Second Viennese School

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Prime, retrograde, inverse, and retrograde-inverse permutations.

The Second Viennese School (

Adorno said that the twelve-tone method, when it had evolved into maturity, was a "veritable message in a bottle", addressed to an unknown and uncertain future.[1]
Though this common development took place, it neither followed a common time-line nor a cooperative path. Likewise, it was not a direct result of Schoenberg's teaching—which, as his various published textbooks demonstrate, was highly traditional and conservative. Schoenberg's textbooks also reveal that the Second Viennese School spawned not from the development of his serial method, but rather from the influence of his creative example.

Members

See also:
List of students of Arnold Schoenberg

The principal members of the school, besides Schoenberg, were

Alexander Zemlinsky
is sometimes included as part of the Second Viennese School, though he was never Schoenberg's pupil and never renounced a traditional conception of tonality.

Though Berg and Webern both followed Schoenberg into total chromaticism and both, each in his own way, adopted twelve-tone technique soon after he did, not all of these others did so, or waited for a considerable time before following suit. Several yet later disciples, such as Zillig, the Catalan Gerhard, the Transylvanian Hannenheim and the Greek Skalkottas, are sometimes covered by the term, though (apart from Gerhard) they never studied in Vienna but as part of Schoenberg's masterclass in Berlin.

Membership in the school is not generally extended to Schoenberg's many pupils in the United States from 1933, such as John Cage, Leon Kirchner and Gerald Strang, nor to many other composers who, at a greater remove, wrote compositions evocative of the Second Viennese style, such as the Canadian pianist Glenn Gould. By extension, however, certain pupils of Schoenberg's pupils, such as Berg's pupil Hans Erich Apostel and Webern's pupils René Leibowitz, Leopold Spinner and Ludwig Zenk, are usually included in the roll-call.

The broader circle of the Second Viennese School included, among others,

Alexander Zemlinsky, and Winfried Zillig
.

Contemporaneous performers, friends, admirers, and supporters of the circle at various times included figures as diverse as

International Composers Guild, Steuermann's sister Salka Viertel,[6] Imre Waldbauer et al. of the Waldbauer-Kerpely Quartet [hu], Franz Werfel, Arnold Zweig, and Jung-Wien writers Peter Altenberg, Hermann Bahr, Karl Kraus, and Arthur Schnitzler.[citation needed
]

Practices

Though the school included highly distinct musical personalities (the styles of Berg and Webern are in fact very different from each other, and from Schoenberg—for example, only the works of Webern conform to the rule stated by Schoenberg that only a single row be used throughout all movements of a composition

Internationale Ferienkurse für Neue Musik, wherein Schoenberg—who was invited but too ill to travel—was ultimately usurped in musical ideology by the music of his pupil, Webern, as composers and performers from the Second Viennese School (e.g. Leibowitz, Rufer, Adorno, Kolisch, Heiss, Stadlen, Stuckenschmidt, Scherchen) converged with the new serialists (e.g. Boulez, Stockhausen, Maderna, Nono
, et al.).

First Viennese School

Main article: First Viennese School

German musical literature refers to the grouping as the "Wiener Schule" or "Neue Wiener Schule". The existence of a "

Classical style working in the late 18th and early 19th century, particularly Joseph Haydn, Wolfgang Amadeus Mozart, Ludwig van Beethoven and Franz Schubert
. Though Mozart and Schubert did not study with Haydn, Beethoven did for a time receive lessons from the older master, Haydn, though he was not a pupil in the sense that Berg and Webern were pupils of Schoenberg.

In art and culture

Berg, Schoenberg, or Webern featured (or were inferred) in the work of composers Michael Dellaira, Ernst Krenek, and René Staar and writers William H. Gass, Gert Jonke, Thomas Mann, Thomas Pynchon, and Amelia Rosselli. Erika Fox named her "Malinconia Militare" (2003) after the first line of Rosselli's "Webern Opus 4".

Webern's Op. 27 was used in The Sopranos episode "Bust Out".

See also

References

Citations

  1. JSTOR 40089560
    .
  2. ISBN 978-3-476-41025-2
    (Metzler). citation from cols. 2035–36.
  3. ^ Johnson 2006, 198–199.
  4. ^ Krenek 1998, 788.
  5. ^ Shreffler 1994, 21–22.
  6. ^ Viertel 1969, 3, 56–58, 80–82, 101, 167, 197, 206–210, 220, 257–260, 280–281, 314–316.
  7. ISBN 0-520-03395-7

Sources

Further reading

External links

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