Anton Webern, Klavierstück op. posthume 1925

Anton Webern, Klavierstück op. posthume 1925. MIDI-Export aus MuseScore 3. In UVI-Falcon auf Cubase 10.5 Augmented Piano, alle Mikrophone, + 0.15 Velocity-Kurve, plus wenig Hall. Velocity beschnitten: statt von 1 bis 127 ist die Anschlagstärke beschränkt auf 16 bis 116 - die ganz leisen Töne sollten nun besser hörbar sein. Die zwei Staccatotöne am Anfang gehen wahrscheinlich wegen des Halls unter. Man muss Kompromisse machen und weiter experimentieren.

Da MuseScore Noten, die von einem System ins andere transferiert werden, nicht in einem neuen Schlüssel zeigen kann, sind hier einige Takte anders geschrieben als im Druck von 1966. Das ist nur fürs diskursive Lesen von Bedeutung. Die gespielte Musik bleibt dieselbe. Was sich Webern bei der seltsamen Notierung gedacht hat, ist mir dunkel. Ebenso die freche Wiederholung...

[Alix.]

This sounds way better than a human. Its robotic precision and coldness makes this piece perfect.

[yagiz]

its nice to hear other piano works by webern

[tonyprost]

I am learning this, it is on my bucket list, I hope to play it in recital in August (two months!) I can't reach this speed yet.

I always tell people to watch Bernstein's 20th century crisis lecture from "The Unanswered Question" to understand how a piece like this came into existence

[billbane]

I think my 5 year old grandson played this the other day.

[jefferywyss]

What a fantastic piece. Webern was so far ahead. What made him a true artist was his "sense of proportions", of knowing instintively how long a piece like this could/should last. The pseudo-artitists after the war had no such sense of proportions; their pieces are too long and after a few minutes become boring.

[wolfgangzettl]

klingt wie eine Vorstudie zu op.27 ??? 👍👍👍

[atwork]

Wie verhindern Sie Youtube daran, aus diesem Video ein "shorts" zu machen?

[Discrimination_is_not_a_right]

I always said classical music didn't die, it just went iconoclast.

[stephenjablonsky]

It was music like this that influenced the generation of composers in the 1960s and 1970s. Then guys like Boulez out serialized Webern and there was no place else to go, so many of us turned to minimalism in reaction. Some of us employed serial techniques in our new found simplicity.

[salvatorevizzini]

How people like this. This sounds like a kid pressing randomly the keys.

[steverodak]

This is not music. It hasn't the essential ingredients of soul- refreshing melody, harmony, tonality, rhythm, or architecture.
Not all noise constitutes music. This stuff sounds like a high school band before class.