Classical Music from 1903 to 1988 (A Timeline of Major Works)

[Uatu]

I recently put together a timeline chart of 20th Century classical works, largely inspired by a rereading of Paul Griffiths' wonderful book "Modern Music: A Concise History".  My chart can be seen at the link below:

http://stockhausenspace.blogspot.com/p/modern-music-concise-history-timeline.html

I added quite alot of "personal favorites", though that is kind of a misleading term since I actually don't like many of the ones I added, but thought they were fairly important works anyways.  I also tried not to include too many works by one composer, otherwise it would be even more unwieldy (I already have a separate page for Stockhausen's works (http://stockhausenspace.blogspot.com/p/year-biographical-info-from-official.html) ).

Anyways, it makes for a possibly fascinating overview of how classical developed in the last century....

There are lots of composers and works that I didn't include obviously...  Perhaps people can add them below if they wish, along with some description of their contribution?

[Karl Henning]

On a quick glance, interesting!  Will revisit it soon.

[some guy]

Feldman's second string quartet takes six hours to perform, not four, although shorter performances are certainly possible.

About the project, however, I think that any history of music in the twentieth century has to accomodate a pretty significant change in the way creative artists and, by extension, people who partake of their offerings, think about what it is that they are doing, most significantly in questioning the whole idea of "major works."

Of course, anyone may object that the idea of "major works" is a good idea and should not be questioned or at least not be dispensed with. But that still leaves the historical fact that a lot of people in the twentieth century questioned the utilitiy of such ideas as "major work" and even the idea of "work."

A timeline of "major works" will quite obviously exclude a lot of things that were important to twentieth century thought and practice, most notably the whole Fluxus movement but also the Italian noise music from earlier in the century, also the now largely unknown work with radio from around the same time, also the resurgence of improvisation in serious art music, that is, in by other musicians than organists, who were pretty much the only musicians to continue the tradition of improvisation unbroken.

[Uatu]

Feldman's second string quartet takes six hours to perform, not four, although shorter performances are certainly possible.

About the project, however, I think that any history of music in the twentieth century has to accomodate a pretty significant change in the way creative artists and, by extension, people who partake of their offerings, think about what it is that they are doing, most significantly in questioning the whole idea of "major works."

Of course, anyone may object that the idea of "major works" is a good idea and should not be questioned or at least not be dispensed with. But that still leaves the historical fact that a lot of people in the twentieth century questioned the utilitiy of such ideas as "major work" and even the idea of "work."

A timeline of "major works" will quite obviously exclude a lot of things that were important to twentieth century thought and practice, most notably the whole Fluxus movement but also the Italian noise music from earlier in the century, also the now largely unknown work with radio from around the same time, also the resurgence of improvisation in serious art music, that is, in by other musicians than organists, who were pretty much the only musicians to continue the tradition of improvisation unbroken.

No need to take the wordage "major works" so seriously.  The purpose of this list is basically to expose myself (and any other interested folks) to the many aspects of art-music in the 20th Century in a brief amount of time.

Thanks for correcting the factoid about the Feldman qrtt.  I probably got that duration from wikipedia, I forget...
I briefly referenced Fluxus and Italian noise in it.  I am unfamiliar with the radio movement - could you explain that in more detail or provide a link?

Improvisation is a big thing and if I ever do a jazz timeline I would roll that in, but in this one I do mention Stockhausen's intuitive music.   I guess I could have mentioned Cardew and AMM...  I think MEV is in there.  Again, this is not going to be comprehensive, but hopefully just lead towards deeper investigation of interesting music.  For example, before making this list and consulting a Juilliard listening list, I never realized Percy Grainger's contributions...but now I'm checking him out.  Now, what other mavericks have I been missing?

[North Star]

What other mavericks, you ask? Try Nielsen, Busoni, Scriabin, Stevenson, Villa-Lobos, Ginastera, Dutilleux, and Silvestrov. That list seemed at times quite Boulezian, although it was refreshing - and surreal - to see Vaughan Williams' The Lark Ascending there, and nothing from Shostakovich between his 5th and 15th, or much from Sibelius. No mention of Tcherepnin's writing of the first movement ever for only percussion instruments in one of the symphonies. And Delius was by far the first to use African American music in 'Classical music'.

[some guy]

Uatu,

I cannot. Not easily, anyway. I left my home (and my homeland) two years ago, which meant leaving most of my books behind, including a lovely volume about radio art in the 1920s.

I'll do a Google search when I can. It was something about "the silent century," as I recall, as part of the author's thesis was that quite a lot of things that happened in the twentieth century were simply vanished.

Sorry to be so lame.

--Michael

[Uatu]

Uatu,

I cannot. Not easily, anyway. I left my home (and my homeland) two years ago, which meant leaving most of my books behind, including a lovely volume about radio art in the 1920s.

I'll do a Google search when I can. It was something about "the silent century," as I recall, as part of the author's thesis was that quite a lot of things that happened in the twentieth century were simply vanished.

Sorry to be so lame.

--Michael

No problem.  Come to think of it, I used to have an issue of Resonance magazine which featured avant garde music related to radio, so maybe I can find some more info in there (if I can find it!)

[Cato]

What other mavericks, you ask? Try Nielsen, Busoni, Scriabin, Stevenson, Villa-Lobos, Ginastera, Dutilleux, and Silvestrov. That list seemed at times quite Boulezian, although it was refreshing - and surreal - to see Vaughan Williams' The Lark Ascending there, and nothing from Shostakovich between his 5th and 15th, or much from Sibelius. No mention of Tcherepnin's writing of the first movement ever for only percussion instruments in one of the symphonies. And Delius was by far the first to use African American music in 'Classical music'.

Also refreshing to see Harry Partch mentioned more than once!     Truly a maelstrom of methods, experiments, maybe some dead ends (?)!

I like the phrase "atonal individuality" for Elliott Carter!  0:)

[Uatu]

What other mavericks, you ask? Try Nielsen, Busoni, Scriabin, Stevenson, Villa-Lobos, Ginastera, Dutilleux, and Silvestrov. That list seemed at times quite Boulezian, although it was refreshing - and surreal - to see Vaughan Williams' The Lark Ascending there, and nothing from Shostakovich between his 5th and 15th, or much from Sibelius. No mention of Tcherepnin's writing of the first movement ever for only percussion instruments in one of the symphonies. And Delius was by far the first to use African American music in 'Classical music'.

<Nielsen, Busoni, Scriabin, Stevenson, Villa-Lobos, Ginastera, Dutilleux, and Silvestrov>
...were not mentioned in the Griffiths book, and I personally don't know these guys well enough that I could cite a single work by any of them which would demonstrate their singular contribution to the development of classical art music (actually I did add Ginastera based on a Wikipedia look up). 

Shosty - he's actually a composer I quite like, and his Str Qrtts are wonderful, but which one to add?   Which other works are "major"?

I didn't know about Tcherepnin and Delius' contributions (not familiar with them to be honest).  Can you tell me which works?  Thanks for the info, this is the kind of illumination I need!

(Update: I just added Tcherepnin, with the help of some web research.  Will need to check him out more thoroughly...)

[Uatu]

I like the phrase "atonal individuality" for Elliott Carter!  0:)

Carter is hard to pin down.  Actually I just bought the book "The Music of Elliott Carter" to learn more about him.

[North Star]

<Nielsen, Busoni, Scriabin, Stevenson, Villa-Lobos, Ginastera, Dutilleux, and Silvestrov>
...were not mentioned in the Griffiths book, and I personally don't know these guys well enough that I could cite a single work by any of them which would demonstrate their singular contribution to the development of classical art music (actually I did add Ginastera based on a Wikipedia look up). 

Shosty - he's actually a composer I quite like, and his Str Qrtts are wonderful, but which one to add?   Which other works are "major"?

I didn't know about Tcherepnin and Delius' contributions (not familiar with them to be honest).  Can you tell me which works?  Thanks for the info, this is the kind of illumination I need!

Busoni's Elegies and Sonatinas are an important part of the path to atonality.

The Tcherepnin piece is the Scherzo (2nd mov) from Symphony no. 1 (7:02 in the video)

https://www.youtube.com/v/y57ldCjXOqc

As for Delius, the Florida Suite from 1887 is, I think, the first piece of European music to use African American music, and the opera Koanga from 1897 is the first opera to use African American music, nearly 40 years before Gershwin.


Also:

https://www.youtube.com/v/j959i5k6RjM

[Cato]

Busoni's Elegies and Sonatinas are an important part of the path to atonality.

True: also, Elektra by Richard Strauss has perhaps been underestimated as an influence on Schoenberg and company.  The woman of Erwartung has an ancestress in Elektra.

The Tcherepnin piece is the Scherzo (2nd mov) from Symphony no. 1 (7:02 in the video)

https://www.youtube.com/v/y57ldCjXOqc

Elsewhere I have mentioned Alexander Tcherepnin's polyphonic style of Interpoint as a style that could offer possibilities to composers.

[James]

Busoni's Elegies and Sonatinas are an important part of the path to atonality.

The Tcherepnin piece is the Scherzo (2nd mov) from Symphony no. 1 (7:02 in the video)

https://www.youtube.com/v/y57ldCjXOqc

As for Delius, the Florida Suite from 1887 is, I think, the first piece of European music to use African American music, and the opera Koanga from 1897 is the first opera to use African American music, nearly 40 years before Gershwin.


Also:

https://www.youtube.com/v/j959i5k6RjM

None of this stuff is truly major though, if it never even occurred the history of music would remain, can't say the same of the truly major stuff which transcends all and lasts (longevity, a tested & true measure of greatness thru the ages) .. I suppose by the time we're done here every composition ever written will be listed.

[James]

About the project, however, I think that any history of music in the twentieth century has to accomodate a pretty significant change in the way creative artists and, by extension, people who partake of their offerings, think about what it is that they are doing, most significantly in questioning the whole idea of "major works."

I don't think there was any significant/important change regarding this though. No major reversal. Human beings have and will continue to strive in creating great and beautiful works of art. The very best that they can. They will judge by comparison and be critical, I see no changes here. Great works of art do exist, and continue to exist. Again, no changes. Whether it be architecture, or painting/illustrating, literature, film, music etc., etc. you will find truly amazing work that is above the rest. Because yes, there are people out there that are better at it than most, instances where it all comes together within works or art .. and we cherish these achievements and triumphs which showcase the best of what we are capable of as human beings.

All artists should work hard & try to do their very best (which includes learning greatly from what came before them, no one learns in a vacuum, so studying what makes the great works great, and the masters who made them can be very wise and helpful), finding their own voice and staying true to it is also important. If they happen to produce something truly great that lasts, so be it. Time will sort things out, just like it always has.

[Uatu]

Busoni's Elegies and Sonatinas are an important part of the path to atonality.
The Tcherepnin piece is the Scherzo (2nd mov) from Symphony no. 1 (7:02 in the video)
As for Delius, the Florida Suite from 1887 is, I think, the first piece of European music to use African American music, and the opera Koanga from 1897 is the first opera to use African American music, nearly 40 years before Gershwin.

I already have Busoni in there, though not those specific works.  I'm not sure if those had that great effect on the general stream of music development besides just another way of stretching tonality (along with about a dozen other people I mentioned).  I may add some more about him later tho.

The Delius works are outside the scope of the timeline dates.  Good to know, tho, thanks.

[Uatu]

I did a major overhaul - now up to 850 some-odd (and some VERY ODD) works:
http://stockhausenspace.blogspot.com/p/timeline-history-of-20th-century.html

     The below timeline of contemporary classical music was first inspired from Paul Griffiths' excellent book Modern Music A Concise History, which covers the years 1903 to 1988.  I subsequently added many more entries based on various other sources (see links at bottom) and on personal taste (the focus of this timeline is on "innovation", as opposed to popular works, thus many "famous" repertoire works are not listed).  The organization of entries within each year is generally Stockhausen's works first, followed by acoustic works, acoustic and electronic ensembles, tape/electronic works, performance art, and finally "miscellaneous".

     Griffiths' more recent book Modern Music and After, 3rd Edition (also superb) lists additional works going up to 2010.  Since I personally am not as familiar with the more recent era, from 1988 to 2010 the listing at this point includes all of the works cited in Griffiths' book "unedited" (comments and probably some editing added as I become more familiar with these works).  An initial version of this timeline didn't include some of the more obscure electronic music pioneers, so now it has been updated to include all of the works cited in David Dunn's brilliant essay History of Electronic Music Pioneers (which unfortunately only covers up to 1970).  Again, not an expert here myself on this field, but worth listing for further exploration in the future (an earlier version of this timeline without the electronic music entries can be found here).  In any case, this is a "work in progress"...  any corrections or additions welcome as always.

     More detail on the works of Karlheinz Stockhausen (who do know pretty well) can be found here :http://stockhausenspace.blogspot.com/p/year-biographical-info-from-official.html.

[bhodges]

Uatu, finally got around to browsing your timeline, and it is very impressive. (Good that you posted it in the Beginners section, too.) Glad you were inspired by Griffiths - he's a marvelous writer. I'm also a fan of his occasional program notes for NYC venues like Miller Theatre.

In any case, thanks for taking the time to assemble such a huge and helpful list, and I look forward to checking in on it periodically.

--Bruce

[Uatu]

Thanks for your note Brewski. 

It really amazes that in this day and age almost every one of the works listed can be listened to INSTANTLY on YouTube for free.  And you don't even have to struggle with unwrapping a CD!

[bhodges]

Thanks for your note Brewski. 

It really amazes that in this day and age almost every one of the works listed can be listened to INSTANTLY on YouTube for free.  And you don't even have to struggle with unwrapping a CD!

I completely agree: it is incredible how much music is on that one site alone - never mind others, like Vimeo, medici.tv, and elsewhere. There is more music available (of all periods) than anyone can possibly listen to.

--Bruce

[Monsieur Croche]

---Debussy's very existence and L'apres midi d'un faun are the sole reason the authors and editors of Groves, after years of careful deliberation, changed their original date for the beginning of the modern era from 1900 to 1890.
---Unlike the other more gradual progressions and transitional composers moving toward modernism, Debussy dumped that all for a radically new and truly modern approach in the relative time it takes to snap your fingers. He summarily dispensed with and abandoned the old and a very startlingly new thing appeared, wholly modern, and the first and only. This extreme 'overnight' change without any precedent developments leading up to it is the Milestone work flagging a headlong plunge into modern and the modern era, whisking all before it away. This can not be overemphasized, and within the spare brevity which is the nature of the kind of chart you've made, you somehow need to make that emphasis.


---Ive's Central Park in the Dark, is mentioned while omitting that it was paired with The Unanswered Question. If not in Central Park in the Dark, I'm fairly certain Unanswered Question is the first use of polymetrics, and that is a very big deal; again, that needs mention.

---Stravinsky's Concerto per due pianoforti soli  -1935 predates Carter's Sonata for 'Cello and Piano by two decades plus, and it is the Stravinsky piece in which metrical modulation was first present as an integral element of the piece -- extensively throughout several of its movements. re-set your text accordingly.

---A minor academic footnote, of academic importance and less than a first world problem in re your chart: Milton Babbitt composed and published the first total serialist piece [sorry, I can not recall its name] one year prior Messiaen's Mode de valeurs et d'intensités first saw the light of day.

---I question the merit, or any interest, of including Hovhaness at all. It is patently absurd to say he in any way anticipated "Holy Minimalism," [I know, it is in Wiki as that -- "What, Wiki is Wrong?" At least I'm happy with the question mark you put after that statement.] It is not Holy Minimalism; it is officially Spiritual Minimalism. That "Holy" is only slightly less egregious than the "Spiritual" tag, but "Holy" wins out as 'just so wrong.' 
---Hovhaness wrote modal-tonal music in that hokiest of hokey genres which Zemlimsky dubbed as musical exoticism. Hovhaness' is an East-European Orthodox Christian mysticism, with a mightily twee affectation and gloss of being far-eastern mysticism. The fact he could toss of modal fugues readily really counts for nothing at all. If he influenced anything, it might be a certain stamp of film music for those mid-twentieth century Bible Epics. The most fleeting mention of his existence is enough to suffice, where in my opinion, you don't need to include this composer at all.

One slight anomaly: you say a neoclassical Stravinsky score written after his Apollo is "less cynical than the earlier neoclassical works," and that contradicts the existence and fundamental nature of his Apollo. That maybe needs a fix.

Your list I think is more useful as a thumbnail sort of quick reference for "those who already know," rather than useful to those more at the beginning. Too, timelines are usually better and more readily useful when graphically laid out horizontally; they instantly become of great use, to beginner as well as aficionadi.

Your chart set vertically, it seems to have and dulling and unyielding pace of its stream of data. The traditional horizontal presentation, with the life-lines of composers, landmark works set in spatial proportion along the lines, is innately more exciting.

Lotta work -- commending you on it.

Best regards