Podcasts about Second Viennese School

fWotD Episode 2882: Pierre Boulez Welcome to Featured Wiki of the Day, your daily dose of knowledge from Wikipedia’s finest articles.The featured article for Wednesday, 26 March 2025 is Pierre Boulez.Pierre Louis Joseph Boulez (French: [pjɛʁ lwi ʒozεf bulɛz]; 26 March 1925 – 5 January 2016) was a French composer, conductor and writer, and the founder of several musical institutions. He was one of the dominant figures of post-war contemporary classical music.Born in Montbrison, in the Loire department of France, the son of an engineer, Boulez studied at the Conservatoire de Paris with Olivier Messiaen, and privately with Andrée Vaurabourg and René Leibowitz. He began his professional career in the late 1940s as music director of the Renaud-Barrault theatre company in Paris. He was a leading figure in avant-garde music, playing an important role in the development of integral serialism in the 1950s, controlled chance music in the 1960s and the electronic transformation of instrumental music in real time from the 1970s onwards. His tendency to revise earlier compositions meant that his body of work was relatively small, but it included pieces considered landmarks of twentieth-century music, such as Le Marteau sans maître, Pli selon pli and Répons. His uncompromising commitment to modernism and the trenchant, polemical tone in which he expressed his views on music led some to criticise him as a dogmatist.Boulez was also one of the most prominent conductors of his generation. In a career lasting more than sixty years, he was music director of the New York Philharmonic, chief conductor of the BBC Symphony Orchestra and principal guest conductor of the Chicago Symphony Orchestra and the Cleveland Orchestra. He made frequent appearances with many other orchestras, including the Vienna Philharmonic and the Berlin Philharmonic. He was known for his performances of the music of the first half of the twentieth century—including Debussy and Ravel, Stravinsky and Bartók, and the Second Viennese School—as well as that of his contemporaries, such as Ligeti, Berio and Carter. His work in the opera house included the production of Wagner's Ring cycle for the centenary of the Bayreuth Festival, and the world premiere of the three-act version of Berg's opera Lulu. His recorded legacy is extensive. He also founded several musical institutions. In Paris he set up the Domaine musical in the 1950s to promote new music; in the 1970s he established the Institut de Recherche et Coordination Acoustique / Musique (IRCAM), to foster research and innovation in music, and the Ensemble intercontemporain, a chamber orchestra specialising in contemporary music. Later he co-founded the Cité de la musique, a concert hall, museum and library dedicated to music in the Parc de la Villette in Paris and, in Switzerland, the Lucerne Festival Academy, an international orchestra of young musicians, with which he gave first performances of many new works.This recording reflects the Wikipedia text as of 00:21 UTC on Wednesday, 26 March 2025.For the full current version of the article, see Pierre Boulez on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm generative Olivia.

fWotD Episode 2703: Igor Stravinsky Welcome to Featured Wiki of the Day, your daily dose of knowledge from Wikipedia’s finest articles.The featured article for Saturday, 28 September 2024 is Igor Stravinsky.Igor Fyodorovich Stravinsky (17 June [O. S. 5 June] 1882 – 6 April 1971) was a Russian composer and conductor with French citizenship (from 1934) and American citizenship (from 1945). He is widely considered one of the most important and influential composers of the 20th century and a pivotal figure in modernist music.Born to a famous bass in Saint Petersburg, Russia, Stravinsky grew up taking piano and music theory lessons. While studying law at the University of Saint Petersburg, he met Nikolai Rimsky-Korsakov and studied music under him until the latter's death in 1908. Stravinsky met the impresario Sergei Diaghilev soon after, who commissioned the composer to write three ballets for the Ballets Russes's Paris seasons: The Firebird (1910), Petrushka (1911), and The Rite of Spring (1913), the last of which caused a near-riot at the premiere due to its avant-garde nature and later changed the way composers understood rhythmic structure.Stravinsky's compositional career is often divided into three main periods: his Russian period (1913–1920), his neoclassical period (1920–1951), and his serial period (1954–1968). During his Russian period, Stravinsky was heavily influenced by Russian styles and folklore. Works such as Renard (1916) and Les noces (1923) drew upon Russian folk poetry, while compositions like L'Histoire du soldat (1918) integrated these folk elements with popular musical forms, including the tango, waltz, ragtime, and chorale. His neoclassical period exhibited themes and techniques from the classical period, like the use of the sonata form in his Octet (1923) and use of Greek mythological themes in works including Apollon musagète (1927), Oedipus rex (1927), and Persephone (1935). In his serial period, Stravinsky turned towards compositional techniques from the Second Viennese School like Arnold Schoenberg's twelve-tone technique. In Memoriam Dylan Thomas (1954) was the first of his compositions to be fully based on the technique, and Canticum Sacrum (1956) was his first to be based on a tone row. Stravinsky's last major work was the Requiem Canticles (1966), which was performed at his funeral.While many supporters were confused by Stravinsky's constant stylistic changes, later writers recognized his versatile language as important in the development of modernist music. Stravinsky's revolutionary ideas influenced composers as diverse as Aaron Copland, Philip Glass, Béla Bartók, and Pierre Boulez, who were all challenged to innovate music in areas beyond tonality, especially rhythm and form. In 1998, Time magazine listed Stravinsky as one of the 100 most influential people of the century. Stravinsky died of pulmonary edema on 6 April 1971 in New York City, having left six memoirs written with his friend and assistant Robert Craft, as well as an earlier autobiography and a series of lectures.This recording reflects the Wikipedia text as of 00:51 UTC on Saturday, 28 September 2024.For the full current version of the article, see Igor Stravinsky on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm neural Amy.

This is a story of four composers whose careers, lives and loves as women working in 20th century Britain have since been largely forgotten. Dr Leah Broad's 2023 debut Quartet: How Four Women Changed the Musical World (Faber & Faber, 2023), reveals the life and music of some of Britain's most exciting 20th-century composers. A musicologist who gravitates towards figures at the margins of Western Art Music, the four subjects of Broad's biography (Ethel Smyth, Rebecca Clarke, Doreen Carwithen and Dorothy Howell) experience success, even fame, before being pushed to the periphery. They compose operas, film music, songs and sonatas, encounter the Second Viennese School and fashion early freelance instrumental careers. Broad's narrative begins in 1858 with the birth of Ethel Smyth. She charts two world wars, the development of post-war British institutions such as the BBC and the Arts Council of Great Britain, and brings us all the way to Doreen Carwithen's death in 2003. In this time, the four composers take on the diverse politics of suffragette militancy, 60's American liberalism and a staunch British-Catholic conservatism. Through grouping such diverse personalities, Broad refuses the tendency to isolate women as historical anomalies or singular figures. Her fluent prose expertly interweaves their lives, whilst revealing a true diversity of music, thought and experience. Joseph Edwards is a writer and violinist based in London. His current research looks at the importance of sound in chronic illness experience. Contact him via email at joseph8edwards@gmail.com or through Twitter @joseph8edwards. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

This is a story of four composers whose careers, lives and loves as women working in 20th century Britain have since been largely forgotten. Dr Leah Broad's 2023 debut Quartet: How Four Women Changed the Musical World (Faber & Faber, 2023), reveals the life and music of some of Britain's most exciting 20th-century composers. A musicologist who gravitates towards figures at the margins of Western Art Music, the four subjects of Broad's biography (Ethel Smyth, Rebecca Clarke, Doreen Carwithen and Dorothy Howell) experience success, even fame, before being pushed to the periphery. They compose operas, film music, songs and sonatas, encounter the Second Viennese School and fashion early freelance instrumental careers. Broad's narrative begins in 1858 with the birth of Ethel Smyth. She charts two world wars, the development of post-war British institutions such as the BBC and the Arts Council of Great Britain, and brings us all the way to Doreen Carwithen's death in 2003. In this time, the four composers take on the diverse politics of suffragette militancy, 60's American liberalism and a staunch British-Catholic conservatism. Through grouping such diverse personalities, Broad refuses the tendency to isolate women as historical anomalies or singular figures. Her fluent prose expertly interweaves their lives, whilst revealing a true diversity of music, thought and experience. Joseph Edwards is a writer and violinist based in London. His current research looks at the importance of sound in chronic illness experience. Contact him via email at joseph8edwards@gmail.com or through Twitter @joseph8edwards. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies

This is a story of four composers whose careers, lives and loves as women working in 20th century Britain have since been largely forgotten. Dr Leah Broad's 2023 debut Quartet: How Four Women Changed the Musical World (Faber & Faber, 2023), reveals the life and music of some of Britain's most exciting 20th-century composers. A musicologist who gravitates towards figures at the margins of Western Art Music, the four subjects of Broad's biography (Ethel Smyth, Rebecca Clarke, Doreen Carwithen and Dorothy Howell) experience success, even fame, before being pushed to the periphery. They compose operas, film music, songs and sonatas, encounter the Second Viennese School and fashion early freelance instrumental careers. Broad's narrative begins in 1858 with the birth of Ethel Smyth. She charts two world wars, the development of post-war British institutions such as the BBC and the Arts Council of Great Britain, and brings us all the way to Doreen Carwithen's death in 2003. In this time, the four composers take on the diverse politics of suffragette militancy, 60's American liberalism and a staunch British-Catholic conservatism. Through grouping such diverse personalities, Broad refuses the tendency to isolate women as historical anomalies or singular figures. Her fluent prose expertly interweaves their lives, whilst revealing a true diversity of music, thought and experience. Joseph Edwards is a writer and violinist based in London. His current research looks at the importance of sound in chronic illness experience. Contact him via email at joseph8edwards@gmail.com or through Twitter @joseph8edwards. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

This is a story of four composers whose careers, lives and loves as women working in 20th century Britain have since been largely forgotten. Dr Leah Broad's 2023 debut Quartet: How Four Women Changed the Musical World (Faber & Faber, 2023), reveals the life and music of some of Britain's most exciting 20th-century composers. A musicologist who gravitates towards figures at the margins of Western Art Music, the four subjects of Broad's biography (Ethel Smyth, Rebecca Clarke, Doreen Carwithen and Dorothy Howell) experience success, even fame, before being pushed to the periphery. They compose operas, film music, songs and sonatas, encounter the Second Viennese School and fashion early freelance instrumental careers. Broad's narrative begins in 1858 with the birth of Ethel Smyth. She charts two world wars, the development of post-war British institutions such as the BBC and the Arts Council of Great Britain, and brings us all the way to Doreen Carwithen's death in 2003. In this time, the four composers take on the diverse politics of suffragette militancy, 60's American liberalism and a staunch British-Catholic conservatism. Through grouping such diverse personalities, Broad refuses the tendency to isolate women as historical anomalies or singular figures. Her fluent prose expertly interweaves their lives, whilst revealing a true diversity of music, thought and experience. Joseph Edwards is a writer and violinist based in London. His current research looks at the importance of sound in chronic illness experience. Contact him via email at joseph8edwards@gmail.com or through Twitter @joseph8edwards. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

This is a story of four composers whose careers, lives and loves as women working in 20th century Britain have since been largely forgotten. Dr Leah Broad's 2023 debut Quartet: How Four Women Changed the Musical World (Faber & Faber, 2023), reveals the life and music of some of Britain's most exciting 20th-century composers. A musicologist who gravitates towards figures at the margins of Western Art Music, the four subjects of Broad's biography (Ethel Smyth, Rebecca Clarke, Doreen Carwithen and Dorothy Howell) experience success, even fame, before being pushed to the periphery. They compose operas, film music, songs and sonatas, encounter the Second Viennese School and fashion early freelance instrumental careers. Broad's narrative begins in 1858 with the birth of Ethel Smyth. She charts two world wars, the development of post-war British institutions such as the BBC and the Arts Council of Great Britain, and brings us all the way to Doreen Carwithen's death in 2003. In this time, the four composers take on the diverse politics of suffragette militancy, 60's American liberalism and a staunch British-Catholic conservatism. Through grouping such diverse personalities, Broad refuses the tendency to isolate women as historical anomalies or singular figures. Her fluent prose expertly interweaves their lives, whilst revealing a true diversity of music, thought and experience. Joseph Edwards is a writer and violinist based in London. His current research looks at the importance of sound in chronic illness experience. Contact him via email at joseph8edwards@gmail.com or through Twitter @joseph8edwards. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

This is a story of four composers whose careers, lives and loves as women working in 20th century Britain have since been largely forgotten. Dr Leah Broad's 2023 debut Quartet: How Four Women Changed the Musical World (Faber & Faber, 2023), reveals the life and music of some of Britain's most exciting 20th-century composers. A musicologist who gravitates towards figures at the margins of Western Art Music, the four subjects of Broad's biography (Ethel Smyth, Rebecca Clarke, Doreen Carwithen and Dorothy Howell) experience success, even fame, before being pushed to the periphery. They compose operas, film music, songs and sonatas, encounter the Second Viennese School and fashion early freelance instrumental careers. Broad's narrative begins in 1858 with the birth of Ethel Smyth. She charts two world wars, the development of post-war British institutions such as the BBC and the Arts Council of Great Britain, and brings us all the way to Doreen Carwithen's death in 2003. In this time, the four composers take on the diverse politics of suffragette militancy, 60's American liberalism and a staunch British-Catholic conservatism. Through grouping such diverse personalities, Broad refuses the tendency to isolate women as historical anomalies or singular figures. Her fluent prose expertly interweaves their lives, whilst revealing a true diversity of music, thought and experience. Joseph Edwards is a writer and violinist based in London. His current research looks at the importance of sound in chronic illness experience. Contact him via email at joseph8edwards@gmail.com or through Twitter @joseph8edwards. Learn more about your ad choices. Visit megaphone.fm/adchoices

This is a story of four composers whose careers, lives and loves as women working in 20th century Britain have since been largely forgotten. Dr Leah Broad's 2023 debut Quartet: How Four Women Changed the Musical World (Faber & Faber, 2023), reveals the life and music of some of Britain's most exciting 20th-century composers. A musicologist who gravitates towards figures at the margins of Western Art Music, the four subjects of Broad's biography (Ethel Smyth, Rebecca Clarke, Doreen Carwithen and Dorothy Howell) experience success, even fame, before being pushed to the periphery. They compose operas, film music, songs and sonatas, encounter the Second Viennese School and fashion early freelance instrumental careers. Broad's narrative begins in 1858 with the birth of Ethel Smyth. She charts two world wars, the development of post-war British institutions such as the BBC and the Arts Council of Great Britain, and brings us all the way to Doreen Carwithen's death in 2003. In this time, the four composers take on the diverse politics of suffragette militancy, 60's American liberalism and a staunch British-Catholic conservatism. Through grouping such diverse personalities, Broad refuses the tendency to isolate women as historical anomalies or singular figures. Her fluent prose expertly interweaves their lives, whilst revealing a true diversity of music, thought and experience. Joseph Edwards is a writer and violinist based in London. His current research looks at the importance of sound in chronic illness experience. Contact him via email at joseph8edwards@gmail.com or through Twitter @joseph8edwards. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/british-studies

It became known as the ‘Skandalkonzert': an evening of expressionist, experimental pieces at Vienna's Great Hall of the Musikverein on March 31, 1913, which so disturbed the audience that rioting and slapping ensued, followed by a lawsuit.  In time, it established the reputations of The Second Viennese School - a group of composers like Shoenberg and Weber, who sought to break away from the traditional tonal system and create a new form of classical music. In this episode, Arion, Rebecca and Olly consider whether it was simply the running order, not the artistic demands of the pieces, that truly upset the apple cart; reveal the extraordinary precautions Shoenberg put in place to prevent such an event recurring; and turn to Strauss for a zinger of a put-down… Further Reading: • ‘The Second Viennese School: Alban Berg, Arnold Schoenberg and Anton Webern | The British Library' (British Library): https://www.bl.uk/20th-century-music/articles/the-second-viennese-school • ‘Skandalkonzert' (ASAP History, 2020): https://asaphistory.com/2020/03/31/03-31-skandalkonzert/ • ‘Schoenberg explained in 10 Minutes' (Samuel Andreyev, 2019): https://www.youtube.com/watch?v=bjV3PBIWO2I #Music #1900s #Austria #Jewish We'll be back on Monday - unless you join 

In a special extended episode of How to Enjoy Experimental Film, FOUR filmmakers gather to discuss one of their favourite filmmakers: Kurt Kren. Nicky Hamlyn and Simon Payne have edited (with the late A.L. Rees) the first English-Language study of Kren's films, while Anna Thew, who has regularly programmed Kren's works for screenings, shares some stories of her own association with Kren and his films. Steven Woloshen, who lists Kren as one of his favourite filmmakers, starts the ball rolling with questions sent in specially for this episode all the way from Canada! Filmmakers discussed in this episode include: Peter Kubelka Rose Lowder Michael Snow Paul Sharits Oki Hiroyuki Tony Conrad Peter Tscherkassky Writers discussed in this episode include: Annette Michelson We also discuss the music of the Second Viennese School in relation to films by Kren and Kubelka, focusing on: Arnold Schoenberg Alban Berg Anton Webern

Some pretty chaotic energy in this one as Nick and Max are joined by Kenzie ******* to discuss the Second Viennese School. Max talked way too goddamn much but he was drunk and loves Schoenberg, not too much you can do to stop it. Stick around to the near end to hear some new music by Nick that kicks so much ass it should win ten Grammy's.

The Dover Quartet performs works by Webern, Berg, and Schumann.

This coffee break discusses Arnold Schoenberg's Pierrot Lunaire, Op. 21 ("Moonstruck Pierrot" or "Pierrot in the Moonlight")and its effect on the direction of classical music. The piece, premiering in 1912, abandoned a tonal center, reflected the political controversy of the day, and become a essential piece of the Second Viennese School. We listen to a piece by his student Anton Friedrich Wilhelm von Webern and discuss how the twelve-tone technique created a sharp divide with the audiences of the day. Listen to Pierrot Lunaire https://www.youtube.com/watch?v=KsIATAaR-X0 Help keep Your Classical Coffee Break serving up it delicious brew of classical music discussions and donate with PayPal at www.mauriceriverpress.com We appreciate the economic vote of confidence.

A critic once commented that Schoenberg's "Five Pieces for Orchestra" requires "an orchestra of soloists," Schoenberg himself said that his aim was the development of "the emancipation of dissonance," in which no single note or key would be dominant over others. To this end melodies are fragmentary while the emphasis is on ever-shifting instrumental colors.; thus each of the five brief movements acquires a distinctive atmosphere. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 33850]

A critic once commented that Schoenberg's "Five Pieces for Orchestra" requires "an orchestra of soloists," Schoenberg himself said that his aim was the development of "the emancipation of dissonance," in which no single note or key would be dominant over others. To this end melodies are fragmentary while the emphasis is on ever-shifting instrumental colors.; thus each of the five brief movements acquires a distinctive atmosphere. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 33850]

A critic once commented that Schoenberg's "Five Pieces for Orchestra" requires "an orchestra of soloists," Schoenberg himself said that his aim was the development of "the emancipation of dissonance," in which no single note or key would be dominant over others. To this end melodies are fragmentary while the emphasis is on ever-shifting instrumental colors.; thus each of the five brief movements acquires a distinctive atmosphere. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 33850]

A critic once commented that Schoenberg's "Five Pieces for Orchestra" requires "an orchestra of soloists," Schoenberg himself said that his aim was the development of "the emancipation of dissonance," in which no single note or key would be dominant over others. To this end melodies are fragmentary while the emphasis is on ever-shifting instrumental colors.; thus each of the five brief movements acquires a distinctive atmosphere. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 33850]

Today's episode is mostly a discussion of the Second Viennese School, especially early Schoenberg. No joke there, just a 100 percent truth bomb. Today's strip

Student musicians in the Texas Music Festival Orchestra perform dark works by Rachmaninoff, Webern, and Berg.

Picks from the first week of In Tune in 2017, in which BBC Radio 3 celebrated the Second Viennese School as part of 'Breaking Free', its year-long focus on Revolutions. Suzy talks to conductor Edward Gardner, Max Baillie and Sebastian van Kuijk of Aurora Orchestra, and folk musician Ange Hardy. Plus actor Kelly Price and baroque specialist Peter McCarthy talk about All the Angels, Nick Drake's play about Handel's Messiah.

Breaking Free - the minds that changed music.In The Essay this week, personal reflections on the revolutionary music and ideas of the Second Viennese School as they searched for an antidote to all the certainties and expectations of the past, and cast music on a new path of dissonance and discovery, shocking audiences then and now.Bethany Bell is a BBC foreign correspondent and has lived in Vienna for more than 15 years. In tonight's Essay Bethany remembers living in Mödling, a town near Vienna where Schoenberg lived and where on walks with Berg and Webern he devised his radical ideas for music.

Listen in pop-out player Did Freud really dislike music as much as he professed? Stephen Johnson explores Sigmund Freud's enigmatic relationship with music. He talks to the American cultural analyst Michelle Duncan, pscyho-analysts and writers Darian Leader and Julie Jaffee Nagel, the music critic David Nice, whose first job it was to take tours around the Freud Museum in Hampstead, and the Barcelona-based neurologist Josep Marco Pallares who is studying amusia and music-specific anhedonia, which he proposes might have been the root cause of Freud's problem with music. Plus extracts from Freud's writings read by the actor Nicholas Murchie. Producer, Elizabeth Arno Part of Radio 3's "Breaking Free - the minds that changed music", exploring the music of the Second Viennese School.

Breaking Free - the minds that changed music. In The Essay this week, personal reflections on the revolutionary music and ideas of the Second Viennese School as they searched for an antidote to all the certainties and expectations of the past, and cast music on a new path of dissonance and discovery, shocking audiences then and now.Musician and broadcaster Tom McKinney recalls his "first contact" with the music of Webern - his Five Pieces for Orchestra, Op.5, and then taking part in a transformative performance of the same work as a professional musician.

Breaking Free - the minds that changed music.In The Essay this week, personal reflections on the revolutionary music and ideas of the Second Viennese School as they searched for an antidote to all the certainties and expectations of the past, and cast music on a new path of dissonance and discovery, shocking audiences then and now.Tonight's essayist is Gillian Moore, Director of Music at Southbank Centre in London. She talks about Alban Berg's relationships with key women in his life, including his final operatic creation "Lulu".

Breaking Free - the minds that changed musicIn The Essay this week, personal reflections on the revolutionary music and ideas of the Second Viennese School as they searched for an antidote to all the certainties and expectations of the past, and cast music on a new path of dissonance and discovery, shocking audiences then and now.Tonight's essayist is broadcaster and journalist Stephen Johnson who has chosen Schoenberg's Second String Quartet as his touchstone - a work that defines Schoenberg's movement away from traditional tonality and embraces the dissonance.

Breaking Free - the minds that changed music.In The Essay this week, personal reflections on the revolutionary music and ideas of the Second Viennese School as they searched for an antidote to all the certainties and expectations of the past, and cast music on a new path of dissonance and discovery, shocking audiences then and now.Tonight's essayist is Radio 3 presenter and pianist Sarah Walker who describes the experience of learning and performing Schoenberg's Suite for piano (Op.25) for her MA recital.

Breaking Free - the minds that changed music. Tom Service explores how to listen to the Second Viennese School - music that exploded with expressive feeling in the early years of the 20th century, and then gradually rebuilt harmony into a new system, using the 12-note series. He explains how the music developed from Arnold Schoenberg's early expressionist ventures into atonality, to the cool jewel-like precision of his pupil Anton Webern. In conversation with art historian Lisa Florman, he finds parallels in the painter Wassily Kandinsky's journey towards abstraction and his theories of shapes and colours. (Kandinsky was a friend of Schoenberg). And composer George Benjamin describes the intricate structures of Webern's music, which greatly inspired his own compositions.

20th Century, 1903-1925: Throughout music history there have been schools of thought and practice. These schools were collections of composers around an institution or geographic location that worked together in the pursuit of new musical expression.

It was on this day in 1883 that Austrian composer Anton Webern was born. Webern was a member of the so-called Second Viennese School: a group of composers known for their forays into atonality. Learn more on today's "A Classical Day in the Life."

...brought to you by the letter, 'P'. The one hundred and fifteenth episode of the Yes Music Podcast, featuring some interesting concepts and tracks beginning with the letter 'P'. Are there any'P'  band members? What concepts begin with 'P'? How many 'P' tracks are there? Listen and see if you can spot anything I have missed out, then let me know by contacting me via any of the methods below. Please get involved with the YMP e-book - for a copy of the guidelines, please see the full blog post on the front page of the website. Please subscribe! If you are still listening to the podcast on the website, please consider subscribing so you don’t risk missing anything. You can subscribe with an RSS reader, with iTunes, with the iOS Podcasts app, on your Blackberry, via email updates, via www.stitcher.com on Spreaker.com or via Tunein.com. Show links Jacob Moon website Interview with Dave Potts Twelve-tone technique of the Second Viennese School of composers Surrealist movement The Creative Commons license we intend to use for the e-book Progressive Nation at Sea 2014 (Jon Anderson headlining) Vote for Yes in the Rock and Roll Hall of Fame nominations   Theme music The music I use is the last movement of Stravinsky's Firebird Suite. This has been used as introduction music at many Yes concerts. My theme music is not take from a live concert - I put it together from the following two creative commons sources: thanvannispen and archive.org

Works for cello and piano by Michael Kannen and Steven Beck, and piano quartet by Musicians from Ravinia's Steans Institute.Webern: Two Pieces for Cello and PianoBrahms: Piano Quartet No. 1 in G minor, Op. 25Our program today pairs a robust Brahms chamber music masterpiece—in this case the First Piano Quartet in G minor—with a piece by the Second Viennese School, examining Schoenberg’s assertion that Brahms was really the original progressive.We’ll begin with Webern’s Two Pieces for Cello and Piano, performed by cellist Michael Kannen and pianist Steven Beck. Though undoubtedly the work of a young composer—Webern was at the time a 15-year-old high school student—the music contains glimmers of what Webern would become. The listener may be quite surprised by the strong Romantic influence, which is markedly different from later works.After the Webern, we’ll hear the Brahms First Piano Quartet, played by Musicians from Ravinia’s Steans Music Institute. Although this piece seems traditional, Brahms is innovating beneath the surface, weaving the four movements together with recurring thematic material. The final movement is perhaps the best known and is particularly delightful—a lively gypsy rondo.

This week, we begin to explore the birth of atonality with a special focus on dodecaphonic (12-tone) serialism. Our discussion veers through thoughts on Schoenberg and the Second Viennese School, Boulez's "Schoenberg is Dead," and a final attempt at determining whether dodecaphonic and integral serialism were justified artistic developments.

Mahler was a huge inspiration for Schoenberg and an early champion of his music. We will explore the influence Mahler had on Schoenberg and the Second Viennese School, and the arrangements of Mahler for the Private Music Society, at the cutting edge of music from 1918-21.Concert: Mahler, Kindertontenlieder: Webern, Concerto for Nine Instruments, Op.24; Berg, Piano Sonata Op.1; Schoenberg, Five Pieces for Orchestra, Op.16.

The musical and cultural background to the Second Viennese School: * Berg - Piano Sonata Op 1 * Webern - Two Pieces for Cello and Piano * Berg - Seven Early Songs * Webern- Four Pieces Op 7 for Violin and Piano * Schoenberg- Verklaerte Nacht for Piano Trio