V060:Anton Webern zum 100. Geburtstag

V060:Anton Webern zum 100. Geburtstag

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Non-commercial, VHS (PAL), in German (1983), 85:00.
Non-commercial, U-Matic (PAL), in German (1983), 85:00 (2 tapes).

Produced and broadcast by ORF and ZDF
Written by Hans Conrad Fischer and Cesar Bresgen
Directed by Hans Conrad Fischer
Further credits below.

Time Description

0:00 Scenes of nature; voice-over reads Webern's thoughts on nature; Webern's music plays in background

3:40 Narrator describes the final months of Webern's life in Mittersill and the circumstances surrounding his death

6:15 Interview with Cesar Bresgen, who describes Webern's joy in nature

8:00 Viennese scenes from Webern's childhood, photos of parents and family, footage of his school in Klagenfurt

9:50 First encounters with Schoenberg and Alban Berg, early compositions

10:50 Performance of Webern's Passacaglia, op. 1

14:30 Webern's study with Schoenberg began 1904.

15:00 Bresgen continues his commentary in the mountains where he and Webern had lived and walked together. They often discussed Goethe and his idea of the Urpflanze.

16:50 Six Pieces, op. 6, dedicated to Schoenberg--performance of No. 4, a funeral march

20:30 Description of the Skandalkonzert (1913) where this piece, conducted by Schoenberg, received its premiere

21:30 Introduction to Ernst Krenek, interview with him in Palm Springs

23:30 Discussion of Webern and Berg's relationship, the self-confessed relationship between Webern's music and the death of his mother

24:10 Performance of string quartet, op. 5 (1909)

27:00 Narrator relates various critics' reactions to Webern's music, explains Webern's attitude toward composition and new music

28:25 Discussion of Webern's work on Isaac's Choralis Constantinus, his regard for Bach

30:15 Bresgen discusses Webern's orchestration of Bach's Musical Offering followed by a performance of the work

34:30 Continuation of discussion regarding Webern's attitude toward early music

35:00 Bresgen introduces Webern's string quartet, op. 28, juxtaposes Webern's 12-tone style with Schoenberg's

37:00 Performance of Webern's Three Little Pieces for cello and piano, op. 11 (1914)

39:45 Varied reception of works by the Second Viennese School

40:30 Scenes from Spokane, WA and Moldenhauer archive; interview with Moldenhauer

43:00 Discussion of Webern's conducting activities; recording of Webern conducting Schubert's Deutsche Tänze; Moldenhauer discusses Webern's conducting activities

45:00 Webern's experiences after the First World War and after the Social Democrats fell out of power

47:20 Interview with Frau Maria Halbich, Webern's daughter, regarding his attitude toward religion

48:15 Bresgen comments on Webern's consciousness of his role in music history

48:45 Peter Stadlen performs a piano piece, compares it with a performance by Leonard Stein of the same piece; Stadlen describes his work with Webern

52:30 Interview with Krenek

43:40 Performance of a Webern song

55:00 Webern's life during Austria's Nazi years; Moldenhauer comments on Webern's apparent approval of the Hitler regime

57:50 Webern retreated to the mountains and to nature

58:00 Webern's relationship to Hildegard Jone and her husband; Webern's last work used a text by her

59:25 Performance of Webern's final cantata; scenes of Mittersill

1:03:15 Bresgen plays Webern's final tone row on an organ

1:03:40 Credits

1:05:00 End of Anton Webern

1:05:10 "les ballets suéd ois de rolf de maré ont présenté sur la scène du théatre des champs elysee" (1924), by Francis Picabia and Erik Satie. Black and white, silent film with orchestral accompaniment by Satie.

1:07:00 Between the two acts of the ballet there is a film after a scenario by Picabia with music by Satie, recorded in 1967, directed by Henri Sauguet. "Entr'acte" by Réné Claire

1:25:00 End of film

Credits (Anton Webern)
Cesar Bresgen
Maria Halbich-Webern
Ernst Krenek
Hans Moldenhauer
Peter Stadlen
ORF Symphony Orchestra
Friedrich Cerha, conductor
London Symphony Orchestra
Pierre Boulez, conductor
Österreichisches Streichquartett
Heidi Litschauer, cello
Gernot Sieber, piano
Carol Meyer, soprano
Kammerchor and Kammerorchester Spinario
Rupert Huber, conductor
Arthur Ensmann
Manfred Hölzl
Manfred Pongruber
Axel Corti and Helmut Lohner, narrators

Time	Description
0:00	Scenes of nature; voice-over reads Webern's thoughts on nature; Webern's music plays in background
3:40	Narrator describes the final months of Webern's life in Mittersill and the circumstances surrounding his death
6:15	Interview with Cesar Bresgen, who describes Webern's joy in nature
8:00	Viennese scenes from Webern's childhood, photos of parents and family, footage of his school in Klagenfurt
9:50	First encounters with Schoenberg and Alban Berg, early compositions
10:50	Performance of Webern's Passacaglia, op. 1
14:30	Webern's study with Schoenberg began 1904.
15:00	Bresgen continues his commentary in the mountains where he and Webern had lived and walked together. They often discussed Goethe and his idea of the Urpflanze.
16:50	Six Pieces, op. 6, dedicated to Schoenberg--performance of No. 4, a funeral march
20:30	Description of the Skandalkonzert (1913) where this piece, conducted by Schoenberg, received its premiere
21:30	Introduction to Ernst Krenek, interview with him in Palm Springs
23:30	Discussion of Webern and Berg's relationship, the self-confessed relationship between Webern's music and the death of his mother
24:10	Performance of string quartet, op. 5 (1909)
27:00	Narrator relates various critics' reactions to Webern's music, explains Webern's attitude toward composition and new music
28:25	Discussion of Webern's work on Isaac's Choralis Constantinus, his regard for Bach
30:15	Bresgen discusses Webern's orchestration of Bach's Musical Offering followed by a performance of the work
34:30	Continuation of discussion regarding Webern's attitude toward early music
35:00	Bresgen introduces Webern's string quartet, op. 28, juxtaposes Webern's 12-tone style with Schoenberg's
37:00	Performance of Webern's Three Little Pieces for cello and piano, op. 11 (1914)
39:45	Varied reception of works by the Second Viennese School
40:30	Scenes from Spokane, WA and Moldenhauer archive; interview with Moldenhauer
43:00	Discussion of Webern's conducting activities; recording of Webern conducting Schubert's Deutsche Tänze; Moldenhauer discusses Webern's conducting activities
45:00	Webern's experiences after the First World War and after the Social Democrats fell out of power
47:20	Interview with Frau Maria Halbich, Webern's daughter, regarding his attitude toward religion
48:15	Bresgen comments on Webern's consciousness of his role in music history
48:45	Peter Stadlen performs a piano piece, compares it with a performance by Leonard Stein of the same piece; Stadlen describes his work with Webern
52:30	Interview with Krenek
43:40	Performance of a Webern song
55:00	Webern's life during Austria's Nazi years; Moldenhauer comments on Webern's apparent approval of the Hitler regime
57:50	Webern retreated to the mountains and to nature
58:00	Webern's relationship to Hildegard Jone and her husband; Webern's last work used a text by her
59:25	Performance of Webern's final cantata; scenes of Mittersill
1:03:15	Bresgen plays Webern's final tone row on an organ
1:03:40	Credits
1:05:00	End of Anton Webern
1:05:10	"les ballets suéd ois de rolf de maré ont présenté sur la scène du théatre des champs elysee" (1924), by Francis Picabia and Erik Satie. Black and white, silent film with orchestral accompaniment by Satie.
1:07:00	Between the two acts of the ballet there is a film after a scenario by Picabia with music by Satie, recorded in 1967, directed by Henri Sauguet. "Entr'acte" by Réné Claire
1:25:00	End of film