Editing Anton Webern (section)

===Contemporaries===

==== Artists ====

Many artists portrayed Webern (often from life) in their work. Kokoschka (1912), Schiele (1917 and 1918), {{ill|B. F. Dolbin|de}} (1920 and 1924), and Rederer (1934) made drawings of him. Oppenheimer (1908), Kokoschka (1914), and {{ill|Tom von Dreger|de}} (1934) painted him. Stumpp made two lithographs of him (1927). Humplik twice sculpted him (1927 and 1928). Jone variously portrayed him (1943 lithograph, several posthumous drawings, 1945 oil painting). Rederer made a large woodcut of him (1964).{{sfn|Moldenhauer and Moldenhauer|1978|loc=10, 109-110, 557, 688}}

==== Musicians ====
Schoenberg admired Webern's concision, writing in the foreword to Op. 9 upon its 1924 publication: "to express a novel in a single gesture, joy in a single breath—such concentration can only be present in proportion to the absence of self-indulgence".{{sfn|Moldenhauer and Moldenhauer|1978|loc=193}} But Berg joked about Webern's brevity. [[Hendrik Andriessen]] found Webern's music "pitiful" in this regard.{{sfn|Andriessen and Trochimczyk|2002|loc=6}} In their second (1925) ''Abbruch''{{efn|''Cancellation''}} self-parody, ''{{ill|Musikblätter des Anbruch|lt=Anbruch|de|Musikblätter des Anbruch|display=1}}''{{efn|''Dawn''}} editors jested that "Webern's" (Mahler's) "extensive" ''Symphony of a Thousand'' had to be abbreviated.{{efn|{{Wikisourcelang-inline|de|Musikblätter des Anbruch}}.}}

[[Felix Khuner]] remembered Webern was "just as revolutionary" as Schoenberg.{{sfn|Crawford and Khuner|1996|loc=10}} In 1927, [[Hans Mersmann]] wrote that "Webern's music shows the frontiers and ... limits of a development which tried to outgrow Schoenberg's work."{{sfn|Kolneder|1968|loc=12}}

Identifying with Webern as a "solitary soul" amid 1940s wartime fascism,{{sfn|Dallapiccola|1972|loc=6}} Dallapiccola independently and somewhat singularly{{efn|[[Goffredo Petrassi]] and his student [[Aldo Clementi]] were later influenced by Webern, as was Schoenberg pupil {{ill|Alfredo Sangiorgi|it}}. [[Riccardo Malipiero]] organized composers, including [[Camillo Togni]], around twelve-tone music in 1949 [[Milan]].}} found inspiration especially in Webern's lesser-known mid-period ''Lieder'', blending its ethereal qualities and Viennese expressionism with {{lang|it|[[bel canto]]}}.{{sfn|Alegant|2010|loc=14}} Stunned by Webern's Op. 24 at its 1935 ISCM festival world première under Jalowetz in Prague, Dallapiccola's impression was of unsurpassable "aesthetic and stylistic unity".{{sfn|Dallapiccola|1972|loc=2}} He dedicated ''Sex carmina alcaei''{{efn|Dallapiccola's 1943 ''Sex carmina alcaei'', on some of the ''{{ill|Lirici greci (Quasimodo)|lt=Lirici greci|it}}'' of [[Salvatore Quasimodo]] after [[Alcaeus of Mytilene]], were one of three groups of ''Lieder'' from his ''Liriche greche'' set (1942–1945).{{sfn|Alegant|2010|loc=14}}}} "with humility and devotion" to Webern, who he met in 1942 through Schlee, coming away surprised at Webern's emphasis on "our great Central European tradition."{{sfn|Dallapiccola|1972|loc=5–6}} Dallapiccola's 1953 ''Goethe-lieder'' especially recall Webern's Op. 16 in style.{{sfn|Alegant|2010|loc=38–46, 103–105, 292}}

In 1947, Schoenberg remembered and stood firm with Berg and Webern despite rumors of the latter's having "fallen into the Nazi trap":{{efn|This is Krasner's phrase, by which he interpreted Schoenberg's "those who tried might have succeeded in confounding us" as referring to Webern.{{sfn|Krasner and Seibert|1987|loc=346–47}} But Douglas Jarman noted Schoenberg's discomfort with and Stein's (and later [[Friedrich Cerha|Cerha]]'s and [[George Perle|Perle]]'s) defense of Berg after the Jewish banker scene in Act III of ''Lulu''.{{sfnm|Jarman|2017|Perle|1985|2loc=283–284}} When Schoenberg asked Webern about his feelings toward the Nazis, Webern replied, "Who dares to come between you and me?" When Steuermann asked Krasner on behalf of Schoenberg, Krasner soothed Schoenberg with a self-described lie. Schoenberg's 1934 (or 1935)–1936 [[Violin Concerto (Schoenberg)|Violin Concerto]] kept its dedication to Webern, though worded very simply ("to Anton von Webern"), whether due to Schoenberg's suspicions or to protect Webern from danger or Nazi suspicion. Schoenberg and Webern continued to correspond at least through 1939.{{sfnm|Arnold Schönberg Center|n.d.|Kater|1999|2loc=clv|Krasner and Seibert|1987|3loc=345}}}} "... [F]orget all that might have ... divided us. For there remains for our future what could only have begun to be realized posthumously: One will have to consider us three—Berg, Schoenberg, and Webern—as a unity, a oneness, because we believed in ideals ... with intensity and selfless devotion; nor would we ever have been deterred from them, even if those who tried might have succeeded in confounding us."{{efn|Schoenberg prepared his statement for publication as a handwritten inscription by facsimile reproduction in Leibowitz's 1948 didactic score of Webern's then unpublished [[Concerto for Nine Instruments (Webern)|Op. 24]],{{sfn|Leibowitz|2018|loc=2, 5, 7, 11, 13, 81, 83, 86}} which Webern dedicated to Schoenberg in 1934 for his sixtieth birthday.}} For Krasner this put "'Vienna's Three Modern Classicists' into historical perspective". He summarized it as "what bound us together was our idealism."{{sfn|Krasner and Seibert|1987|loc=346–47}}