WEBERN THREE ORCHESTRAL SONGS (1913/14) for Voice and Orchestra From the composer's autograph manuscripts in the Moldenhauer Archive Contents 1. Leise Ditte (Text by Anton von Webern) 9 2. Kunfttag I (Text by Stefan George) 14 3. O sanftes Gliihn der Berge (Text by Anton von Webern) 20 Orchestral material available on rental. Copyright © MCMIXVI by Carl Fer, Ine, New York "Prefatory Notes Strange as it may seem, the first edition of Anton von Webern's Three Orchestral Songs (1913/14) is being published only now, a quarter of a century after the author's death and ‘more than half a century after the songs were composed. This fuct befits the enigmatic pat- tern of the man’s life and work, many aspects of which are only today becoming accessible to the student of Webern's biography and creative legacy. Our publication is based on several sets of sketches that formed part of a cache of auto- graph manuscripts discovered by this writer on October 26, 1965, among assorted remnants of Webern's personal library. They had been salvaged from the composer's abandoned home at Maria Enzersdorf during the chaotic months following World War II. At the time, they Were stored in the attic of an old house at Perchtoldsdorf, the childhood home of the com- poser’s daughter-in-law, Hermine von Webern, Hidden among dusty piles of books and various household goods, the manuscripts went unnoticed for a full two decades." The pencil sketches, now preserved in the Webern Archive, comprise condensed scores for alll three songs. There also exist fair copies, written in ink, for Leise Diifte and O sanftes Gliihn der Berge. Actually, the third song of the cycle, O sanftes Gliihn der Berge, was the first in date of composition. It originally formed part of a set of short orchestra pieces on which Webern was working during the fall of 1913. On October 12 of that year, Webern wrote to Arnold Schoenberg, then living in Berlin, that he had already composed six of the orchestral miniatures, He states: “The fifth is with voice. Again, I have written a text of my own.” The “again” refers to a poem, beginning with the words “Schmerz, immer blick nach oben,” that Webern had conceived during the preceding summer and set to music for voice and string quartet, ‘The earliest sketches for O sanftes Glithn der Berge bear the date September 30, 1913. ‘They differ considerably from a second undated draft that underlies the final score. The com- plex of short orchestra pieces written that autumn grew to a total of eleven, On December 22, Webern sent fair copies of four of them to Schoenberg, designating them as “Opus 6.” The third of the group was the orchestral song O sanftes Gliihn der Berge. Schoenberg's reception of the pieces was highly favorable; he tells the composer that he would like to perform them. Shortly thereafter, Webern changed his plan of organization. He separated the orches- tral song from the purely instrumental pieces, assigning the latter to the work now known as Opus 10 (Nos.II,IlandV). The reason for his change of mind was this: Early in 1914, he had turned to the writing of several more songs with orchestral accompaniment, and O sanftes Glithn der Berge eventually was to be grouped with them, On March 26, Webern tells Schoenberg: “I have meantime written another orchestral song (text of my own).” The re- For complete story, see Hans Moldenhauer, “In Quest of Webern,” Saturday Review, August 27, 1966, and Hans Moldenhaver, A Webern Pilgrimage,” Musial Times (London), February, 1968,mark alludes to Leise Diijte, a draft of which is dated March 23, 1914, On May 2, Webern sends his friend a fair copy of the song, coupled with another entitled Die Einsame, designat- ing both as “Opus 7°. Die Einsame later appeared as the second of the Four Songs, Op. 13. In the letter accompanying the manuscripts, Webern hints at having written a third or- chestral song. No doubt, the reference pertains to Kunfttag III. The song is extant only in a condensed score, dated April 2, 1914. It is this draft upon which Peter Westergaard’s edition in the present publication is based. ‘That Kunfttag III was definitely considered by Webern for inclusion in a cycle of three orchestral songs is evident from a manuscript cover page, preserved in the Webern Archive. On this page, the composer outlines several projects occupying his mind at the time. In the particular listing, he envisions as “Three Songs, Op. 9”: 1. “Leise Diifte” 2. “Kunfttag III” 3. “O sanftes Gliihn.” This same sequence has been followed in our publication. (In another plan, drafted on the same page, Webern thinks of “Five Orchestral Songs, Op. 8”, combining the three songs under discussion with his two Rilke settings. The latter now are known as a self-contained work, Opus 8.) Of particular interest is Webern’s use of his own lyrics. He had already tried out his poetic powers in his earlier youth; several original poems are found in his first diaries. The aphoristic form of Leise Diifte and O sanftes Gliihn der Berge is analogous to the concentration typifying Webern's musical utterances of that period. The same brevity of verbal expression characterizes, incidentally, Tot, a stage play in six scenes, which he wrote in October 1913. This play, autobiographical in concept, sublimates the recent experience of the sudden death of a nephew, a youth of only thirteen. It also mirrors Webern's continuing grief over the loss of his mother, whom he had loved very deeply. The entire year 1913 had been an extremely difficult one for Webern, and the resulting traumatic tensions are reflected in all works dating from that time. In O sanjtes Gliihn der Berge, the composer evokes the memory of his mother, who ap- pears to him like an apparition, Leise Diifte portrays a similar dream-like experience. Kunft- tag IIT brings to sixteen the number of poems by Stefan George to which Webern gave musical settings. The source of Kunfttag III is the cycle Maximin in Der siebente Ring, the volume of poetry from which Webern had frequently drawn inspiration. Leise Diifte and O sanftes Glithn der Berge were first performed on October 30, 1966, during the-Third International Webern Festival at Buffalo, New York, Marni Nixon was the singer, and Lukas Foss conducted members of the Buffalo Philharmonic Orchestra. The en- tire cycle, including Kunjttag III, was introduced on January 13, 1969, ina Musik der Zeit concert of the West German Radio at Cologne. Friedrich Cerha conducted the Vienna en- semble die reihe and Emiko liyama was the soloist. Hans MoldenhauerEditor's Comments This edition was prepared from photographs of scores and sketches from the Moldenhauer Archive in Spokane, Washington. The texts and translations were prepared with the help of Professor Donald White, Amherst College. I. Leise Diifte The particell sketch is dated 23 TIT 1914, The orchestra score, which is undated, is on four pages, numbered 6-9. I, Kunfttag I The particell sketch is dated 2 IV 1914. No orchestral score is extant. For a discussion of some of the methods used to realize the present score and an examination of their limitations, see my “On the Problem of Reconstruction from a Sketch” in Anton von Webern: New Vistas (University of Washington: Press). Punctuation and capitalization have been altered to accord with standard German prose usage. For George's original, see p. 7. mm. 0-1: The sketch shows’ two ways of instrumenting these first two chords. The first: can be considered complete, but it is too impractical to be considered as final. (This would be the only time a second horn was used in any of these three songs.) The second way, which is indicated by a list of instruments under each of the two chords, Flite D. Tr. KL EH. Br. Hor. B. Kl. Pos. is incomplete. The version in this score is the editor's compromise. ‘m4: In its proper position in the sequence of measures, m.4 reads etwas fliessenderbut on the second page of the manuscript there are some stray measures that appear to be revi- sions of the elements in measure 4: Presumably the revisions were made in the order — lower left, upper left, lower right, middle right. Unfortunately, Webern gives no hint of which instruments he was thinking of as he changed the rhythm, so I have been reduced to keeping the same instruments on the same pitch classes. ‘mm. 9-10: Originally this passage was considerably more active: PIB soe debhaftor ar gy It seems likely that the passage would have undergone subsequent revision had Webern made a full score, Some conductors may wish to reinstate the English horn quarter notes. I find the reten- tion of the F in the timpani at such a moment uncharacteristic; treble-clef D (trumpet?) might be better. ‘m.20; Bass Clarinet (B.KI.) — There is no clef in the sketch, so middle C is also a possi- bility. The note is written on a staff directly above the cello’s bass-clef C. I am assuming that a doubling would be more likely to have been written in the same clef or even in the same staff. ‘m.22: The top item in what appears to be a list of percussion sounds is indecipherable. It may end in “-geliiute,” but it is not Glockengeldute. Schellen is suggested only by analogy to other pieces from this period. Ill, O sanftes Glithn der Berge The particell sketch is undated, but there is a particell sketch of a substantially different setting of this text dated 30 IX 1913. The orchestral score, which is undated, is headed IT and appears on five pages numbered 7 - 11. The voice part is marked “Mezzo-sopran.” Peter Westergaard Princeton University September, 1968Texts of the Songs English Translations by Peter Westergaard I. Leise Diifte Leise Diifte, Bliiten so zart — Tréumend erschliesst sich die Frau, ‘Mondesgluten, Kiisse der Nacht — Weinend mein Gliick ich schau’ Anton von Webern Il, Kunfttag I Nun wird es wieder lenz Du weihst den weg die luft ‘Und uns auf die du schaust - So stammle dir mein dank. Eh bldd der menschen sinn Thm ansann wort und tat Hat schon des schépfers hauch Jed ding im raum beseelt. Wenn solch ein auge gliiht Gedeiht der trockne stamm- Die starre erde pocht ‘Neu durch ein heilig herz. Stefan George*: “Der Siebente Ring,” Maximin Ill, O sanftes Gliihn der Berge O sanftes Glithn der Berge — Jetzt sehe ich’Sie wieder. © Gott so zart und schin, Gnadenmutter, in Himmelshdhn, O neige Dich, 0 komme wieder Du griisst und segnest ~~ Der Hauch des Abends nimmt das Licht — Ich seh’s nicht mehr, Dein liebes Angesicht. Anton von Webern 1. I. Gentle Fragrances Gentle fragrances, delicate blossoms — Dreaming, the woman reveals herself, ‘The moon aglow, kisses of night — Weeping, I look upon my bliss. IL, Advent TIT Now it is spring again... you bless the path, the air, and us on whom you look — T stammer forth my thanks. Before the minds of men had foolishly attributed words and deeds to Him, the Creator had already breathed a soul into everything in the universe. Whenever such an eye gleams, the parched stalk prospers, the frozen earth throbs anew with the beat of a holy heart. (the third of three poems entitled “Advent” in the cycle “Maximin” from THE SEVENTH RING) Oh Gentle Mountain Radiance Oh gentle mountain radiance, now I see Her again. ‘Oh God, so tender and beautiful, Mother of Grace, in heaven come down, return. You greet and bless -~ The breath of evening takes the light away — I sée your beloved face no more. “By permission of Stefan George Stiftung and Verlag Helmut KupperInstrumentation* Voice Gesang Flute (Piccolo) Glockenspie! Grosse Fléte (Kleine Fléte) Glockenspiel Oboe Bells Oboe Glocken English Horn Timpa Englisch Horn Pauken Bb Clarinet Snare Drum B-Klarinette Kleine Trommel Bass Clarinet Bass. Drum Bassklarinette Grosse Trommel Horn in F Triangle F-Horn Triangel Bb Trumpet Suspended Cymbal B-Trompete Becken (frei) Trombone 1 Cowhells Posaune | Herdenglocken Trombone I Sleighbells Posaune I! Schellen Harmonium Solo Violin Harmonium Solo Violine Celesta Solo Viola Celesta Solo Bratsche Harp Solo Violoncello Harte Solo Violoncello Mandolin Solo Contrabass | Mandoline Solo Kontrabass | Guitar Solo Contrabass 11 Gitarre Solo Kontrabass I! *Alll instruments (including those that normally sound an octave higher or lower than written) sound as written, Articulation and dynamic markings in. brackets have been added by the editor. All other additions or alterations are explained in the Editor's Comments, pp. 5-6.THREE ORCHESTRAL SONGS (1913/14) Full Score Anton von Webern. (18831945) LEISE DUFTE Piceole® iene Pte Clarinet” lariat Homn® Been Trombone Posnune Harmoniom colet Celeste P hap fate Caeatich) Mandolin Mandotine ‘uitar® Gare lockensiel” Gleckenspe! Bets clecken Bass Drm cosas Tomel ape =) = oce = cate 00 Vita So Valine =_ pe —— Sol Vola sol Bratch en ic Dinpter [on Sig HE 2. Solo Contabass 1° Pee - Solo Rontabars | tigpter ?—| — Selo Contabass = lo Kontabacs 110 Step TS ¢. ci p— a sit Bipter ee_# p= 1, Pos, Ham. Herm A Tite woice cesane, Sole via. Sal Or a Pon = ot Sola cb. 1 So. lke. Pp Ns72k — Viengsamer sit Dinpfera ft TH, Pos, Ham, Nom: eet ie. We Mana Mane tock he. Bells Geek Timp. Pe Voice Cessre Ssolevin, 500, Solo vet. Soi Vet ' Sole cb Sole Ko, Nera aiePiee KU Tot t Harm, Ham: cal. te Hp. ht Mana Mane st & Tim, Pe 5. br. ALT 8. or ote Voice cessne Sole Vir 30 Vt Sole Vi. Solo B Sole Ve. Sob Vel selec. 1 S910K0. | 7 a Stee Ns7as —_> show Diets0 » [Paterna 20 co 2 a kt it Dinpfer Hi, Hen Fatermer a is Dinpfer 4 te tt Oy = Ham. Baim: cal, eat Glock, ‘ee PPP oe ane it Dinptor Coinoter st] Sele vin. Sse infer at) Seto ve. ‘ola Vet oiepfer 08) Sole cb. 1 ‘Salo Ko. Nsra8Poem Stefan George" Feierhieh(o) Flute (Piccolo) * css ote CRLF) ee Oboe English Horn” Engiseh Horn Clarina °** aries Bass Clainet""* Besckrnete Hem" Trumpat**= Tomete Trombone 1 osoune | Trombone 11 Pesnune Cotesia ++ Celeste ay ere Glockenspie!”>* lockenspie! ‘Timpani Pauren sights?” Cowbell ‘Tenge ‘Suspendes Cympat® Spare Drum ‘ass Drm Felerlich(d) i Voice sang Lotus Oita Sele Violin Solo Vine Tone Diag Sole Vila solo Bateche Sole Velncelo Sole Vslncslo Sele contrabass" — Solo Konvobass KUNFTTAG HI Pr B i (71 “By permission of Stefan George Stiftung and Verlag Helmut Kipper. tor Lene fa Pi (23, 7 **scholen,?Heréenfocken Tangs, Beck’ (ire, Kleine Tommel Grosse Tamme, ‘esSounds a written cas fliessender 5 etwas Miessender — Cp}8. cL oes Te v cat, at Ti imp. Cel" woice cesane eg, ate Lut —_ sur aie au setause ~~ Sole vis, Sole Br Sole vet Salo Vet Nsr28BL ft EH engl o kr 8. c. Bast Ho. ten Tp ba fgg Pos, | tf gtk = = -lebhatter we Yoiee cesar Dank. Brblbd der Wen~ sehen Sinn ah sev fasta So Vt col lean slo ve nctnel Sole eal leone Sole ve. ed oi Vel ‘el Teese JOP ae faetste Solo KB a Nsra8 Bee me may EZca Prater] 7 eal = samvort und Tat, hat schon des ———” on. 88, EH engl ci Voice eseng Setiip = ers ven Sole via Sole Br Sole Ve. Sole Ve Solo. Sore: Nera.Pie, KU . x Bc Bast Hn. te Tet Pos. Tet Post cat eet size. ‘op. te. Tet Bels eck Woice cesar, Solon Sole Wt Sole Vel. Se Vel Selec. Solo Ko. Nera [pre] 8 Thine = ein eee owt fig No sent, (raatserssge] SS (ee sesteunt 1» aol Criaseromed v= =) [Gracsrnne] , Sgaeent PSI (7? ——" nf} PSI er trockene Stam; die starrer = de” a Piece, KF 8. Bass Ho. Hn. Te Te Tr, Pos Cp tines —" eines Sleigh ‘Sefalen, PP a coe F tte —— Ta —— B. Or. “ ah Ft Voice cesene tren ein "he Solon. Solo Mt solo ia Solo Br Sole vet. Sols Vel me i: ee == nee20 ute rose Fite Clarinet nate Bass Clarinet Basskrinete Hom om Trumpet Trompe coteta Celeste Mandolin Mandatine bes lecken Timpani Pane Combats Herdonglocken Bass Oum reese Tome! Voice cessng Sele Vitin Sole Viline Sol! vats sole Bathe Sele Violoncello Sole Velencelo Solo Contabass Sele Kentabass © SANFTES GLUHN DER BERGE Poem Iida a Webern aur bewegt 3 L Nera ‘twas tigernd it Danger ha_| de viesin TE jten PRP etwas zigernd tes inn setae sesh teh Sieot Kt B.cl ass Hin. ‘Tempo T voice Cesare wieder. soto vin, Sot Vt ep nit limpter Sole Wa. Sob Br nit binpter Sole co. Sele Kb \ c. ci ea Voice cesane Sole vie. Sele Vt Nsrat ?P ott 0 zane unt it Diepfer 0 a Jad. (game Talte) dad (game Tabi) — -§-$_—=_ -— ——_ aw Ga = den-aut = ter, in Hi ee. § ° wieder ruhig ® » ler ruhig 72 ‘Tempo (ruhige -) a a 2 Flateereunge A i tan, maa bats oben PEP wringnt ale trom Tino me — Ea Contes foe dee Foon) LG erdanglocion oer die] rated B. Dr it gy ot ba pep wrnteitnd Hangsam DY pp Tempo Lruhige) Voice cetine et ber tae aes Sale in Sato rit, bis zum Schluss 6 2 20 a 32 so 8 ¢ fr Tye a atari t Voice cesar imt__ das Lichte~ Teh seh‘sntent mehr etn ie an = ge = sett, i Daper Sel vn, io [ate P| —— Sele via, icaeter aus sa ett Solo Be cae. Ge trade Sele PEP Pp xsns