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Anton Webern

Webern: Variations, Op. 27

$44.00
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Universal Edition  |  SKU : UE16845  |  Code-barres: 9790008042416

Description

The famous Austrian pianist Peter Stadlen, who lives in England and who, like Rudolf Kolisch and Eduard Steuermann, was primarily committed to the works of the Schoenberg School throughout his life, caused his teacher Webern to fix his teacher Webern's instructions for an extremely remarkable correction of what is customary today, which Due to the apparently self-sufficient construction of Webern's late works, it was given a false overemphasis and thus led to a "neutral" and therefore distorting realization, and in the further course to misjudgments such as the "total objectification" of which an otherwise well-informed observer like Adorno speaks . Webern's strange need to explain his music to the performers is explained by the astonishing sparse character of the performance - astonishing because what Webern has repeatedly called the meaning of his music can by no means be read as directly from the music as it is in the case of previous music was the case. Only a detailed study of these instructions, going beyond the given occasion, provides information about Webern's musical thinking and conveys the dismaying realization that in the present work - and not only in this one - an authentic interpretation without detailed direct transmission is unthinkable.

Universal Edition

Webern: Variations, Op. 27

$44.00

Description

The famous Austrian pianist Peter Stadlen, who lives in England and who, like Rudolf Kolisch and Eduard Steuermann, was primarily committed to the works of the Schoenberg School throughout his life, caused his teacher Webern to fix his teacher Webern's instructions for an extremely remarkable correction of what is customary today, which Due to the apparently self-sufficient construction of Webern's late works, it was given a false overemphasis and thus led to a "neutral" and therefore distorting realization, and in the further course to misjudgments such as the "total objectification" of which an otherwise well-informed observer like Adorno speaks . Webern's strange need to explain his music to the performers is explained by the astonishing sparse character of the performance - astonishing because what Webern has repeatedly called the meaning of his music can by no means be read as directly from the music as it is in the case of previous music was the case. Only a detailed study of these instructions, going beyond the given occasion, provides information about Webern's musical thinking and conveys the dismaying realization that in the present work - and not only in this one - an authentic interpretation without detailed direct transmission is unthinkable.

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