# Where should I start with Webern, Debussy, Berg, and Bruckner?



## copper (May 28, 2019)

These composers have grabbed my attention. So in simple words, where I should I start with them? Thank you in advance.


----------



## Guest (Jun 20, 2019)

With Bruckner, I recommend his 4th symphony. Wand has a great recording, or for something drastically different, the Cellibidache recording.


----------



## joen_cph (Jan 17, 2010)

3 Debussy works: for example:
1) Cello Sonata 



2) Nocturnes (after some listening to the work, maybe eventually try the Celibidache DG recording) 



3) Preludes Vol.1, for piano 




3 Berg works: for example: 
1) Piano Sonata 



2) Chamber Concerto 



3) Violin Concerto 




3 Bruckner works: for example:
1) Symphony no.4 



2) Symphony no.7 
3) Te Deum


----------



## Portamento (Dec 8, 2016)

Webern's complete works are so small that it may be in your interest to purchase this set-cheap, too!

Otherwise, here are the opuses I would start with:

5 Pieces for String Quartet, Op. 5 (1909, 1928-29)
6 Pieces for Large Orchestra, Op. 6 (1909, rev. 1928)
Symphony, Op. 21 (1927-28)
Variations for Piano, Op. 27 (1935-36)
Variations for Orchestra, Op. 30 (1940)


----------



## flamencosketches (Jan 4, 2019)

I would second Portamento's recommendation for the complete Webern set on Sony. It's excellent, and only 3 discs. You can work through it as you go. The one I have looks like this, but I'm pretty sure it's the same exact set:









Alternatively, if you're not interested, this disc is excellent and also VERY cheap:

https://www.amazon.com/Webern-Sommerwind-Passacaglia-Anton/dp/B0036WL5LM/

It contains most of his orchestral works in chronological order. That way, you can start from the relatively friendly, Mahler-influenced beginnings and work your way through the psychologically intense expressionistic works and then onto the spare and exalted 12-tone music, and follow the progression. It's fascinating. Another great CD in this vein would be the Karajan Webern disc:









Do enjoy, Webern is one of my favorite composers.

As for Berg, I would say the place to start is his first and last works: the Piano Sonata, op.1 (there are several great recordings out there, but my favorites are Glenn Gould and Idil Biret), and then the Violin Concerto "To the Memory of an Angel" which is one of the most beautiful 12-tone works ever written. I like the Perlman/Ozawa/Boston recording, but I haven't heard all that many (and there are many).

For Debussy, I would say it's different for everybody, the path of entry. He is an excellent composer but was a tough nut to crack for me. All I can say is persist with the piano music if it doesn't make much sense at first. Keep trying, maybe find another pianist. Well worth the effort.

Can't help you with Bruckner, that is one I'm still working on.


----------



## Gallus (Feb 8, 2018)

For Berg I'd start with this Abbado recording of the Lulu Suite and 3 Pieces for Orchestra. Gorgeous, luxurious atonal orchestral music, some of the best he ever wrote.


----------



## Razumovskymas (Sep 20, 2016)

Debussy:

My favorite setlist:

-Fantaisie pour piano et orchestre
-Marche écossaise sur un thème populaire
-Deux Dances pour Harpe et Orchestre
-La Damoiselle élue
-Chansons de Bilitis
-Le Martyre de Saint Sébastien

And maybe then you're ready for Pelléas et Mélisande ;-)


----------



## CnC Bartok (Jun 5, 2017)

Webern: Passacaglia
Berg: Violin Concerto
Bruckner: Symphony No.4
Debussy: La Mer

In simple words, as requested!


----------



## flamencosketches (Jan 4, 2019)

Razumovskymas said:


> Debussy:
> 
> My favorite setlist:
> 
> ...


I love Debussy, and I've heard none of these works :lol: I need to track down some recordings!


----------



## MatthewWeflen (Jan 24, 2019)

Having become a big fan of Bruckner myself, I will make a somewhat unusual recommendation - just start with Symphony 1. I think it's way better than it is often billed. And in some ways it's a bit more accessible both in terms of structure and length than some of the later ones (which are stupendous).






So my recommendation would just be to buy a complete symphonies boxed set. Start listening from the beginning and work your way through. It might take two or three listens for it to really click, but when it does, it will click with a vengeance. My go-to is the Karajan box. I am sure there are other worthwhile sets, I just haven't felt the need to explore them.


----------



## Razumovskymas (Sep 20, 2016)

flamencosketches said:


> I love Debussy, and I've heard none of these works :lol: I need to track down some recordings!


I have the "The Debussy edition" from Deutsche Grammophon. Really a beautiful box! (18cd's)


----------



## flamencosketches (Jan 4, 2019)

Ah yeah I need to get that. Not terribly expensive too.


----------



## Bourdon (Jan 4, 2019)

flamencosketches said:


> Ah yeah I need to get that. Not terribly expensive too.


This one is abetter choice I think.


----------



## Enthusiast (Mar 5, 2016)

Gallus said:


> For Berg I'd start with this Abbado recording of the Lulu Suite and 3 Pieces for Orchestra. Gorgeous, luxurious atonal orchestral music, some of the best he ever wrote.


That's a good recommendation. Also the violin concerto (Isabelle Faust with Abbado is excellent). And why not try Wozzeck? It's not so long and works for me as pure music (as well as being an excellent opera). For Bruckner I am not sure it matters whether you start with the 3rd, 4th, 5th, 7th, 8th or 9th with Wand or Jochum (especially his Concertgebouw 5th) or many others. Celibidache's Munich recordings are special (except perhaps the 7th) but apparently some people don't like them. For Webern I agree that his complete works are not too much of a good thing. But don't forget the songs. Debussy is more difficult and, aside from La Mer, I like his chamber music most. But Pelleas and Melisande is wonderful (pure Debussy but with a clear line from Wagner) and is easily something you could spend a lot of time with.


----------



## flamencosketches (Jan 4, 2019)

^I would disagree that Wozzeck works as pure music, if only because the music is so absolutely insane at times that it ONLY makes sense as a work of EXTREME drama. Think of the bar scenes for example. Completely bonkers if one has no conception of the plot. 

That being said, as an opera, it is an untouchable work of art and an excellent fusion of drama and music (though it would not work nearly so well as a work of pure drama). If Berg had composed nothing else (and he really didn't compose terribly much else) he would still have been cemented as the major figure he is.

Anyway, I would concur that Abbado is an excellent interpreter of Berg. One can tell that the music was close to his heart.


----------

