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The juxtaposition of classicism and actuality is a good description of the   ambiguous position occupied by the Second Viennese School not only in the   eyes of the scholars who research it, but also of composers who can be   regarded as its successors. However, in the works and writings originating   from the Second Viennese School we find a concentration of problems   encountered by contemporary composers, especially the modernist ones. The   aim of this article is to examine the role played by the representatives of   the Second Viennese School in the reflections of selected twentieth-century   composers, concerning their place in music history, the expressive   categories present in their work, and their ambiguous attitude to tonality.   A separate subject to be explored is the discourse used by contemporary   composers to describe the music of their predecessors, full of both   analytical categories and vivid metaphors. The quoted composers (Witold   Lutos?awski, Gy?rgy Ligeti, Helmut Lachenmann and Jonathan Harvey) may be   identified with more-or-less radical modernist views. This article is guided   by the thinking of Gianmario Borio and the idea of ?historical   appropriation?, according to which analysis of the works of the past helps   composers to create their own artistic identities and to define their own   place in the history of music.

muzikologija

„Tote Aber Leben Länger“. The Second Viennese school and its place in the reflections of selected composers from the second half of the twentieth century (Lutosławski, Ligeti, Lachenmann, Harvey)