The great Viennese musical tradition, as represented by Beethoven, Brahms, Bruckner and Mahler, found itself straining the limits of tonality during the first two decades of the 20th century. Schoenberg, Webern and Berg consequently forged a new compositional world, engaging in what they saw as the historically inevitable development of the system of atonality. In contrast, however, Karl Weigl continued to pitch his marvellous music in a more traditional style. Schoenberg wrote in 1938 that 'I always considered Dr. Weigl as one of the best composers of the old school; one of those who continued the glittering Viennese tradition'. This is clearly heard across Weigls entire output - in his symphonies, songs, concertos, string quartets, and the chamber works for piano, cello and violin in various combinations.