Sir John Kenneth Tavener (28 January 1944 12 November 2013) was a

British composer, known for his extensive output of religious works, including The
Protecting Veil, Song for Athene and The Lamb.
Tavener first came to prominence with his cantata The Whale, premiered in 1968. Then
aged 24, he was described by The Guardian as "the musical discovery of the
year", while The Times said he was "among the very best creative talents of his
generation. During his career he became one of the best known and popular composers
of his generation, most particularly for The Protecting Veil, which as recorded by
cellistSteven Isserlis became a bestselling album, and Song for Athene which was sung
at the funeral of Princess Diana. The Lamb featured in the soundtrack for Paolo
Sorrentino's film The Great Beauty. Tavener was knighted in 2000 for his services to
music and won an Ivor Novello Award.

ric Alfred Leslie Satie (French: [eik sati]; 17 May 1866 1 July 1925), who
signed his name Erik Satie after 1884, was a French composer and pianist. Satie was a
colourful figure in the early 20th century Parisian avant-garde. His work was a precursor
to later artistic movements such as minimalism, Surrealism, repetitive music, and
the Theatre of the Absurd.[1]
An eccentric, Satie was introduced as a "gymnopedist" in 1887, shortly before writing
his most famous compositions, theGymnopdies. Later, he also referred to himself as a
"phonometrician" (meaning "someone who measures sounds"), preferring this
designation to that of "musician", after having been called "a clumsy but subtle
technician" in a book on contemporary French composers published in 1911.
In addition to his body of music, Satie was "a thinker with a gift of
eloquence"[3] who left a remarkable set of writings, having contributed work for a range
of publications, from the dadaist 391 to the American culture chronicle Vanity Fair.
Although in later life he prided himself on publishing his work under his own name, in
the late 19th century he appears to have used pseudonyms such asVirginie
Lebeau and Franois de Paule in some of his published writings.

Witold Roman Lutosawski (Polish: [vitld lutswafski]; 25 January 1913 7

February 1994) was a Polish composer and orchestral conductor. He is one of the major
European composers of the 20th century, and one of the preeminent Polish musicians
during his last three decades. He earned many international awards and prizes. His
compositions (of which he was a notable conductor) include foursymphonies,
a Concerto for Orchestra, a string quartet, instrumental works, concertos, and
orchestral song cycles.
During his youth, Lutosawski studied piano and composition in Warsaw. His
early works were influenced by Polish folk music. His style demonstrates a wide range
of rich atmospheric textures. He began developing his own characteristic composition
techniques in the late 1950s. His music from this period onwards incorporates his own
methods of building harmonies from small groups of musical intervals. It also
uses aleatoric processes, in which the rhythmic coordination of parts is subject to an
element of chance.
During World War II, after escaping German capture, Lutosawski made a living
by playing the piano in Warsaw bars. After the war,Stalinist authorities banned his First
Symphony for being "formalist"allegedly accessible only to an elite. Lutosawski
believed such anti-formalism was an unjustified retrograde step, and he resolutely
strove to maintain his artistic integrity. In the 1980s, Lutosawski gave artistic support to

the Solidarity movement. Near the end of his life, he was awarded the Order of the
White Eagle, Poland's highest honour.

Claude-Achille Debussy (French: [klod ail dbysi]; 22 August 1862 25 March

1918) was a French composer. Along with Maurice Ravel, he was one of the most
prominent figures associated with Impressionist music, though he himself disliked the
term when applied to his compositions. He was made Chevalier of the Legion of
Honour in his native France in 1903. Debussy was among the most influential
composers of the late 19th and early 20th centuries, and his use of non-traditional
scales and chromaticism influenced many composers who followed.
Debussy's music is noted for its sensory content and frequent usage of nontraditional
tonalities. The prominent French literary style of his period was known as Symbolism,
and this movement directly inspired Debussy both as a composer and as an active
cultural participant.

Pierre Boulez CBE (French: [pj bu.lz]; 26 March 1925 5 January 2016)
was a French composer, conductor, writer and organiser of institutions.
In his early composing career Boulez played an important role in the
development of integral serialism and controlled chance music. Later he explored the
electronic transformation of instrumental music in real time. The type of music which
interested him, along with his highlypolemical views on music evolution, gave him the
reputation of enfant terrible.[1][2][3]
In a long conducting career Boulez held the positions of Chief Conductor of
the New York Philharmonic and BBC Symphony Orchestra, Principal Guest Conductor
of the Chicago Symphony Orchestra and the Cleveland Orchestra and Music Director of
the Ensemble InterContemporain. He was particularly known for his performances of
the music of the first half of the twentieth-century, including that
ofDebussy, Stravinsky and the Second Viennese School. He also gave authoritative
performances of works by contemporary composers, such as Luciano Berio and Elliott
Carter. His work in the field of opera included the Jahrhundertringthe production
of Wagner's Ringcycle for the centenary of the Bayreuth Festivaland the world
premiere of the complete, three-act version of Alban Berg's Lulu. His recorded legacy is
extensive and he received a total of 26 Grammy Awards in the course of his career.
He was the founder of a number of musical institutions, including the Domaine
musical, the Institut de Recherche et Coordination Acoustique/Musique (IRCAM), the
Ensemble InterContemporain and the Cit de la musique (all based in Paris) and
the Lucerne FestivalAcademy.

On 5 January 2016, Boulez died at his home in Baden-Baden, aged 90.

She was born Marcelle Taillefesse at Saint-Maur-des-Fosss, Val-deMarne, France, but as a young woman she changed her last name to "Tailleferre" to
spite her father, who had refused to support her musical studies. She studied piano with
her mother at home, composing short works of her own, after which she began studying
at the Paris Conservatory where she met Louis Durey, Francis Poulenc, Darius
Milhaud, Georges Auric, and Arthur Honegger. At the Paris Conservatory her skills were
rewarded with prizes in several categories. Most notably Tailleferre wrote 18 short works
in the Petit livre de harpe de Madame Tardieu for Caroline Tardieu, the Conservatorys
Assistant Professor of Harp.
With her new friends, she soon was associating with the artistic crowd in
the Paris districts of Montmartre and Montparnasse, including the sculptor Emmanuel
Centore who later married her sister Jeanne. It was in the Montparnasse atelier of one
of her painter friends where the initial idea for Les Six began. The publication of Jean
Cocteau's manifesto Le coq et l'Arlequin resulted in Henri Collet's media articles that led
to instant fame for the group, of which Tailleferre was the only female member.
In 1923, Tailleferre began to spend a great deal of time with Maurice Ravel at his home
in Monfort-L'Amaury. Ravel encouraged her to enter the Prix de Rome Competition. In
1925, she married Ralph Barton, an American caricaturist, and moved
to Manhattan, New York. She remained in the United States until 1927 when she and
her husband returned to France. They divorced shortly thereafter.

Tailleferre wrote many of her most important works during the 1920s, including
her 1st Piano Concerto, the Harp Concertino, the ballets Le marchand d'oiseaux (the
most frequently performed ballet in the repertoire of the Ballets sudois during the
1920s), La nouvelle Cythre, which was commissioned by Sergei Diaghilev for the illfated 1929 season of the famous Ballets Russes, and Sous les ramparts d'Athnes in
collaboration with Paul Claudel, as well as several pioneering film scores,
including B'anda, in which she used African themes.
The 1930s were even more fruitful, with the Concerto for Two Pianos, Chorus,
Saxophones, and Orchestra, the Violin Concerto, the opera cycle Du style galant au
style mchant, the operas Zoulana and Le marin de Bolivar, and her masterwork, La
cantate de Narcisse, in collaboration with Paul Valry. Her work in film music
included Le petit chose byMaurice Cloche and a series of documentaries.
At the outbreak of World War II, she was forced to leave the majority of her
scores at her home in Grasse, with the exception of her recently completed Three
tudes for Piano and Orchestra. Escaping across Spain to Portugal, she found passage
on a boat that brought her to the United States, where she lived the war years
in Philadelphia, Pennsylvania.
After the war, in 1946, she returned to her home in France, where she
composed orchestral and chamber music, plus numerous other works including the
ballets Paris-Magie(with Lise Delarme) and Parisiana (for the Royal Ballet of
Copenhagen), the operas Il tait un petit navire (with Henri Jeanson), Dolores, La petite
sirne (with Philippe Soupault, based on Hans Christian Andersen's story "The Little
Mermaid"), and Le matre (to a libretto by Ionesco), the musical comedy Parfums,
the Concerto des vaines paroles for baritone voice, piano, and orchestra, the Concerto
for Soprano and Orchestra, the Concertino for Flute, Piano, and Orchestra, the Second
Piano Concerto, the Concerto for Two Guitars and Orchestra, her Second Sonata for
Violin and Piano, and the Sonata for Harp, as well as an impressive number of film and
television scores. The majority of this music was not published until after her death.
In 1976, she accepted the post of accompanist for a children's music and
movement class at the cole alsacienne, a private school in Paris. During the last
period of her life, she concentrated mainly on smaller forms due to increasing problems
with arthritis in her hands. She nevertheless produced the Sonate champtre for oboe,
clarinet, bassoon, and piano; the Sonata for Two Pianos; Chorale and Variations for Two
Pianos or Orchestra; a series of children's songs (on texts by Jean Tardieu); and pieces
for young pianists. Her last major work was the Concerto de la fidelit for coloratura

soprano and orchestra, which was premired at the Paris Opera the year before her
death.
Germaine Tailleferre continued to compose right up until a few weeks before her
death, on 7 November 1983 in Paris. She is buried in Quincy-Voisins, Seine-et-Marne,
France.

Elliott Cook Carter, Jr. (December 11, 1908 November 5, 2012) was an
American composer who was twice awarded the Pulitzer Prize. He studied with Nadia
Boulanger in Paris in the 1930s, and then returned to the United States. After an
early neoclassical phase, his style shifted to an emphasis on atonality and rhythmic
complexity. His compositions are known and performed throughout the world; they
include orchestral, chamber music, solo instrumental and vocal works.
He was extremely productive in his later years, publishing more than 40 works between
the ages of 90 and 100, and over 20 more after he turned 100 in 2008. He completed
his last work, Epigrams for piano trio, on August 13, 2012.

Anton Webern (German: [antn vebn] ( listen); 3 December 1883 15

September 1945) was an Austrian composer and conductor. Along with his
mentor Arnold Schoenberg and his colleague Alban Berg, Webern comprised the core
among those within and more peripheral to the circle of the Second Viennese School,
including Ernst Krenek and Theodor W. Adorno. As an exponent of atonality andtwelvetone technique, Webern exerted influence on contemporaries Luigi Dallapiccola,
Kenek, and even Schoenberg himself. As tutor Webern guided and variously
influenced Arnold Elston, Frederick Dorian (Friederich Deutsch), Fr Focke, Karl
Amadeus Hartmann, Philipp Herschkowitz, Ren Leibowitz, Humphrey Searle, Leopold
Spinner, and Stefan Wolpe.
Webern's music was among the most radical of its milieu, both in its concision
and in its rigorous and resolute apprehension of twelve-tone technique. His innovations
in schematic organization of pitch, rhythm, register, timbre, dynamics, articulation, and
melodic contour; his eagerness to redefine imitative contrapuntal techniques such
as canon and fugue; and his inclination toward athematicism, abstraction, and lyricism

all greatly informed and oriented post-war European, typically serial or avantgarde composers such as Pierre Boulez, Karlheinz Stockhausen, Luigi Nono, Bruno
Maderna, Henri Pousseur, and Gyrgy Ligeti. In the United States, meanwhile, it was
very fruitfully reintroduced to Igor Stravinsky by Robert Craft; and it attracted the interest
of Milton Babbitt, although he ultimately found Schoenberg's twelve-tone techniques
more useful than those of Webern, and Elliott Carter, whose critical ambivalence was
marked by a certain enthusiasm nonetheless.
During and shortly after the post-war period, then, Webern was posthumously
received with attention first diverted from his sociocultural upbringing and surroundings
and, moreover, focused in a direction apparently antithetical to his participation
in German Romanticism and Expressionism. A richer understanding of Webern began
to emerge in the later half of the 20th century, notably in the work of scholars Kathryn
Bailey, Julian Johnson, and Anne Schreffler, as archivists and biographers (e.g., Hans
and Rosaleen Moldenhauer) regained access to sketches, letters, lectures, audio
recordings, and other articles of and associated with Webern's estate.

PROJECT
IN
MUSIC
(Composers of 20th Century)

SUBMITTED BY:
Vivienne Vera V. Villaruel

Submitted To:
Sir. Patrick Adorable