The compositions that have appeared this century reflect rapidly-changing times. Two horrific World Wars, and enhanced awareness of the world around us through television and radio have raised our social conscience; artists aim to reflect life, and comment on it far more than ever before.
In 1900 there were two main groups of composers: those who continued the Romantic tradition (the Neo-Romantics); and those who were inspired by Impressionism.
Elgar, Vaughan Williams, Holst, Bax, Mahler, Richard Strauss and Sibelius all developed Romantic writing further from the styles of Brahms and Wagner. They all had their different characteristics of course - some continuing the nationalist movement with the collection and use of folk music - but did not radically change the nineteenth century symphonic tradition.
Debussy, however, was greatly influenced by the developments of the Impressionist painters, such as Cezanne and Monet. By using unconventional harmony, overtones, and whole-tone scales he produced many pieces with atmospheric, shimmering effects. (Notice the dreaminess in his piano prelude The Submerged Cathedral or the orchestral Prelude a l'Apres-midi d'un Faune, for example). His music felt very different and new at the time, yet was still basically tonal. Ravel, Falla and Delius weere others to be inspired by Impressionism.
Some composers became decidedly anti-Romantic, however.
Prokofiev composed lively and often discordant music, until commanded by the Russian authorities to revert to "easier", more lyrical music. Stravinsky used contrasting styles inhis long composing life. Having assimilated the colourful nineteenth-century symphonic style from his teacher Rimsky-Korsakov, he produced several successful ballet scores, including The Rite of Spring and The Firebird, which broke new ground with their driving, complex rhythmic structures and general move away from anything approaching conventional "sweetness" of melody and orchestral sound. Continuing to reject all things romantic, he experimented with polytonality and with rhythm and meldoy, none of which was very popular with audiences at the time. In fact, The Rite of Spring caused the biggest riot from an audience ever known when it was first performed in Paris in 1913. In contrast to this forward-looking worrk, Stravinsky also looked back to the eighteenth century: he would combine the simpler forms of that time with the flavour of the modern music. This we now call neo-classicism.
Since the end of the Second World War there has been an incredible development in electronic technology. We can all now listen to and enjoy high-quality music at the touch of a switch, and come to know music that we may not otherwise encounter. In all ages there have been both innovatory composers and reactionary composers. The reactionary ones prefer to work within an existing and accepted style, perfecting as best they can the current musical language. Others, however, are rather more revolutionary. The so-called avant-garde composers are continually seeking new ways of expression, new instruments and new structures.
Since 1945, Britten, Tippett, Stravinsky, Shostakovich, Vaughan Williams and Walton are among the most important names in the traditional methods of composition. They are all individuals of course, but nonetheless, they can be grouped within the mainstream of twentieth century music. The avant-garde composers are also diverse in style, and space permits only the mention of a few. The Italian Berio sometimes gives the performer a choice of actual notes to play. Originally a serialist, he has written electronic as well as orchestral music.
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Saint-Saens, Elgar, Mahler, Debussy, Ravel, R Strauss, Vaughan Williams, Holst, Rachmaninov, Stravinsky, Steve Reich, John Tavener, Shostakovich