Editing Anton Webern (section)

=== 1883–1908: Upbringing between late Imperial Vienna and countryside ===
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* (left) A brick barn in a [[Field (agriculture)|field]] of [[wildflowers]] on the Preglhof estate{{sfn|Hayes|1995|loc=20}}
* (right) {{ill|Pfarrkirche Schwabegg|de}} and southern [[foothill]]s across from a snowy field
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====Bucolic ''Heimat''====
Webern was born in Vienna, [[Austria-Hungary]]. He was the only surviving son of Carl von Webern, a descendant of {{ill|Webern (Adelsgeschlecht){{!}}minor nobility|de|3=Webern_(Adelsgeschlecht)}}, high-ranking civil servant, mining engineer,{{sfn|Moldenhauer and Moldenhauer|1978|loc=30–31}} and owner of the Lamprechtsberg copper mine in the [[Koralpe]]. Much of Webern's early youth was in [[Graz]] (1890–1894) and [[Klagenfurt]] (1894–1902), though his father's work briefly took the family to [[Olomouc]] and back to Vienna.{{sfn|Moldenhauer and Moldenhauer|1978|loc=33}}

His mother Amalie (née Geer) was a pianist and accomplished singer. She taught Webern piano and sang opera with him. He received first drums, then a trumpet, and later a violin as [[Christmas gift]]s. With his sisters Rosa and Maria, Webern danced to music and [[Ice skating|ice-skate]]d the {{ill|Lendkanal|de}} to the [[Wörthersee]]. Edwin Komauer taught him cello, and the family played chamber music, including that of [[Mozart]], [[Schubert]], and [[Beethoven]].{{sfn|Moldenhauer and Moldenhauer|1978|loc=35}} Webern learned to play Bach's [[Cello Suites (Bach)|cello suites]]{{sfnm|Zenck|1989|1loc=299|Moldenhauer and Moldenhauer|1978|2loc=39}} and may have studied Bach's [[polyphony]] under Komauer.{{sfnm|Zenck|1989|1loc=299|Moldenhauer and Moldenhauer|1978|2loc=37}}

The extended Webern family spent summers,{{efn|See {{ill|Sommerfrische|de}}.}} holidays, and vacations at their country estate, the Preglhof. The children played outside in the forest and on a high meadow with [[pasture]] grazed by [[herder|herded]] cattle and with a church-and-mountain view; they bathed in a pond (where Webern once saved Rosa from drowning). He drove horses to [[Bleiburg]] and fought a wildfire encroaching on the estate.{{sfn|Moldenhauer and Moldenhauer|1978|loc=35}} These experiences and reading [[Peter Rosegger]]'s {{ill|Heimatkunst|de|}} shaped Webern's distinct and lasting sense of ''[[Heimat]]''.{{sfnm|Hayes|1995|1loc=19|Johnson|1999|2loc=21, 83, 220|Moldenhauer and Moldenhauer|1978|3loc=163}}

====University====
After a trip to [[Bayreuth Festival|Bayreuth]],{{sfn|Jensen|1989|loc=11}} Webern studied [[musicology]] at the [[University of Vienna]] (1902–1906) with [[Guido Adler]], a friend of [[Mahler]], composition student of [[Bruckner]],{{efn|Bruckner told students he was no longer guided by the rules he taught, broadening Adler's [[Normativity|normative]] ideas about music.}} and devoted [[Richard Wagner|Wagnerian]] who had been in contact with both [[Wagner]] and [[Liszt]].{{sfn|Kolneder|1968|loc=20–21}}{{efn|Bruckner, Liszt, and Wagner [[War of the Romantics#Liszt, Wagner, and their followers|all]] wrote of "[[Music of the Future|music of the future]]".}} He quickly joined the [[International Association of Wagner Societies|Wagner Society]], meeting popular conductors and musicians.{{sfn|Bailey Puffett|1998|loc=27}} [[Egon Wellesz]] recalled he and Webern analyzed Beethoven's [[Late string quartets (Beethoven)|late quartets]] at the piano in Adler's seminars.{{efn|They also attended the opera and Mahler's symphonies together.{{sfn|Moldenhauer and Moldenhauer|1978|loc=74, 654}}}} Webern learned the historical development of musical styles and techniques, editing the second volume of Heinrich Isaac's ''[[Choralis Constantinus]]'' as his doctoral thesis.{{efn|In 1925, Guido Adler asked Webern to edit the third edition. Webern declined due to financial and time constraints, instead proposing lectures on [[Instrumentation (music)|instrumentation]] and "modern music (Strauss, Mahler, Reger, Schoenberg) in the manner of ... {{lang|de|Formenlehre}}, [or] formal principles (musical logic) and their connection with ... older masters".{{sfn|Moldenhauer and Moldenhauer|1978|loc=285–287}}}} Hans and Rosaleen Moldenhauer noted Webern's scholarly engagement with Isaac's music as a formative experience for Webern the composer. Webern especially praised Isaac's [[voice leading]] or "subtle organization in the interplay of parts":{{Blockquote|The voices proceed ... in ... equality ... . Each ... has its own [[development (music)|development]] and is a ... self-contained ... structural unit ... . ... Isaac uses ... [[Canon (music)|canon]]ic devices in ... profusion ... . ... Added ... is the keenest observation of tone colourings in ... [[Register (music)|register]]s of the [[human voice]]. This is partly the cause of ... [[Voice crossing|interlacing of voices]] and ... their movement by [[Steps and skips|leaps]].{{sfn|Moldenhauer and Moldenhauer|1978|loc=84–85}}}}

Webern studied [[art history]] and [[philosophy]] under professors [[Max Dvořák]], {{ill|Laurenz Müllner|de}}, and [[Franz Wickhoff]],{{sfnm|Jensen|1989|1loc=11|Moldenhauer and Moldenhauer|1978|2loc=80–82}} joining the [[Kunstverein Nürnberg|Albrecht Dürer Gesellschaft]]{{efn|[[Albrecht Dürer]] Society. He later served on its board.}} in 1903.{{sfn|Jensen|1989|loc=11}} His cousin {{ill|Ernst Diez (Kunsthistoriker)|lt=Ernst Diez|de|Ernst Diez (Kunsthistoriker)|display=1}}, an art historian studying in Graz, may have led him to the work of [[Arnold Böcklin]] and [[Giovanni Segantini]], which he admired along with that of [[Ferdinand Hodler]] and [[Moritz von Schwind]].{{sfn|Johnson|1999|loc=252}} Webern idolized Segantini's [[Landscape painting|landscapes]] on a par with Beethoven's music, [[diary]]ing in 1904:[[File:Giovanni segantini, pascoli di primavera, 1896, 01.jpg|right|thumb|''Spring Pastures'', 1896, by [[Giovanni Segantini]]]]{{Blockquote|I long for an artist in music such as Segantini was in painting. ... [F]ar away from all turmoil of the world, in contemplation of the [[glacier]]s, of eternal ice and snow, of ... mountain giants. ... [A]n [[alpine storms|alpine storm]], ... the radiance of the summer sun on [[Alpine tundra#Flora|flower-covered meadows]]—all these ... in the music, ... of alpine solitude. That man would ... be the Beethoven of our day.{{sfn|Moldenhauer and Moldenhauer|1978|loc=76}}}}

Webern also studied [[nationalism]] and [[Catholic liturgy]],{{sfn|Bailey Puffett|1998|loc=27}} shaped by his mostly provincial Catholic upbringing, which provided little exposure to the relatively cosmopolitan people of Vienna.{{sfnm|Bailey Puffett|1998|1loc=17–18, 28, 38|Moldenhauer and Moldenhauer|1978|2loc=33, 53}} At the time, [[antisemitism]] was resurgent in Austria, fueled by Catholic resentment after [[Jewish emancipation]] in the 1867 [[December Constitution]].{{sfnm|Beller|2006|1loc=135–145, 155–156|Moldenhauer and Moldenhauer|1978|2loc=33, 53}} Webern first viewed his Jewish peers as ostentatious and unfriendly, but his attitude shifted by 1902.{{sfnm|Bailey Puffett|1998|1loc=27–28, 174|Moldenhauer and Moldenhauer|1978|2loc=53, 57}} He quickly and durably made many close friends, most of them Jewish; Kathryn Bailey Puffett wrote that this likely shaped his views.{{sfnm|Bailey Puffett|1998|1loc=27–28, 174|Moldenhauer and Moldenhauer|1978|2loc=53}}

====Schoenberg and his circle====
In 1904, Webern approached [[Hans Pfitzner]] for composition lessons but left angrily when Pfitzner criticized Mahler and [[Richard Strauss]].{{sfn|Puffett|1996|loc=32}} Adler admired Schoenberg's work and may have{{efn|Webern may have seen newspaper ads for Schoenberg's [[Eugenie Schwarzwald|Schwarzwald School]] courses in 1904. [[Karl Weigl]], another Adler student, impressed Webern with the score of Schoenberg's [[Pelleas und Melisande (Schoenberg)|Op. 5]] in 1902. In 1903–1904, Webern attended performances of Schoenberg's ''Lieder'' and [[Verklärte Nacht|Op. 4]].{{sfn|Moldenhauer and Moldenhauer|1978|loc=71–72}}}} sent Webern to him for composition lessons.{{sfn|Simms and Erwin|2021|loc=58}} Thus Webern met Berg, another Schoenberg pupil, and Schoenberg's brother-in-law [[Alexander Zemlinsky]], through whom Webern may have worked as an assistant coach at the {{lang|de|[[Volksoper]]|italic=no}} in Vienna (1906–1909).{{sfn|Moldenhauer and Moldenhauer|1978|loc=103, 110}} Schoenberg, Berg, and Webern became devoted, lifelong friends with similar musical trajectories.{{sfn|Elliott|2007|loc=222}} Adler, [[Heinrich Jalowetz]], and Webern played Schoenberg's quartets under the composer, accompanying [[Marie Gutheil-Schoder]] in rehearsals for [[String Quartets (Schoenberg)#String Quartet No. 2, Op. 10|Op. 10]].{{sfn|Moldenhauer and Moldenhauer|1978|loc=654–655}}

Also through Schoenberg, who painted and had a 1910 solo exhibition at {{ill|Hugo Heller|de}}'s bookstore, Webern met [[Gustav Klimt]], [[Oskar Kokoschka]], [[Max Oppenheimer (artist)|Max Oppenheimer]] (with whom he corresponded on {{lang|de|[[T–V distinction#German|ich–Du]]}} terms), [[Egon Schiele]], and [[Emil Stumpp]].{{sfn|Moldenhauer and Moldenhauer|1978|loc=10, 109-110, 557}} In 1920, Webern wrote Berg about the "indescribable impression" Klimt's work made on him, "that of a luminous, tender, heavenly realm".{{sfn|Moldenhauer and Moldenhauer|1978|loc=234}}{{efn|Webern and others gave Schoenberg Klimt prints for his 1921 birthday.{{sfn|Moldenhauer and Moldenhauer|1978|loc=239}}}} He also met [[Karl Kraus (writer)|Karl Kraus]], whose lyrics he later set, but only to completion in Op. 13/i.{{sfn|Moldenhauer and Moldenhauer|1978|loc=109, 265–265, 276–277}}