0:00:02 > 0:00:07Over the course of the 20th century, classical music went through a dramatic revolution.
0:00:12 > 0:00:15Composers abandoned conventional rules of music.
0:00:15 > 0:00:18Tunes were out, abstraction was in.
0:00:19 > 0:00:21It was a very extreme time in music.
0:00:22 > 0:00:27Composers felt they had to say something very radical
0:00:27 > 0:00:29to wipe away the past.
0:00:30 > 0:00:35As the century progressed, music was taken to the very brink of destruction.
0:00:36 > 0:00:38Listening to it makes my head wanna explode.
0:00:40 > 0:00:42We're trapped in a theatre of pain.
0:00:43 > 0:00:46Where could music go after that
0:00:46 > 0:00:53but to crawl from the wreckage and welcome back melody, beauty and audiences?
0:00:53 > 0:00:56Classical music sort of lost its way.
0:00:56 > 0:00:59But you now see the whole thing has turned a bit of a full circle.
0:00:59 > 0:01:05It was as if the whole wonderful world of tonality was given back to me.
0:01:05 > 0:01:11I think you can see 20th-century musical history as a kind of
0:01:11 > 0:01:14odyssey and a return home.
0:01:14 > 0:01:19Suddenly, this sumptuously rich sound world emerges,
0:01:19 > 0:01:23and it was a sound that people were drawn to.
0:01:23 > 0:01:27This is the story of the triumph of the tune.
0:01:51 > 0:01:55One late summer evening in 1952, a small crowd of music lovers
0:01:55 > 0:02:01gathered in a woodland for a concert of new work by some of the most radical composers of the day.
0:02:04 > 0:02:07It featured a piece by 40-year-old American John Cage.
0:02:08 > 0:02:14The son of an inventor, Cage would become one of the most inventive forces in 20th-century music.
0:02:16 > 0:02:20And on that night, he stunned his audience into silence
0:02:20 > 0:02:24with one of the most audacious artistic gestures of all time.
0:02:26 > 0:02:30This is the Maverick Concert Hall,
0:02:30 > 0:02:35it's a little kind of barn in rural New York just outside Woodstock.
0:02:35 > 0:02:40Since the 1920s it's been a performance space for classical music
0:02:40 > 0:02:43and the famous premiere that took place here
0:02:43 > 0:02:46was John Cage's 4'33"
0:02:46 > 0:02:48played by David Tudor.
0:02:48 > 0:02:52Tudor came out, sat down at the piano,
0:02:52 > 0:02:56closed the lid over the keys and
0:02:56 > 0:02:58stayed that way for 4 minutes and 33 seconds
0:02:58 > 0:03:01without ever making a sound.
0:03:12 > 0:03:17"I have nothing to say and I am saying it," John Cage famously remarked.
0:03:23 > 0:03:26He had a lifelong fascination with silence.
0:03:28 > 0:03:34And his 4½ minutes of "nothing" has become one of the most infamous pieces in music history.
0:03:37 > 0:03:42Daring, controversial and, some might say, ridiculous.
0:03:44 > 0:03:48In 4'33" you're being asked to tune into the sounds around you,
0:03:48 > 0:03:50to tune into your environment and to, um,
0:03:50 > 0:03:54yeah, to... to understand the world in a different way.
0:03:56 > 0:04:02It's about opening yourself up to music that is full of emptiness or full of silence.
0:04:06 > 0:04:12It's still so incredibly refreshing to musical culture and to your own
0:04:12 > 0:04:15ears and thinking about what music is.
0:04:20 > 0:04:24Cage was a sort of happy warrior of the absurd.
0:04:24 > 0:04:27It's sort of amusing to me
0:04:27 > 0:04:32because there's even highly respected composers who believe
0:04:32 > 0:04:35Cage's silent piece is the most... the most,
0:04:35 > 0:04:39I guess, historically important work since The Rite Of Spring.
0:04:39 > 0:04:42Um... To me, that's like, absurd.
0:04:43 > 0:04:45When people would say to Cage,
0:04:45 > 0:04:49"Anyone could have done it." Cage would say, "But they didn't."
0:04:51 > 0:04:56In life, as in art, Cage championed freedom of expression.
0:04:56 > 0:05:00He was a Zen Buddhist, a philosopher and a painter.
0:05:03 > 0:05:07His teacher, the father of modernist music, Arnold Schoenberg,
0:05:07 > 0:05:11called him "an inventor of genius".
0:05:11 > 0:05:14He restlessly questioned the sound of music.
0:05:14 > 0:05:20He used household screws and bolts to make pianos sound metallic and percussive.
0:05:22 > 0:05:26In Cage's hands, anything could become a musical instrument.
0:05:27 > 0:05:30Even an amplified cactus.
0:05:30 > 0:05:31PIANO-KEY-LIKE SOUND
0:05:31 > 0:05:36Cage did have a big influence. His philosophy, his ideas, maybe even more than his music.
0:05:36 > 0:05:39It really questioned the orthodoxies of modern music.
0:05:39 > 0:05:45People had lived through a decade of rather dogmatic, rather harsh music.
0:05:45 > 0:05:48And there's this... How can I put it?
0:05:48 > 0:05:50..rather naive American
0:05:50 > 0:05:55with these open ideas, presenting them in a very unpretentious way,
0:05:55 > 0:05:58but very new ideas. It really challenged people.
0:05:58 > 0:06:01Mr Cage is a musician, he is a composer.
0:06:01 > 0:06:05He teaches a course in music at the New School here in New York.
0:06:05 > 0:06:09Mr Cage, if you whisper your secret to me, we'll show it to those folks out there.
0:06:12 > 0:06:14APPLAUSE
0:06:15 > 0:06:19Well, now that's very interesting and there must be more.
0:06:22 > 0:06:25John Cage liberated music. I think he was a real visionary.
0:06:25 > 0:06:29He was able to ask these simple questions in such
0:06:29 > 0:06:33a brilliant, effortless, elegant way.
0:06:33 > 0:06:37Ask the question - What is music? What is art?
0:06:43 > 0:06:44He changed the game.
0:06:47 > 0:06:49Cage was unafraid of ridicule.
0:06:49 > 0:06:51APPLAUSE
0:06:51 > 0:06:55No other modernist composer would ever have performed on a prime-time game show.
0:06:55 > 0:06:59But he was deadly serious about his art.
0:07:01 > 0:07:07In 1951, he created one of the most challenging of all solo piano pieces -
0:07:07 > 0:07:10Music Of Changes.
0:07:14 > 0:07:18A scattershot tour de force, its seemingly chaotic
0:07:18 > 0:07:23random sound is the result of Cage letting fate decide the order of the notes,...
0:07:24 > 0:07:27..in a kind of compositional game of chance.
0:07:36 > 0:07:41He wanted to surrender control, any trace
0:07:41 > 0:07:45of individual expression.
0:07:47 > 0:07:51Cage had these charts that he was working with as he was composing
0:07:51 > 0:07:57Music Of Changes. Charts of sounds, durations of notes, dynamic levels.
0:07:57 > 0:08:03He then made the decision to flip coins to see what would happen next.
0:08:03 > 0:08:07And he had the I Ching,
0:08:07 > 0:08:11the Chinese divinatory text, with him.
0:08:11 > 0:08:14And he used it to decide what should come next.
0:08:16 > 0:08:18It was actually a very time-consuming process.
0:08:18 > 0:08:21This was not a case of a composer just throwing up his hands
0:08:21 > 0:08:24and splattering notes across the page.
0:08:25 > 0:08:27He was deadly serious about it.
0:08:29 > 0:08:32Cage is not a very interesting composer to me because
0:08:32 > 0:08:36the music that starts with his
0:08:36 > 0:08:41abandoning of a more traditional way of decision making
0:08:41 > 0:08:46and his adoption of chance, most of that music is unlistenable. And, um,
0:08:46 > 0:08:49I think that the abandonment of decision making,
0:08:49 > 0:08:55and the abandonment of natural intuitive gestures,
0:08:55 > 0:08:59renders the music completely meaningless.
0:08:59 > 0:09:04Cage was the main composer for America to say,
0:09:04 > 0:09:07"Let's explore totally new things here."
0:09:07 > 0:09:12"We can blow out the box and imagine and start again."
0:09:12 > 0:09:17That vision, that uniqueness of idea,
0:09:17 > 0:09:23really spawned a whole lineage of innovation in American music.
0:09:29 > 0:09:35In the 1950s, avant-garde music had been dominated by hardcore European composers
0:09:35 > 0:09:39and the rigid style of music known as serialism.
0:09:39 > 0:09:46But with his free-thinking attitude, Cage was making America the new centre of revolution and innovation.
0:09:48 > 0:09:53He became a father figure to a whole generation of American modernists.
0:09:53 > 0:09:57First and foremost, a six-foot tall, 300lb,
0:09:57 > 0:10:02wise-cracking giant of a man by the name of Morton Feldman.
0:10:04 > 0:10:06There was a sense with Feldman,
0:10:06 > 0:10:09you know, at first, he seemed a kind of a satellite to Cage.
0:10:09 > 0:10:15One of these hangers-on who were always seen in Cage's company.
0:10:15 > 0:10:18And it just took a little while, I think,
0:10:18 > 0:10:23for... for people to perceive the depth of... of what he was up to.
0:10:23 > 0:10:29He was an ambitious man, talkative, spoke in a thick New York accent.
0:10:29 > 0:10:31Just a fantastic personality.
0:10:31 > 0:10:34And the contradiction that people always talk about
0:10:34 > 0:10:38is between that rather rambunctious personality
0:10:38 > 0:10:43and the music, which does seem so otherworldly
0:10:43 > 0:10:50and detached and withdrawn from the street,
0:10:50 > 0:10:52from the world of the street.
0:10:55 > 0:10:59Feldman strode the pavements of Manhattan like a high-fiving colossus.
0:10:59 > 0:11:05But beneath the exterior bluster lurked an inner calm.
0:11:08 > 0:11:11In a fast-car culture of mass consumerism,
0:11:11 > 0:11:16he sought to counteract the noise and din of streets around him
0:11:16 > 0:11:19with music that fused the silences of Cage
0:11:19 > 0:11:24with delicate notes barely louder than a whisper.
0:11:26 > 0:11:28Morton Feldman was a New York composer.
0:11:28 > 0:11:34Um, but his music couldn't be less New York.
0:11:34 > 0:11:39It seems to distil all the noise of the world around us into
0:11:39 > 0:11:42a stately, quiet,
0:11:42 > 0:11:47highly crafted tapestry of sound.
0:11:48 > 0:11:52So quiet, so still.
0:11:54 > 0:11:58It's almost like it's making a kind of quiet sense of the world.
0:12:09 > 0:12:13It's a refuge from everything that American culture valued.
0:12:13 > 0:12:16Everything that seemed superficial and fast
0:12:16 > 0:12:21and... and money-driven and everything.
0:12:21 > 0:12:25So you retreat into this other kind of music that has a completely different set of values.
0:12:29 > 0:12:32With Feldman, everything was beauteousness.
0:12:32 > 0:12:36He took the Cage language, basically, and made it sensual.
0:12:39 > 0:12:43On many occasions, I was in a room when he was composing.
0:12:43 > 0:12:49And he sat at the piano with his big board and table there,
0:12:49 > 0:12:53and he would play a chord and he would say,
0:12:53 > 0:12:55"Yeah, I got the chord, I got it."
0:12:57 > 0:13:01"Then it comes to me. Antique cymbal."
0:13:01 > 0:13:04"Two piccolos."
0:13:05 > 0:13:09And so the pieces were being composed in the same
0:13:09 > 0:13:14very, very slow time stream in which we perform them.
0:13:16 > 0:13:20A very accurate impression of that space,
0:13:20 > 0:13:23that ecstatic beautiful space in which he was.
0:13:46 > 0:13:50Peace. Tranquillity. A beautiful space.
0:13:50 > 0:13:55Feldman's music soothed the savage beast that modernist music had become.
0:13:58 > 0:14:03His introspective abstract music had become popular with New York's thriving artistic community,
0:14:03 > 0:14:07especially its abstract expressionist painters such as
0:14:07 > 0:14:10Jackson Pollock and Mark Rothko.
0:14:12 > 0:14:17And when Rothko was commissioned to paint new works for a chapel in Texas,
0:14:17 > 0:14:22Feldman was inspired to write an accompanying piece that began as a meditation
0:14:22 > 0:14:24but ended up as an elegy.
0:14:31 > 0:14:38It was written for these dark and mysterious paintings that seem to have
0:14:38 > 0:14:43some spiritual intensity that you couldn't possibly put a name to.
0:14:49 > 0:14:53Then Rothko committed suicide. Feldman was very close to him,
0:14:53 > 0:14:57and so the piece turned into a memorial for him.
0:15:00 > 0:15:05Like so many other of Feldman's pieces, its procession of sounds,
0:15:05 > 0:15:11almost at the threshold of hearing, and that goes on sort of creating
0:15:11 > 0:15:13this very powerful atmosphere.
0:15:13 > 0:15:15MELODIC VIOLA
0:15:19 > 0:15:24Then something very extraordinary happens in the final minutes.
0:15:26 > 0:15:29The viola begins playing this little melody,
0:15:29 > 0:15:33with a sort of a Hebraic flavour,
0:15:33 > 0:15:38which actually turns out to have been composed by Feldman when he was a teenager
0:15:38 > 0:15:40during the Second World War.
0:15:40 > 0:15:45And brings up the possibility that there is
0:15:45 > 0:15:49another level of mourning in this piece.
0:15:49 > 0:15:55Is it, in some sense, a memorial for the Holocaust?
0:15:58 > 0:16:02It's a piece that, I think, increasingly
0:16:02 > 0:16:06has a very high stature in the 20th-century repertory.
0:16:12 > 0:16:14Feldman's music was hypnotic.
0:16:14 > 0:16:18He once described it as "tripping on chords".
0:16:19 > 0:16:21TRIPPY MUSIC
0:16:22 > 0:16:28Its trance-like sound was in tune with an explosive shift in 1960s American culture,
0:16:28 > 0:16:33one that would have a profound effect on its home-grown classical music.
0:16:39 > 0:16:41Great swathes of America
0:16:41 > 0:16:45were becoming far more European and far more permissive
0:16:45 > 0:16:49at that time. Greenwich Village came to the fore.
0:16:49 > 0:16:53And, of course, what New Yorkers called "The Coast", ie California.
0:16:53 > 0:16:59And this is what leads in the 1960s to the counter culture.
0:16:59 > 0:17:02Drugs, Beat poetry and Eastern philosophies.
0:17:02 > 0:17:06Zen, Buddhism, Taoism and all of those things.
0:17:06 > 0:17:11And these were all regarded as alternative ways to the truth.
0:17:13 > 0:17:18Nowhere more summed up the counterculture than the city of San Francisco,
0:17:18 > 0:17:24where, in 1964, a 29-year-old native Californian named Terry Riley
0:17:24 > 0:17:30took John Cage's ideas of chance and indeterminacy and gave them a tune.
0:17:37 > 0:17:42I was working as a ragtime piano player at the Gold Street Saloon in San Francisco.
0:17:42 > 0:17:47And one night on the bus driving into work, I heard the whole thing,
0:17:47 > 0:17:52just in my head, just developed, like, almost the whole piece, I could see develop.
0:17:52 > 0:17:58And so I went home, the next morning, I wrote, you know, I wrote the piece, essentially, in a day.
0:17:58 > 0:18:02I've hardly changed a thing since that first inspiration came.
0:18:02 > 0:18:05And when I showed it to the first few friends I showed it to,
0:18:05 > 0:18:09everybody kind of laughed and thought it was really a silly idea.
0:18:09 > 0:18:11HETEROPHONIC REPETITIVE MUSIC
0:18:21 > 0:18:27Riley's breakthrough piece - In C - is made up of 53 short musical fragments
0:18:27 > 0:18:31to be played by any number of musicians, for any length of time,
0:18:31 > 0:18:35moving from one to the next as the mood takes them.
0:18:35 > 0:18:40The structure of Riley's In C is so brilliantly simple.
0:18:40 > 0:18:43First of all, you can see the entire musical material on a single page.
0:18:43 > 0:18:49The procession through the piece is a kind of snake following its own tail.
0:18:49 > 0:18:55So the effect is this sort of glorious unpredictable and yet predictable polyphony.
0:19:01 > 0:19:06The wonderful thing about it is that In C is absolutely identifiable as itself.
0:19:06 > 0:19:08You can't mistake it for anything else.
0:19:08 > 0:19:11Yet every performance of In C is vastly different from others
0:19:11 > 0:19:14than a performance of Beethoven's Ninth Symphony to itself.
0:19:14 > 0:19:17ABSTRACT VOCALS AND PERCUSSION
0:19:20 > 0:19:24I thought that Terry had sort of, er,
0:19:24 > 0:19:30given a joyful middle finger to academic seriousness.
0:19:30 > 0:19:36You know, In C is kind of the ultimate hippie piece, you know.
0:19:36 > 0:19:42Where everybody gets around and they don't have to be very good. As long as they can play a few notes
0:19:42 > 0:19:45on their instrument they can be part of it.
0:19:45 > 0:19:51There's a joyful quality to it and it had that infectious beat to it.
0:19:51 > 0:19:54It came out of nowhere
0:19:54 > 0:20:00and really did signal a major stylistic shift.
0:20:06 > 0:20:11Riley's single-page composition quickly gathered a cult following among a hip young audience,
0:20:11 > 0:20:15for whom the avant-garde was nothing to be scared of.
0:20:17 > 0:20:20In C found its way to the streets of downtown New York,
0:20:20 > 0:20:23where experimental music was thriving.
0:20:26 > 0:20:28Not in the classical world
0:20:28 > 0:20:32but in the wild sonic meltdown of radical jazz.
0:20:36 > 0:20:40During that period, the new directions of jazz
0:20:40 > 0:20:43was happening. We were hearing it. You could hear it very easily.
0:20:43 > 0:20:48I became very friendly with that community and I enjoyed the music.
0:20:48 > 0:20:50I could embrace it, embrace it as a listener.
0:20:50 > 0:20:56At that point in jazz history, you have John Coltrane playing
0:20:56 > 0:21:00beautiful melodic material, and sometimes just screaming noise
0:21:00 > 0:21:02through the saxophone.
0:21:04 > 0:21:09Wonderful. Thrilling. And that was absolutely
0:21:09 > 0:21:14revolutionary, especially against the backdrop in concert music.
0:21:14 > 0:21:16He was going full tilt the opposite direction.
0:21:18 > 0:21:24Inspired by the spontaneity of free jazz, young composers such as Steve Reich
0:21:24 > 0:21:30and Philip Glass shook up the highbrow culture of classical music.
0:21:36 > 0:21:41They took the gradually shifting patterns and pared-down language of Terry Riley's In C
0:21:41 > 0:21:44and transformed the musical landscape of America.
0:21:45 > 0:21:49Their sound was insistent, repetitive
0:21:49 > 0:21:51and unashamedly harmonious.
0:21:51 > 0:21:55And it soon became known as minimalism.
0:21:55 > 0:21:57When I first heard minimalism,
0:21:57 > 0:22:03it was as if the whole wonderful world of tonality was given back to me.
0:22:03 > 0:22:09The kinds of things I love listening to on Top-40 radio as I drove around in my car.
0:22:09 > 0:22:12The things that I loved about James Brown's music.
0:22:12 > 0:22:17It was wonderful. It felt like getting it all back again.
0:22:20 > 0:22:23When minimalism came along,
0:22:23 > 0:22:26it was an intensely alienating experience
0:22:26 > 0:22:31for a lot of listeners who first encountered it.
0:22:31 > 0:22:33This was no more to their liking
0:22:33 > 0:22:38than the avant-garde music that had come before.
0:22:38 > 0:22:42It had a hard edge, it was relentless.
0:22:42 > 0:22:47It took the form of, you know, a very simple tonal idea
0:22:47 > 0:22:53being repeated again and again and again until it becomes a kind of endurance test.
0:22:57 > 0:23:03Minimalism was fuelled by the speeding energy of late '60s and early '70s New York,...
0:23:04 > 0:23:08..where pop art and rock music were collapsing the barriers between
0:23:08 > 0:23:11popular and serious culture.
0:23:11 > 0:23:14It was do-it-yourself, in-your-face,
0:23:14 > 0:23:19and a rejection of the elitist culture of modern classical music.
0:23:19 > 0:23:22The downtown composers, the minimalists,
0:23:22 > 0:23:29they kind of rejected the uptown musical institutions of the big concert halls,
0:23:29 > 0:23:34the opera houses. And it was a kind of alternative musical subculture.
0:23:34 > 0:23:37When I go back and play the music now,
0:23:37 > 0:23:40I feel the energy of that time.
0:23:40 > 0:23:45It's in my fingers and it grabs me and it takes me right back to that, there's no question about it.
0:23:46 > 0:23:48The son of a record store owner,
0:23:48 > 0:23:53Philip Glass studied classical composition in New York and Paris.
0:23:53 > 0:23:59But with the development of his radical new sound, came a new development in classical music.
0:23:59 > 0:24:03Composers forming bands.
0:24:14 > 0:24:18I had come back to New York from being in Paris, I'd lived there for a number of years.
0:24:18 > 0:24:23I love Paris because the French musicians I knew wouldn't play my music.
0:24:23 > 0:24:25They said, "Ce n'est pas la musique."
0:24:25 > 0:24:29They would look at it and say, "We can't play this, it's not music."
0:24:29 > 0:24:33I went home. I called my friends who I'd gone to school with, some of them.
0:24:33 > 0:24:35And we just went and did it.
0:24:35 > 0:24:37We weren't even allowed in the concert halls.
0:24:37 > 0:24:40We were finding new audiences.
0:24:40 > 0:24:44We did a lot of concerts in lofts and in galleries and in cafeterias.
0:24:44 > 0:24:47In all kinds of... I mean, any place we could.
0:24:47 > 0:24:51And the artists and dancers and filmmakers and the poets,
0:24:51 > 0:24:55they became our audience, and we became their audience.
0:25:01 > 0:25:04Philip, since his band was heavily amplified,
0:25:04 > 0:25:07and sort of did have the appearance of a rock concert
0:25:07 > 0:25:13because it was so loud, people felt they were in a totally new universe.
0:25:13 > 0:25:17And what they were hearing was absolutely new
0:25:17 > 0:25:21and that it had a kind of mythic aura to it.
0:25:21 > 0:25:25I learned a lot from the rock and roll guys.
0:25:25 > 0:25:29This is hardcore minimalist, really, rocking and rolling minimalist music.
0:25:29 > 0:25:34And it was loud and it was fierce and it made a very big impression.
0:25:37 > 0:25:41When I wrote in the music the instructions for the players,
0:25:41 > 0:25:44I just wrote "fast and loud".
0:25:44 > 0:25:48That's what... That's... I mean, that's very very simple.
0:25:48 > 0:25:51No, and then the repetitive goes... it goes without saying.
0:25:52 > 0:25:56I had wonderful headline reviews in those days.
0:25:56 > 0:26:02One of my favourite ones was, I think it was the Daily News or maybe it was The Post in New York,
0:26:02 > 0:26:05and the headline was, "Glass invents new sonic torture."
0:26:09 > 0:26:16But minimalism wasn't simply classical music swapping its tuxedo for a leather jacket.
0:26:16 > 0:26:19It marked a seismic shift in the listenability of modern music.
0:26:19 > 0:26:22Composers such as Glass and Reich broke free
0:26:22 > 0:26:26from the straitjacket of 12-tone and serialist composition
0:26:26 > 0:26:29that had dominated the classical avant-garde.
0:26:29 > 0:26:35A music utterly lacking in minimalism's simple harmonies and steady rhythms.
0:26:35 > 0:26:37DRUMMING
0:26:40 > 0:26:43Classical music finally got its groove back.
0:26:48 > 0:26:52I think it fell to my generation not to do something...
0:26:52 > 0:26:56Not to make a revolution, but to return to normalcy.
0:26:56 > 0:27:00I had to write 12-tone music, everyone had to write 12 tone music.
0:27:00 > 0:27:03This is back in the late '50s, early '60s.
0:27:03 > 0:27:06There's no way you're going to tap your foot to any of that.
0:27:06 > 0:27:10And it's considered naive to even think that way.
0:27:10 > 0:27:13What I'm saying is, is that
0:27:13 > 0:27:17to eliminate the basics of the music that you find in jazz,
0:27:17 > 0:27:19that you find in West African drumming,
0:27:19 > 0:27:22that you find in music for centuries,...
0:27:24 > 0:27:27..pulsation, regular pulsation,
0:27:27 > 0:27:30is to ignore something which people crave.
0:27:48 > 0:27:51What Reich is doing is...
0:27:51 > 0:27:54Is that he wants to find a way of getting
0:27:54 > 0:27:58rhythm and pulse back into Western contemporary music.
0:27:58 > 0:28:04Drumming is built on one rhythm that's extended for, you know, 80, 90 minutes.
0:28:04 > 0:28:11It's absolutely about finding the extraordinary richness of the very simplest things of music.
0:28:14 > 0:28:18But it also has an infectiousness.
0:28:20 > 0:28:23The same thing repeated but slightly different.
0:28:23 > 0:28:27It changes your sense of perception, your sense of time passing
0:28:27 > 0:28:29it changes your way of hearing.
0:28:42 > 0:28:45You get taken to another place. Nothing wrong there.
0:28:46 > 0:28:48By the end of the 1970s,
0:28:48 > 0:28:53minimalist composers had taken a vast new audience to another place.
0:28:53 > 0:28:59Selling records in quantities unheard of in serious modern music.
0:29:03 > 0:29:06But not everyone was digging it.
0:29:06 > 0:29:09Where many heard a blissful return to tonality,
0:29:09 > 0:29:11others wondered, quite literally,
0:29:11 > 0:29:13where it was going.
0:29:19 > 0:29:21Well, I feel minimal.
0:29:21 > 0:29:24If you... If you...
0:29:24 > 0:29:29If you have a piece which is based on a single chord,
0:29:29 > 0:29:33after a while, you say, "Yes, now I know."
0:29:33 > 0:29:37Can you go further? And it does not go further.
0:29:41 > 0:29:43Minimalism doesn't have nice tunes.
0:29:43 > 0:29:49Pure minimalism is almost anti-melodic, and it's also extremely static and it's meant to induce,
0:29:49 > 0:29:51I'd say, a sense of trance.
0:29:52 > 0:29:54I wouldn't call it tonal at all.
0:29:54 > 0:29:59Because tonality involves concepts of cadence, concepts of motions,
0:29:59 > 0:30:01that are missing from this music.
0:30:01 > 0:30:03Intentionally missing from the music.
0:30:07 > 0:30:12Minimalism was very controversial when it first arrived.
0:30:15 > 0:30:20You know, some of it really was kind of mind-numbingly repetitive.
0:30:20 > 0:30:24I can't bear to hear some of the classic pieces of minimalism.
0:30:24 > 0:30:27I just, you know, I look to see where the exit is.
0:30:27 > 0:30:34But it was... There was something vibrant and thrilling about it.
0:30:38 > 0:30:40I mean, I liked the minimalists
0:30:40 > 0:30:44right off the bat. I think what made
0:30:44 > 0:30:46people the craziest about the minimalists is that
0:30:46 > 0:30:50they made music on their own that people wanted to listen to
0:30:50 > 0:30:53and would pay cash money to have on an LP in their house.
0:30:53 > 0:30:57Right? Which is, like, kind of amazing, right?
0:30:57 > 0:31:02It shouldn't be amazing but, I think, in 1979, it was kind of amazing.
0:31:05 > 0:31:09I think that the reason people criticise minimalism is because
0:31:09 > 0:31:15it's popular. So if somebody who doesn't really know that much about classical music likes Philip Glass,
0:31:15 > 0:31:18well, they must not really know what's good
0:31:18 > 0:31:21and Philip Glass must not be a good composer.
0:31:21 > 0:31:25But I totally disagree with that correlation.
0:31:40 > 0:31:45As minimalism conquered America, in Europe its reception was more muted.
0:31:47 > 0:31:49The hardcore modernists of serial music
0:31:49 > 0:31:53were suspicious of its reliance on the old taboo of melody.
0:31:56 > 0:32:00But minimalism did have one remarkable and perhaps surprising impact.
0:32:02 > 0:32:06In the Estonian capital of Tallinn, it entered the realm of the sacred.
0:32:08 > 0:32:13It influenced a composer whose music combined the pattern and repetition of the minimalists
0:32:13 > 0:32:18with the silences of Cage and the stillness of Feldman.
0:32:32 > 0:32:37I would say, for me, Arvo Part is the most important living European composer.
0:32:38 > 0:32:41His music strikes me as just, you know,
0:32:41 > 0:32:45extremely, emotionally, profoundly honest moving music.
0:32:45 > 0:32:48Overpoweringly beautiful.
0:32:48 > 0:32:51The craftsmanship, the honesty
0:32:51 > 0:32:56and the authentic religious conviction that these pieces embody
0:32:56 > 0:33:00are, in a sense, a tonic in our generation.
0:33:02 > 0:33:06But Part's tonic was born from extreme circumstances.
0:33:07 > 0:33:13In Soviet-occupied Estonia, where he studied at the Tallinn Conservatory,
0:33:13 > 0:33:17religious faith was a bigger taboo than any modernist musical movement.
0:33:19 > 0:33:23By turning to sacred composition in the late 1960s,
0:33:23 > 0:33:26he was risking his life for his art.
0:33:27 > 0:33:29It was a very hard time.
0:33:29 > 0:33:36Terror and fear reigned in that country.
0:33:37 > 0:33:44And every individual's life was in danger.
0:33:44 > 0:33:48But those who followed their own voices
0:33:48 > 0:33:51ended up in prison.
0:33:52 > 0:33:56I had always been seeking the way
0:33:56 > 0:34:02to a new kind of music which could nourish my soul.
0:34:02 > 0:34:07And yet, it was shamelessly explained to us
0:34:07 > 0:34:12in those totalitarian atheistic countries that,
0:34:12 > 0:34:18of course, there were once great composers -
0:34:18 > 0:34:25Bach, Mozart, Schubert, but they all had the same failing.
0:34:25 > 0:34:28They were religious.
0:34:28 > 0:34:32They were devout.
0:34:38 > 0:34:41When his early pieces were banned by Soviet censors,
0:34:41 > 0:34:44Part stopped writing music altogether.
0:34:46 > 0:34:51Gradually re-emerging in the late 1970s with a spartan chiming sound
0:34:51 > 0:34:54intended to convey pure religious emotion.
0:34:57 > 0:34:59Arvo Part's story is an amazing story about
0:34:59 > 0:35:04a career that starts off as a real kind of musical and political even religious protest.
0:35:04 > 0:35:10And then, after a period of reflection, he finds the music, he calls it tintinnabulation.
0:35:10 > 0:35:13That, for him, was a really important epiphany.
0:35:13 > 0:35:19And what he found in this, what he calls tintinnabulation, is something that, on the surface,
0:35:19 > 0:35:23is something that seems familiar. And yet, the way it moves
0:35:23 > 0:35:28is incredibly systematic, the way he actually puts one chord with the other.
0:35:28 > 0:35:33And the rules that he asks of the collections of notes that we're familiar with,
0:35:33 > 0:35:37are extremely rigorous and austere and ascetic.
0:35:42 > 0:35:47But if you listen to it, it has an objectivity and a stillness and a serenity.
0:35:47 > 0:35:53And, yeah, a love that is very profound, I think.
0:36:44 > 0:36:48I think, for Arvo Part, minimalism
0:36:48 > 0:36:53actually became a way to create
0:36:53 > 0:36:56an emotional environment with the listener.
0:37:05 > 0:37:09I think, for Arvo Part, for whom God is so important
0:37:09 > 0:37:12and for whom religion is so important,
0:37:12 > 0:37:17um, music has that ability
0:37:17 > 0:37:20to build that connection. We all feel that.
0:37:20 > 0:37:25You know, I can... I can imagine how that issue for Arvo Part,
0:37:25 > 0:37:30of how to get emotionality back, you know, after modernism,
0:37:30 > 0:37:33was the primary issue of his life.
0:37:43 > 0:37:47Within years, a strain of stripped-down devotional music
0:37:47 > 0:37:51exemplified by Part, came to be known as "holy minimalism."
0:37:51 > 0:37:55and struck a chord with a worldwide audience.
0:37:57 > 0:38:00But, like the American minimalism of Glass and Reich,
0:38:00 > 0:38:05this unprecedented commercial success divided opinion in the world of classical music.
0:38:07 > 0:38:10Was it purely due to its easy-on-the-ear nature?
0:38:10 > 0:38:14Or was it indicative of modern music finally regaining its soul?
0:38:18 > 0:38:22Arvo Part's music was a sound that people were drawn to.
0:38:22 > 0:38:28And, suddenly, these Arvo Part records were selling hundreds of thousands of copies.
0:38:28 > 0:38:34And some people have said that this was sort of a superficial phenomenon
0:38:34 > 0:38:38of bourgeois people wanting to acquire a patina of spirituality.
0:38:38 > 0:38:41And, sure, that could be true in some cases.
0:38:41 > 0:38:45But there's also, I think there's... there's a deeper longing,
0:38:45 > 0:38:50yearning there in this culture,
0:38:50 > 0:38:54which is starved for sacred images.
0:38:54 > 0:38:57And Part answers that need.
0:39:04 > 0:39:08I think it's also true to say that the 20th century,
0:39:08 > 0:39:11particularly in the last part of the 20th century,
0:39:11 > 0:39:18has had more effort to produce a sacred music than the 19th century.
0:39:18 > 0:39:22I mean, you have people like Stravinsky,
0:39:22 > 0:39:26you have people like Arvo Part, you have people, I suppose, like me.
0:39:28 > 0:39:32I mean, all in search of a spiritual vision of some kind.
0:39:38 > 0:39:40Born in London in 1944,
0:39:40 > 0:39:45John Tavener became a boy wonder of 1960s British music.
0:39:46 > 0:39:50The first classical composer to be signed to the Beatles' record label.
0:39:53 > 0:39:56Right from the start, his music had a religious leaning.
0:39:56 > 0:40:02His breakthrough work, The Whale, was the biblical story of Jonah and the whale told in a modernist
0:40:02 > 0:40:04experimental style.
0:40:07 > 0:40:13I had suddenly been introduced to modernism and I listened to Boulez, I listened to Stockhausen.
0:40:13 > 0:40:15And was very excited by it.
0:40:15 > 0:40:20But it's not something now, towards the end of my life, that I can see
0:40:20 > 0:40:23was a productive path for art.
0:40:23 > 0:40:25I don't love the torment in the music.
0:40:25 > 0:40:28I don't really want to remember anything
0:40:28 > 0:40:31that shows the ugliness of the human condition.
0:40:31 > 0:40:34We see it all the time, for God's sake, we don't need it.
0:40:34 > 0:40:37We need to be... We need to be lifted.
0:40:49 > 0:40:55John Tavener specifically became interested in the Greek Orthodox faith.
0:40:55 > 0:41:02Was inspired by the chants, by the music of that church.
0:41:02 > 0:41:07He was incorporating that kind of bell-like simplicity
0:41:07 > 0:41:09into all of his music.
0:41:09 > 0:41:14And every piece of music became a kind of devotional act.
0:41:16 > 0:41:22In his 1987 piece, The Protecting Veil, Tavener said that he was
0:41:22 > 0:41:26"trying to capture some of the almost cosmic power of the Mother of God."
0:41:27 > 0:41:33And though its contemplative ecstatic conviction might seem out of step with the late-20th century,
0:41:33 > 0:41:37it made this modern-day mystic a household name.
0:41:40 > 0:41:45I don't understand the success or otherwise of my music, I never understand it.
0:41:45 > 0:41:50I think what inspired The Protecting Veil was the concept of the eternal feminine.
0:41:50 > 0:41:54That is what people perhaps long for, the tender,
0:41:54 > 0:41:59the compassionate, the loving, and beauty also
0:41:59 > 0:42:03is a bit missing in 20th-century art and 20th-century music.
0:42:07 > 0:42:12I was at the first performance of John Tavener's Protecting Veil.
0:42:12 > 0:42:17It's a very very slow, very long
0:42:17 > 0:42:21very expressive pared-down minimal cello concerto.
0:42:21 > 0:42:27With the orchestra providing kind of shimmering bell-like harmonies.
0:42:27 > 0:42:32It was in 1988, it was at the height of the Thatcher '80s.
0:42:33 > 0:42:39I think it's interesting that that piece came to enormous popularity at that time.
0:42:46 > 0:42:52I guess, one view is just that people latched onto this pure
0:42:52 > 0:42:55spiritual simplicity of this music
0:42:55 > 0:43:00as a counterpart to the brash culture of Thatcher's Britain.
0:43:01 > 0:43:04More than any modern composer,
0:43:04 > 0:43:08Tavener's music has seeped into the public consciousness.
0:43:10 > 0:43:13His choral works have become staples of religious worship.
0:43:15 > 0:43:19And when his 1993 piece, Song For Athene,
0:43:19 > 0:43:22was performed at the funeral of Diana, Princess of Wales,
0:43:22 > 0:43:26it was heard by a global audience of over 750 million.
0:43:35 > 0:43:40There is an audience which adores this music.
0:43:40 > 0:43:43The difficulty and danger with this music, of course,
0:43:43 > 0:43:48is that it's then used in comparison to other music from the 20th century.
0:43:48 > 0:43:51Because, in some ways, it is easier to understand.
0:43:51 > 0:43:56I can understand more easily what John Tavener is attempting to achieve
0:43:56 > 0:44:01in a piece which is simple harmonic blocks in a line over the top,
0:44:01 > 0:44:04than I can in a piece by Stockhausen.
0:44:06 > 0:44:10But that doesn't mean that we shouldn't try to find the answers
0:44:10 > 0:44:12to that more challenging music.
0:44:17 > 0:44:22Modern classical music had finally ceased to alienate its audience.
0:44:23 > 0:44:26But that didn't mean the avant-garde was left for dead.
0:44:30 > 0:44:34Back in Paris, the city where Claude Debussy first threw open the floodgates
0:44:34 > 0:44:37for a century of musical reinvention,
0:44:37 > 0:44:41an underground bunker had been forged.
0:44:42 > 0:44:44A scientific laboratory
0:44:44 > 0:44:49equipped to blast music from the end of the 20th century into the 21st.
0:44:52 > 0:44:59This was the Institut de Recherche et Coordination Acoustique/Musique.
0:45:02 > 0:45:06Better known by its sci-fi abbreviation IRCAM.
0:45:08 > 0:45:12When IRCAM was established in the 1970s, to some extent,
0:45:12 > 0:45:18it was a way of re-establishing Paris as a centre of contemporary music.
0:45:18 > 0:45:24It was a utopian ideal of a place where composers
0:45:24 > 0:45:27and technicians
0:45:27 > 0:45:33and allied thinkers could experiment with new technical possibilities.
0:45:33 > 0:45:36It was very simple. It was to make a Bauhaus for music.
0:45:36 > 0:45:40And what was going on in Germany in the '20s, for painters, architects, designers.
0:45:40 > 0:45:42The idea, I think, was to do that for music.
0:45:42 > 0:45:46To find new musical tools to refresh the musical language.
0:45:46 > 0:45:48It's been a very important phenomenon
0:45:48 > 0:45:50in the last 30-40 years of music.
0:45:53 > 0:45:57IRCAM was the brainchild of one of the giants of 20th-century modernism,
0:45:57 > 0:46:00the French composer Pierre Boulez.
0:46:00 > 0:46:05After 30 years at the frontline of the musical avant-garde,
0:46:05 > 0:46:08he'd become switched on to a new musical tool.
0:46:14 > 0:46:19I was soon enough to recognise the importance of the technology,
0:46:19 > 0:46:21computer technology.
0:46:21 > 0:46:25That was at the very beginning, in '75 already.
0:46:25 > 0:46:30And I organised IRCAM around this new technology.
0:46:30 > 0:46:35And I said I would like to conceive a big studio
0:46:35 > 0:46:39that people can stay there, experiment freely.
0:46:42 > 0:46:47I was invited by Pierre Boulez to come to IRCAM and to work on
0:46:47 > 0:46:52what were entirely new machines, computers for music. Such a thing hadn't existed before.
0:46:52 > 0:46:54And to see what one could make from them.
0:46:54 > 0:47:00I found the dry cold mechanical sound of most of what I heard coming out of them,
0:47:00 > 0:47:02er, uninteresting musically.
0:47:02 > 0:47:04And my challenge, the one I set myself,
0:47:04 > 0:47:08was somehow to try to make these tools sing.
0:47:08 > 0:47:10SPEAKS FRENCH
0:47:10 > 0:47:15A musical prodigy, George Benjamin had a long association with music in Paris,
0:47:15 > 0:47:20having studied there aged 14 with the great composer Olivier Messiaen.
0:47:20 > 0:47:22APPLAUSE
0:47:22 > 0:47:25The work he created at IRCAM, Antara,
0:47:25 > 0:47:28fused the white heat of computer technology
0:47:28 > 0:47:31with the very ancient sound of traditional instruments.
0:47:35 > 0:47:41George Benjamin has always been a composer who's fascinated by sound.
0:47:41 > 0:47:48But he ended up being most influenced by some sounds that he heard outside of IRCAM.
0:47:48 > 0:47:55The buskers, the Peruvian panpipe players who were there every day.
0:47:55 > 0:48:01He recorded the sounds of their panpipes and treated them on the computers of IRCAM.
0:48:01 > 0:48:06And made sounds which were integrated into a live orchestra.
0:48:17 > 0:48:23People were mystified by it at first because, in the '70s and the '80s,
0:48:23 > 0:48:28electronic pieces had lots of very sort of extrovert metallic sound effects,
0:48:28 > 0:48:32and lots and lots of drones and a bit Star Wars like.
0:48:32 > 0:48:37In terms, not the music, but in terms of sometimes some of the sort of sound effects.
0:48:40 > 0:48:42My ambition was that you wouldn't hear
0:48:42 > 0:48:45there were plugs involved, it would sound natural.
0:49:01 > 0:49:06The electronic advances of IRCAM offered late-20th-century music
0:49:06 > 0:49:09an almost limitless potential for new sounds and instrumentation.
0:49:13 > 0:49:16But classical music didn't take a trip into outer space.
0:49:16 > 0:49:21Technology was a resource, not a revolution.
0:49:22 > 0:49:24There was life in the old dog yet.
0:49:27 > 0:49:30Wagner was asked, "What's the best way to proceed as a composer?"
0:49:30 > 0:49:33His answer was, "Make new. Do something new."
0:49:36 > 0:49:42When I was studying to be a composer in the '70s, there was an idea that, "Can anything be music?"
0:49:45 > 0:49:49Music hesitated on the edge of that for quite some time.
0:49:49 > 0:49:52In the end, composers have gone back to instruments,
0:49:52 > 0:49:55sometimes involving technologies of computers, electronics.
0:49:55 > 0:49:58But, in the end, the mystery of blocks of wood
0:49:58 > 0:50:01and these little bits of metal, the flutes and violins,
0:50:01 > 0:50:04the mystery of them survives and continues to thrive.
0:50:14 > 0:50:16I find that a rather beautiful thing.
0:50:25 > 0:50:30For much of the 20th century, modern music had sought to wipe away its past.
0:50:31 > 0:50:35Each new revolutionary movement a rejection of the one before.
0:50:37 > 0:50:42By the '80s and '90s, no new movement had emerged since minimalism.
0:50:42 > 0:50:46And modernism in the arts had given way to postmodernism.
0:50:47 > 0:50:51Music, like culture, became a pick-and-mix smorgasbord of styles.
0:50:53 > 0:50:56Where the past and the present, as in the music of John Adams,
0:50:56 > 0:50:59were harmonically reconciled.
0:51:09 > 0:51:13I think I'm one of the first kind of post-stylistic composers, you know.
0:51:13 > 0:51:16I was deeply influenced by minimalism at the beginning.
0:51:16 > 0:51:21But I was also influenced by everything from, you know,
0:51:21 > 0:51:24Beethoven piano sonatas to Jimi Hendrix.
0:51:24 > 0:51:28You know, I'm, I guess, a Romantic.
0:51:28 > 0:51:32I want to be able to make music that had
0:51:32 > 0:51:35highs and lows like a Mahler symphony.
0:51:35 > 0:51:39Um, so right from the start, I was already pushing the envelope.
0:51:39 > 0:51:43And, as some critics said of me, I was already
0:51:43 > 0:51:48corrupting, you know, a wonderful new style.
0:51:48 > 0:51:53So that was... That was, you know... I took some beating.
0:51:57 > 0:52:02John Adams took this idea of extreme minimalism in music
0:52:02 > 0:52:04and kind of melded it
0:52:04 > 0:52:08with the great tradition of Western classical music.
0:52:08 > 0:52:11So you hear Schoenberg,
0:52:11 > 0:52:13you hear Brahms and Beethoven,
0:52:13 > 0:52:16and you hear the musical theatre tradition,
0:52:16 > 0:52:22the American songbook, it's a kind of postmodern view.
0:52:22 > 0:52:26But it's the view of someone who
0:52:26 > 0:52:30has looked at this music, has looked at all the things that have gone on
0:52:30 > 0:52:33in the last 100 years, I suppose, of music,
0:52:33 > 0:52:37and has said, "I'm gonna create a music for our times."
0:52:48 > 0:52:52What he's done with, particularly these great operas
0:52:52 > 0:52:55that he's written in the last 30 years or so,
0:52:55 > 0:52:59Nixon In China, The Death Of Klinghoffer,
0:52:59 > 0:53:05he's provided ways that we can express the big events of the 20th century in music.
0:53:16 > 0:53:20It's the kind of vision that Verdi might have had, the sort of realism
0:53:20 > 0:53:24of expressing historical events through opera.
0:53:24 > 0:53:30But I don't think there's another composer who's doing that thing
0:53:30 > 0:53:34on such a grand scale and with such mastery as John Adams is.
0:53:43 > 0:53:49And so, after 100 years of rule breaking, bloody-minded complexity,
0:53:49 > 0:53:53space-age noise and the battle between beauty and brutality,
0:53:53 > 0:53:56classical music is alive and well.
0:53:56 > 0:54:00Symphonies, chamber music, opera,
0:54:00 > 0:54:04they all stood up to a century of torment and unrest
0:54:04 > 0:54:07and survived a journey to hell and back again.
0:54:07 > 0:54:13I think you can see 20th-century musical history
0:54:13 > 0:54:17as a kind of odyssey and a return home.
0:54:20 > 0:54:24Similarly, there were a lot of people who were relieved to find
0:54:24 > 0:54:27that composers of the late-20th century,
0:54:27 > 0:54:31Steve Reich, Arvo Pert, John Adams,
0:54:31 > 0:54:36were embracing tonality again, you know, finally.
0:54:36 > 0:54:41You know, we've returned home after this long wandering.
0:54:41 > 0:54:45But then, once you're home, you may want to go out again.
0:54:45 > 0:54:49And you find, you know, a lot of the music worlds,
0:54:49 > 0:54:53like the world of humanity is,
0:54:53 > 0:54:59is one of many languages, and they coexist.
0:55:03 > 0:55:06In the early-21st century,
0:55:06 > 0:55:09the whole audience for classical music has changed.
0:55:09 > 0:55:13When the modernist revolution was first unleashed,
0:55:13 > 0:55:17it shocked the bourgeois elite in the world's most reverential concert halls.
0:55:17 > 0:55:22Today, it might just as likely be heard at a music festival
0:55:22 > 0:55:24or even in a South London car park.
0:55:26 > 0:55:32And with the benefit of age, it may even, finally, have lost its power to shock.
0:55:38 > 0:55:41During the '50s, certainly when I was a music student,
0:55:41 > 0:55:46one could hear the pitter-patter of little feet as soon as there was a new piece in the programme.
0:55:46 > 0:55:50And they were just... They were beating a path out the door.
0:55:50 > 0:55:56Um, and I think that, you know, in a time now when John Adams has been around for quite a while,
0:55:56 > 0:56:01Phil Glass and Arvo Part have been around for a while, I've been around for a while,
0:56:01 > 0:56:04my concerts are filled with blue-haired ladies in the old sense
0:56:04 > 0:56:07and blue-haired ladies in the new sense.
0:56:07 > 0:56:10And I think that's the way it should be.
0:56:10 > 0:56:13I'd say, for the last 20 years, we're living in a situation
0:56:13 > 0:56:18where a lot of young people are very interested in what's going on in music. They go to concerts,
0:56:18 > 0:56:21they steal all the recordings that they like.
0:56:21 > 0:56:23LAUGHS
0:56:23 > 0:56:26They download all the recordings that they like.
0:56:26 > 0:56:29And there is an audience and the audience is making itself known.
0:56:37 > 0:56:40Where are we now? We've had so many revolutions
0:56:40 > 0:56:45and interesting experiments and new resources brought into music,
0:56:45 > 0:56:48we hardly need to invent anything new.
0:56:48 > 0:56:51It's all there.
0:56:51 > 0:56:56What we're all hoping for is Mozart, I guess.
0:57:00 > 0:57:04The 20th century has accelerated shifts and movement
0:57:04 > 0:57:07in every form of culture, society, technology.
0:57:07 > 0:57:09So that everything is happening faster,
0:57:09 > 0:57:12at a faster rate than it ever has.
0:57:12 > 0:57:15Which leads to the question of what will happen in the next 100 years.
0:57:15 > 0:57:21That's the most intriguing question, I think, for what we sort of loosely call classical music.
0:57:22 > 0:57:27The movement from Schoenberg through to where we are now, and particularly
0:57:27 > 0:57:33actually those hills in the middle, is the most extraordinary journey,
0:57:33 > 0:57:37the most intense quick accelerated, er, movement
0:57:37 > 0:57:43that has exploded out into the most extraordinary strands of music.
0:57:43 > 0:57:47I don't think anyone could have feasibly imagined that would happen.
0:58:02 > 0:58:05To find out more about 20th-century composers,
0:58:05 > 0:58:07and for details of a year-long festival of events
0:58:07 > 0:58:12celebrating a century of revolution in music, art and culture,
0:58:12 > 0:58:16go to bbc.co.uk/soundandthefury
0:58:16 > 0:58:19and follow the links to The Open University.
0:58:20 > 0:58:22Subtitles by Red Bee Media Ltd