Second Viennese School: Difference between revisions

The '''Second Viennese School''' ({{lang-de|Zweite Wiener Schule, Neue Wiener Schule}}) was the group of [[composer]]s that comprised [[Arnold Schoenberg]] and his pupils, particularly [[Alban Berg]] and [[Anton Webern]], and close associates in early 20th-century [[Vienna, Austria|Vienna]]. Their music was initially characterized by late-[[Romantic music|Romantic]] expanded tonality and later, a totally chromatic [[expressionism]] without a firm tonal centre, often referred to as [[atonality]]; and later still, Schoenberg's [[serialism|serial]] [[twelve-tone technique]]. [[Theodor Adorno|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.<ref>{{Cite journal|last1=Volbach|first1=W. R.|last2=Adorno|first2=Theodor W.|date=1950|title=Philosophie der neuen Musik|url=http://dx.doi.org/10.2307/40089560|journal=Books Abroad|volume=24|issue=4|pages=394|doi=10.2307/40089560|jstor=40089560 |issn=0006-7431}}</ref> 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.

The broader circle of the Second Viennese School included, among others, [[Oskar Adler]], [[Theodor W. Adorno]], [[Hans Erich Apostel]], [[Robert Gerhard]], [[Norbert von Hannenheim]], [[Heinrich Jalowetz]], [[Hanns Jelinek]], [[Sándor Jemnitz]], {{ill|Otto Jokl|de}}, [[Rudolf Kolisch]] of the [[Kolisch Quartet]], [[Ernst Krenek]], {{ill|Rita Kurzmann-Leuchter|de}}, {{ill|Erwin Leuchter|de}}, Olga Novakovic, [[Paul Pisk]], Rudolf Ploderer, Josef Polnauer, [[Erwin Ratz]], {{ill|Willi Reich|de}}, [[Josef Rufer]], [[Peter Schacht]], Julius Schloss, [[Nikos Skalkottas]], [[Erwin Stein]], [[Eduard Steuermann]], [[Viktor Ullmann]], Rudolf Weirich, [[Adolph Weiss]], [[Egon Wellesz]], [[Alexander Zemlinsky]], and [[Winfried Zillig]].

Contemporaneous performers, friends, admirers, and supporters of the circle at various times included figures as diverse as [[Guido Adler]], [[David Josef Bach]],{{sfn|Johnson|2006|loc=198–199}} [[Ernst Bachrich]], Imre [Emerich] Balabán and [[Béla Bartók]] of the New Hungarian Music Society, [[Julius Bittner]], [[Artur Bodanzky]], [[Mark Brunswick]],{{sfn|Krenek|1998|loc=788}} [[Richard Buhlig]], [[Edward Clark (conductor)|Edward Clark]], [[Henry Cowell]], [[Herbert Eimert]], {{ill|Gottfried Feist|ca}}, [[Marya Freund]], [[Felix Galimir]] of the Galimir Quartet, [[Rudolph Ganz]], [[George Gershwin]], [[Richard Gerstl]], [[Walter Gropius]], [[Marie Gutheil-Schoder]], [[Alois Hába]], [[Emil Hertzka]], [[Jascha Horenstein]], [[Felicie Hüni-Mihacsek]], [[Erich Itor Kahn]], [[Wassily Kandinsky]], [[Hans Keller]], [[Erich Kleiber]], [[Gustav Klimt]], [[Wilhelm Klitsch]], [[Erich Wolfgang Korngold]], [[Louis Krasner]], [[Józef Koffler]], [[Oskar Kokoschka]], [[René Leibowitz]], [[Erich Leinsdorf]], [[Adolf Loos]], [[Darius Milhaud]] and [[Francis Poulenc]] of ''[[Les Six]]'', [[Elisabeth Lutyens]], [[Gustav Mahler|Gustav]] and [[Alma Mahler]], [[Frank Martin (composer)|Frank Martin]], [[Dimitri Mitropoulos]], [[Soma Morgenstern]], [[Johanna Müller-Hermann]], [[Dika Newlin]], [[Will Ogdon]], [[Max Oppenheimer (artist)|Max Oppenheimer]], [[Otakar Ostrčil]], [[Maurice Ravel]], [[Rudolph Reti]], {{ill|Luigi Rognoni|it}}, [[Arnold Rosé]] et al. of the [[Rosé Quartet]], [[Hans Rosbaud]], [[Nikolai Roslavets]] et al. of the [[Association for Contemporary Music]], [[Hermann Scherchen]], [[Egon Schiele]], {{ill|Alfredo Sangiorgi|it}}, {{ill|Alfred Schlee|de}}, [[Erich Schmid (conductor)|Erich Schmid]], [[Franz Schreker]], [[Erwin Schulhoff]], [[Eugenie Schwarzwald]], [[Rudolf Serkin]], [[Roger Sessions]], [[Peter Stadlen]], {{ill|Erika Stiedry-Wagner|de}}, [[Igor Stravinsky]], [[Georg Trakl]],{{sfn|Shreffler|1994|loc=21–22}} [[Edgard Varèse]] et al. of the [[International Composers Guild]], Steuermann's sister [[Salka Viertel]],{{sfn|Viertel|1969|loc=3, 56–58, 80–82, 101, 167, 197, 206–210, 220, 257–260, 280–281, 314–316}} [[Imre Waldbauer]] et al. of the {{ill|Waldbauer-Kerpely Quartet|hu|Waldbauer–Kerpely-vonósnégyes}}, [[Franz Werfel]], [[Arnold Zweig]], and ''[[Young Vienna|Jung-Wien]]'' writers [[Peter Altenberg]], [[Hermann Bahr]], [[Karl Kraus (writer)|Karl Kraus]], and [[Arthur Schnitzler]].{{citation needed|date=July 2023}}

Berg, Schoenberg, Webern, or someWebern combinationfeatured of(or themwere featuredinferred) 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".