Editing Second Viennese School

[[File:Wienerschule.jpg|thumb|Second Viennese School]]{{Short description|Group of composers in 20th century Vienna}}
[[File:P-R-I-RI.png|thumb|350px|Prime, retrograde, inverse, and retrograde-inverse permutations.]]

The '''Second Viennese School''' ({{langx|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]]. Twelve tone Composition was revolutionized by Arnold Schoenberg. Using this technique when composing he made sure he used all 12 notes in a chromatic scale when forming a melody, this would be called the "Primeseries". This series would later be enhanced in his compositions through permutations such as, Retrogrades, Inversions, Transformations etc. How this happens is, Schoenberg taking the pitches of the Primeseries and through his "Magic Square" of permutations takes said pitches and depending on which permutation he is utilizing, creates a new series of pitches to form a new melody. Later a French composer named Pierre Boulez takes Schoenberg's development and enhances it even further by serializing not only Pitch, but Rhythm, Articulation, and Dynamics as well.<ref>{{Cite journal |last=Maeda |first=Yoichiro |last2=Kajihara |first2=Yusuke |date=2010-04-20 |title=Automatic Generation of Musical Tone Row and Rhythm Based on the Twelve-Tone Technique Using Genetic Algorithm |url=https://www.fujipress.jp/jaciii/jc/jacii001400030288/ |journal=Journal of Advanced Computational Intelligence and Intelligent Informatics |volume=14 |issue=3 |page=288 |doi=10.20965/jaciii.2010.p0288|doi-access=free }}</ref> [[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.

== Members ==
{{See 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]].<ref>[[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. {{ISBN|978-3-7618-1128-3}} (Bärenreiter); {{ISBN|978-3-476-41025-2}} (Metzler). citation from cols. 2035–36.</ref> 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 [[Catalonia|Catalan]] Gerhard, the [[Transylvania]]n 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 [[Canadians|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, [[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}}

== 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<ref>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|0-520-03395-7}}</ref>—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 [[Festschrift]]en 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 [[Darmstadt New Music Summer School|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, [[Theodor W. Adorno|Adorno]], Kolisch, [[Hermann Heiss|Heiss]], [[Peter Stadlen|Stadlen]], [[Hans Heinz Stuckenschmidt|Stuckenschmidt]], [[Hermann Scherchen|Scherchen]]) converged with the new serialists (e.g. [[Pierre Boulez|Boulez]], [[Karlheinz Stockhausen|Stockhausen]], [[Bruno Maderna|Maderna]], [[Luigi Nono|Nono]], et al.).

== First Viennese School ==
{{Unsourced section|date=April 2019}}
{{Main|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 Music Era|Classical]] style working in the late 18th and early 19th century, particularly [[Joseph Haydn]], [[Wolfgang Amadeus Mozart]], [[Ludwig van Beethoven]] and [[Franz Schubert]].<ref>{{Cite web |title=What even is the Viennese School, and why do classical music people say it? |url=https://www.classicfm.com/discover-music/first-viennese-school-classical/ |access-date=2025-05-10 |website=Classic FM |language=en}}</ref> Though Mozart and Schubert did not study with Haydn, Beethoven did for a time receive lessons from the older master, Haydn,<ref>{{Cite web |date=2024-08-09 |title=Beethoven and Haydn: Mentor and Student - Serenade |url=https://serenademagazine.com/beethoven-and-haydn-mentor-and-student/ |access-date=2025-05-10 |website=Serenade Magazine |language=en}}</ref> 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==
*[[Skandalkonzert]]

== References ==
===Citations===
{{Reflist}}

===Sources===
* {{wikicite|ref={{harvid|Johnson|2006}}|reference=Johnson, Julius. 2006. "Anton Webern, the Social Democratic Kunstelle and Musical Modernism." ''Austrian Studies'' 14(1):197–213.}}
* {{wikicite|ref={{harvid|Krenek|1998}}|reference=Krenek, Ernst. 1998. ''Im Atem der Zeit: Erinnerungen an die Moderne'', trans. Friedrich Saathen and Sabine Schulte. Hamburg: Hoffmann und Campe. {{ISBN|978-3-455-11170-5}} (hbk).}}
* {{wikicite|ref={{harvid|Shreffler|1994}}|reference=Shreffler, Anne C. 1994. ''Webern and the Lyric Impulse: Songs and Fragments on Poems of Georg Trakl''. Oxford: Oxford University Press. {{ISBN|978-0-198-16224-7}}.}}
* {{wikicite|ref={{harvid|Viertel|1969}}|reference=[[Salka Viertel|Viertel, Salka]]. 1969. ''[https://archive.org/details/kindnessofstrang00vier The Kindness of Strangers]''. New York: Holt, Rinehart, and Winston. First edition. {{ISBN|978-0-03-076470-7}} (hbk).}}

== 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 ==
* [https://www.classical-music.gr/ Post-Romantic Classical Radio]
* [http://www.schoenberg.at/ Arnold Schoenberg Center in Vienna]

{{Atonality}}
{{Avant-garde}}
{{Composition schools}}
{{Second Viennese School}}
{{Twelve-tone technique}}

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