The Second Viennese School: An Introduction

A look at the pivotal school at the heart of modern music.
This was a video request from KZbinr Eric Rakestraw. See the current requests at www.lentovivace.com/requestque...
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Classical Nerd is a weekly video series covering music history, theoretical concepts, and techniques, hosted by composer, pianist, and music history aficionado Thomas Little.
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Music:
- Arnold Schoenberg: Drei Klavierstücke, Op. 11, mvts. 1 and 2, performed by Hector Sanchez
[free recording courtesy pianosociety.com]
- Thomas Little: Dance! #2 in E minor, Op. 1 No. 2, performed by Rachel Fellows, Michael King, and Bruce Tippette
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Contact Information:
Questions and comments can be directed to:
nerdofclassical [at] gmail.com
Tumblr:
classical-nerd.tumblr.com
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All images and audio in this video are for educational purposes only and are not intended as copyright infringement. If you have a copyright concern, please contact me using the above information.

[@kessler7382]

Amazing content, thank you! As far as I know Schoenberg thought that one day his music will be entertaining and people will be humming to his compositions. Well, didn't happen so far.

[@Libertariun]

It was a dead end. But as dead ends go, a glorious one.

[@warrenstutely1093]

Many thanks for second Viennese school and Schoenberg. Warren

[@adelascello]

Thank you for these videos! Been using them to review for my Music History exams. - love it :)

[@ClassicalNerd]

That's what they're for, largely! I always see an uptick in views this time of year, and I'm always happy to help.

[@anyas2166]

this is such a big help for my upcoming midterm!! thank you for these videos

[@ClassicalNerd]

I'm glad that I've fostered such an educational resource!

[@sethwrightington6662]

I like 'the classical nerd!' The second viennese school is well introduced. I definitely benefit having racked brains with Schoenberg and Berg, a little less with Webern. It gave paths towards modern music today, too many to count, as many as there are good compositions out of it. Combinatorial music being one of them, perhaps the most interesting development in pitch since Schoenberg's theory, especially as regards pitch (structured vs. elaborational). The nerd didn't mention rhythm much. Rhythm, added to combinations of pitches from rows or 'serieses' of tones makes writing music super fun. Schoenberg used rhythm tonally, something you didn't talk about. Today, composers also can structure their pitches by establishing their own systems of working with rhythm. The one adds depth and distinction to the other, and releases the 'idea' of tonality from the cliches of the Romantic vocabulary -all that Mahler and Brahms! The last parameter you didn't dwell on much was form. It is incorrect to think about songs (like the Lunaire set) as conserving classical form. Songs are airs or 'arias' and are mostly affectual. The second viennese school made a huge contribution to later composers because one of the virtues of their methods was an easier way to construct larger passages gradually, the phrases and ellipses that make using any pitch idea worthwhile. Carry on with intros to modern composers!

[@jobhuiskamp5530]

Thank you!

[@w3tblnk3t]

I love them

[@wormswithteeth]

2:38 Interesting statement. At at performance of Donizetti's Anna Bolena, a lady behind me remarked "The music does not fit the themes of the story" (child death, mental health and execution). How exactly could he compose when he lived? A discussion with an art teacher about why renaissance painters did not create work like Jackson Pollack has always been though for food as well...

[@ericrakestraw664]

Thank you for taking my request.

[@alexrobson410]

In your request pool Janacek is mentioned twice separately. Also, can I add my vote for videos on Hindemith and Walton?

[@ClassicalNerd]

Duly noted on all counts!

[@ShorkGamer]

Tonality is slowly coming back again! See: Alma Deutscher, Zebedee Strudwick and others.

[@wormswithteeth]

For now...

[@ShorkGamer]

I feel like that we live in an epoch of restoration.

[@ClassicalNerd]

Tonality is being re-embraced because it's not seen as something expressly to be avoided, which was the hallmark of the serialists (and the reason for their eventual downfall).

[@ericrakestraw664]

Tonal music never totally went away. Many 20th century composers were writing pure tonal music at the same time as the 2nd Viennese School and many decades after.

[@A_29886]

It never went away

[@alissonlares2926]

Does Sofia Gubaidulina part of it?

[@ClassicalNerd]

No.

[@alissonlares2926]

@@ClassicalNerd I just heard about her and I loved her music. But I dunno much about music. Wich school or movement she represents? Do you have any content, video about her? I couldn't find much deep information about soviet composers in general.

[@ClassicalNerd]

@@alissonlares2926 There's not a great deal of analytical information on Gubaidulina, and I'm very cautious to make videos on composers whose careers are ongoing (which rules out most every living composer). She has a deeply individualistic style that's influenced by late Shostakovich and (to a certain extent) Schnittke, but has pioneered her own austere language and set of techniques that's not superbly well-documented by the analytical literature.

[@nausea87]

I am Viennese and I approve of this video.

[@DanielHubb360]

Maybe I don’t know what I’m talking about but it seems like some jealous guys who knew they would never be as good as Mozart or Beethoven decided to try and destroy music forever. You said something about a composer audience split. That reminds me of the movies that are made today that critics love and everyone hates. It is the audience that decides what’s good. I know how to play a few instruments and I know that we can never know why music theory works but it does it’s not arbitrary. It’s like the language of the Angels. And only some communist clowns could think they could do better.