Analysis and Performance: Webern's Concerto Op.24/II

Wintle, Christopher

doi:10.2307/853992

Cited by 9 publications

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“…Wason's reluctance to articulate this may reflect the social‐constructionist ideology to which I referred, but it also has to do with the valorisation of structure rather than style. Here again Wintle's article illustrates what is at issue. Wintle builds on Webern's (, p. 54) remarks in The Path to the New Music about how effects of tonal excursion and return can be created by purely serial means.…”

Section: The Shadow Of Meaningmentioning

confidence: 99%

“…Despite the title, no discernible theoretical model for the relationship between compositional structure and performance is in evidence. There is simply a slippage from the one to the other via the notion of interpretation: after explaining what he sees as the movement's atonal background structures, Wintle (, p. 91) asserts that ‘[a]n awareness of these articulations is essential to a properly balanced interpretation of the movement’. In other words, the musical structure – if correctly interpreted – entails the manner of its performance.…”

Section: The Shadow Of Meaningmentioning

confidence: 99%

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Inventing Tradition: Webern's Piano Variations in Early Recordings

Cook¹

2017

Music Analysis

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Webern's Piano Variations Op. 27 were first performed two years before the outbreak of the Second World War, but it was only after the war – and in very different aesthetic and ideological circumstances – that a performance tradition developed. Through a combination of computer‐assisted close reading and contextual analysis of the first movement, this article traces the competing stylistic and ideological directions of early performances – one deriving from the pre‐war tradition of the Schoenberg circle, the other from the European avant‐garde associated with Darmstadt and Die Reihe – and the processes of negotiation through which a more or less consensus interpretation emerged around the end of the 1960s. My aims are to explore ways in which empirical approaches can be deployed for musicological purposes, to relate recorded performances to their historical contexts and to link the story of Op. 27 to the development of music‐theoretical approaches that see performance as a function of compositional structure. Key recordings on which the article is based are presented online as Sonic Visualiser session files coordinated with the text.

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Section: The Shadow Of Meaningmentioning

confidence: 99%

Section: The Shadow Of Meaningmentioning

confidence: 99%

Inventing Tradition: Webern's Piano Variations in Early Recordings

Cook¹

2017

Music Analysis

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“…Trichordal space for sc(014)16 Among the many analytical studies of this work, seeBailey 1991 andWintle 1982. The melody of the movement is discussed inStraus 2004.…”

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confidence: 99%

Contextual-Inversion Spaces

Straus¹

2011

Journal of Music Theory

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This article creates transformational spaces for interpreting progressions of sets belonging to the same T/I equivalence class. Within these spaces, sets are placed in proximity based upon contextual inversion, specifically those contextual inversions that (like the familiar neo-Riemannian L, P, and R) preserve common tones. Sequential enchaining of contextual inversions will generally define simple, straight-line motions within the spaces described in this article. The musical motions of works by Webern, Schoenberg, and Stravinsky are measured against the systematic standard enshrined in the spaces, with both conformity and deviation suggesting interpretive possibilities. All appendixes for this article are available as supplementary material at http://dx.

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“…As in all Webern's later music, 'Leichteste Burden' exhibits a harmonic consistency that ranges from invariance to small collections of related sets (see Wintle 1982 andWhittall 1987). The first movement of the First Cantata, Op.…”

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confidence: 99%

Nomos/Nomos: Law, Melody and the Deconstructive in Webern's‘Leichteste Bürden der Bäume’, Cantata II Op. 31

Ayrey¹

2002

Music Analysis

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Analysis and Performance: Webern's Concerto Op.24/II

Cited by 9 publications

References 0 publications

Inventing Tradition: Webern's Piano Variations in Early Recordings

Inventing Tradition: Webern's Piano Variations in Early Recordings

Contextual-Inversion Spaces

Nomos/Nomos: Law, Melody and the Deconstructive in Webern's‘Leichteste Bürden der Bäume’, Cantata II Op. 31

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