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60-433: After Alban Berg's death in 1935, his widow Helene Berg (1885–1976) looked after his inheritance and estate, including the preservation of manuscripts and important documents, and in later years she made preparations to establish a foundation; in accordance with Berg's wishes, it would receive the proceeds of the composer's works after her death. The establishment of the foundation was finally prepared in 1967–68, and approved by

120-633: A "voluntary exile" to Prague again. Nonetheless, he continued to raise funds, including his own, for Schoenberg, with whom he spent every day. Yet soon after he arrived, Webern broke his friendship with Schoenberg. The break was multifactorial but involved Webern's dissatisfaction with his career and financial turmoil. Berg learned of the Weberns' ill temperaments and "latent antisemitism" from Schoenberg, and noted that Schoenberg "wouldn't explain" further than "'Webern wants to go to Prague again'". Bailey Puffett argued that Webern's actions in and after

180-699: A New Music society, Schoenberg angrily called Webern "secretive and deceitful" upon learning that Webern was instead considering Prague again. They reconciled in October 1918, not long before Webern's father died in 1919. Webern was changed by these events; he slowly began to grow more independent of Schoenberg, who was like a father to him. For his part, Schoenberg was not infrequently dubious of Webern, who he still considered his closest friend. Webern stayed in Vienna and worked with Berg, Schoenberg, and Erwin Stein at

240-425: A breakdown and saw Alfred Adler , who noted his idealism and perfectionism. There were many factors involved. Webern had little time (mostly summers) to compose. There were conflicts at work (e.g., he emphasized that a director called him a "little man" ). His ambivalence toward sales-oriented popular music theater contributed ("I ... stir the sauce", he wrote). "It appears ... improbable that I should remain with

300-694: A chair in historical musicology at the Institute of musicology, now the musicology seminar of the Institute of Theatrical Studies at the Free University of Berlin . After his retirement in 1990 he held the rank of professor emeritus . He was a visiting professor in Vienna in 1981, and his colleagues at the Berlin Institute were musicologists Tibor Kneif and Klaus Kropfinger , and from 1984 onwards Jürgen Maehder , who became his Director General from 1990 to 1992. Stephan's successor in 1992

360-499: A church-and-mountain view; they bathed in a pond (where Webern once saved Rosa from drowning). He drove horses to Bleiburg and fought a wildfire encroaching on the estate. These experiences and reading Peter Rosegger 's Heimatkunst  [ de ] shaped Webern's distinct and lasting sense of Heimat . After a trip to Bayreuth , Webern studied musicology at the University of Vienna (1902–1906) with Guido Adler ,

420-437: A fragrant meadow , dug his hands into the soil, and breathed in the flowers and grass before rising to ask: "Do you sense 'Him' ... as strongly as I, 'Him, Pan '?" In 1934, Webern's lyricist and collaborator Hildegard Jone described his work as "filled ... with the endless love and delicacy of the memory of ... childhood". Webern told her, "through my work, all that is past becomes like a childhood". In 1912–1913, Webern had

480-531: A friend of Mahler , composition student of Bruckner , and devoted Wagnerian who had been in contact with both Wagner and Liszt . He quickly joined the Wagner Society , meeting popular conductors and musicians. Egon Wellesz recalled he and Webern analyzed Beethoven's late quartets at the piano in Adler's seminars. Webern learned the historical development of musical styles and techniques, editing

540-519: A lament sung at a funeral in a Rosegger novel. In "Wiese im Park", he selected a text from Kraus recognizing that the day was "dead", "und alles ... so alt" ("and everything ... so old"). Webern also set several disturbing poems of Georg Trakl , not all of which he could finish. With uninterrupted contrapuntal density, by turns muscular and murmured, he word painted Trakl's "great cities" and "dying peoples", "leafless trees", "violent alarm", and "falling stars" in "Abendland III". During and after

600-405: A maternal homeland—built from memories of pilgrimages to his mother's grave, the "mild", "lost paradise" of home, and the "warmth" of her memory—reflected his sense of loss and his yearning for return. Drawing loosely on V. Kofi Agawu 's semiotic approach to classical music, specifically his idea of musical topics , Johnson held that all of Webern's music, though rarely directly representational ,

660-593: A position there for Schoenberg, but Schoenberg could not bear to return to the Akademie für Musik und darstellende Kunst due to his prior experiences in Vienna. At the same time, Webern began a cycle of repeatedly quitting and being taken back by Zemlinsky at the Deutsches Landestheater Prague (1911–1918). He had a short-lived conducting post in Stettin (1912–1913), which, like all

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720-648: A publication contract through Emil Hertzka at Universal Edition and Schoenberg away in Berlin, Webern began writing music of increasing confidence, independence, and scale using twelve-tone technique. He maintained his " path to the new music " while marginalized as a " cultural Bolshevist " in Fascist Austria and Nazi Germany , enjoying some international recognition but relying more on teaching for income. Struggling to reconcile his loyalties to his divided friends and family, he adopted an optimistic outlook on

780-586: A quote from Hermann Bahr 's 1907 essay Wien : everyone knows ... it is always Sunday in Vienna ... one lives in a world of half-poetry which is very dangerous for the real thing. They can recognize a few waltzes by Lanner and Strauss ... a few Viennese songs ... It is a well-known fact that Vienna has the finest cakes ... and the most cheerful, friendly people. ... But those who are condemned to live here cannot understand all this. "What benefit ... if all operettas ... were destroyed", Webern told Diez in 1908. But in 1912, he told Berg that Zeller's Vogelhändler

840-797: A sold-out 1919 Society concert. There was perhaps some shared influence among Schoenberg, Stravinsky, and Webern at this time. The Society dissolved amid hyperinflation in 1921, having boasted some 320 members and sponsored more than a hundred concerts. Webern obtained work as music director of the Wiener Schubertbund 1921, having made an excellent impression as the vocal coach Schoenberg recommended for their 1920 performance of Gurre-Lieder . They nearly abandoned this project before Webern stepped in. He led them in performances of Brahms, Mahler, Reger, and Schumann, among others. But low salary, mandatory touring, and challenges to Webern's thorough rehearsals prompted him to resign in 1922. He

900-567: A theatre? ... do I have to perform all this filth? Webern wrote Zemlinsky seeking work at the Berlin or Vienna Volksoper instead. He started at Bad Teplitz 's Civic Theater in early 1910, where the local news reported his "sensitive, devoted guidance" as conductor of Fall's Geschiedene Frau , but he quit within months due to disagreements. His repertoire likely included Fall's Dollarprinzessin , Lehár's Graf von Luxemburg , O. Straus's Walzertraum , J. Strauss II's Fledermaus , and Schumann's Manfred . There were only 22 musicians in

960-453: Is a ... self-contained ... structural unit ... . ... Isaac uses ... canonic devices in ... profusion ... . ... Added ... is the keenest observation of tone colourings in ... registers of the human voice . This is partly the cause of ... interlacing of voices and ... their movement by leaps . Webern studied art history and philosophy under professors Max Dvořák , Laurenz Müllner  [ de ] , and Franz Wickhoff , joining

1020-464: Is based on all the available surviving sources, in particular the autograph scores and the printed works approved by the composer. Overall responsibility for the complete edition was in the hands of Rudolf Stephan until 2015; since 2015 Martin Eybl has taken responsibility. The Alban Berg Monument , funded by the foundation, and designed by Wolf Dieter Prix and Sophie C. Grell of Coop Himmelb(l)au ,

1080-578: Is currently in progress. Webern was born in Vienna, Austria-Hungary . He was the only surviving son of Carl von Webern, a descendant of minor nobility  [ de ] , high-ranking civil servant, mining engineer, and owner of the Lamprechtsberg copper mine in the Koralpe . Much of Webern's early youth was in Graz (1890–1894) and Klagenfurt (1894–1902), though his father's work briefly took

1140-597: Is never lost ... in them God's kingdom ... rises ... more ... in ... memory than ... ever ... in reality; ... children are poets and retrace their steps. Rosegger's account of his mother's death at the book's end ("An meine Mutter") resonated with Webern, who connected it to his Op. 6 orchestral pieces. In a January 1913 letter to Schoenberg, Webern revealed that these pieces were a kind of program music , each reflecting details and emotions tied to his mother's death. He had written Berg in July 1912, "my compositions ... relate to

1200-656: The Volksoper in Vienna (1906–1909). Schoenberg, Berg, and Webern became devoted, lifelong friends with similar musical trajectories. Adler, Heinrich Jalowetz , and Webern played Schoenberg's quartets under the composer, accompanying Marie Gutheil-Schoder in rehearsals for Op. 10 . Also through Schoenberg, who painted and had a 1910 solo exhibition at Hugo Heller  [ de ] 's bookstore, Webern met Gustav Klimt , Oskar Kokoschka , Max Oppenheimer (with whom he corresponded on ich–Du terms), Egon Schiele , and Emil Stumpp . In 1920, Webern wrote Berg about

1260-615: The Albrecht Dürer Gesellschaft in 1903. His cousin Ernst Diez  [ de ] , an art historian studying in Graz, may have led him to the work of Arnold Böcklin and Giovanni Segantini , which he admired along with that of Ferdinand Hodler and Moritz von Schwind . Webern idolized Segantini's landscapes on a par with Beethoven's music, diarying in 1904: I long for an artist in music such as Segantini

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1320-807: The Franco-Flemish School of his studies under Guido Adler . With his mentor Arnold Schoenberg and his colleague Alban Berg , Webern was at the core of those within the broader circle of the Second Viennese School . Webern was arguably the first and certainly the last of the three to write music in a style that was both expressionist and aphoristic , reflecting his instincts and the idiosyncrasy of his compositional process. He treated themes of loss, love, nature, and spirituality, working from his experiences. Unhappily peripatetic and typically assigned light music or operetta in his early conducting career, he aspired to conduct what

1380-683: The Kamp from Rosenburg-Mold to Allentsteig in 1905. He wooed her with John Ruskin essays (in German translation), dedicating his Langsamer Satz to her. Webern diaried about their time together "with obvious literary aspirations": We wandered ... The forest symphony resounded. ... A walk in the moonlight on flowery meadows—Then the night—"what the night gave to me, will long make me tremble."—Two souls had wed. Webern conducted and coached singers and choirs mostly in operetta , musical theater , light music , and some opera in his early career. Operetta

1440-838: The Mödling District (first in Mödling , then in Maria Enzersdorf ). Karl Amadeus Hartmann remembered that Webern gardened "as a devotion" to Goethe's Metamorphosis of Plants , and Johnson drew a parallel between Webern's gardening and composing, emphasizing his connection to nature and his structured, methodical approach in both pursuits. Johnson noted that gardens and cemeteries are alike in being cultivated, closed spaces of rebirth and quiet reflection. These habits and preoccupations endured in Webern's life and œuvre . In 1933, Joseph Hueber recalled Webern stopped in

1500-475: The Society for Private Musical Performances (1918–1921), promoting new music through performances and contests. Music included that of Bartók , Berg, Busoni , Debussy , Korngold , Mahler, Novák , Ravel , Reger , Satie , Strauss, Stravinsky , and Webern himself. Webern wrote Berg about Stravinsky's "indescribably touching" Berceuses du chat and "glorious" Pribaoutki , which Schoenberg conducted at

1560-647: The University of Göttingen , where he obtained his doctorate in 1950 with a work on Die Tenores der Motetten ältesten Stils by musicologist Rudolf Gerber (1950). Carl Dahlhaus , Ludwig Finscher and Joachim Kaiser were among his classmates. He became known to the German-speaking public at large as the publisher of volume five of Das Fischer Lexikon's "Language", published in the Fischer Library in Frankfurt in 1957. In 1958, Stephan published

1620-490: The "almost frightening" ocean. He conducted von Flotow 's Wintermärchen , George's Försterchristl , Jones' Geisha , Lehár's Lustige Witwe , Lortzing's Waffenschmied , Offenbach's Belle Hélène , and J. Strauss II's Zigeunerbaron . He particularly enjoyed Offenbach's Contes d'Hoffmann and Rossini's Barbiere di Siviglia , but only Jalowetz was allowed to conduct this more established repertoire. Webern soon expressed homesickness to Berg; he could not bear

1680-656: The "indescribable impression" Klimt's work made on him, "that of a luminous, tender, heavenly realm". He also met Karl Kraus , whose lyrics he later set, but only to completion in Op. 13/i. Webern married Wilhelmine "Minna" Mörtl in a 1911 civil ceremony in Danzig. She had become pregnant in 1910 and feared disapproval, as they were cousins . Thus the Catholic Church only solemnized their lasting union in 1915, after three children. They met in 1902, later hiking along

1740-421: The 1930s suggested that he was not antisemitic, at least in his maturity. She noted that Webern later wrote Schoenberg that he felt "a sense of the most vehement aversion" against German-speaking people who were. After meeting with Webern, Berg saw "the matter in a different light", considering Webern "by and large innocent" in light of what Webern said was Schoenberg's "kick in the teeth": after laying plans for

1800-470: The German Reich, and we along with it, should perish." Yielding in his distrust of Protestant Germany, he compared Catholic France to "cannibals" and expressed pan-German patriotism amid wartime propaganda. He cited his "faith in the German spirit" as having "created, almost exclusively, the culture of mankind". Despite his high regard of French classical music, especially Debussy's, Webern revered

1860-479: The book on Neue Musik "Versuch einer kritischen Einführung". His work was approved by Theodor W. Adorno with whom he remained in contact in the following years during radio broadcasts. In 1963, he moved to Göttingen as soon as he obtained his habilitation . From 1965 to 1976, Stephan was the editor-in-chief of publications for the Institute for New Music and Music Education in Darmstadt . In 1967, he accepted

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1920-413: The death of my mother", specifying in addition the "Passacaglia, [String] Quartet, most [early] songs, ... second Quartet, ... second [orchestral pieces, Op. 10] (with some exceptions)". Julian Johnson contended that Webern understood his cultural origins with a maternal view of nature and Heimat , which became central themes in his music and thought. He noted that Webern's deeply personal idea of

1980-760: The end of the war, Webern, like other Austrians, contended with food shortages, insufficient heating, socioeconomic volatility, and geopolitical disaster in defeat. He had considered retreating to the countryside and purchasing a farm since 1917, specifically as an asset better than war bonds at shielding his family's wealth from inflation. (In the end, he lost all that remained of his family's wealth to hyperinflation by 1924.) He proposed to Schoenberg that they might be smallholders together. Despite Schoenberg's and his father's advice that he not quit conducting, Webern followed to Schoenberg to Mödling in early 1918, hoping to be reunited with his mentor and to compose more. But Webern's finances were so poor that he soon explored

2040-471: The entire countryside, all the thousand things there. Now everything is over. ... If only you could ... have seen ... . The seclusion, the quiet, the house, the forests, the garden, and the cemetery. About this time, I had always composed diligently. Shortly after the anniversary of his mother's death, he wrote Schoenberg in September 1912: When I read letters from my mother, I could die of longing for

2100-469: The family played chamber music, including that of Mozart , Schubert , and Beethoven . Webern learned to play Bach's cello suites and may have studied Bach's polyphony under Komauer. The extended Webern family spent summers, holidays, and vacations at their country estate, the Preglhof. The children played outside in the forest and on a high meadow with pasture grazed by herded cattle and with

2160-581: The family to Olmütz and back to Vienna. His mother Amalie (née Geer) was a pianist and accomplished singer. She taught Webern piano and sang opera with him. He received first drums, then a trumpet, and later a violin as Christmas gifts . With his sisters Rosa and Maria, Webern danced to music and ice-skated the Lendkanal  [ de ] to the Wörthersee . Edwin Komauer taught him cello, and

2220-789: The future under Nazi rule that wore on him as it proved wrong, and he repeatedly considered emigrating. A soldier shot and killed Webern in an apparent accident shortly after World War II in Mittersill . His music was then celebrated by composers who took it as a point of departure in a phenomenon known as post-Webernism, closely linking his legacy to serialism . Musicians and scholars like Pierre Boulez , Robert Craft , and Hans and Rosaleen Moldenhauer studied and organized performances of his music, establishing it as modernist repertoire. Broader understanding of his expressive agenda, performance practice , and complex sociocultural and political contexts lagged. An historical edition of his music

2280-654: The history of music, Arnold Schönberg , Alban Berg and Anton Webern . As a publisher, Stephan contributed to the general editions of Arnold Schönberg's and Alban Berg's musical works (1989–1996). Among Stephan's students were the musicologist Reinhold Brinkmann (1934-2010), as well as musicologists Rüdiger Albrecht, Regina Busch, Károly Csipák, Klaus Ebbeke, Thomas Ertelt , Werner Grünzweig , Heribert Henrich, Reinhard Kapp , Ulrich Kramer, Claudia Maurer Zenck , Adolf Nowak, Wolfgang Rathert , Christian Martin Schmidt , Matthias Schmidt , Martina Sichardt, Lotte Thaler and

2340-496: The municipal council of Vienna in 1969. The foundation serves the promotion of music, by awarding scholarships and grants to deserving music students, and by caring for the memory and works of Alban Berg. The board of trustees, which holds an ordinary meeting in spring and autumn, decides on funding in accordance with the foundation's purpose. The foundation publishes the Gesamtausgabe (complete edition) of Berg's works. It

2400-517: The orchestra, too few to perform Puccini 's operas, he noted. Webern then summered at the Preglhof, composing his Op. 7 and planning an opera. In September, he attended the Munich premiere of Mahler's Symphony of a Thousand and visited with his idol, who gave Webern a sketch of " Lob der Kritik ". Webern then worked with Jalowetz as assistant conductor in Danzig (1910–1911), where he first saw

2460-415: The others, kept him from composing and alienated him. On the verge of a breakdown , he wrote Berg shortly after arriving (Jul. 1912): I find myself under the dregs of mankind ... with ... absurd music; I'm ... seriously ill. My nerves torture me ... . I want to be far away ... . In the mountains. There everything is clear, the water, the air, the earth. Here everything is dismal. I'm poisoned by drinking

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2520-440: The places where all these things have occurred. How far back and ... beautiful. ... Often a ... soft ... radiance, a supernatural warmth falls upon me— ... from my mother. For Christmas in 1912, Webern gifted Schoenberg Rosegger's Waldheimat  [ de ] ( Forest Homeland ), from which Johnson highlighted: Childhood days and childhood home! It is that old song of Paradise. There are people for whom ... Paradise

2580-893: The relatively cosmopolitan people of Vienna. At the time, antisemitism was resurging in Austria, fueled by Catholic resentment after Jewish emancipation in the 1867 December Constitution . Initially, Webern viewed his Jewish peers as ostentatious and unfriendly, but his attitude shifted by 1902. He quickly and durably made many close friends, most of them Jewish; Kathryn Bailey Puffett wrote that this likely affected his views. In 1904, Webern approached Hans Pfitzner for composition lessons but left angrily when Pfitzner criticized Mahler and Richard Strauss . Adler admired Schoenberg's work and may have sent Webern to him for composition lessons. Thus Webern met Berg, another Schoenberg pupil, and Schoenberg's brother-in-law Alexander Zemlinsky , through whom Webern may have worked as an assistant coach at

2640-412: The second volume of Heinrich Isaac's Choralis Constantinus as his doctoral thesis. Hans and Rosaleen Moldenhauer noted Webern's scholarly engagement with Isaac's music as a formative experience for Webern the composer. Webern especially praised Isaac's voice leading or "subtle organization in the interplay of parts": The voices proceed ... in ... equality ... . Each ... has its own development and

2700-687: The separation from Schoenberg and their world in Vienna. He returned after resigning in spring 1911, and the three were pallbearers at Mahler's funeral in May 1911. Then in summer 1911, a neighbor's antisemitic abuse and aggression caused Schoenberg to quit work, abandon Vienna, and go with his family to stay with Zemlinsky on the Starnbergersee . Webern and others fundraised for Schoenberg's return, circulating more than one hundred leaflets with forty-eight signatories, including G. Adler, H. Bahr, Klimt, Kraus, and R. Strauss, among others. But Schoenberg

2760-730: The surrounding mountains, summering in resort towns like Mürzzuschlag and backpacking (sometimes summiting ) the Gaisstein , Grossglockner , Hochschober , Hochschwab , and Schneealpe (among others) throughout his life. The alpine climate and föhn , glaciers, pine trees , and springs "crystal clear down to the bottom" fascinated him. He treasured this time "up there, in the heights", where "one should stay". He collected and organized "mysterious" alpine herbs and cemetery flowers in pressed albums, and he tended gardens at his father's home in Klagenfurt and later at his own homes in

2820-474: The teacher Bernd Riede . The musicologist Andreas Traub was Stephan's long-time assistant in Berlin. Anton Webern Anton Webern ( German: [ˈantoːn ˈveːbɐn] ; 3 December 1883 – 15 September 1945) was an Austrian composer, conductor, and musicologist. His music was among the most radical of its milieu in its concision and use of then novel atonal and twelve-tone techniques in an increasingly rigorous manner, somewhat after

2880-670: The theatre. It is ... terrible. ... I can hardly ... adjust to being away from home", he had written Schoenberg in 1910. Miserably ill and alienated, he had first sought medical advice and took rest at a sanatorium in Semmering  [ de ] . Adler evaluated his symptoms as psychogenic responses to unmet expectations. Webern wrote Schoenberg that Adler's psychoanalysis was helpful and insightful. As World War I broke out and nationalist fervor swept Europe, Webern found it "inconceivable", he wrote Schoenberg in August 1914, "that

2940-464: The tradition as centered on counterpoint and form, and as mainly German since Bach. Webern served intermittently for nearly two years. The war cost him professional opportunities, much of his social life, and the necessary leisure time to compose (he completed only nine Lieder ). Moving frequently and tiring, he began to despair, explaining to Schoenberg in November 1916 that the reality of war

3000-506: The water. Webern's father sold the Preglhof in 1912, and Webern mourned it as a "lost paradise ". He revisited it and the family grave in nearby Schwabegg his entire life, associating these places with the memory of his mother, whose 1906 loss profoundly affected him. In July 1912, he confided in Schoenberg: I am overwhelmed with emotion when I imagine everything ... . My daily way to the grave of my mother. The infinite mildness of

3060-481: Was Albrecht Riethmüller . Stephan's research focused on the recent history of music since the 18th century and in particular on music from the first half of the 20th century. He has made innovative contributions to the revision of the image of the works of Gustav Mahler , Hans Pfitzner , Max Reger and Paul Hindemith , as well as to the recognition of the importance of the Second Vienna School for

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3120-472: Was " Old Testament " and "' Eye for eye '", "as if Christ had never existed". Webern was discharged in December 1916 for myopia, which had disqualified him from frontline service. His 1917 Lieder show that he reflected on his patriotism and processed his sorrow. He treated the loss of life and, with the 1916 death of Franz Joseph I of Austria , the end of an era. In "Fahr hin, o Seel'", he selected

3180-529: Was "quite nice" and Schoenberg that J. Strauss II's Nacht in Venedig was "such fine, delicate music. I now believe ... Strauss is a master." A summer 1908 engagement with Bad Ischl 's Kurorchester  [ de ] was " hell ". Webern walked out on an engagement in Innsbruck (1909), writing in distress to Schoenberg: a young good-for-nothing ... my 'superior!' ... what do I have to do with such

3240-631: Was also chorusmaster of the Mödling Männergesangverein (1922–1926) until he resigned in controversy over hiring a Jewish soprano, Greta Wilheim, as a stand-in soloist for Schubert's Mirjams Siegesgesang . From 1922, Webern led the mixed-voice amateur Singverein der Sozialdemokratischen Kunstelle and Arbeiter-Sinfonie-Konzerte through David Josef Bach , Director of the Sozialdemokratische Kunststelle . Webern won DJ Bach's confidence with

3300-489: Was enriched by its associative references and more specific musical and extra-musical meanings. In this he claimed to echo Craft, Jalowetz, Krenek, the Moldenhauers, and Webern himself. In particular, Webern associated nature with his personal (often youthful and spiritual) experiences, forming a topical nexus that recurred in his diaries, letters, and music, sometimes explicitly in sketches and set texts. He frequented

3360-596: Was erected in 2016 in front of the Vienna State Opera . Rudolf Stephan Rudolf Stephan (3 April 1925 – 29 September 2019 ) was a German musicologist . Stephan was born in Bochum . After studying violin at the conservatory, he entered the Institute of Heidelberg , where he studied musicology at the University under the direction of Wolfgang Fortner . With Heinrich Besseler , Stephan went to

3420-400: Was in its Viennese Silver Age . Much of this music was regarded as low- or middlebrow ; Kraus, Theodor Adorno , and Ernst Krenek found it "uppity" in its pretensions. In 1924 Ernst Décsey recalled he once found operetta, with its "old laziness and unbearable musical blandness", beneath him. J. P. Hodin contextualized the opposition of the "youthful intelligentsia " to operetta with

3480-540: Was in painting. ... [F]ar away from all turmoil of the world, in contemplation of the glaciers , of eternal ice and snow, of ... mountain giants. ... [A]n alpine storm , ... the radiance of the summer sun on flower-covered meadows —all these ... in the music, ... of alpine solitude. That man would ... be the Beethoven of our day. Webern also studied nationalism and Catholic liturgy , shaped by his mostly provincial Catholic upbringing, which provided little exposure to

3540-431: Was resolved to move to Berlin, and not for the first or last time, convinced of Vienna's fundamental hostility. Webern soon joined him (1910–1912), finishing no new music in his devoted work on Schoenberg's behalf, which entailed many editing and writing projects. He gradually became tired, unhappy, and homesick. He tried to persuade Schoenberg to return home to Vienna, continuing the fundraising campaign and lobbying for

3600-463: Was seen as more respectable, serious music at home in Vienna. Following Schoenberg's guidance, Webern attempted to write music of greater length during and after World War I , relying partly on the structural support of texts in many Lieder . He rose as a choirmaster and conductor in Red Vienna with David Josef Bach 's support, championing Gustav Mahler 's music at home and abroad. With

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