Nederland en de Tweede Weense School^*

The Netherlands always had a problematic relation with the three main composers of the Second Viennese School (Schönberg, Berg, Webern). From the moment The Netherlands got to know their music, just before WO I, it was heavily criticised by the majority of the music press and gave rise to hostile reactions by most of the concert audiences. Not just aesthetic, but also ethic arguments were brought in. Nevertheless, immediately at the acquaintance, it was regarded by several authors as important and incorporated in the canon. This situation slightly changed in the sixties when more performances were given and more critics wrote favorably about this music. With the foundation of the Schönberg Ensemble in 1974 there was a clear section in musical life strongly and explicitly devoted to this repertoire, but the resistance remained.