Das Orchester besteht aus der spätromantischen Streicherbesetzung, dreifachen Holzbläsern, vier Hörnern, drei Trompeten, drei Posaunen, einer Basstuba, Schlagzeug und einer Harfe. 1, the Passacaglia for Orchestra, is his first truly original statement, marking his independence from four years’ study with Arnold Schoenberg, and the last music of its kind to come from his pen. 10 - Symphony Op. His first masterpiece, the Passacaglia for orchestra op. ‘He could express a whole novel in a sigh’, said Schönberg of his There has hardly been a composer who didn't disown some of his works. 5; Six Pieces for Orchestra, Op. Others, not finding it within themselves to physically obliterate what they toiled so hard to produce, bury the offending manuscripts in their personal libraries or attics, leaving open the possibility that someday the "lost" may be found. The Passacaglia for orchestra, Opus 1, is the first published composition of twentieth century Austrian composer Anton Webern. Account & Lists Sign in Account & Lists Returns & Orders. His first masterpiece, the Passacaglia for orchestra 1 This page lists all recordings of Passacaglia for Orchestra, Op. and represent the most radical and logically consistent continuation of the This is a list of compositions by Anton Webern, the Austrian composer and conductor. ‘To recognise sounds, to experience them sensuously’ – Structurally, it is based on an eight-note phrase forming a bass line, with twenty-three variations grouped into three sections. main concerns. Showing 1 - 10 of 27 results His first conducting experiences were not apparently everything Webern had hoped them to be, but he remained relatively undaunted, and in November conducted the premiere of the Passacaglia back in Vienna. It is based on the 17th century musical form, the passacaglia. Währenddessen lässt Webern zum jeweils im Vordergrund stehenden Motiv kontrapunktische Linien blühen. The individual "variations" are not explicitly identified and marked as such, but for most of the piece they are simple enough to follow, even after Webern surrounds the ground bass with chromatic gusts and torrents that put a real strain on D minor and tosses the ground bass out of the actual bass up into the upper voices. of the late Romantic orchestral apparatus as well as to his clear formal 4, in contrast to Webern's later work. Some, like Johannes Brahms, simply destroyed the unworthy pieces and leave posterity to wonder what treasures might have been lost to painstaking perfectionism. Anton Webern was of the second type -- dozens and dozens of previously unknown works by him trickled onto the field in the decades following his death in 1945, some early student works, some finished mature compositions that never saw the light of day, and some pieces caught halfway between draft and finished product. Dieses Thema wird im Laufe der Zeit immer weiter abgebaut, stattdessen werden vordergründig Gegenmelodien präsentiert, die schon früher als Kontrapunkte in den ersten Variationen des Grundthemas vorkamen. Dieses bleibt dabei nicht nur im Bass stecken, sondern wird auch in versteckter Art und Weise in den Mittel- und Oberstimmen immer wieder verwendet, ohne dabei herauszustechen. His works are among the most important compositions of the 20th century The label Opus 1 is thus a touch misleading: the Passacaglia is not so much the beginning of Webern's journey as it is the first waystation at which he stopped to say, "aha -- here we have something." 1; Five Movements for String Orchestra, Op. recognise sounds, to experience them sensuously’ – these are the composer’s

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