Naturally it's nonsense to advance 'social objections'. Why don't people understand that? Our push forward had to be made, it was a push forward such as never was before. In fact we have to break new ground with each work: each work is something different, something new." For both Schoenberg and Webern, the tradition was not a generous friend or kind teacher; it was an intolerant despot. For Schoenberg, the only logical and responsible musical developments are those that grow out of the tradition. Schoenberg's discussions of his own music always related his achievement to that of the tonal masters, using their music as a touchstone of quality and value.
Schoenberg mentions, "The methode of composing with twelve tones grew out of a necessity", if it is so, how does Schoenberg responded to that necessity? In 1918, Schoenberg took the first steps toward an original project of an educational nature, where this, 'Verein fur musikalisches Privatauffuhrungen', which means the Society for Private Musical Performances, occupied an important role in the history of new music. The word 'Private' in the title explains that admission was restricted to a membership. The prospectus written by Berg shows clearly the aims methodes of the society; "The purpose of this society, founded in November 1918, is to provide Arnold Schoenberg with the possibility of personally carrying out his intention of giving artists and art-lovers a real and accurate knowledge of modern music", and it continues, "Three things are necessary for the achievement of this aim: 1)Clear, well-prepared performances. 2)Frequent repetitions.3)The performances must be withdrawn from the corrupting influence of publicity; that is,they must not be inspired by a spirit of competitions and must be indepenent of applause and expression of disapproval". The concerts took place on Mondays, in the ceremonial hall of the Schwarzwald schools and later in the ceremonial hall of the Society of Engineers and Architects.
