Anton Webern is read about 321 times a day, in 54 languages.
A typical day, 30 days to 15 October 2026
The middle day of the days counted, so one week of news cannot move it. The line under it is the last 390 days, one point a day.
Something wrong?He wrote some of the shortest, most compressed pieces in Western music - crystalline miniatures that stripped atonality down to single gestures and silences. Webern's radical economy made him a prophet to the post-war avant-garde, even as his own life ended in an accidental shooting days after the Third Reich fell.
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Photos 8
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Anton Webern (1883-1945) 1927 © Georg Fayer (1891-1950) OeNB 10450290.jpg?width=1200)
Anton Webern in Stettin, October 1912 (cropped)
Anton Webern in Stettin, October 1912
Anton v.Webern, GT Mödling bei Wien
Anton v.Webern,Wohnhaus in Mödling bei Wien
Anton Webern Postkarte an Rudolf Weirich 1934-07-03
Anton Webern Statue Mittersill 1
Anton Webern Statue Mittersill 2In their own words 3
, Music is natural law as related to the sense of hearing.
Except for the violin pieces and a few of my orchestra pieces, all of my works from the Passacaglia on relate to the death of my mother.
Webern attracts me, though there's a lot that I don't understand. His music is a combination of purity, complexity and abstraction in the very best sense of the term.
Listen
SpotifyAlbums 24
BWBach / Berg / Schoenberg / Webern
SOSchönberg: Kammersymphonie, op. 9 / Sechs kleine Stücke, op. 19 / Webern: Symphonie, op. 21 / Fünf Sätze, op. 5
BSBerg / Webern / Schreker
BPBrahms the Progressive
WYWebern / Beethoven / Yun
SQSchoenberg, Berg, Webern: Complete Works for String Quartet
WNWebern: Passacaglia - Brahms: Concerto in D Major for Violin and Orchestra, Symphony No. 4
SWSchoenberg / Berg / WebernAbout this person
Anton Webern studied under Guido Adler and fell into Arnold Schoenberg's orbit in Vienna, forming with Schoenberg and Alban Berg what became the Second Viennese School. He worked as a choirmaster and conductor - championing Mahler, often stuck programming operettas when he wanted serious repertoire - while writing aphoristic, expressionist scores on love, nature, and mysticism. After World War I he began using twelve-tone technique with growing confidence, but as a "cultural Bolshevist" he was marginalized under Fascism and Nazism, teaching for income and helping Jewish friends escape even as he clung to pan-German hopes that proved hollow. On 15 September 1945, an Allied soldier accidentally shot and killed him. His severe, poetic miniatures became a north star for serialists like Boulez and shaped decades of modernist thought.
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