Second Viennese School

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.

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 Canadian pianist Glenn Gould.

Contemporaneous performers, friends, admirers, and supporters of the circle at various times included figures as diverse as Guido Adler, David Josef Bach,[4] Ernst Bachrich, Imre [Emerich] Balabán and Béla Bartók of the New Hungarian Music Society, Julius Bittner, Artur Bodanzky, Mark Brunswick,[5] Richard Buhlig, Edward Clark, Henry Cowell, Herbert Eimert, 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 and Alma Mahler, Frank Martin, Dimitri Mitropoulos, Soma Morgenstern, Johanna Müller-Hermann, Dika Newlin, Will Ogdon, Max Oppenheimer, Otakar Ostrčil, Maurice Ravel, Rudolph Reti, 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, Alfredo Sangiorgi [it], Alfred Schlee [de], Erich Schmid, Franz Schreker, Erwin Schulhoff, Eugenie Schwarzwald, Rudolf Serkin, Roger Sessions, Peter Stadlen, Erika Stiedry-Wagner [de], Igor Stravinsky, Georg Trakl,[6] Edgard Varèse et al. of the International Composers Guild, Steuermann's sister Salka Viertel,[7] Imre Waldbauer et al. of the Waldbauer-Kerpely Quartet [hu], Franz Werfel, Arnold Zweig, and Jung-Wien writers Peter Altenberg, Hermann Bahr, Karl Kraus, and Arthur Schnitzler.

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 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, Adorno, Kolisch, Heiss, Stadlen, Stuckenschmidt, Scherchen) converged with the new serialists (e.g. Boulez, Stockhausen, Maderna, Nono, et al.).

The term is often assumed to connote the great Vienna-based masters of the Classical style working in the late 18th and early 19th century, particularly Joseph Haydn, Wolfgang Amadeus Mozart, Ludwig van Beethoven and Franz Schubert.