Editing Anton Webern (section)

===Eastern Europe===
In [[Eastern Europe]], the Second Viennese School's music represented a professionally dangerous but sometimes exciting or inspiring alternative to [[socialist realism]]. Their influence on composers behind the [[Iron Curtain]] was mediated by [[Resistance during World War II|anti-fascist]] and [[Anti-German sentiment#Postwar|-German sentiment]]{{sfn|Krones|2017|loc=56}} as well as [[Formalism (music)#Soviet Union|anti-formalist]] [[Cultural policy|cultural policies]]{{sfn|Krones|2017|loc=123–124}} and [[Cold War]] separation.{{efn|By contrast, the [[Kolisch Quartet]]'s 1927 performance of Berg's ''[[Lyric Suite (Berg)|Lyric Suite]]'' at the [[Baden-Baden]] ISCM festival (where Bartók performed his own [[Piano Sonata (Bartók)|Piano Sonata]]) inspired Bartók in his subsequent [[String Quartet No. 3 (Bartók)|third]] and fourth string quartets{{sfn|Antokoletz and Susanni|2011|loc=xxix}} and [[Concerto for Orchestra (Bartók)|Concerto for Orchestra]].{{sfn|Suchoff|2004|loc=22}}}} Ligeti lamented the separation and left in 1956, noting that "after Bartók hardly any grass could grow".{{sfn|Fosler-Lussier|2007|loc=49}}

====Eastern Bloc====
Webern's influence predominated after the [[Hungarian Revolution of 1956]], bearing on [[Pál Kadosa]], [[Endre Szervánszky]], and [[György Kurtág]].{{sfnm|Frandzel|2002|Krones|2017|2loc=122–124}} Among [[Czechs]], {{ill|Pavel Blatný|de}} attended the {{lang|de|Darmstädter Ferienkurse|italic=no}} and wrote music with serial techniques in the late 1960s. He returned to tonality in [[Brno]] and was rewarded.{{sfn|Johnson, V|2015|loc=34}} [[Marek Kopelent]] discovered the Second Viennese as an editor and was particularly taken by Webern.{{sfn|Johnson, V|2015|loc=53–54}} Kopelent was blacklisted for his music and despaired, unable to attend international performances of his work.{{sfn|Johnson, V|2015|loc=59–65}}

====Soviet Russia====
Official [[Soviet Russia]]n condemnation eased in the post-[[Stalinism|Stalinist]] [[Khrushchev Thaw]] with the [[Rehabilitation (Soviet)|rehabilitation]] of some affected by the [[Zhdanov Doctrine]]. [[Sheet music]] and recordings entered via journalists, friends, family (e.g., from [[Nicolas Slonimsky|Nicolas]] to [[Sergei Slonimsky]]), and especially composers and musicians (e.g., {{ill|Блажков, Игорь Иванович|lt=Igor Blazhkov|ru}}, [[Gérard Frémy]], [[Alexei Lubimov]], [[Maria Yudina]]), who traveled more.{{sfn|Schmelz|2009|loc=26–27, 45–50, 72, 84, 200, 275–276}} Stationed in [[Zossen]] as a [[military band]] [[Arrangement|arranger]] (1955–1958), [[Yuri Kholopov]] risked arrest for obtaining scores in [[West Berlin]] and from the [[Leipzig]] office of [[Schott Music]].{{sfn|Schmelz|2009|loc=45}}

[[Philip Herschkowitz]], poverty-stricken, taught privately in Moscow with cautious emphasis on Beethoven and the tradition from which Webern emerged.{{sfnm|Schmelz|2009|1loc=52–54|Taruskin|2023a|wloc=276}} His pupil [[Nikolai Karetnikov]] taped [[Glenn Gould]]'s 1957 [[Moscow Conservatory]] performance of Webern's Op. 27.{{sfn|Taruskin|2023a|loc=285}} In practice like that of Webern, Karetnikov [[Derived row|derived the tone row]] of his [[Symphony No. 4 (Karetnikov)|Symphony No. 4]] from motives as small as two notes related by semitone.{{sfn|Taruskin|2023a|loc=294}}

In ''[[Music Academy (journal)|Soviet Music]]'', [[Marcel Rubin]] criticized "Webern and His Followers" (1959), by contrast to Berg and Schoenberg, for going too far.{{sfn|Schmelz|2009|loc=44}} [[Alfred Schnittke]] complained in an open letter (1961) of composers' restricted education.{{sfn|Schmelz|2009|loc=40}} Through Grigory Shneyerson's anti-formalist ''On Music Living and Dead'' (1960) and [[Johannes Paul Thilman]]'s anti-modernist "On the Dodecaphonic Method of Composition" (1958), many (e.g., [[Eduard Artemyev]], [[Association for Contemporary Music|Victor Ekimovsky]], [[Vladimir Martynov]], [[Boris Tischenko]]{{efn|Tischenko's anti-[[Stalinism|Stalinist]] [[Requiem (Tishchenko)|Requiem]] is a noted example of Soviet post-Webernism.{{sfn|Tsenova|2014|loc=53–54}}}}) ironically learned more about what had been and even was still forbidden.{{sfn|Schmelz|2009|loc=40–45, 65}} Kruschchev warned, "dodecaphonic music, music of noises ... this cacophonic music we totally reject. Our people cannot include such trash".{{sfn|Schmelz|2023|loc=253}}

Through [[Andrei Volkonsky]], [[Lydia Davydova]] recalled, Schoenberg's and Webern's music came to Russia alongside [[Renaissance music|Renaissance]] and early [[Baroque music|Baroque]] music.{{sfn|Schmelz|2009|loc=70}} Tischenko remembered that in the 1960s, Volkonsky "was the first swallow of the avant-garde. [T]hose who came after him ... already followed in his tracks. I consider [him] the discoverer."{{sfn|Schmelz|2009|loc=70}} [[Edison Denisov]] described the 1960s as his "second conservatory", crediting Volkonsky not only for introducing Webern, but also [[Carlo Gesualdo|Gesualdo]].{{sfn|Schmelz|2009|loc=40, 70–71}}

This tolerance did not survive the [[Leonid Brezhnev#Repression|Brezhnev]] [[Era of Stagnation|Stagnation]].{{sfn|Schmelz|2009|loc=21–24, 179, 216, 221, 267, 275, 298}} Volkonsky emigrated in 1973, Herschkowitz in 1987, and of [[Khrennikov's Seven]] (1979), Denisov, [[Elena Firsova]], [[Sofia Gubaidulina]], [[Dmitri Smirnov (composer)|Dmitri Smirnov]], and [[Viktor Suslin]] eventually emigrated.{{sfn|Sitsky|2002|loc=183–185}}