Anton Webern (German: [ˈantoːn ˈveːbɐn] ; 3 December 1883 – 15 September 1945) was an Austrian composer, conductor, and musicologist whose modernist music was among the most radical of its milieu in its lyrical, poetic concision and use of then novel atonal and twelve-tone techniques. His approach was typically rigorous, inspired by his studies of the Franco-Flemish School under Guido Adler and by Arnold Schoenberg's emphasis on structure in teaching composition from the music of Johann Sebastian Bach, the First Viennese School, and Johannes Brahms. Webern, Schoenberg, and their colleague Alban Berg were at the core of what became known as the Second Viennese School. Webern was arguably the first and certainly the last of the three to write music in an aphoristic and expressionist style, reflecting his instincts and the idiosyncrasy of his compositional process. Working from personal experience, he treated themes of love, nature, mysticism, and nostalgia. Unhappily peripatetic and often assigned light music or operetta in his early conducting career, he aspired to conduct what was seen as more respectable, serious music at home in Vienna. Following Schoenberg's guidance, Webern tried writing music of greater length during and after their World War I service, relying on the structural support of texts in many Lieder. He rose as a choirmaster and conductor, championing Gustav Mahler's music in Red Vienna and abroad. With Schoenberg based in Berlin, Webern began writing music of increasing confidence, independence, and scale using twelve-tone technique. Marginalized as a "cultural Bolshevist" in Fascist Austria and Nazi Germany, he maintained "the path to the new music", enjoyed international recognition, and relied more on teaching for income. He opposed fascist cultural positions but always espoused pan-Germanism and was torn, like friends and family, among uncertainties. His hope for moderate, stable, and successful governance of Austria within Nazi Germany proved misplaced, and he helped Jewish friends emigrate and hide while repeatedly considering emigrating himself. A soldier accidentally killed Webern after World War II. In a phenomenon known as post-Webernism, his music was celebrated by composers, musicians, and scholars. René Leibowitz, Pierre Boulez, Robert Craft, and Hans and Rosaleen Moldenhauer established it as an important part of modernism through performance, study, and advocacy. Igor Stravinsky assimilated it. To many, it represented a path to serialism. Broader understanding of Webern's expressive agenda, performance practice, and complex sociocultural and political context lagged. A historical edition of his music is underway.

Variations for piano, Op. 27, is a twelve-tone piece for piano composed by Anton Webern in 1936. It consists of three movements: Webern's only published work for solo piano, the Variations are one of his major instrumental works and a signal example of his late style. Webern dedicated the work to pianist Eduard Steuermann. It was premiered, however, (after months of coaching from Webern) by Peter Stadlen on 26 October 1937 in Vienna. Much later Stadlen produced the definitive interpretive edition of Op. 27, published by Universal Edition in 1979.

This is a list of some notable composers who wrote symphonic poems.

Anton Webern (German: [ˈantoːn ˈveːbɐn] ; 3 December 1883 – 15 September 1945) was an Austrian composer, conductor, and musicologist whose modernist music was among the most radical of its milieu in its lyrical, poetic concision and use of then novel atonal and twelve-tone techniques. His approach was typically rigorous, inspired by his studies of the Franco-Flemish School under Guido Adler and by Arnold Schoenberg's emphasis on structure in teaching composition from the music of Johann Sebastian Bach, the First Viennese School, and Johannes Brahms. Webern, Schoenberg, and their colleague Alban Berg were at the core of what became known as the Second Viennese School. Webern was arguably the first and certainly the last of the three to write music in an aphoristic and expressionist style, reflecting his instincts and the idiosyncrasy of his compositional process. Working from personal experience, he treated themes of love, nature, mysticism, and nostalgia. Unhappily peripatetic and often assigned light music or operetta in his early conducting career, he aspired to conduct what was seen as more respectable, serious music at home in Vienna. Following Schoenberg's guidance, Webern tried writing music of greater length during and after their World War I service, relying on the structural support of texts in many Lieder. He rose as a choirmaster and conductor, championing Gustav Mahler's music in Red Vienna and abroad. With Schoenberg based in Berlin, Webern began writing music of increasing confidence, independence, and scale using twelve-tone technique. Marginalized as a "cultural Bolshevist" in Fascist Austria and Nazi Germany, he maintained "the path to the new music", enjoyed international recognition, and relied more on teaching for income. He opposed fascist cultural positions but always espoused pan-Germanism and was torn, like friends and family, among uncertainties. His hope for moderate, stable, and successful governance of Austria within Nazi Germany proved misplaced, and he helped Jewish friends emigrate and hide while repeatedly considering emigrating himself. A soldier accidentally killed Webern after World War II. In a phenomenon known as post-Webernism, his music was celebrated by composers, musicians, and scholars. René Leibowitz, Pierre Boulez, Robert Craft, and Hans and Rosaleen Moldenhauer established it as an important part of modernism through performance, study, and advocacy. Igor Stravinsky assimilated it. To many, it represented a path to serialism. Broader understanding of Webern's expressive agenda, performance practice, and complex sociocultural and political context lagged. A historical edition of his music is underway.

Anton Webern's Concerto for Nine Instruments, Op. 24 (German: Konzert für neun Instrumente) is a twelve-tone chamber piece composed in 1934. Its tone row is one of the most notable in history. The piece is admired for its extreme concision and is considered a hallmark in the development of total serialism.

Anton Webern (German: [ˈantoːn ˈveːbɐn] ; 3 December 1883 – 15 September 1945) was an Austrian composer, conductor, and musicologist whose modernist music was among the most radical of its milieu in its lyrical, poetic concision and use of then novel atonal and twelve-tone techniques. His approach was typically rigorous, inspired by his studies of the Franco-Flemish School under Guido Adler and by Arnold Schoenberg's emphasis on structure in teaching composition from the music of Johann Sebastian Bach, the First Viennese School, and Johannes Brahms. Webern, Schoenberg, and their colleague Alban Berg were at the core of what became known as the Second Viennese School. Webern was arguably the first and certainly the last of the three to write music in an aphoristic and expressionist style, reflecting his instincts and the idiosyncrasy of his compositional process. Working from personal experience, he treated themes of love, nature, mysticism, and nostalgia. Unhappily peripatetic and often assigned light music or operetta in his early conducting career, he aspired to conduct what was seen as more respectable, serious music at home in Vienna. Following Schoenberg's guidance, Webern tried writing music of greater length during and after their World War I service, relying on the structural support of texts in many Lieder. He rose as a choirmaster and conductor, championing Gustav Mahler's music in Red Vienna and abroad. With Schoenberg based in Berlin, Webern began writing music of increasing confidence, independence, and scale using twelve-tone technique. Marginalized as a "cultural Bolshevist" in Fascist Austria and Nazi Germany, he maintained "the path to the new music", enjoyed international recognition, and relied more on teaching for income. He opposed fascist cultural positions but always espoused pan-Germanism and was torn, like friends and family, among uncertainties. His hope for moderate, stable, and successful governance of Austria within Nazi Germany proved misplaced, and he helped Jewish friends emigrate and hide while repeatedly considering emigrating himself. A soldier accidentally killed Webern after World War II. In a phenomenon known as post-Webernism, his music was celebrated by composers, musicians, and scholars. René Leibowitz, Pierre Boulez, Robert Craft, and Hans and Rosaleen Moldenhauer established it as an important part of modernism through performance, study, and advocacy. Igor Stravinsky assimilated it. To many, it represented a path to serialism. Broader understanding of Webern's expressive agenda, performance practice, and complex sociocultural and political context lagged. A historical edition of his music is underway.

The Passacaglia for orchestra, Op. 1, is a musical composition that Anton Webern completed in 1908. It was his first published work and is among his earliest music for symphony orchestra. It is in passacaglia form and marks the culmination of his studies with Arnold Schoenberg.

Symphony, Op. 21 was composed by Anton Webern between 1927 and 1928. It was his first twelve-tone orchestral work. The two-movement work lasts 10–20 minutes and contains Alpine topics, abstraction, and intricate musical form, including some fixed register. The Symphony was influenced by Gustav Mahler. Alexander Smallens conducted the world premiere at New York's Town Hall on 18 December 1929.

Anton Webern (German: [ˈantoːn ˈveːbɐn] ; 3 December 1883 – 15 September 1945) was an Austrian composer, conductor, and musicologist whose modernist music was among the most radical of its milieu in its lyrical, poetic concision and use of then novel atonal and twelve-tone techniques. His approach was typically rigorous, inspired by his studies of the Franco-Flemish School under Guido Adler and by Arnold Schoenberg's emphasis on structure in teaching composition from the music of Johann Sebastian Bach, the First Viennese School, and Johannes Brahms. Webern, Schoenberg, and their colleague Alban Berg were at the core of what became known as the Second Viennese School. Webern was arguably the first and certainly the last of the three to write music in an aphoristic and expressionist style, reflecting his instincts and the idiosyncrasy of his compositional process. Working from personal experience, he treated themes of love, nature, mysticism, and nostalgia. Unhappily peripatetic and often assigned light music or operetta in his early conducting career, he aspired to conduct what was seen as more respectable, serious music at home in Vienna. Following Schoenberg's guidance, Webern tried writing music of greater length during and after their World War I service, relying on the structural support of texts in many Lieder. He rose as a choirmaster and conductor, championing Gustav Mahler's music in Red Vienna and abroad. With Schoenberg based in Berlin, Webern began writing music of increasing confidence, independence, and scale using twelve-tone technique. Marginalized as a "cultural Bolshevist" in Fascist Austria and Nazi Germany, he maintained "the path to the new music", enjoyed international recognition, and relied more on teaching for income. He opposed fascist cultural positions but always espoused pan-Germanism and was torn, like friends and family, among uncertainties. His hope for moderate, stable, and successful governance of Austria within Nazi Germany proved misplaced, and he helped Jewish friends emigrate and hide while repeatedly considering emigrating himself. A soldier accidentally killed Webern after World War II. In a phenomenon known as post-Webernism, his music was celebrated by composers, musicians, and scholars. René Leibowitz, Pierre Boulez, Robert Craft, and Hans and Rosaleen Moldenhauer established it as an important part of modernism through performance, study, and advocacy. Igor Stravinsky assimilated it. To many, it represented a path to serialism. Broader understanding of Webern's expressive agenda, performance practice, and complex sociocultural and political context lagged. A historical edition of his music is underway.