20th-century classical music

At the turn of the century, music was characteristically late Romantic in style. Composers such as Gustav Mahler and Richard Strauss pushed the bounds of post-Romantic symphonic writing. Jean Sibelius also contributed to this movement by reworking traditional forms like the symphony. At the same time, the Impressionist movement began developing in France under Claude Debussy. Debussy loathed the term Impressionism, stating that it was poorly used by art critics. He claimed he was trying to do something different rather than follow established labels. Maurice Ravel's music often explored many styles not always related to Impressionism. Traditional instrumental groupings such as the orchestra remained typical during these early years.

The Atonal Revolution

An important moment defining the course of music throughout the century was the widespread break with traditional tonality. In Vienna, Arnold Schoenberg developed atonality out of expressionism arising in the early 20th century. His early works included Verklärte Nacht from 1899, which showed a late Romantic influence. This evolved into an atonal idiom before the First World War with pieces like Drei Klavierstücke in 1909. In 1921, after several years of research, he developed the twelve-tone technique. He first described this privately to associates in 1923. His first large-scale work entirely using this method was the Wind Quintet, Op. 26, written between 1923 and 1924. Later examples include Variations for Orchestra, Op. 31 from 1926, 28. Schoenberg taught Anton Webern and Alban Berg, forming the Second Viennese School. Webern wrote works using a rigorous twelve-tone method that influenced total serialism. Berg employed twelve-tone technique within a late-romantic style while writing operas such as Wozzeck and Lulu.

Neoclassicism And Futurism

After the First World War, composers started returning to the past for inspiration. They drew elements like form, harmony, melody, and structure from earlier centuries. Igor Stravinsky produced neoclassical works including Pulcinella and Symphony of Psalms. Sergei Prokofiev contributed his Classical Symphony during this period. Ravel created Le Tombeau de Couperin, often seen as neo-baroque. Italian composers Francesco Balilla Pratella and Luigi Russolo developed musical Futurism. In 1913, Russolo published a manifesto called L'arte dei rumori calling for incorporating noises into music. The Machine Music of George Antheil began with his Second Sonata titled The Airplane. Alexander Mosolov's Iron Foundry became notoriously known for its industrial sounds. Microtones were explored by Charles Ives, Julián Carrillo, Alois Hába, John Foulds, Ivan Wyschnegradsky, Harry Partch, and Mildred Couper. These intervals are smaller than a semitone and difficult for instruments like piano or organ to produce without retuning.

Common questions

Who developed the twelve-tone technique in 1921?

Arnold Schoenberg developed the twelve-tone technique in 1921 after several years of research. He first described this method privately to associates in 1923 and wrote his first large-scale work using it, the Wind Quintet Op. 26 between 1923 and 1924.

When did Pierre Schaeffer begin exploring musique concrète?

Pierre Schaeffer began exploring technology applications in musique concrète during the 1940s and 50s. Recording technology made all sounds available for potential use as musical material while magnetic tape availability increased significantly during the 1950s allowing composers to record and manipulate sounds.

What is the significance of Igor Stravinsky The Rite of Spring in 20th century classical music?

Igor Stravinsky drew primitivism into his early career through The Rite of Spring alongside Chout by Sergei Prokofiev. This work represents a key moment where composers returned to the past for inspiration after the First World War while also embracing new forms like neoclassicism with Pulcinella and Symphony of Psalms.

How did John Cage introduce chance elements into music from the 1950s onwards?

John Cage introduced elements of chance into his music starting from the early 1950s and coined the term experimental music to describe works producing unpredictable results. His approach included techniques such as Cartridge Music which served as an early example of live electronic music using live electronic sounds within performance rather than preprocessed overdubs.

Which composers explored microtones smaller than a semitone in 20th century classical music?

Charles Ives Julián Carrillo Alois Hába John Foulds Ivan Wyschnegradsky Harry Partch and Mildred Couper all explored microtones that are intervals smaller than a semitone. These intervals proved difficult for instruments like piano or organ to produce without retuning during the development of modernist styles.