Appendix
2.04
Experimental
listening
Webern
1
Experimental listening 24 Aug 2011. EC’s preparation
Webern: Bagatelle for String Quartet op. 9 no. 1: Mässig (1913) 0’30
Emerson String Quartet DGG CD 445 828-2
Abbreviations: open: open listening
foc: music-focused listening
herm: hermeneutical listening
EC’s preliminary observations and reactions, new questions, new tasks, and problems.
Preceding preparation: A number of open listenings to get acquainted with the music.
1st and 2nd listening: open listenings open
3rd listening: Hear the music as movement foc
Beginning: Like caresses. Towards the end: abruptly jumping
New question: What physical surfaces meet to produce the sound?
New task: Division in sections
4th listening: Hear the music as gestures and body movements herm
The gentle movements are most likely to be understood as body movements
5th listening: Hear the music as voices herm
Intimate conversation – agitation – calming down
Problem: Everything happens very fast, hard to grasp
New task: Listen for emotions
6th and 7th listening: Listen for sections foc
Two sections, which may be subdivided:
0’00-0’12
0’13-0’30
Appendix 2.03 Experimental listening Webern Appendix
2.04
Experimental
listening
Webern
2
8th listening: Listen for subdivisions foc
Four sections:
0’00-0’07
0’08-0’12
0’13-0’23
0’23-0’30
New questions: Why are the sections heard as sections?
What is going on in the ticking background?
9th listening: Open listening open
Beautiful, emotive music. The agitated section is important, cannot be eliminated
10th listening: Question: What characterizes the different sound qualities? foc
Coherent versus solitary
Deep versus high
Thuds, excited sounds
11th and 12th listening: open listenings open
New task: Let the melody slide into the background
13th listening : Question: What can you hear apart from the melody? open/foc
Tic-toc deep cello, vibrating high tremolo
14th listening: open listening open
New question: What similarities, what contrasts?