Schoenberg Berg And Webern

The Second Viennese School as a historical concept / Joseph Auner -- Musical culture in Vienna at the turn of the Twentieth Century / Margaret Notley -- Wiener Moderne and the tensions of Modernism / Dagmar Barnouw -- Arnold Schoenberg / Bryan R. Simms -- Alban Berg / David Schroeder -- Anton Webern / Anne C. Shreffler -- The legacy of the Second Viennese School / Jonathan W. Bernard.

Publisher Description

This book examines the relationship of three very different men who are usually seen as the most important composers of the so-called Second Viennese School – Arnold Schönberg, Alban Berg and Anton Webern – in the years 1906 to 1921 through a close reading of their correspondence with each other. To date only one of these correspondences, that of Schönberg and Berg, has been published, so the other two sets of letters are not yet widely known. The largely differing personalities of these three men come out clearly in their letters to each other: Schönberg, the master who demands a great many things from his two pupils (long after they have ceased to be that); Berg, from whom he demands the most; and Webern, his most pious devotee. The book covers the period linking the first correspondence between master and pupils in 1906 and the dissolution of the Verein für musikalische Privataufführungen in 1921, the period when these men were most closely bound together.

Considers the lives and works of the three 20th composers that comprise what is known as the "Second Viennese School"--Arnold Schoenberg, Anton Webern and Alan Berg. Illuminated by texts, expanded and updated from The New Grove dictionary ... with a comprehensive worklist, index and fully revised bibliography.

Widely recognized as the definitive work in its field ever since its original publication in 1962, Serial Composition and Atonality remains an unsurpassed introduction to the technical features of what is probably the most revolutionary body of work since the beginnings of polyphony. In the analysis of specific compositions there is first and last of all a concern with the musical surface—an attempt to trace connections and distinctions there before offering any deeper-level constructions, and to offer none where their effects are not obvious on more immediate levels of musical experience. In this sixth edition of the book, George Perle employs the new and more consistent terminology for the identification of transpositional levels of twelve-tone sets that he first proposed in Twelve-Tone Tonality (1977).