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This study provides a new view of a composer long considered to be one of the century's most rigorously intellectual creators, Anton Webern. By examining a central pretwelvetone work, the Trakl cycle, Op 14, in the context of the Viennese intellectual and artistic climate, Shreffler shows how Webern's responses to Trakl's complex verse enabled him to expand his musical vocabulary. The author's emphasis on Webern's compositional process is of particular importance: whether because of the anxiety of creating a new musical language, or because of an innate hyperperfectionism (or both), Webern rejected most of what he composed. A close examination of the manuscript sourcesfragments, sketches, and fair copiesof Webern's comparatively neglected middleperiod lieder enables her to shed light on Webern's musical language and his working methods.
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