Anton Webern

Kinderstück for piano, Op. posth.

    Description by Alexander Carpenter

    The Klavierstucke, which probably dates from 1925, was discovered in Sketchbook I, which also contains the sketches for opp. 17-19. The sketches reveal Webern¹s obsessive attention to detail, even in such a short, ³aphoristic² piece as the Klavierstucke, with its countless changes, deletions, and corrections. His markings in the sketches for this short piece suggest a minuet tempo and the three-part structure; however, the piece was published posthumously in a two-part form. It consists only of two repeated sections of nine and eleven measures each. The Klavierstucke was composed at a crucial point in Webern¹s development as a composer, and at a crucial point in the history of modern music, namely when Schoenberg, Berg, and Webern abandoned atonal composition in favor of Schoenberg¹s 12 tone serialism. The Klavierstucke precedes Webern¹s first true serial 12-tone piece--his op. 20 string trio--and and does make use of a tone row, but also still belongs with the atonal works: its inbetweenness shows Webern struggling with the structural problems of atonal composition, and also the necessity of the move to dodecaphony in order to solve them.

    Appears On

    Year Title Label Catalog #
    2014 Blue Griffin Recording BG 337
    2005 BIS 1467
    2002 Camerata Records 28CM608
    2000 Deutsche Grammophon 457637
    1996 Signum UK 7000
    1995 Centaur Records 2241/42
    Stephen Smith