46
20. Tombeau de Vincent van Gogh - 20 pièces pour piano: La moisson 00:21
21. Tombeau de Vincent van Gogh - 20 pièces pour piano: La café de nuit 00:39
22. Tombeau de Vincent van Gogh - 20 pièces pour piano: Les blés verts 00:25
23. Tombeau de Vincent van Gogh - 20 pièces pour piano: La berceuse 00:57
24. Tombeau de Vincent van Gogh - 20 pièces pour piano: La cueillette des olives 00:31
25. Tombeau de Vincent van Gogh - 20 pièces pour piano: Le pont-Levis 00:44
26. Tombeau de Vincent van Gogh - 20 pièces pour piano: Les lavandières 00:29
27. Tombeau de Vincent van Gogh - 20 pièces pour piano: Nuit étoilée 01:20
28. Tombeau de Vincent van Gogh - 20 pièces pour piano: Verger 00:29
29. Tombeau de Vincent van Gogh - 20 pièces pour piano: L'arbre 00:48
30. Tombeau de Vincent van Gogh - 20 pièces pour piano: La route aux Cyprès 00:38
31. Tombeau de Vincent van Gogh - 20 pièces pour piano: Champ d'oliviers 00:32
32. Tombeau de Vincent van Gogh - 20 pièces pour piano: Tige d'amandier fleuri 00:49
33. Tombeau de Vincent van Gogh - 20 pièces pour piano: L'homme à l'oreille coupée 00:35
34. Tombeau de Vincent van Gogh - 20 pièces pour piano: Jeune fille assise 01:08
35. Tombeau de Vincent van Gogh - 20 pièces pour piano: Les paveurs 00:32
36. Tombeau de Vincent van Gogh - 20 pièces pour piano: Paysage à Auvers 00:23
37. Tombeau de Vincent van Gogh - 20 pièces pour piano: Champ de blé aux corbeaux 01:06
38. Rondo 04:09
39. Pastorale 02:14
40. Threnos, op. 14 07:07
41. Toccata op. 14 01:39
Performers:
Steffen Schleiermacher (piano)
1. Variations, op. 27: I. sehr mäßig 02:37
2. Variations, op. 27: II. sehr schnell 00:45
3. Variations, op. 27: III. ruhig fließend 04:44
4. Zemach-Suite: Song 01:47
5. Zemach-Suite: Piece of Embittered Music 01:23
6. Zemach-Suite: Fuga à 3 (No.1) 01:32
7. Zemach-Suite: Fuga à 3 (No.2) 01:24
8. Zemach-Suite: Jubilation 01:08
9. Zemach-Suite: Complaint 05:20
10. Zemach-Suite: Dance in Form of a Chaconne 02:57
11. Frühlingsblumen 00:50
12. 3 Klavierstücke: I. Moderato, poco sostenuto e rubato 00:47
13. 3 Klavierstücke: II. Lento non troppo 02:32
14. 3 Klavierstücke: III. Allegretto pochissimo rubato 00:59
15. Sonata for Piano, op. 3: I. Moderato 02:38
16. Sonata for Piano, op. 3: II. Allegro 01:25
17. Sonata for Piano, op. 3: III. Allegro 03:04
18. Tombeau de Vincent van Gogh - 20 pièces pour piano: Barques aux Saintes-Marie 00:20
19. Tombeau de Vincent van Gogh - 20 pièces pour piano: Iris 00:46
20. Tombeau de Vincent van Gogh - 20 pièces pour piano: La moisson 00:21
21. Tombeau de Vincent van Gogh - 20 pièces pour piano: La café de nuit 00:39
22. Tombeau de Vincent van Gogh - 20 pièces pour piano: Les blés verts 00:25
23. Tombeau de Vincent van Gogh - 20 pièces pour piano: La berceuse 00:57
24. Tombeau de Vincent van Gogh - 20 pièces pour piano: La cueillette des olives 00:31
25. Tombeau de Vincent van Gogh - 20 pièces pour piano: Le pont-Levis 00:44
26. Tombeau de Vincent van Gogh - 20 pièces pour piano: Les lavandières 00:29
27. Tombeau de Vincent van Gogh - 20 pièces pour piano: Nuit étoilée 01:20
28. Tombeau de Vincent van Gogh - 20 pièces pour piano: Verger 00:29
29. Tombeau de Vincent van Gogh - 20 pièces pour piano: L'arbre 00:48
30. Tombeau de Vincent van Gogh - 20 pièces pour piano: La route aux Cyprès 00:38
31. Tombeau de Vincent van Gogh - 20 pièces pour piano: Champ d'oliviers 00:32
32. Tombeau de Vincent van Gogh - 20 pièces pour piano: Tige d'amandier fleuri 00:49
33. Tombeau de Vincent van Gogh - 20 pièces pour piano: L'homme à l'oreille coupée 00:35
34. Tombeau de Vincent van Gogh - 20 pièces pour piano: Jeune fille assise 01:08
35. Tombeau de Vincent van Gogh - 20 pièces pour piano: Les paveurs 00:32
36. Tombeau de Vincent van Gogh - 20 pièces pour piano: Paysage à Auvers 00:23
37. Tombeau de Vincent van Gogh - 20 pièces pour piano: Champ de blé aux corbeaux 01:06
38. Rondo 04:09
39. Pastorale 02:14
40. Threnos, op. 14 07:07
41. Toccata op. 14 01:39
Performers:
Steffen Schleiermacher (piano)
Composer and pianist Steffen Schleiermacher has delivered a number of useful surveys on CD of twentieth century musical "schools" and sub-genres for various labels since the first one, The Bad Boys!, appeared on Hat Hut in 1994. The title for MDG's The Viennese School -- Teachers and Followers: Anton Webern is a little confusing. As a study of composers who directly studied with Webern, Webern is presumably the only "teacher" involved. Additionally, what this makes clear is that despite the slavish adulation serial composers of the 1950s held for what they perceived as Webern's approach, those who studied under Webern only absorbed it in varying degrees and, as in the case of the Roland Leich piece heard here, not at all. So the designation "followers" does not exactly fit either -- perhaps Boulez and Stockhausen, neither of whom directly studied with Webern, should be viewed as Webern's "followers"; his students clearly went in their own directions.
The most valuable aspect of these collections is Schleiermacher's determined and dogged research into little-known composers who figured in such movements. Some might feel that one name conspicuously missing is that of Luigi Dallapiccola. This owes to the common misconception that Dallapiccola directly studied with Webern. While they met, briefly in Vienna in 1942, Dallapiccola had already forged his particular assimilation of serial technique and the contact made then was more of a courtesy call. These composers -- Stefan Wolpe, Romanian Philipp Herscovici, Austrian-born British composer Leopold Spinner, Dutchman Fré Focke, Americans Arnold Elston and Roland Leich, and another Briton, Humphrey Searle -- all actually studied with Webern, though some for as little as a few weeks. Of this group, Herscovici and Spinner seem to have derived the strongest example from Webern's own music, with the Frühlingsblumen and Klavierstücke of the perpetually hounded Herscovici representing the more impressive absorption of the two. Very little of Herscovici's music appears to have survived as he was constantly trying to elude capture from fascist forces in Europe; ironically, he spent most of his career working in the Soviet Union. Focké's Tombeau de Vincent van Gogh demonstrates that the Dutch composer did absorb Webern's love for concision -- none of its 20 pieces exceed 1:20 in length, and most last under a minute -- but stylistically his music is closer to the expressionist language of Schoenberg. Arnold Elston's Rondo (1937) is a standout -- it applies the style of Webern to the swinging rhythms of jazz, and as such, is very successful; Elston certainly would not be the last to try his hand at such a hybrid! The most original sounding of the works here, other than Webern's own familiar Variations, Op. 27, included as example, are those by Humphrey Searle and Stefan Wolpe. Searle's Threnos and Toccata (1948) apply atonal systemization to a Lisztian texture (in the Threnos) and to a steely, Prokofiev-like Toccata. Both are very good pieces, but the Toccata is too short. Wolpe studied with Webern in 1934, though like Dallapiccola his musical identity was already a known quantity by that time. Wolpe's Zemach Suite (1939), the principal piano piece of his Palestinian period, is certainly a great work, though its performance here is a little underpowered compared to that of David Holzman on Bridge; one wonders why it is included in the context of Webern.
Like all of Schleiermacher's compilations of this kind, MDG's The Viennese School -- Teachers and Followers: Anton Webern is a mixed bag and this one particularly so as the pilot work -- Variations, Op. 27 -- is rather sloppily played. MDG's recording doesn't seem to help much there, as it falls below comfortable listening levels in sections marked pianissimo though it seems all right elsewhere. For the obscure composers other than Webern, this is a good resource -- perhaps the choice of a shorter Wolpe composition would have left more room for them.
The most valuable aspect of these collections is Schleiermacher's determined and dogged research into little-known composers who figured in such movements. Some might feel that one name conspicuously missing is that of Luigi Dallapiccola. This owes to the common misconception that Dallapiccola directly studied with Webern. While they met, briefly in Vienna in 1942, Dallapiccola had already forged his particular assimilation of serial technique and the contact made then was more of a courtesy call. These composers -- Stefan Wolpe, Romanian Philipp Herscovici, Austrian-born British composer Leopold Spinner, Dutchman Fré Focke, Americans Arnold Elston and Roland Leich, and another Briton, Humphrey Searle -- all actually studied with Webern, though some for as little as a few weeks. Of this group, Herscovici and Spinner seem to have derived the strongest example from Webern's own music, with the Frühlingsblumen and Klavierstücke of the perpetually hounded Herscovici representing the more impressive absorption of the two. Very little of Herscovici's music appears to have survived as he was constantly trying to elude capture from fascist forces in Europe; ironically, he spent most of his career working in the Soviet Union. Focké's Tombeau de Vincent van Gogh demonstrates that the Dutch composer did absorb Webern's love for concision -- none of its 20 pieces exceed 1:20 in length, and most last under a minute -- but stylistically his music is closer to the expressionist language of Schoenberg. Arnold Elston's Rondo (1937) is a standout -- it applies the style of Webern to the swinging rhythms of jazz, and as such, is very successful; Elston certainly would not be the last to try his hand at such a hybrid! The most original sounding of the works here, other than Webern's own familiar Variations, Op. 27, included as example, are those by Humphrey Searle and Stefan Wolpe. Searle's Threnos and Toccata (1948) apply atonal systemization to a Lisztian texture (in the Threnos) and to a steely, Prokofiev-like Toccata. Both are very good pieces, but the Toccata is too short. Wolpe studied with Webern in 1934, though like Dallapiccola his musical identity was already a known quantity by that time. Wolpe's Zemach Suite (1939), the principal piano piece of his Palestinian period, is certainly a great work, though its performance here is a little underpowered compared to that of David Holzman on Bridge; one wonders why it is included in the context of Webern.
Like all of Schleiermacher's compilations of this kind, MDG's The Viennese School -- Teachers and Followers: Anton Webern is a mixed bag and this one particularly so as the pilot work -- Variations, Op. 27 -- is rather sloppily played. MDG's recording doesn't seem to help much there, as it falls below comfortable listening levels in sections marked pianissimo though it seems all right elsewhere. For the obscure composers other than Webern, this is a good resource -- perhaps the choice of a shorter Wolpe composition would have left more room for them.
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