Podcasts about 20th century music

Host Nate Wilcox answers questions from Let It Roll readers. Topics include "What do you think is the most important era of music over the last 100 years?", What is your personal favorite era and why? and many more. Buy the book that started the whole series and support the show. CHECK OUT THE NEW LET IT ROLL WEB SITE -- We've got all 350+ episodes listed, organized by mini-series, genre, era, co-host, guest and more. Please sign up for the email list on the site and get music essays from Nate as well as (eventually) transcriptions of every episode. Also if you can afford it please consider becoming a paid subscriber to support the show. Thanks! Have a question or a suggestion for a topic or person for Nate to interview? Email letitrollpodcast@gmail.com Follow us on Twitter. Follow us on Facebook. Let It Roll is proud to be part of Pantheon Podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices

Pays tribute to an ancient city.

Cornelius Cardew (1936-1981) composed Treatise, between 1963 and 1967.  It consists of 193 visual scores that can be played by any combination of instruments and interpreted in any way the performers wish. Just released on Bandcamp: Vol. 6: pages 131 to 160Vol. 5: pages 101 to 130Taking it all the way back:Vol. 4: pages 76-100Vol. 3: pages 51-75Vol. 2: pages 25-50Vol. 1: pages 1-24Get some electronic sounds in your playlist, 5 minutes at a time. Support my little podcast before I have to take ads for memory foam mattresses.

Let's get caught up in all things Millie Jackson on this special debut episode of Rock in Retrospect.  Nick and guest Mary Layton (Hall Watchers)  discuss Jackson's life, career and impact on the music industry. Often hailed as the mother of rap, Jackson's raspy spoken-word vocals and sexually charged lyrics made her one of R&B's most consistently popular stars. She may not be a household name, but Jackson is an undeniably talented and supremely influential legend who deserves more of our attention. To quote Mary, let's hope there is a “Millie Revolution” on the horizon.

Intro - 0:00Part I, Works and Philosophies of Harry Partch  - 01:10Delusion of the Fury: Exordium: The Beginning of a Web - 03:13Harry Partch - Music Studio - Part 1 of 2 - 05:04Harry Partch - The World of Harry Partch (1969) - 28:10Harry Partch - Chorus of Shadows - 32:12Part II, Works and Philosophies of Henry Cowell - 32:33Henry Cowell - Anger Dance (Schleiermacher) (1914) - 37:12Henry Cowell - “The Banshee” for piano strings - 38:43Henry Cowell: Hymn and Fuguing Tune No. 1 - 53:09Outro - 53:35Full Playlist for EP 13VVMC Book ClubVVMC: Friends & Voices, a Collaborative PlaylistVoices from the Vernacular Music Center

Chris is joined by musician and composer Eddie Parker, to discuss the creative & technical process in lock-down, musical influences, the role of the natural environment for wellness, Loose Tubes and all sorts of jazz en route.Eddie's career as a flautist-extraordinaire has threaded a creative line between the classical and jazz worlds. He talks about collaboration, suggests not just one 'top-3 album list' but two(!), adds ukele to the house-band and solves a 30-year lyrical mystery for Chris.Discover more of Eddie's music one Facebook and Bandcamp.Eddie's album recommendations include:List One:Gnu High by Kenny Wheeler (1975) released on ECMOut to Lunch by Eric Dolphy (1964) released on Blue NoteVisions of the Emerald Beyond by the Mahavishnu Orchestra (1975) released on ColumbiaList Two:Sinfonia by Luciano Berio (1969) released on Columbia MasterworksRed Bird by Trevor Wishart (1978) released on York Eletronic StudiosInnervisions by Stevie Wonder (1973) released on TamlaAnd Chris very much recommends:Open Letter by Loose Tubes (1988) released on EGPresenter: Chris Newstead, www.watfordjazzjunction.comTheme: by SoundWorkLab, licensed through AudioJungle.Additional music: excerpts from "The Secret Life of Trees" (featuring Eddie Parker & Simon Limbrick); "Stacatto" (composed & performed Eddie Parker).Recorded February 2021.

I Challenge anyone when it comes to programming great Music --- Send in a voice message: https://anchor.fm/johnny-ciao/message Support this podcast: https://anchor.fm/johnny-ciao/support

Episode 21 of Tom Clark's 6M Podcast focuses on part 2 of the first ever edition of Tom's Time Capsule. Tom and cohost Nathan Workman presented their top 20 albums for consideration and now they must narrow the field from 40 down to 20 total All this and much more! For more from Tom Clark, check out the links below: Tom Clark's 6M Podcast on Facebook Tom Clark's Main Event Tom Clark's 30 Minute Fun Show High Velocity Wrestling © Boink Studios 2021

Episode 20 of Tom Clark's 6M Podcast focuses on part 1 of the first ever edition of Tom's Time Capsule. Tom and cohost Nathan Workman do an in-depth look at the best of music in the 20th century, each contributing their favorite albums, with the goal of narrowing it down to 20. All this and much more! For more from Tom Clark, check out the links below: Tom Clark's 6M Podcast on Facebook Tom Clark's Main Event Tom Clark's 30 Minute Fun Show High Velocity Wrestling © Boink Studios 2021

Green Grass Snake (from Serpent Music, 1977)                          Michael Kibbe (1945- )“A sunlit emerald shimmering to tease the eye; a parting of the grass—this ribbon passes by.” Kibbe wrote this music for a performance piece. “It was premiered in Los Angeles with the composer playing the oboe. A group of interpretive dances writhed, snakelike, across the floor around the two instrumentalists.” The Grasshopper (from Two Insect Pieces,1934)              Benjamin Britten (1913-1976)At the age of 21, Benjamin Britten wrote Two Insect Pieces for his friend, the oboist Sylvia Spencer, and played it with her privately. Its first public performance was after both their deaths, in a memorial service for Spencer. That Mockingbird (from On Holt Avenue, 2006)                            Jenni Brandon (1977- )“Written for the oboist Jennifer Mitchell, this piece portrays life ‘On Holt Avenue' in Los Angeles, California as told by the composer.”  Mockingbirds are garrulous, accurate mimics of other birds. They fool nobody, however, because they are way too loud and have no editor. Their nonstop recitals are strings of unrelated sound bites, like an iPod running amok. Gardens (1975)                                                                              Peter Schickele (1935- )  1. Morning  2. Noon   3. NightPeter Schickele is a prolific composer, musician, author and satirist. He writes musical parodies in the persona of P.D.Q. Bach. For other compositions he uses his own name. In this piece he shows his reflective side and his skill as a musical colorist.All quotes are from the composers. Internet links to their biographies are:https://www.michaelkibbe.comhttps://www.britannica.com/biography/Benjamin-Brittenhttps://jennibrandon.comhttps://www.schickele.com/psbio.htm

In this episode, Haley Bloch and Amanda Taglich explore how those at American society's margins, such as European immigrants from poor backgrounds, African Americans, and other people of color, struggled for acceptance and influence in mainstream media despite deep-rooted racism and xenophobia. To be alive during the twentieth century was to experience a flood of different voices, all influencing the social and cultural landscape for decades to come by expressing their ideals and passions through their music.

“You can kill people with sound," noted Estonian composer Arvo Pärt. Then he went on, “And if you can kill, then maybe there is also the sound that is opposite of killing. And the distance between these two points is very big. And you are free—you can choose.”  This is, perhaps an apt commentary on mid-20th century classical music. In this lecture to Wyoming Catholic College juniors, Dr. Stanley Grove discusses the musical works of Pärt as well as John Cage and Krzysztof Penderecki. Sounds that kill, sounds that bring life, and in the case of John Cage's “4:33,” no sounds at all.

Béla Bartók's "Concerto for Orchestra" is one of that composer's most accessible and popular works. Composed at a time when Bartók was terminally ill with leukemia, the Concerto is nonetheless full of energy and humor. In Bartók's words this music is intended to be "a life-assertion," and it served as a great composer's final artistic statement. Series: "La Jolla Symphony & Chorus" [Show ID: 35400]

Béla Bartók's "Concerto for Orchestra" is one of that composer's most accessible and popular works. Composed at a time when Bartók was terminally ill with leukemia, the Concerto is nonetheless full of energy and humor. In Bartók's words this music is intended to be "a life-assertion," and it served as a great composer's final artistic statement. Series: "La Jolla Symphony & Chorus" [Show ID: 35400]

Béla Bartók's "Concerto for Orchestra" is one of that composer's most accessible and popular works. Composed at a time when Bartók was terminally ill with leukemia, the Concerto is nonetheless full of energy and humor. In Bartók's words this music is intended to be "a life-assertion," and it served as a great composer's final artistic statement. Series: "La Jolla Symphony & Chorus" [Show ID: 35400]

Béla Bartók's "Concerto for Orchestra" is one of that composer's most accessible and popular works. Composed at a time when Bartók was terminally ill with leukemia, the Concerto is nonetheless full of energy and humor. In Bartók's words this music is intended to be "a life-assertion," and it served as a great composer's final artistic statement. Series: "La Jolla Symphony & Chorus" [Show ID: 35400]

Béla Bartók's "Concerto for Orchestra" is one of that composer's most accessible and popular works. Composed at a time when Bartók was terminally ill with leukemia, the Concerto is nonetheless full of energy and humor. In Bartók's words this music is intended to be "a life-assertion," and it served as a great composer's final artistic statement. Series: "La Jolla Symphony & Chorus" [Show ID: 35400]

Béla Bartók's "Concerto for Orchestra" is one of that composer's most accessible and popular works. Composed at a time when Bartók was terminally ill with leukemia, the Concerto is nonetheless full of energy and humor. In Bartók's words this music is intended to be "a life-assertion," and it served as a great composer's final artistic statement. Series: "La Jolla Symphony & Chorus" [Show ID: 35400]

Claire De Lune - by Debussy BGSU New music festival Monet Art In C Virtual Choir Short Ride in a Fast Machine Six Marimbas --- Send in a voice message: https://anchor.fm/ohvamusic/message

A close friend of Ralph Vaughan Williams, George Butterworth was a largely self-trained composer who was immersed in English folk music. His works grew directly out of his contact with the English countryside, as exemplified by "The Banks of Green Willow" with its evocation of pastoral life in all its idealized simplicity and tranquility; indeed, the composer characterized it as an "idyll." As was common in his music Butterworth bases this piece on several old English folk melodies, creating a series of brief fantasias on each of the themes before drawing to a peaceful conclusion. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 35011]

Originally written as the second (slow) movement of a string quartet, Samuel Barber's "Adagio for Strings" went on to become one of the most popular symphonic works of the 20th century in its final orchestral arrangement. The solemn character of the Adagio has led to its frequent use as mourning music, much to Barber’s distress since it was not his intention to write a requiem. It was broadcast following the announcement of President Roosevelt’s death in 1945, and performed by the New York Philharmonic to mark Barber’s own death in 1981. Indeed, the Adagio seems fated to be used whenever someone needs music that sounds both “ceremonial” and “American.” Whatever its unintentional cultural accretions, Barber's melody is still both beautiful and powerful after countless hearings. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 35009]

A close friend of Ralph Vaughan Williams, George Butterworth was a largely self-trained composer who was immersed in English folk music. His works grew directly out of his contact with the English countryside, as exemplified by "The Banks of Green Willow" with its evocation of pastoral life in all its idealized simplicity and tranquility; indeed, the composer characterized it as an "idyll." As was common in his music Butterworth bases this piece on several old English folk melodies, creating a series of brief fantasias on each of the themes before drawing to a peaceful conclusion. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 35011]

Originally written as the second (slow) movement of a string quartet, Samuel Barber's "Adagio for Strings" went on to become one of the most popular symphonic works of the 20th century in its final orchestral arrangement. The solemn character of the Adagio has led to its frequent use as mourning music, much to Barber’s distress since it was not his intention to write a requiem. It was broadcast following the announcement of President Roosevelt’s death in 1945, and performed by the New York Philharmonic to mark Barber’s own death in 1981. Indeed, the Adagio seems fated to be used whenever someone needs music that sounds both “ceremonial” and “American.” Whatever its unintentional cultural accretions, Barber's melody is still both beautiful and powerful after countless hearings. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 35009]

A close friend of Ralph Vaughan Williams, George Butterworth was a largely self-trained composer who was immersed in English folk music. His works grew directly out of his contact with the English countryside, as exemplified by "The Banks of Green Willow" with its evocation of pastoral life in all its idealized simplicity and tranquility; indeed, the composer characterized it as an "idyll." As was common in his music Butterworth bases this piece on several old English folk melodies, creating a series of brief fantasias on each of the themes before drawing to a peaceful conclusion. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 35011]

Originally written as the second (slow) movement of a string quartet, Samuel Barber's "Adagio for Strings" went on to become one of the most popular symphonic works of the 20th century in its final orchestral arrangement. The solemn character of the Adagio has led to its frequent use as mourning music, much to Barber’s distress since it was not his intention to write a requiem. It was broadcast following the announcement of President Roosevelt’s death in 1945, and performed by the New York Philharmonic to mark Barber’s own death in 1981. Indeed, the Adagio seems fated to be used whenever someone needs music that sounds both “ceremonial” and “American.” Whatever its unintentional cultural accretions, Barber's melody is still both beautiful and powerful after countless hearings. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 35009]

Originally written as the second (slow) movement of a string quartet, Samuel Barber's "Adagio for Strings" went on to become one of the most popular symphonic works of the 20th century in its final orchestral arrangement. The solemn character of the Adagio has led to its frequent use as mourning music, much to Barber’s distress since it was not his intention to write a requiem. It was broadcast following the announcement of President Roosevelt’s death in 1945, and performed by the New York Philharmonic to mark Barber’s own death in 1981. Indeed, the Adagio seems fated to be used whenever someone needs music that sounds both “ceremonial” and “American.” Whatever its unintentional cultural accretions, Barber's melody is still both beautiful and powerful after countless hearings. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 35009]

Originally written as the second (slow) movement of a string quartet, Samuel Barber's "Adagio for Strings" went on to become one of the most popular symphonic works of the 20th century in its final orchestral arrangement. The solemn character of the Adagio has led to its frequent use as mourning music, much to Barber’s distress since it was not his intention to write a requiem. It was broadcast following the announcement of President Roosevelt’s death in 1945, and performed by the New York Philharmonic to mark Barber’s own death in 1981. Indeed, the Adagio seems fated to be used whenever someone needs music that sounds both “ceremonial” and “American.” Whatever its unintentional cultural accretions, Barber's melody is still both beautiful and powerful after countless hearings. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 35009]

A close friend of Ralph Vaughan Williams, George Butterworth was a largely self-trained composer who was immersed in English folk music. His works grew directly out of his contact with the English countryside, as exemplified by "The Banks of Green Willow" with its evocation of pastoral life in all its idealized simplicity and tranquility; indeed, the composer characterized it as an "idyll." As was common in his music Butterworth bases this piece on several old English folk melodies, creating a series of brief fantasias on each of the themes before drawing to a peaceful conclusion. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 35011]

A close friend of Ralph Vaughan Williams, George Butterworth was a largely self-trained composer who was immersed in English folk music. His works grew directly out of his contact with the English countryside, as exemplified by "The Banks of Green Willow" with its evocation of pastoral life in all its idealized simplicity and tranquility; indeed, the composer characterized it as an "idyll." As was common in his music Butterworth bases this piece on several old English folk melodies, creating a series of brief fantasias on each of the themes before drawing to a peaceful conclusion. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 35011]

A close friend of Ralph Vaughan Williams, George Butterworth was a largely self-trained composer who was immersed in English folk music. His works grew directly out of his contact with the English countryside, as exemplified by "The Banks of Green Willow" with its evocation of pastoral life in all its idealized simplicity and tranquility; indeed, the composer characterized it as an "idyll." As was common in his music Butterworth bases this piece on several old English folk melodies, creating a series of brief fantasias on each of the themes before drawing to a peaceful conclusion. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 35011]

Originally written as the second (slow) movement of a string quartet, Samuel Barber's "Adagio for Strings" went on to become one of the most popular symphonic works of the 20th century in its final orchestral arrangement. The solemn character of the Adagio has led to its frequent use as mourning music, much to Barber’s distress since it was not his intention to write a requiem. It was broadcast following the announcement of President Roosevelt’s death in 1945, and performed by the New York Philharmonic to mark Barber’s own death in 1981. Indeed, the Adagio seems fated to be used whenever someone needs music that sounds both “ceremonial” and “American.” Whatever its unintentional cultural accretions, Barber's melody is still both beautiful and powerful after countless hearings. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 35009]

Commissioned in 1936 to compose a large-scale piece for a choral society's centenary celebration, Ralph Vaughan Williams instead wrote for them a cantata for soprano, baritone, chorus, and orchestra titled "Dona Nobis Pacem" – and it was anything but a celebration piece. Dona Nobis Pacem (“Give Us Peace”) was the composer’s protest against war and a cry for peace at a time of growing international tension. Three years later, Vaughan Williams' worst fears would be realized. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 35010]

Commissioned in 1936 to compose a large-scale piece for a choral society's centenary celebration, Ralph Vaughan Williams instead wrote for them a cantata for soprano, baritone, chorus, and orchestra titled "Dona Nobis Pacem" – and it was anything but a celebration piece. Dona Nobis Pacem (“Give Us Peace”) was the composer’s protest against war and a cry for peace at a time of growing international tension. Three years later, Vaughan Williams' worst fears would be realized. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 35010]

Commissioned in 1936 to compose a large-scale piece for a choral society's centenary celebration, Ralph Vaughan Williams instead wrote for them a cantata for soprano, baritone, chorus, and orchestra titled "Dona Nobis Pacem" – and it was anything but a celebration piece. Dona Nobis Pacem (“Give Us Peace”) was the composer’s protest against war and a cry for peace at a time of growing international tension. Three years later, Vaughan Williams' worst fears would be realized. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 35010]

Commissioned in 1936 to compose a large-scale piece for a choral society's centenary celebration, Ralph Vaughan Williams instead wrote for them a cantata for soprano, baritone, chorus, and orchestra titled "Dona Nobis Pacem" – and it was anything but a celebration piece. Dona Nobis Pacem (“Give Us Peace”) was the composer’s protest against war and a cry for peace at a time of growing international tension. Three years later, Vaughan Williams' worst fears would be realized. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 35010]

Though suspicious of German music in general Maurice Ravel was an unabashed fan of the waltz, and wrote several pieces that incorporated that distinctive rhythm. Of "La Valse," the composer wrote that “I had intended this work to be a kind of apotheosis of the Viennese waltz, with which was associated in my imagination an impression of a fantastic and fatal sort of dervish’s dance.” Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 35007]

Though suspicious of German music in general Maurice Ravel was an unabashed fan of the waltz, and wrote several pieces that incorporated that distinctive rhythm. Of "La Valse," the composer wrote that “I had intended this work to be a kind of apotheosis of the Viennese waltz, with which was associated in my imagination an impression of a fantastic and fatal sort of dervish’s dance.” Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 35007]

Though suspicious of German music in general Maurice Ravel was an unabashed fan of the waltz, and wrote several pieces that incorporated that distinctive rhythm. Of "La Valse," the composer wrote that “I had intended this work to be a kind of apotheosis of the Viennese waltz, with which was associated in my imagination an impression of a fantastic and fatal sort of dervish’s dance.” Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 35007]

Though suspicious of German music in general Maurice Ravel was an unabashed fan of the waltz, and wrote several pieces that incorporated that distinctive rhythm. Of "La Valse," the composer wrote that “I had intended this work to be a kind of apotheosis of the Viennese waltz, with which was associated in my imagination an impression of a fantastic and fatal sort of dervish’s dance.” Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 35007]

Though suspicious of German music in general Maurice Ravel was an unabashed fan of the waltz, and wrote several pieces that incorporated that distinctive rhythm. Of "La Valse," the composer wrote that “I had intended this work to be a kind of apotheosis of the Viennese waltz, with which was associated in my imagination an impression of a fantastic and fatal sort of dervish’s dance.” Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 35007]

Though suspicious of German music in general Maurice Ravel was an unabashed fan of the waltz, and wrote several pieces that incorporated that distinctive rhythm. Of "La Valse," the composer wrote that “I had intended this work to be a kind of apotheosis of the Viennese waltz, with which was associated in my imagination an impression of a fantastic and fatal sort of dervish’s dance.” Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 35007]

Charles Ives' "From Hanover Square North..." commemorates the sinking of the British liner Lusitania by a German submarine in 1915. That moment when Ives and his fellow commuters heard the news on a Manhattan subway platform - a sudden fusion of grief, anguish, and community spirit – became the inspiration for Ives' composition, but in typically idiosyncratic fashion Ives didn't render the scene realistically; rather, it was the starting point for a musical meditation in which Ives registered the emotional impact of what he had witnessed. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 35008]

Charles Ives' "From Hanover Square North..." commemorates the sinking of the British liner Lusitania by a German submarine in 1915. That moment when Ives and his fellow commuters heard the news on a Manhattan subway platform - a sudden fusion of grief, anguish, and community spirit – became the inspiration for Ives' composition, but in typically idiosyncratic fashion Ives didn't render the scene realistically; rather, it was the starting point for a musical meditation in which Ives registered the emotional impact of what he had witnessed. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 35008]

Charles Ives' "From Hanover Square North..." commemorates the sinking of the British liner Lusitania by a German submarine in 1915. That moment when Ives and his fellow commuters heard the news on a Manhattan subway platform - a sudden fusion of grief, anguish, and community spirit – became the inspiration for Ives' composition, but in typically idiosyncratic fashion Ives didn't render the scene realistically; rather, it was the starting point for a musical meditation in which Ives registered the emotional impact of what he had witnessed. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 35008]

Charles Ives' "From Hanover Square North..." commemorates the sinking of the British liner Lusitania by a German submarine in 1915. That moment when Ives and his fellow commuters heard the news on a Manhattan subway platform - a sudden fusion of grief, anguish, and community spirit – became the inspiration for Ives' composition, but in typically idiosyncratic fashion Ives didn't render the scene realistically; rather, it was the starting point for a musical meditation in which Ives registered the emotional impact of what he had witnessed. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 35008]

Since the premiere of John Cage's infamous 'silent' work 4'33", scholars have been fascinated by the question of what noise is, how it differs from music, and whether it can ever be beautiful. Drawing on ideas from musicology and philosophy, this lecture will explore these questions, examining our changing understandings of noise and taste in relation to the shifting socio-political landscape of the 20th century. Ultimately it will seek to question how we experience music in the present day, and discuss whether artistic beauty still has a place at all.The transcript and downloadable versions of the lecture are available from the Gresham College website: https://www.gresham.ac.uk/lectures-and-events/what-is-noise-beauty-and-taste-in-20th-century-musicGresham College has been giving free public lectures since 1597. This tradition continues today with all of our five or so public lectures a week being made available for free download from our website. There are currently over 2,000 lectures free to access or download from the website.Website: http://www.gresham.ac.uk Twitter: http://twitter.com/GreshamCollege Facebook: https://www.facebook.com/greshamcollege Instagram: http://www.instagram.com/greshamcollege

20th Century, 1900: At the dawning of the 20th century the world stood on the edge of immense change. No one could have guessed what the next hundred years would bring. Previous centuries saw most composers following specific aesthetic ideals, but music fractured in the 20th century like never before. In reality, we’re still trying to figure out where music goes from here.

On May 4, the finale of Renée Fleming's Perspectives series at Carnegie Hall is "Vienna: Window to Modernity," a thoughtful tribute to the time and place where the European musical tradition, under the influence of literary and visual arts, gave way to the 20th century. Here, in the second of a series of three videos in which Ms. Fleming and conductor and music historian Leon Botstein discuss Vienna at the turn of the 20th century, they examine audience reactions to 20th-century music and explore how audiences should approach music by Viennese composers of the period.