[.ca] Comp Webern

From Amazon.co.uk:
Pierre Boulez's Complete Webern Edition appears just over two decades after his last traversal. Not literally complete, but with enough early works to set the mature ones in the right context. These days, Webern is no longer seen so much as new music guru, as a major composer pure and simple--his expression as concise as it is intense. Performance-wise, there's a quality of musicianship here that few previous recordings have matched; familiarity with the idiom certainly plays its part, but so does Boulez's belief that what we're hearing needs to be presented with conviction. Try the Passacaglia, sensuous music that combines the sound-world of Brahms and Mahler, or the string quartet or orchestra pieces--miniatures in duration, but whole dramas of expression. Ease of performance doesn't always make this music easy to get to grips with: the song cycles need several hearings to grasp the meaning behind the compression, while the later instrumental and choral works have a luminous austerity that looks back to Bach and beyond to renaissance masters such as Schütz and Issac. While much of Webern's music has long been admired, only now is it becoming possible to respond to it through the heart as well as brain. This set, superbly packaged and comprehensively documented, marks a major step forward, and deserves investigating by anyone keen to appreciate something of the music's quiet, calm essence in an often strident, dislocated century. --Richard Whitehouse

5 Star music. Some very good performances, some are aimless.:
Webern's music demonstrates a level of craft, in which few composers ever contend. The more that I listen to the works of Webern, the more I hear that each note must be just as it is. There is nothing wasted in this music. The expression is never vague, always intense. I do admire the works of many modern composers, but few are so discerning and meticulous in their works. Webern's craft is equal with the greats of music history; Guillarme de Machaut, Carlo Gesualdo, Claudio Monteverdi, J.S. Bach, Franz Joseph Haydn, Ludwig Beethoven. He is a towering figure. The music that is played here is first rate. However, I have not yet heard performances of many of his works that bring out everything that Webern's music has to offer. For example, the Op. 27 Piano Variations are seldom done justice. All of the movements are given 'circa' tempo indications, but many take the movements much slower or faster than indicated. Unfortunately, on this recording the fast movement is slow and the slow movements fast. Presumably the slower tempo in the fast movement would allow for more accurate interpretation of the frequent changes between piano and forte. The problem is that the F's typically don't fade away fast enough and drown out the P's. The other option is to make the P's a little bit more like mezzo forte's. The recording that Pollini did of the work on Deutsche Gramaphon with the Boulez 2nd Sonata manages to reconcile the dynamics with the tempo. However, what I have not heard with the work is the full impact of the affect in the work. What the Pollini performance fails in is the coldness of the interpretation. For those interested, I believe that DG is currently putting out the Pollini performance with Stravinsky's Petruska and a Prokofiev sonata at a fairly low price. This recording brings together several performances of more 'high profile' ensembles than the older recording on Sony, which mostly featured performances of musicians from Juilliard. The performances are often more colorful, but I can't say that I always think they surpass their predecessors. The interpretations of the works are a little bit 'hit and miss.' The ensembles that Boulez conducts tend to bring out the same sorts of things in the works that the previous ensembles did with the last 'complete Webern.' This is good in places; I appreciate the more resonant quality that the recent recording equipment affords, and Boulez conducts a comparable performance of the orchestral works such as the 'Symphonie.' The recording of the 'Konzert' for nine instruments is good. The performances of the early expressionist works, such as the 'Five Orchestral Pieces,' are powerful. Boulez is less afraid to see the human in Webern and let the shocked silences speak. Furthermore, the peaks are less harsh, allowing more of the subtle affects to become visible. Some of the performances just lack a certain power of expression that the previous 'complete webern' had; a viscerally that the strength of the 'Webern - Vogue' afforded them. The musicians that played the previous complete were looking at Webern as a giant, they are young and virile performances. These performances sometimes view Webern as a curiosity, a historical anachronism, the way that your grandfather will tell you a strange story, of which he himself doesn't understand the point, but he relates as a bit of curio. All in all, I wouldn't say that this set of recordings is the final word on the majority of Webern's works. Many of the performances in the previous set are just as good, but neither do those constantly surpass these performances. Both have their faults. The previous set tended to be cold and more aggressive than was necessary in places. The new set tends to wander at times, as if the performer does not understand the point. It's always difficult to sum up a complete works set for a prospective buyer. Just as in 'complete works' of Bach sets that I own, the performances are not always amazing. However, the strength of the compositions often overcomes my desire for a strong performance, and I'm just glad that I have a recording of someone performing that Bach work that I want to hear. Here, similarly, the performances aren't always the best, but there is a wider range of Webern's ouvre represented and many of the performances are quite good. I suppose my counsel would be that one should consider the price of this set vs. the older sony set. The sony set is less complete, but it does include all of the really monolithic, profound Webern works. You also get a view of the younger, romantic Webern in this new set, in addition to better sound quality. Certain performances are better in each set, and so you'll get some good and some bad in either choice. For those that already have a strong taste for Webern's music, try this set. For those who are looking for a starting place, you might try the sony set. The highlights of this set are the Boulez orchestral performances. He has honed his vision for Webern since the last set and they are 'worth the price.' For those further exploring Webern, those performances should be heard.

not much more to be said:
... i could be extremely nit-picky, and complain about the solo piano pieces, and their performer's occasional humming, and the baffling ordering of the quartet disc, and the discrepencies in the translations of the booklet, and how the english left out any explanation of sator arepo etc..., yet the french seems to, and all the little tiny errors, in the booklet... but... these are all moot points when any of the performances are heard. it brings to light all facets of the composer, so he no longer seems ascetic and overly intellectual, just check out the highly romantic string quartet op. 28, and variations for orchestra, yes even the solo piano pieces with the humming. all in all, a very enlightening experience.

a transcendent masterpiece:
The performances here are absolutely brilliant. Nuance, detail, sensitivity. This is not merely music, this is magic!

Thank You Boulez:
If you are a fan of the "New Vienna School" (Schoenberg, Berg, Webern) or 20th century "classical" or "serious" music, this disk set is very rewarding. Beautifully recorded and packaged, and with equally good liner notes, it is a treat to strap on the headphones and listen. I debated between buying this or Boulez's older Webern set and went with this one. There is much more music on this set because pieces without opus numbers are included. They lend a lot of insight into his "published" works. I also went with this set because it is a modern digital recording, the previous set being from the early 70's. I will often side with a classic recording when needed-performance over sound. Here, I'm happy to report, the listener gets both. Every detail is captured. Thank you very much Pierre Boulez and DG for making this project happen. Please keep the Schoenberg and Berg disks coming. And thank you Anton Webern for continually opening my ears.

Five stars and a bullet:
Pierre Boulez, the enfant not-very-terrible-any-more of French music, has surpassed himself. Twenty-two years ago, CBS released his Complete Works of Anton Webern, and it's remained the definitive Webern collection. Until, as they say in movie trailers, now. This consists of the three Webern albums Boulez has recorded for DG over the past five years or so, plus everything else Webern ever wrote. It thus scores straightaway over the earlier CBS/Sony set, which was restricted to works that had opus numbers and filled three CDs. This one includes the charming early songs, the equally early "Im Sommerwind" for orchestra and a number of posthumous and otherwise non-Opus works that didn't make it onto the earlier set. Webern is a composer whose entire output takes about six hours to listen to in its entirety, and it's all here, on six CDs. That's fine; is it any good? Well, it's digitally recorded, and if ever a composer was born for CD, it's Webern. The pianissimos are more ppp than ever, thanks to better recording techniques. Boulez himself has also unbuttoned a bit. His earlier set, recorded between 1967 and 1972, was high on austerity and, if it fell down at all, did so on emotion. The older Boulez (he's 75 this year) is more relaxed about letting tuttis blare and climaxes, well, climax. The result is both as intellectually satisfying as we've come to expect from Boulez, and warmly expressive; in general, a more moving and less didactic set of recordings than the previous lot. And all the better for it, as far as this composer (and this listener) is concerned. There are many benefits of a digital set, not the least being the better registration of timbral variety, which Webern (as is well known) made into a compositional principle. Even those allergic to twelve-tone music can't help but be ravished by the intricate sweetness of his arrangement of the Bach six-part fugue from the "Musical Offering". The arrangement of Schubert's German Dances has been re-recorded, and can be heard now in all its sprightliness. (The CBS/Sony set has an archive recording conducted by Webern himself in the thirties, but dodgy sound quality prevented it from shining forth properly, despite Webern's witty conducting.) This is, for my money, the best classical recording that's likely to be released this year, if not for the next ten years. I don't know whether it's a complement to the CBS/Sony set or a replacement for it, but either way it's a wonderful package. Congratulations to all involved.

• Passacaglia For Orchestra Op. 1: Sehr massig, Tempo I - Massig bewegt, Tempo II - Sehr lebhaft, Tempo III
• 5 Movements Op. 5: I. Heftig bewegt
• 5 Movements Op. 5: II. Sehr langsam
• 5 Movements Op. 5: III. Sehr lebhaft
• 5 Movements Op. 5: IV. Sehr langsam
• 5 Movements Op. 5: V. In zarter Bewegung
• 6 Pieces For Orchestra Op. 6: I. Etwas bewegte Achtel
• 6 Pieces For Orchestra Op. 6: II. Bewegt
• 6 Pieces For Orchestra Op. 6: III. Zart bewegt
• 6 Pieces For Orchestra Op. 6: IV. Langsam. Marcia funebre
• 6 Pieces For Orchestra Op. 6: V. Sehr langsam
• 6 Pieces For Orchestra Op. 6: VI. Zart bewegt
• 2 Arrangements: J.S. Bach: Fuga (Ricercata) a 6 voci: Sehr massig
• Franz Schubert: German Dances Op. Post. D 820: No. 1 - No. 2 (No. 1) - No. 3 ( No. 1) In A Flat Major
• Franz Schubert: German Dances Op. Post. D 820: No. 4 - No. 5 (No. 4) - No. 6 (No. 4) In B Flat Major
• Im Sommerwind - Idyll For Large Orchestra: Ruhig bewegt - Ruhig - Lustig - Schnell - Feierlich bewegt - Voll Schwung - Aufjauchzend - sehr ruhig und weihevoll
• 5 Pieces For Orchestra: I. Bewegt
• 5 Pieces For Orchestra: II. Langsam (sostenuto)
• 5 Pieces For Orchestra: III. Sehr bewegte Viertel
• 5 Pieces For Orchestra: IV. Langsame Viertel
• 5 Pieces For Orchestra: V. (Alla breve)
• 3 Orchestral Songs: I. Leise Dufte: 'Leise Dufte, Bluten so zart'
• 3 Orchestral Songs: II. Kunfttag III: 'Nun wird es wieder Lenz'
• 3 Orchestral Songs: III. 'O sanftes Gluhn der Berge'
• Symphony Op. 21: I. Ruhig schreitend
• Symphony Op. 21: II. Variationen: Thema. Sehr ruhig - Var. I. Lebhafter - Var. II Sehr lebhaft - Var. III. Wieder massiger - Var. IV. Ausserst ruhig - Var. V. Sehr lebhaft - Var. VI. Marschmassig. Nicht eilen - Var. VII. Etwas breiter - Coda
• Das Augenlicht Op. 26: 'Durch unsre offnen Augen' - 'The Eyes Of Radiance' - Langsam
• Cantata No. 1 Op. 29: I. 'Zundender Lichtblitz des Lebens' - Getragen - Lebhaft
• Cantata No. 1 Op. 29: II. 'Kleiner Flugel Ahornsamen' - Leicht bewegt
• Cantata No. 1 Op. 29: III. 'Tonen die seligen Saiten Apolls' - Ruhig
• Variations For Orchestra Op. 30
• Cantata No. 2 Op. 31: I. 'Schweigt auch die Welt' - Sehr lebhaft - Ruhig
• Cantata No. 2 Op. 31: II. 'Sehr tief verhalten innerst Leben' - Sehr verhalten
• Cantata No. 2 Op. 31: III. 'Schopfen aus Brunnen des Himmels' - Sehr bewegt
• Cantata No. 2 Op. 31: IV. 'Leichteste Burden der Baume' - Sehr lebhaft
• Cantata No. 2 Op. 31: V. 'Freundselig ist das Wort' - Sehr massig
• Cantata No. 2 Op. 31: VI. 'Gelockert aus dem Schosse' - Sehr fliessend
• Piano Quintet: Moderato
• 'Entflieht auf leichten Kahnen' op. 2: Zart bewegt
• 2 Lieder op. 8: I. 'Du, der ichs nicht sage'
• 2 Lieder op. 8: 'Du machst mich allein'
• 5 Pieces for Orchestra op. 10: I. Sehr ruhig und zart
• 5 Pieces for Orchestra op. 10: II. Leghaft und zart bewegt
• 5 Pieces for Orchestra op. 10: III. Sehr langsam und ausserst ruhig
• 5 Pieces for Orchestra op. 10: IV. Fliessend, ausserst zart
• 5 Pieces for Orchestra op. 10: V. Sehr fliessend
• 4 Lieder op. 13: I. Wiese im Park: 'Wie wird mir zeitlos'
• 4 Lieder op. 13: II. Die Einsame: 'An dunkelblauem Himmel'
• 4 Lieder op. 13: III. In der Fremde: 'In fremden Lande lag ich'
• 4 Lieder op. 13: IV. Ein Winterabend: 'Wenn der Schnee ans Fenster fallt'
• 6 Lieder op. 14: I. Die Sonne: 'Taglich kommt die gelbe Sonne'
• 6 Lieder op. 14: II. Abendland I: 'Mond, als trate ein Totes'
• 6 Lieder op. 14: III. Abendland II: 'So leise sind die grunen Walder'
• 6 Lieder op. 14: IV. Abendland IV: 'Ihr grossen Stadte steinern aufgebaut'
• 6 Lieder op. 14: V. Nachts: 'Die Blaue meiner Augen'
• 6 Lieder op. 14: VI. Gesang einer gefangenen Amsel: 'Dunkler Odem im grunen Gezweig'
• 5 Sacred Songs op. 15: I. 'Das Kreuz, das musst' er tragen'
• 5 Sacred Songs op. 15: II. Morgenlied: 'Steht auf, ihr lieben Kinderlein'
• 5 Sacred Songs op. 15: III. 'In Gottes Namen aufstehn'
• 5 Sacred Songs op. 15: IV. 'Mein Weg geht jetzt voruber'
• 5 Sacred Songs op. 15: V. 'Fahr hin, o Seel', zu deinem Gott'
• 5 Canons op. 16: I. 'Christus factus est'
• 5 Sacred Songs op. 15: II. 'Dormi Jesu, mater ridet' From 'Des Knaben Wunderhorn'
• 5 Sacred Songs op. 15: III. 'Crux fidelis'
• 5 Sacred Songs op. 15: IV. 'Asperges me, Domine'
• 5 Sacred Songs op. 15: V. 'Crucem tuam adoramus, Domine'
• 3 Traditional Rymes op. 17: I. 'Armer Sunder, du'
• 3 Traditional Rymes op. 17: II. 'Liebste Jungfrau, wir sind dein'
• 3 Traditional Rymes op. 17: III. 'Heiland, unsre Missetaten'
• 3 Lieder for voice, E flat clarinet and guitar op. 18: I. 'Schatzerl klein'
• 3 Lieder for voice, E flat clarinet and guitar op. 18: II. Erlosung: 'Mein Kind, sieh an' From 'Des Knaben Wunderhorn'
• 3 Lieder for voice, E flat clarinet and guitar op. 18: III. 'Ave , Regina coelorum'
• 2 Lieder op. 19 for mixed choir: I. 'Wiess wie Lilien'
• 2 Lieder op. 19 for mixed choir: II. 'Ziehn die Schafe'
• Quartet op. 22: I. Sehr massig
• Quartet op. 22: II. Sehr schwungvall
• Concerto op. 24: I. Etwas lebhaft
• Concerto op. 24: II. Sehr schwungvoll
• Concerto op. 24: III. Sehr rasch
• 3 Poems: I. Vorfruhling: 'Leise tritt auf...'
• 3 Poems: II. Nachtgebet der Braut: 'O mein Geliebter'
• 3 Poems: III. Fromm: 'Der Mond scheint auf mein Lager'
• 8 Early Lieder: I. Tief von fern: 'Aus des Abends weissen Wagen'
• 8 Early Lieder: II. Aufblick: 'Uber unsre Liebe hangt eine Trauerweide'
• 8 Early Lieder: III. Bleuengruss: 'Der Strauss, den ich gepflucket'
• 8 Early Lieder: IV. Bild der Liebe: 'Von Wald umgeben'
• 8 Early Lieder: V. Sommerbend: 'Du Sommerbend! Heilig, goldnes Licht!'
• 8 Early Lieder: VI. Heiter: 'Mein Herz ist wie ein See so weit'
• 8 Early Lieder: VII. Der Tod: 'Ach, es ist do dunkel in des Todes Kammer'
• 8 Early Lieder: VIII. Heimgang in der Fruhe: 'In der Dammerung'
• 3 Lieder on poems by Ferdinand Avenarius: I. Gefunden: 'Nun wir uns lieben, rauscht mein stolzes Gluck'
• 3 Lieder on poems by Ferdinand Avenarius: II. Gebet: 'Ertrage du's, lass schneiden dir den Schmerz'
• 3 Lieder on poems by Ferdinand Avenarius: III. Greunde: 'Schmerze und Freuden reift jede Stunde'
• 5 Lieder on poems by Richard Dehmel: I. Ideale Landschaft: 'Du hattest einen Glanz auf deiner Stirn'
• 5 Lieder on poems by Richard Dehmel: II. Am Ufer: 'Die Wlet verstummt, dein Blut erklingt'
• 5 Lieder on poems by Richard Dehmel: III. Himmelfahrt: 'Schwebst du nieder aus den Weiten'
• 5 Lieder on poems by Richard Dehmel: IV. Nachtliche Scheu: 'Zaghaft vom Gewolk ins Land'
• 5 Lieder on poems by Richard Dehmel: V. Helle Nacht: 'Weich kusst die Zweige der weisse Mond'
• 5 Lieder from 'Der siebente Ring' by Stefan George op. 3: I. 'Dies ist ein lied'
• 5 Lieder from 'Der siebente Ring' by Stefan George op. 3: II. ''Im windes-weben'
• 5 Lieder from 'Der siebente Ring' by Stefan George op. 3: III. 'An baches ranft'
• 5 Lieder from 'Der siebente Ring' by Stefan George op. 3: IV. 'Im morgen-taun'
• 5 Lieder from 'Der siebente Ring' by Stefan George op. 3: V. 'Kahl reckt der baum'
• 5 Lieder on poems by Stefan George op. 4: I. Eingang: 'Welt der gestalten lang lebewohl!'
• 5 Lieder on poems by Stefan George op. 4: II. Noch zwingt mich treue uber dir zu wachen'
• 5 Lieder on poems by Stefan George op. 4: III. 'Ja heil und dank dir'
• 5 Lieder on poems by Stefan George op. 4: IV. 'So ich traurig bin'
• 5 Lieder on poems by Stefan George op. 4: V. 'Ihr tratet zu dem herde'
• 4 Lieder on poems by Stefan George: I. 'Erwachen aus dem tiefsten traumes-schoosse'
• 4 Lieder on poems by Stefan George: II. Kunfttag I: 'Dem bist du kind, dem freund'
• 4 Lieder on poems by Stefan George: III. Trauer I: 'So wart bis ich dies dir noch kunde'
• 4 Lieder on poems by Stefan George: IV. 'Das lockere saatgefilde lechzet krank'
• 4 Lieder op. 12: I. 'Der Tag ist vergangen' - Folksong
• 4 Lieder op. 12: II. Die geheimnisvolle Flote: 'An einem Abend, da die Blumen dufteten' - Li-Tai-Po
• 4 Lieder op. 12: III. 'Schien mir's, als ich sah die Sonne' - 'Gespenstersonate'
• 4 Lieder op. 12: IV. Gleich und gleich: 'Ein Blumenglockchen'
• 3 Songs From 'Viae inviae' by HildegardJone op. 23: I. 'Das dunkle Herz, das in sich lauscht'
• 3 Songs From 'Viae inviae' by HildegardJone op. 23: II. Es sturzt aus Hohen Frische'
• 3 Songs From 'Viae inviae' by HildegardJone op. 23: III. Herr Jesus mein'
• 3 Lieder on poems by Hildegard Jone op. 25: I. 'Wie bein ich froh!'
• 3 Lieder on poems by Hildegard Jone op. 25: II. 'Des Herzens Purpurvogel fliegt durch Nacht'
• 3 Lieder on poems by Hildegard Jone op. 25: III. 'Sterne, ihr silbernen Bienen der Nacht'
• Slow Movement For String Quartet: Langsam, mit bewegtem Ausdruck
• 5 Movements For String Quartet: I. Heftig bewegt
• 5 Movements For String Quartet: II. Sehr langsam
• 5 Movements For String Quartet: III. Sehr bewegt
• 5 Movements For String Quartet: IV. Sehr langsam
• 5 Movements For String Quartet: V. In zarter Bewegung
• String Quartet
• 6 Batatelles For String Quartet op. 9: I. Massig
• 6 Batatelles For String Quartet op. 9: II. Leicht bewegt
• 6 Batatelles For String Quartet op. 9: III. Ziemlich fliessend
• 6 Batatelles For String Quartet op. 9: IV. Sehr langsam
• 6 Batatelles For String Quartet op. 9: V. Ausserst langsam
• 6 Batatelles For String Quartet op. 9: VI. Fliessend
• Rondo For String Quartet: Bewegt
• Movement For String Trio op. post.: Ruhig fliessend
• 3 Pieces For String Quartet: I. Bewegt
• 3 Pieces For String Quartet: II. Langsam: Grief Always; Looking Upward; Heaven's Dew; Memory; Black Flowers; On Breast; Out Of Mother
• 3 Pieces For String Quartet: III. Nicht zu langsam
• String Trio op. 20: I. Sehr langsam
• String Trio op. 20: II. Sehr getragen und ausdrucksvoll
• String Quartet op. 28: I. Massig
• String Quartet op. 28: II. Gemachlich - Bewegt
• String Quartet op. 28: III. Sehr fliessend
• 2 Pieces For Cello And Piano: I. Langsam
• 2 Pieces For Cello And Piano: II. Langsam
• Movement For Piano: Lebhaft
• Sonata Movement (Rondo) For Piano: (Bewegt) - Ruhig bewegt - Sehr ruhig
• 4 Pieces For Violin And Piano op. 7: I. Sehr langsam
• 4 Pieces For Violin And Piano op. 7: II. Rasch
• 4 Pieces For Violin And Piano op. 7: III. Sehr langsam
• 4 Pieces For Violin And Piano op. 7: IV. Bewegt
• 3 Little Pieces For Cello And Piano op. 11: I. Massige
• 3 Little Pieces For Cello And Piano op. 11: II. Sehr bewegt
• 3 Little Pieces For Cello And Piano op. 11: III. Ausserst ruhig
• Cello Sonata: Sehr bewegt
• Children's Piece For Piano: Lieblich
• Piano Piece: Im Tempo eines Menuetts
• Variations For Piano op. 27: I. Sehr massig
• Variations For Piano op. 27: II. Sehr schnell
• Variations For Piano op. 27: III. Ruhig fleissend