20th-century classical music is art music that was written between the years 1901 and 2000, inclusive. Musical style diverged during the 20th century as it never had previously, so this century was without a dominant style. Modernism , impressionism , and post-romanticism can all be traced to the decades before the turn of the 20th century, but can be included because they evolved beyond the musical boundaries of the 19th-century styles that were part of the earlier common practice period . Neoclassicism and expressionism came mostly after 1900. Minimalism started later in the century and can be seen as a change from the modern to postmodern era, although some date postmodernism from as early as about 1930. Aleatory , atonality , serialism , musique concrète , and electronic music were all developed during the century. Jazz and ethnic folk music became important influences on many composers during this century.
78-611: Henri Paul Julien Dutilleux ( French: [ɑ̃ʁi dytijø] ; 22 January 1916 – 22 May 2013) was a French composer of late 20th-century classical music . Among the leading French composers of his time, his work was rooted in the Impressionistic style of Debussy and Ravel , but in an idiosyncratic, individual style. Among his best known works are his early Flute Sonatine and Piano Sonata ; concertos for cello, Tout un monde lointain... ("A whole distant world") and violin, L'arbre des songes ("The tree of dreams");
156-466: A libretto that appealed to him. Those who commissioned works from Dutilleux include Szell ( Métaboles ), Rostropovich ( Tout un monde lointain… and Timbres, espace, mouvement ), Stern ( L'arbre des songes ), Mutter ( Sur le même accord ), Charles Munch (Symphony No. 2 Le double ), and Seiji Ozawa ( The Shadows of Time and Le temps l'horloge ). After Dutilleux's death, the composer and conductor Laurent Petitgirard paid tribute to him as "one of
234-443: A semitone ; human voices and unfretted strings can easily produce them by going in between the "normal" notes, but other instruments will have more difficulty—the piano and organ have no way of producing them at all, aside from retuning and/or major reconstruction. In the 1940s and 50s composers, notably Pierre Schaeffer , started to explore the application of technology to music in musique concrète . The term electroacoustic music
312-528: A "Futurist" context. The "Machine Music" of George Antheil (starting with his Second Sonata, "The Airplane") and Alexander Mosolov (most notoriously his Iron Foundry ) developed out of this. The process of extending musical vocabulary by exploring all available tones was pushed further by the use of Microtones in works by Charles Ives , Julián Carrillo , Alois Hába , John Foulds , Ivan Wyschnegradsky , Harry Partch and Mildred Couper among many others. Microtones are those intervals that are smaller than
390-613: A Recitative for organ in 1941). He taught Anton Webern and Alban Berg and these three composers are often referred to as the principal members of the Second Viennese School (Haydn, Mozart and Beethoven—and sometimes Schubert—being regarded as the First Viennese School in this context). Webern wrote works using a rigorous twelve-tone method and influenced the development of total serialism . Berg, like Schoenberg, employed twelve-tone technique within
468-418: A difficult, elaborate work. Dutilleux also published various works for piano ( 3 Préludes , Figures de résonances ) and 3 strophes sur le nom de Sacher (1976–1982) for solo cello. The latter was originally composed on the occasion of Paul Sacher 's 70th birthday in 1976, on a request by Rostropovich to write compositions for cello solo using his name spelt out in musical notes as the theme eS-A-C-H-E-Re ( Es
546-432: A fast climax (second—a scherzo and moto perpetuo ), keeps its momentum (third—"a continuous melodic line that never goes back on itself"), and finally slowly fades out (fourth—a theme and variations ). In 1953, Dutilleux wrote the music for the ballet Le loup ("The Wolf"). In his Second Symphony , titled Le double (1959), the orchestra is divided into two groups: a small one at the front with instruments taken from
624-532: A generation of musicians with roots almost back into the 19th century; certainly his music can be seen in a direct line from that of his great predecessors Debussy and Ravel." In an obituary in The Guardian , Roger Nichols described him as "the outstanding French composer between Messiaen and Boulez", adding that he "achieved a wholly individual synthesis of ear-catching colours and harmonies with formal rigour." The Daily Telegraph said, "Because Dutilleux
702-648: A late-romantic or post-romantic style ( Violin Concerto , which quotes a Bach Choral and uses Classical form). He wrote two major operas ( Wozzeck and Lulu ). The development of recording technology made all sounds available for potential use as musical material. Electronic music generally refers to a repertory of art music developed in the 1950s in Europe, Japan, and the Americas. The increasing availability of magnetic tape in this decade provided composers with
780-572: A medium which allowed recording sounds and then manipulating them in various ways. All electronic music depends on transmission via loudspeakers, but there are two broad types: acousmatic music , which exists only in recorded form meant for loudspeaker listening, and live electronic music, in which electronic apparatus are used to generate, transform, or trigger sounds during performance by musicians using voices, traditional instruments, electro-acoustic instruments, or other devices. Beginning in 1957, computers became increasingly important in this field. When
858-407: A particular process which is essentially laid bare in the work. The term experimental music was coined by Cage to describe works that produce unpredictable results, according to the definition "an experimental action is one the outcome of which is not foreseen". The term is also used to describe music within specific genres that pushes against their boundaries or definitions, or else whose approach
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#1732798496282936-571: A song cycle for soprano and orchestra inspired by poems and letters by Van Gogh, Prithwindra Mukherjee , Rainer Maria Rilke , and Aleksandr Solzhenitsyn . This work received a very enthusiastic reception and has been programmed several times since its première. Dutilleux's last major work was the song cycle Le temps l'horloge , written for American soprano Renée Fleming . It consists of four pieces and an instrumental interlude on two poems by Jean Tardieu , one by Robert Desnos and one by Charles Baudelaire . The first three songs were premièred at
1014-500: A string quartet known as Ainsi la nuit ("Thus the night"); and two symphonies: No. 1 (1951) and No. 2 Le Double (1959). Works were commissioned from him by such major artists as Charles Munch , George Szell , Mstislav Rostropovich , the Juilliard String Quartet , Isaac Stern , Paul Sacher , Anne-Sophie Mutter , Simon Rattle , Renée Fleming , and Seiji Ozawa . In addition to composing, he worked as
1092-422: A string section of only lower-register instruments: cellos and basses, no violins or violas. In 1985, Isaac Stern premiered L'arbre des songes ( The Tree of Dreams ), a violin concerto he had commissioned from Dutilleux. According to the composer, it is based on a process of continual growth and renewal: "All in all the piece grows somewhat like a tree, for the constant multiplication and renewal of its branches
1170-511: A strong sense of artistic integrity, he allowed only a small number of his works to be published; what he did publish he often repeatedly revised. In his own words: I always doubt my work. I always have regrets. That's why I revise my work so much and, at the same time, I regret not being more prolific. But the reason I am not more prolific is because I doubt my work and spend a lot of time changing it. It's paradoxical, isn't it? Dutilleux numbered as Op. 1 his Piano Sonata (1946–1948), written for
1248-662: A symmetrical shape of notes on paper and only later given musical substance. He loves symmetrical musical figures such as palindromes or fan-shaped phrases". Dutilleux's music was influenced by art and literature, such as the works of Vincent van Gogh , Charles Baudelaire and Marcel Proust . It also shows a concern for the concepts of time and memory, both in its use of quotations (notably from Bartók, Benjamin Britten , and Jehan Alain ), and in short interludes that recall material used in earlier movements and/or introduce ideas that will be fully developed later. A perfectionist with
1326-534: A theme is revealed gradually, appearing in its complete form only after a few partial, tentative expositions. His music also displays a strong sense of structure and symmetry. This is particularly obvious from an "external" point of view, in the overall organisation of the different movements or the spatial distribution of the various instruments, but is also apparent in the music itself (themes, harmonies and rhythms mirroring, complementing or opposing each other). According to Stuart Jefferies, "A passage may be conceived as
1404-563: Is 100% owned by the French State. Nearly 80% of Radio France's funding comes from Television licence , the remaining 20% comes from own resources, mainly from advertising and diversification activities developed by Radio France. In September 2019, a bill emanating from the Ministry of Culture announces the creation of “France Médias”, a parent company which will bring together France Télévisions , Radio France, France Médias Monde and
1482-511: Is E ♭ in German, H is B ♮ in German, and Re is D in French; see Sacher hexachord ). He then returned to orchestral works in 1978 with Timbres, espace, mouvement ou la nuit etoilée , inspired by Van Gogh's The Starry Night . In this composition, Dutilleux attempted to translate into musical terms the opposition between emptiness and movement the painting conveys. It employs
1560-434: Is a further development of electroacoustic music that uses analyses of sound spectra to create music. Cage, Berio, Boulez, Milton Babbitt , Luigi Nono and Edgard Varèse all wrote electroacoustic music. From the early 1950s onwards, Cage introduced elements of chance into his music. Process music ( Karlheinz Stockhausen Prozession , Aus den sieben Tagen ; and Steve Reich Piano Phase , Clapping Music ) explores
1638-454: Is a hybrid of disparate styles, or incorporates unorthodox, new, distinctly unique ingredients. Important cultural trends often informed music of this period, romantic, modernist, neoclassical, postmodernist or otherwise. Igor Stravinsky and Sergei Prokofiev were particularly drawn to primitivism in their early careers, as explored in works such as The Rite of Spring and Chout . Other Russians, notably Dmitri Shostakovich , reflected
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#17327984962821716-691: Is a reaction to modernism, but it can also be viewed as a response to a deep-seated shift in societal attitude. According to this latter view, postmodernism began when historic (as opposed to personal) optimism turned to pessimism, at the latest by 1930. John Cage is a prominent figure in 20th-century music, claimed with some justice both for modernism and postmodernism because the complex intersections between modernism and postmodernism are not reducible to simple schemata. His influence steadily grew during his lifetime. He often uses elements of chance: Imaginary Landscape No. 4 for 12 radio receivers, and Music of Changes for piano. Sonatas and Interludes (1946–48)
1794-530: Is composed for a prepared piano : a normal piano whose timbre is dramatically altered by carefully placing various objects inside the piano in contact with the strings. Currently, postmodernism includes composers who react against the avant-garde and experimental styles of the late 20th century such as Astor Piazzolla , Argentina, and Miguel del Águila , USA. In the later 20th century, composers such as La Monte Young , Arvo Pärt , Philip Glass , Terry Riley , Steve Reich , and John Adams began to explore what
1872-408: Is divided into three poles: production, digital, and investigation. This last pole includes five investigators. The investigation unit has been a partner of Disclose since 2018. When the news so requires, Radio France stations resort to event programming, which is no longer subject to the program schedules. These events, whether political, economic, societal, cultural or sporting, can be found in
1950-533: Is now called minimalism , in which the work is stripped down to its most fundamental features; the music often features repetition and iteration. An early example is Terry Riley's In C (1964), an aleatoric work in which short phrases are chosen by the musicians from a set list and played an arbitrary number of times, while the note C is repeated in eighth notes (quavers) behind them. Steve Reich's works Piano Phase (1967, for two pianos), and Drumming (1970–71, for percussion, female voices and piccolo) employ
2028-471: Is often seen as neo-baroque (an architectural term), though the distinction between the terms is not always made. A number of composers combined elements of the jazz idiom with classical compositional styles, notably: Impressionism started in France as a reaction, led by Claude Debussy , against the emotional exuberance and epic themes of German Romanticism exemplified by Wagner . In Debussy's view, art
2106-596: Is one of the most significant figures in 20th-century music. While his early works were in a late Romantic style influenced by Wagner ( Verklärte Nacht , 1899), this evolved into an atonal idiom in the years before the First World War ( Drei Klavierstücke in 1909 and Pierrot lunaire in 1912). In 1921, after several years of research, he developed the twelve-tone technique of composition, which he first described privately to his associates in 1923. His first large-scale work entirely composed using this technique
2184-558: Is rather small but every note has been weighed with golden scales... It's just perfect – very haunting, very beautiful. There’s some kind of sadness in his music which I find very touching and arresting." The critic Tom Service wrote for the BBC , "Dutilleux's exquisite catalogue of pieces is becoming, rightly, ever more popular with performers and listeners all over the world". An obituary in Gramophone commented, "Dutilleux represented
2262-571: Is the French national public radio broadcaster. Radio France offers seven national networks: Radio France's two principal missions are: Radio France has its headquarters at the Maison de la Radio et de la Musique , a circular building designed by the architect Henry Bernard (architect) and inaugurated in December 1963 by President Charles de Gaulle , which stands beside the River Seine in
2340-622: Is the lyrical essence of the tree. This symbolic image, as well as the notion of a seasonal cycle, inspired my choice of 'L'arbre des songes' as the title of the piece." Dutilleux's later works include Mystère de l'instant (for cymbalum , string orchestra and percussion, 1989), Les Citations (for oboe, harpsichord, double bass and percussion, 1991), The Shadows of Time (for orchestra and children voices, 1997), Slava's Fanfare (for Rostropovich's 70th birthday, 1997) and Sur le même accord (for violin and orchestra, 2002, dedicated to Anne-Sophie Mutter ). In 2003, he completed Correspondances ,
2418-547: The 16th arrondissement of Paris . In addition to housing Radio France's central services and the studios of several of its channels, the building is home to the Musée de Radio France , a museum of radio and television broadcasting and recording techniques. The building caught fire in October 2014. The head office has around a hundred studios (for radio broadcasts, fictions, concerts etc.) and an auditorium: The Radio France group
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2496-510: The BBC Radio 3 presenter and critic, recalled in June 2013 an interview with Dutilleux in which he told Cowan that his personal favourite among his own works was Tout un monde lointain .... 20th-century classical music At the turn of the century, music was characteristically late Romantic in style. Composers such as Gustav Mahler , Richard Strauss and Jean Sibelius were pushing
2574-600: The INA . This bill also provides for the end of the appointments of directors of Radio France by the CSA , a power which will be attributed to the board of directors of the radiophonic entity, which will continue to operate independently, but also in synergy with the other entities of France Médias. Mathieu Gallet , former President and CEO of the Institut national de l'audiovisuel|National Audiovisual Institute (INA) from 2010 to 2014,
2652-1003: The Saito Kinen Festival Matsumoto , Japan in September 2007. The American première of this partial version took place in November 2007 with the Boston Symphony Orchestra . The complete work was unveiled on 7 May 2009 at the Théâtre des Champs-Elysées in Paris. In 2010, Dutilleux added a third movement to his chamber work Les citations . The expanded version was premiered at the Festival d’Auvers-sur-Oise. In 2011, with Dutilleux's approval, Pascal Gallois transcribed three of his early vocal works for bassoon and piano: Regards sur l'Infini (from
2730-729: The Tom and Jerry cartoons. After the First World War, composers started returning to the past for inspiration and wrote works that drew elements (form, harmony, melody, structure) from it. This type of music thus became labelled neoclassicism . Igor Stravinsky ( Pulcinella ), Sergei Prokofiev ( Classical Symphony ), Ravel ( Le Tombeau de Couperin ), Manuel de Falla ( El retablo de maese Pedro ) and Paul Hindemith ( Symphony: Mathis der Maler ) all produced neoclassical works. Italian composers such as Francesco Balilla Pratella and Luigi Russolo developed musical Futurism . This style often tried to recreate everyday sounds and place them in
2808-430: The expressionism that arose in the early part of the 20th century. He later developed the twelve-tone technique which was developed further by his disciples Alban Berg and Anton Webern ; later composers (including Pierre Boulez ) developed it further still. Stravinsky (in his last works) explored twelve-tone technique, too, as did many other composers; indeed, even Scott Bradley used the technique in his scores for
2886-458: The 1920s and later, including Albert Roussel , Charles Koechlin , André Caplet , and, later, Olivier Messiaen . Composers from non-Western cultures, such as Tōru Takemitsu , and jazz musicians such as Duke Ellington , Gil Evans , Art Tatum , and Cecil Taylor also have been strongly influenced by the impressionist musical language. At its conception, Futurism was an Italian artistic movement founded in 1909 by Filippo Tommaso Marinetti ; it
2964-460: The 20th century. The former trends, such as Expressionism are discussed later. In the early part of the 20th century, many composers wrote music which was an extension of 19th-century Romantic music, and traditional instrumental groupings such as the orchestra and string quartet remained the most typical. Traditional forms such as the symphony and concerto remained in use. Gustav Mahler and Jean Sibelius are examples of composers who took
3042-800: The Head of Music Production for Radio France for 18 years. He also taught at the École Normale de Musique de Paris and at the Conservatoire National Supérieur de Musique , and was twice composer in residence at the Tanglewood Music Center in Lenox , Massachusetts . Among Dutilleux's many awards and honours were the Grand Prix de Rome (1938) and the Ernst von Siemens Music Prize (2005). When describing him,
3120-699: The Paris region via an experiment. In 2019, the CSA allocates to all the national frequencies of Radio France, via a call for tenders procedure, broadcast in DAB +. This technology mainly aims to allow better sound quality, the addition of data synchronized or not with the radio (scrolling texts, images, information, websites, etc.) and a lower broadcasting cost than that of FM. Since 2006, Radio France has produced its programs entirely in digital and since 2012 has offered numerous programs in podcast in MP3 format. From 2014, faced with
3198-486: The Russians Artur Lourié, Mikhail Matyushin , and Nikolai Roslavets . Though few of the futurist works of these composers are performed today, the influence of futurism on the later development of 20th-century music was enormous. Sergei Prokofiev , Maurice Ravel , Igor Stravinsky , Arthur Honegger , George Antheil , Leo Ornstein , and Edgard Varèse are among the notable composers in the first half of
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3276-413: The additive process in which short phrases are slowly expanded. La Monte Young's Compositions 1960 employs very long tones, exceptionally high volumes and extra-musical techniques such as "draw a straight line and follow it" or "build a fire". Michael Nyman argues that minimalism was a reaction to and made possible by both serialism and indeterminism. (See also experimental music .) Arnold Schoenberg
3354-937: The balanced forms and clearly perceptible thematic processes of the 17th and 18th centuries, in a repudiation of what were seen as exaggerated gestures and formlessness of late Romanticism. Because these composers generally replaced the functional tonality of their models with extended tonality, modality, or atonality, the term is often taken to imply parody or distortion of the Baroque or Classical style. Famous examples include Prokofiev's Classical Symphony and Stravinsky's Pulcinella , Symphony of Psalms , and Concerto in E-flat "Dumbarton Oaks" . Paul Hindemith ( Symphony: Mathis der Maler ), Darius Milhaud , Francis Poulenc ( Concert champêtre ), and Manuel de Falla ( El retablo de maese Pedro , Harpsichord Concerto ) also used this style. Maurice Ravel 's Le Tombeau de Couperin
3432-572: The bounds of post-Romantic symphonic writing . At the same time, the Impressionist movement, spearheaded by Claude Debussy , was being developed in France. Debussy in fact loathed the term Impressionism: "I am trying to do 'something different—in a way realities—what the imbeciles call 'impressionism' is a term which is as poorly used as possible, particularly by art critics". Maurice Ravel 's music, also often labelled as impressionist, explores music in many styles not always related to it (see
3510-454: The brass section, which seems to indicate the influence of big band music . Dutilleux was greatly enamoured of vocalists, especially the jazz singer Sarah Vaughan and the great French chanson singers. Some of Dutilleux's trademarks include very refined orchestral textures; complex rhythms; a preference for atonality and modality over tonality ; the use of pedal points that serve as atonal pitch centers; and "reverse variation", whereby
3588-538: The cellist Paul Tortelier ), Henri Büsser (composition) and Maurice Emmanuel (history of music). Dutilleux won the Prix de Rome in 1938 for his cantata L'anneau du roi but did not complete his entire residency in Rome due to the outbreak of World War II . He worked for a year as a medical orderly in the army and returned to Paris in 1940, where he worked as a pianist, arranger and music teacher . In 1942, he conducted
3666-487: The century who were influenced by futurism. Characteristic features of later 20th-century music with origins in futurism include the prepared piano , integral serialism , extended vocal techniques, graphic notation, improvisation , and minimalism . In the early part of the 20th century, Charles Ives integrated American and European traditions as well as vernacular and church styles, while using innovative techniques in his rhythm, harmony, and form. His technique included
3744-717: The choir of the Paris Opera . Dutilleux worked as Head of Music Production for Radio France from 1945 to 1963. He served as professor of composition at the École Normale de Musique de Paris from 1961 to 1970. He was appointed to the staff of the Conservatoire National Supérieur de Musique in 1970 and was composer-in-residence at Tanglewood in 1995 and 1998. His students included Gérard Grisey , Francis Bayer , Alain Gagnon , Jacques Hétu , and Kenneth Hesketh . Invited by Walter Fink , in 2006 he
3822-581: The discussion on Neoclassicism, below). Many composers reacted to the Post-Romantic and Impressionist styles and moved in different directions. An important moment in defining the course of music throughout the century was the widespread break with traditional tonality, effected in diverse ways by different composers in the first decade of the century. From this sprang an unprecedented "linguistic plurality" of styles, techniques, and expression. In Vienna , Arnold Schoenberg developed atonality , out of
3900-648: The early cycle for voice and piano Quatre mélodies ) and Deux sonnets de Jean Cassou (originally for baritone and piano). He played them in a concert at the Hôtel de Lauzun in Dutilleux's presence. Dutilleux allowed only a small fraction of his work to be published. He often expressed a wish to write more chamber music, notably a second string quartet, a piece for clarinet and ensemble, one for solo double bass, and more piano préludes. He long considered composing an opera but abandoned that project because he could not find
3978-550: The end of the 19th century (often called the Fin de siècle ), the Romantic style was starting to break apart, moving along various parallel courses, such as Impressionism and Post-romanticism . In the 20th century, the different styles that emerged from the music of the previous century influenced composers to follow new trends, sometimes as a reaction to that music, sometimes as an extension of it, and both trends co-existed well into
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#17327984962824056-584: The first time in more than 20 years and wrote the string quartet Ainsi la nuit (1976). It consists of seven movements, some of which are linked by short "parentheses". The parentheses' function is to recall material that has already been heard and to introduce fragments that will be fully developed later. It is based on a hexachord (C ♯ –G ♯ –F–G–C–D) that highlights the intervals of fifth and major second . Each movement emphasizes various special effects ( pizzicato , glissandi , harmonics , extreme registers, contrasting dynamics...), resulting in
4134-611: The great-grandson of the painter Constant Dutilleux and grandson of the composer Julien Koszul . He was also a cousin of the mathematician Jean-Louis Koszul . He studied harmony , counterpoint , and piano with Victor Gallois at the Douai Conservatoire [ fr ] before leaving for the Conservatoire de Paris . There, between 1933 and 1938, he attended the classes of Jean and Noël Gallon (harmony and counterpoint, in which he won joint first prize with
4212-471: The idea of metamorphosis , how a series of subtle and gradual changes can radically transform a structure. A different section of the orchestra dominates each of the first four movements before the fifth brings them all together. As a result, it can be considered as a concerto for orchestra. It quickly achieved celebrity and, following its première by George Szell and the Cleveland Orchestra ,
4290-418: The law of 14 November 2016 and its implementing decree of 21 March 2017, an ethics committee is created to strengthen freedom, the independence and pluralism of the media. […] This committee is made up of five independent individuals appointed for three years, and whose mandate is renewable. The investigation unit of Radio France, the usual name of the investigation and investigation department of Radio France,
4368-446: The legacies of French composers such as Debussy and Ravel but is also clearly influenced by Béla Bartók and Igor Stravinsky . Among his favourite pieces, he mentioned Beethoven 's late string quartets and Debussy's Pelléas et Mélisande . His attitude toward serialism was ambiguous. While he always paid attention to developments in contemporary music and incorporated some serialist techniques into his work, he also criticized
4446-454: The more radical and intolerant aspects of the movement: "What I reject is the dogma and the authoritarianism which manifested themselves in that period." Dutilleux refused to be associated with any school. Dutilleux's music contains distant echoes of jazz , as can be heard in the plucked double bass strings at the beginning of his First Symphony and his frequent use of syncopated rhythms . He often calls for Ray Robinson-style cup mutes in
4524-452: The music critic Paul Griffiths wrote that "Mr. Dutilleux’s position in French music was proudly solitary. Between Olivier Messiaen and Pierre Boulez in age, he was little affected by either, though he took an interest in their work. But his voice, marked by sensuously handled harmony and color, was his own." Henri Dutilleux was born on 22 January 1916 in Angers , Maine-et-Loire . He was
4602-636: The pages retracing the annual chronologies of the radio media. Hertzian broadcasting Since 1975, Radio France has been broadcasting in FM on almost the entire territory. Radio France broadcast between 1975 and 2016 in AM : France Inter GO (1939–2016); France Inter PO (1956–1996); France Inter OC (1975–1981), France Culture PO (1975–1980); Radio Bleu PO (1980–2000); France Info PO (2000–2016). In 2016, Radio France's programs were broadcast in RNT ( DAB + ) over
4680-564: The pianist Geneviève Joy , whom he married in 1946. He renounced most of the works he composed before it because he did not believe them to be representative of his mature standards, considering many of them to be too derivative to have merit. After the Piano Sonata, Dutilleux started working on his First Symphony (1951). It consists of four monothematic movements and has a perfectly symmetrical structure: music slowly emerges from silence (first movement—a passacaglia ) and builds towards
4758-443: The process of gradually substituting beats for rests (or rests for beats); (2) the gradual changing of timbre while rhythm and pitch remain constant; (3) the simultaneous combination of instruments of different timbre; and (4) the use of the human voice to become part of the musical ensemble by imitating the exact sound of the instruments”. Drumming was Reich’s final use of the phasing technique. Philip Glass's 1 + 1 (1968) employs
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#17327984962824836-557: The social impact of communism and subsequently had to work within the strictures of socialist realism in their music. Other composers, such as Benjamin Britten ( War Requiem ), explored political themes in their works, albeit entirely at their own volition. Nationalism was also an important means of expression in the early part of the century. The culture of the United States of America, especially, began informing an American vernacular style of classical music, notably in
4914-863: The source material was acoustical sounds from the everyday world, the term musique concrète was used; when the sounds were produced by electronic generators, it was designated electronic music . After the 1950s, the term "electronic music" came to be used for both types. Sometimes such electronic music was combined with more conventional instruments, Edgard Varèse 's Déserts (1954), Stockhausen's Hymnen (1969), Claude Vivier 's Wo bist du Licht! (1981), and Mario Davidovsky 's series of Synchronisms (1963–2006) are notable examples. Some prominent 20th-century composers are not associated with any widely recognised school of composition . The list below includes some of those, as well as notable classifiable composers not mentioned earlier in this article: Citations Sources Radio France Radio France
4992-437: The technique called phasing in which a phrase played by one player maintaining a constant pace is played simultaneously by another but at a slightly quicker pace. This causes the players to go "out of phase" with each other and the performance may continue until they come back in phase. According to Reich, “ Drumming is the final expansion and refinement of the phasing process, as well as the first use of four new techniques: (1)
5070-413: The traditional symphonic forms and reworked them. (See Romantic music .) Some writers hold that Schoenberg's work is squarely within the late-Romantic tradition of Wagner and Brahms and, more generally, that "the composer who most directly and completely connects late Wagner and the 20th century is Arnold Schoenberg". Neoclassicism was a style cultivated between the two world wars, which sought to revive
5148-402: The use of polytonality , polyrhythm , tone clusters , aleatoric elements, and quarter tones . Edgard Varèse wrote highly dissonant pieces that utilized unusual sonorities and futuristic, scientific-sounding names. He pioneered the use of new instruments and electronic resources (see below). By the late 1920s, though many composers continued to write in a vaguely expressionist manner, it
5226-439: The various sections (brass, woodwind, strings and percussion) and a bigger one at the back consisting of the rest of the orchestra. Although this brings to mind the Baroque concerto grosso , the approach is different: in this piece, the smaller ensemble acts as a mirror or ghost of the bigger one, sometimes playing similar or complementary lines, sometimes contrasting ones. His next work, Métaboles for orchestra (1965) explores
5304-527: The very rare contemporary composers" whose music became part of the repertoire in his lifetime, predicting that "[h]is work will remain intensely present after his death". Several major musicians and conductors championed Dutilleux's works, notably Stern, Sacher, Mutter, Fleming, Ozawa, Munch, Szell, Rostropovich, Simon Rattle, and the Juilliard String Quartet. The conductor and composer Esa-Pekka Salonen said of Dutilleux, "His production
5382-525: The works of Charles Ives , John Alden Carpenter , and (later) George Gershwin . Folk music (Vaughan Williams' Five Variants of Dives and Lazarus , Gustav Holst 's A Somerset Rhapsody ) and jazz (Gershwin, Leonard Bernstein , Darius Milhaud 's La création du monde ) were also influential. In the last quarter of the century, eclecticism and polystylism became important. These, as well as minimalism , New Complexity , and New Simplicity , are more fully explored in their respective articles. At
5460-664: Was a perfectionist and self-critical to a fault, his output was small. He wrote barely a dozen major works in his career, destroyed much of his early music and often revised what he had written. His early work was clearly derivative of Ravel, Debussy and Roussel; but his later music, though influenced by Bartok and Stravinsky, was entirely original and often seemed—in its scale—more German than French." The Daily Telegraph ' s critic Philip Hensher called Dutilleux "the Laura Ashley of music; tasteful, unfaultable, but hardly ever daring ... Personally, I can’t stick him." Rob Cowan ,
5538-630: Was a sensuous experience, rather than an intellectual or ethical one. He urged his countrymen to rediscover the French masters of the 18th century, for whom music was meant to charm, to entertain, and to serve as a "fantasy of the senses". Other composers associated with impressionism include Maurice Ravel , Albert Roussel , Isaac Albéniz , Paul Dukas , Manuel de Falla , Charles Martin Loeffler , Charles Griffes , Frederick Delius , Ottorino Respighi , Cyril Scott and Karol Szymanowski . Many French composers continued impressionism's language through
5616-562: Was being supplanted by the more impersonal style of the German Neue Sachlichkeit and neoclassicism . Because expressionism, like any movement that had been stigmatized by the Nazis, gained a sympathetic reconsideration following World War II, expressionist music resurfaced in works by composers such as Hans Werner Henze , Pierre Boulez , Peter Maxwell Davies , Wolfgang Rihm , and Bernd Alois Zimmermann . Postmodernism
5694-424: Was later coined to include all forms of music involving magnetic tape , computers , synthesizers , multimedia , and other electronic devices and techniques. Live electronic music uses live electronic sounds within a performance (as opposed to preprocessed sounds that are overdubbed during a performance), John Cage 's Cartridge Music being an early example. Spectral music ( Gérard Grisey and Tristan Murail )
5772-440: Was performed in several North American cities, then in France. Métaboles is one of his most often performed works. In the 1960s, Dutilleux met Mstislav Rostropovich , who commissioned a cello concerto from him. Rostropovich premièred the work, Tout un monde lointain… ( A whole distant world... ), in 1970. It is considered one of Dutilleux's major achievements. After the cello concerto, Dutilleux turned to chamber music for
5850-555: Was quickly embraced by the Russian avant-garde. In 1913, the painter Luigi Russolo published a manifesto, L'arte dei rumori (The Art of Noises), calling for the incorporation of noises of every kind into music. In addition to Russolo, composers directly associated with this movement include the Italians Silvio Mix, Nuccio Fiorda, Franco Casavola , and Pannigi (whose 1922 Ballo meccanico included two motorcycles), and
5928-641: Was the Wind Quintet , Op. 26, written in 1923–24. Later examples include the Variations for Orchestra , Op. 31 (1926–28), the Third and Fourth String Quartets (1927 and 1936, respectively), the Violin Concerto (1936) and Piano Concerto (1942). In later years, he intermittently returned to a more tonal style ( Kammersymphonie no. 2 , begun in 1906 but completed only in 1939; Variations on
6006-555: Was the 16th composer featured in the Rheingau Musik Festival 's annual Komponistenporträt . For many years, Dutilleux had a studio on Île Saint-Louis . He died on 22 May 2013 in Paris, aged 97, and was buried in Montparnasse Cemetery , in the same grave as Geneviève , his wife who died in 2009. His tombstone is made of grey granite and bears the epitaph "Compositeur". Dutilleux's music extends
6084-483: Was unanimously appointed by the members of the Higher Audiovisual Counci] (CSA) Beyond its primary profession which is to make radio, Radio France works on many political, social or cultural projects. The group deploys resources to support various causes, is committed on several fronts, and makes it known through communication actions. Thus, in 2018 Radio France indicates that: In application of
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