Título: Anton Webern
Seção: Formative juvenilia and emergence from study, opp. 1-2, 1899-1908
Background: Anton Friedrich Wilhelm (von) Webern (German: ['anton 've:ban] ( listen); 3 December 1883 - 15 September 1945) was an Austrian composer and conductor. Along with his mentor Arnold Schoenberg and his colleague Alban Berg, Webern was in the core of those in the circle of the Second Viennese School, including Ernst Krenek and Theodor W. Adorno. As an exponent of atonality and twelve-tone technique, Webern exerted influence on contemporaries Luigi Dallapiccola, Krenek, and even Schoenberg himself.

Conteúdo: Webern published little of his early work in particular; like Brahms, though perhaps for not entirely the same reasons, Webern was characteristically meticulous and revised extensively. Many juvenilia remained unknown until the work and findings of the Moldenhauers in the 1960s, effectively obscuring and undermining formative facets of Webern's musical identity, highly significant even more so in the case of an innovator whose music was crucially marked by rapid stylistic shifts. Thus when Boulez first oversaw a project to record "all" of Webern's music, not including the juvenilia, the results fit on three rather than six CDs.  Webern's earliest works consist primarily of lieder, the genre that most belies his roots in Romanticism, specifically German Romanticism; one in which the music yields brief but explicit, potent, and spoken meaning manifested only latently or programmatically in purely instrumental genres; one marked by significant intimacy and lyricism; and one which often associates nature, especially landscapes, with themes of homesickness, solace, wistful yearning, distance, utopia, and belonging. Robert Schumann's "Mondnacht" is an iconic example; Eichendorff, whose lyric poetry inspired it, is not far removed from the poets (e.g., Richard Dehmel, Gustav Falke, Theodor Storm) whose work inspired Webern and his contemporaries Alban Berg, Max Reger, Arnold Schoenberg, Richard Strauss, Hugo Wolf, and Alexander Zemlinsky. Wolf's Morike-Lieder were especially influen

user: What is Formative juvenillia?

assistant: Webern's musical identity, highly significant even more so in the case of an innovator whose music was crucially marked by rapid stylistic shifts.

user: In what why was his music significant?

assistant: Webern's earliest works consist primarily of lieder, the genre that most belies his roots in Romanticism, specifically German Romanticism;

user: how was he rooted in Romanticism?

assistant: one in which the music yields brief but explicit, potent, and spoken meaning manifested only latently or programmatically in purely instrumental genres;

user: what emerged from his study?

assistant: Webern's first piece after completing his studies with Schoenberg was the Passacaglia for orchestra (1908). Harmonically, it is a step forward into a more advanced language,

user: was that piece successful?

assistant: ). Harmonically, it is a step forward into a more advanced language, and the orchestration is somewhat more distinctive than his earlier orchestral work.

user: What event occurred in 1899?

assistant: all of Webern's music may be said to possess such concerns and qualities, as is evident from his sketches, albeit in an increasingly symbolic, abstract, spare, introverted, and idealized manner.

user: what is the name of one of his pieces?

assistant: Other works include the orchestral tone poem Im Sommerwind (1904) and the Langsamer Satz (1905) for string quartet.