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  E-mail Message: I thought you might be interested in this item at http://www.worldcat.org/oclc/29564147 Title: Webern and the lyric impulse : songs and fragments on poems of Georg Trakl Author: Anne Chatoney Shreffler Publisher: Oxford : New York : Clarendon Press ; Oxford University Press, 1994. ISBN/ISSN: 0198162243 9780198162247 OCLC:29564147

  
  

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Subjects

• Webern, Anton, -- 1883-1945. -- Lieder nach Gedichten von Georg Trakl.
• Trakl, Georg, -- 1887-1914 -- Musical settings -- History and criticism.
• Adaptations (Arts)
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Webern and the lyric impulse : songs and fragments on poems of Georg Trakl

Author:	Anne Chatoney Shreffler
Publisher:	Oxford : Clarendon Press ; New York : Oxford University Press, 1994.
Series:	Studies in musical genesis and structure.
Edition/Format:	Book : EnglishView all editions and formats
Summary:	This study provides a new view of a composer long considered to be one of this century's most rigorously intellectual creators, Anton Webern. By examining a central pre-twelve-tone work, the Trakl cycle, Op. 14, in the context of the Viennese intellectual and artistic climate, Professor Shreffler shows how Webern's responses to Trakl's complex verse enabled him to expand his musical vocabulary. Her emphasis on Webern's compositional process is of particular importance: whether because of the anxiety of creating a new musical language, or because of an innate hyper-perfectionism (or both), Webern rejected most of what he composed. A close examination of the manuscript sources - fragments, sketches, and fair copies - of Webern's comparatively neglected middle-period lieder enables Shreffler to shed light on Webern's musical language and his working methods. A focus on the sources also helps to modify the view that his music progressed steadily in the direction of the twelve-tone technique. The works reveal instead a concern with expressing the essence of the text; this lyricism, rather than articulating a substantially different aesthetic from the later works, provides a better understanding of the consummate lyricism of all his music, however compressed or fragmented its utterance in the 'classic' twelve-tone works.  Read more...
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