The Second Viennese School (German: Zweite Wiener Schule, Neue Wiener Schule) was the group of composers that comprised Arnold Schoenberg and his pupils, particularly Alban Berg and Anton Webern, and close associates in early 20th-century Vienna. Their music was initially characterized by late-Romantic expanded tonality and later, a totally chromatic expressionism without firm tonal centre, often referred to as atonality; and later still, Schoenberg's serialtwelve-tone technique. 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.
Prime, retrograde, inverse, and retrograde-inverse permutations.
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.
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[3]—while Gerhard and Skalkottas were closely involved with the folk music of their respective countries) the impression of cohesiveness was enhanced by the literary efforts of some of its members. Wellesz wrote the first book on Schoenberg, who was also the subject of several Festschriften put together by his friends and pupils; Rufer and Spinner both wrote books on the technique of twelve-tone composition; and Leibowitz's influential study of Schoenberg, Berg and Webern, Schoenberg et son école, helped to establish the image of a school in the period immediately after World War II in France and abroad. Several of those mentioned (e.g. Jalowetz, Rufer) were also influential as teachers, and others (e.g. Kolisch, Rankl, Stein, Steuermann, Zillig) as performers, in disseminating the ideals, ideas and approved repertoire of the group. Perhaps the culmination of the school took place at Darmstadt almost immediately after World War II, at the 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.).
German musical literature refers to the grouping as the "Wiener Schule" or "Neue Wiener Schule". The existence of a "First Viennese School" is debatable. The term is often assumed to connote the great Vienna-based masters of the 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, Mozart and Haydn were admirers of each other's work and evidence suggests that the two composers fed off the other's compositional craftsmanship. Beethoven, however, 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.
^Volbach, W. R.; Adorno, Theodor W. (1950). "Philosophie der neuen Musik". Books Abroad. 24 (4): 394. doi:10.2307/40089560. ISSN 0006-7431.
^Rudolf Stephan, "Wiener Schule", Die Musik in Geschichte und Gegenwart: allgemeine Enzyklopädie der Musik, second, revised edition, edited by musicologist Ludwig Finscher, 26 volumes in two parts, (Kassel, Basel, London, [etc.]: Bärenreiter-Verlag; Stuttgart and Weimar: J. B. Metzler, 1998): Part 1 (Sachteil), vol. 9 (Sy–Z): cols. 2034–45. ISBN978-3-7618-1128-3 (Bärenreiter); ISBN978-3-476-41025-2 (Metzler). citation from cols. 2035–36.
^Perle, George. Serial Composition and Atonality: An Introduction to the Music of Schoenberg, Berg, and Webern, p.2n3. Fourth Edition. 1977. Berkeley, Los Angeles, and London: University of California Press. ISBN0-520-03395-7
Further reading
René Leibowitz, Schoenberg et son école (Paris, Editeur J B Janin, 1947) translated by Dika Newlin as Schoenberg and His School: The Contemporary Stage of the Language of Music (New York, Philosophical Library, 1949)
External links
Arnold Schoenberg Center in Vienna
January 09, 2023
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The Second Viennese School German Zweite Wiener Schule Neue Wiener Schule was the group of composers that comprised Arnold Schoenberg and his pupils particularly Alban Berg and Anton Webern and close associates in early 20th century Vienna Their music was initially characterized by late Romantic expanded tonality and later a totally chromatic expressionism without firm tonal centre often referred to as atonality and later still Schoenberg s serial twelve tone technique 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 Prime retrograde inverse and retrograde inverse permutations Contents 1 Members 2 Practices 3 First Viennese School 4 See also 5 References 6 Further reading 7 External linksMembers EditSee also List of students of Arnold Schoenberg The principal members of the school besides Schoenberg were Alban Berg and Anton Webern who were among his first composition pupils Both of them had already produced copious and talented music in a late Romantic idiom but felt they gained new direction and discipline from Schoenberg s teaching Other members of this generation included Ernst Krenek Heinrich Jalowetz Erwin Stein and Egon Wellesz and somewhat later Eduard Steuermann Hanns Eisler Robert Gerhard Norbert von Hannenheim Rudolf Kolisch Paul A Pisk Karl Rankl Josef Rufer Nikos Skalkottas Viktor Ullmann and Winfried Zillig 2 Schoenberg s brother in law 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 Rene Leibowitz Leopold Spinner and Ludwig Zenk are usually included in the roll call Practices EditThough 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 3 while Gerhard and Skalkottas were closely involved with the folk music of their respective countries the impression of cohesiveness was enhanced by the literary efforts of some of its members Wellesz wrote the first book on Schoenberg who was also the subject of several Festschriften put together by his friends and pupils Rufer and Spinner both wrote books on the technique of twelve tone composition and Leibowitz s influential study of Schoenberg Berg and Webern Schoenberg et son ecole helped to establish the image of a school in the period immediately after World War II in France and abroad Several of those mentioned e g Jalowetz Rufer were also influential as teachers and others e g Kolisch Rankl Stein Steuermann Zillig as performers in disseminating the ideals ideas and approved repertoire of the group Perhaps the culmination of the school took place at Darmstadt almost immediately after World War II at the Internationale Ferienkurse fur 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 EditThis section does not cite any sources Please help improve this section by adding citations to reliable sources Unsourced material may be challenged and removed April 2019 Learn how and when to remove this template message Main article First Viennese School German musical literature refers to the grouping as the Wiener Schule or Neue Wiener Schule The existence of a First Viennese School is debatable The term is often assumed to connote the great Vienna based masters of the 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 Mozart and Haydn were admirers of each other s work and evidence suggests that the two composers fed off the other s compositional craftsmanship Beethoven however 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 See also EditSkandalkonzertReferences Edit Volbach W R Adorno Theodor W 1950 Philosophie der neuen Musik Books Abroad 24 4 394 doi 10 2307 40089560 ISSN 0006 7431 Rudolf Stephan Wiener Schule Die Musik in Geschichte und Gegenwart allgemeine Enzyklopadie der Musik second revised edition edited by musicologist Ludwig Finscher 26 volumes in two parts Kassel Basel London etc Barenreiter Verlag Stuttgart and Weimar J B Metzler 1998 Part 1 Sachteil vol 9 Sy Z cols 2034 45 ISBN 978 3 7618 1128 3 Barenreiter ISBN 978 3 476 41025 2 Metzler citation from cols 2035 36 Perle George Serial Composition and Atonality An Introduction to the Music of Schoenberg Berg and Webern p 2n3 Fourth Edition 1977 Berkeley Los Angeles and London University of California Press ISBN 0 520 03395 7Further reading EditRene Leibowitz Schoenberg et son ecole Paris Editeur J B Janin 1947 translated by Dika Newlin as Schoenberg and His School The Contemporary Stage of the Language of Music New York Philosophical Library 1949 External links EditArnold Schoenberg Center in Vienna Retrieved from https en wikipedia org w index php title Second Viennese School amp oldid 1078606668, wikipedia, wiki, book, books, library,
