Symphony
A
symphony is an extended
composition usually for
orchestra and usually comprising several
movements.
The main characteristics of the
classical symphony, as it existed by the end of the
18th century in the
German-speaking world were:
*
4 movements, of which the first would usually be a fast movement in
sonata form, the second a slow movement, the third either a
minuet and trio or a
ternary dance-like (
scherzo) movement in "simple triple"
metre, finishing with a fourth, fast movement in
rondo and/or sonata form.
*
Instrumental, to be played by an
orchestra of the relatively moderate size customary at the time.
After
Beethoven started experimenting with the movement structure and with
programmatic features in his
Sixth Symphony, and later added
singers to the last movement of his
Ninth Symphony, the possibilities for moulding the symphony
format appeared unlimited, starting from the early
Romantic era, for example:
*
More variation in the movement structure: More movements and/or multi-layered movement structure (
Berlioz,
Roméo et Juliette;
Mahler,
Second and
Third Symphonies); Single-movement structure and/or movements succeeding without interruption (
Sibelius,
Seventh Symphony;
Richard Strauss,
Eine Alpensinfonie;
Carl Nielsen,
Fourth Symphony)
*
More variation in the instrumentation: Large full-blown romantic orchestras (Berlioz, Mahler,
Bruckner); Solo and/or choral singing extended to several movements of a symphony (
Mendelssohn,
Second Symphony; Berlioz,
Roméo et Julliette;
Shostakovich,
14th Symphony); Unusual or new instruments (
cowbells in
Mahler's Sixth Symphony;
Ondes Martenot in the
Turangalîla-Symphonie by
Olivier Messiaen); Symphonies
not for a symphony orchestra (
Widor's symphonies to be played on a single organ)
*
Extend the programmatic layer: even after the
tone poem had split from the symphony genre as such, symphonies were published with extended programs, explicit (as in Berlioz'
Roméo et Juliette, after
Shakespeare, as well as in his
Symphonie Fantastique) with clearly described literary/poetic devices (as in
John Kenneth Graham's symphony cycle, or more implicit, like a succession of sentiments (as in
Tchaikovsky's
Sixth Symphony), Carl Nielsen's
The Four TemperamentsThe word
symphony is derived from the Greek , a combination of
syn- (, with, together) and
phone (
, sound, sounding), by way of the Latin symphonia
. The term was used by the Greeks, firstly to denote the general conception of concord
, both between successive sounds and in the unison of simultaneous sounds; secondly, in the special sense of concordant pairs of successive sounds (i.e. the "perfect intervals" of modern music; the 4th, 5th and octave); and thirdly as dealing with the concord of the octave, thus meaning the art of singing in octaves, as opposed to singing and playing in unison. In Roman times the word appears in the general sense which still survives in poetry, that is, as harmonious concourse of voices and instruments. It also appears to mean a concert. In the Gospel of Luke, chapter xv verse 25, it is distinguished from χορῶν, and the passage is appropriately translated in the English Bible as "music and dancing." Polybius and others seem to use it as the name of a musical instrument.
In the sense of "sounding together", the word appears in the titles of works by Giovanni Gabrieli (the Sacrae symphoniae
) and Heinrich Schütz (the Symphoniae sacre
) among others. Through the 17th century, the Italian word sinfonia'' was applied to a number of works, including
overtures, instrumental ritornello sections of
arias,
concertos, and works which would later be classified as
concertos or
sonatas.
Early origins
In the 17th century, the majority of the Baroque period, the terms
symphony and
sinfonia were used describe a range of different works, including
operas,
sonatas and
concertos. The common factor in this variety of usage was that symphonies or sinfonias were usually part of a larger work. The most direct forerunner of the symphony is commonly considered to be the
opera sinfonia, which by the
18th century had a standard structure of three contrasting movements: fast, slow, and fast dance-like, much like the modern symphony. The terms overture, symphony and sinfonia were widely regarded as interchangeable for much of the
18th century.
The 18th century symphony
The form that we now recognise as the symphony took shape in the early 18th century. It is commonly regarded to have grown from the
Italian overture, a three-movement piece used to open
operas, often used by
Alessandro Scarlatti among others. Another important progenitor of the symphony was the
ripieno concerto — a relatively little-explored form resembling a
concerto for
strings and
continuo, but with no solo instruments. The earliest known ripieno concerti are by
Giuseppe Torelli (his set of six, opus five,
1698).
Antonio Vivaldi also wrote works of this type. Perhaps the best known ripieno concerto is
Johann Sebastian Bach's
Brandenburg Concerto No. 3.
Early symphonies, in common with both Italian overtures and concertos, have three movements, in the
tempi quick-slow-quick. However, unlike the ripieno concerto, which uses the usual
ritornello form of the concerto, at least the first movement of these symphonies is in some sort of
binary form. They are distinguished from Italian overtures in that they were written for concert performance, rather than to introduce a stage work, although for much of the 18th century the terms
overture and
symphony were used interchangeably, and a piece originally written as one was sometimes later used as the other. The vast majority of these early symphonies are in a major
key.
Symphonies at this time, whether for concert, opera, or church use, were not considered the major works on a program: often, as with concerti, they were divided up between other works, or drawn from suites or overtures. Vocal music was considered the heart of the musical experience, and symphonies were supposed to provide preludes, interludes, and postludes to this. At the time most symphonies were relatively short, running between 10 and 20 minutes at the most.
The "Italian" style of symphony, often used as overture and entr'acte in opera houses, became a standard three movement form: a fast movement, the "allegro"; a slow movement; and then another fast movement. Mozart's early symphonies are in this layout. The early three-movement form was eventually replaced by a four-movement layout which was dominant in the latter part of the 18th century and most of the 19th century. This symphonic form was influenced by Germanic practice, and would come to be associated with the "classical style" of Haydn and Mozart. The important changes were the addition of a "dance" movement and the change in character of the first movement to becoming "first among equals."
The normal four movement form became, then:
#Quick, in a
binary form or later
sonata form#Slow#
Minuet and
trio (later developed into the
scherzo and trio), in
ternary form#Quick, sometimes also in
sonata form or a
sonata-rondoEven in the mid-18th century, variations on this layout were not uncommon; in particular, the middle two movements sometimes switched places, or a slow introduction was added to the beginning, sometimes resulting in a four-movement, slow-quick-slow-quick form.
The first symphony to introduce the minuet as the third movement appears to be a
1740 work in D major by
Georg Matthias Monn. However, this is an isolated example: the first composer to consistently use the minuet as part of a four-movement form was
Johann Stamitz.
Two major centres for early symphony writing were
Vienna, where early exponents of the form included
Georg Christoph Wagenseil,
Wenzel Raimund Birck and
Georg Matthias Monn; and
Mannheim, home of the so-called
Mannheim School. Symphonies were written throughout Europe, however, with
Giovanni Battista Sammartini,
Andrea Luchesi and
Antonio Brioschi active in Italy,
Carl Philipp Emanuel Bach in northern Germany,
Leopold Mozart in Salzburg,
François-Joseph Gossec in Paris, and
Johann Christian Bach and
Karl Friedrich Abel in London.
Later significant Viennese composers of symphonies include
Johann Baptist Vanhal,
Karl Ditters von Dittersdorf and
Leopold Hoffmann. The most important symphonists of the latter part of the 18th century, however, are considered to be
Joseph Haydn, who wrote 106 symphonies over the course of 40 years, and
Wolfgang Amadeus Mozart. Their many widely performed and emulated works are commonly considered the apotheosis of the
Classical style.
The 19th century symphony
In the late 18th century, vocal music, particularly cantatas and operas, were considered the major form of concert music, with concerti being next. With the rise of standing orchestras, the symphony assumed a larger and larger place in concert life. The period of transition was from approximately 1790 to 1820. For
Ludwig van Beethoven his first Academy Concert had "Christ on the Mount of Olives" as the featured work, rather than the two symphonies and piano concerto he had performed on the same concert.
Beethoven took the symphony into new territory by expanding, often dramatically, each of its parts. His nine symphonies set the standard for symphonic writing for generations afterwards. After two symphonies rather in the style of Haydn, his
Symphony No. 3 (the
Eroica), has a scale and emotional range which sets it apart from earlier works, often cited as ushering in the Romantic era. His
Symphony No. 9 takes the unprecedented step of including parts for vocal soloists and choir in the last movement. Beethoven, together with
Franz Schubert, was also responsible for replacing the genteel minuet with the livelier
scherzo as an inner movement (most often the third of four). The scherzo, with its greater scope for emotional expression, was more suited to the
Romantic style.
The next generation of symphonists desired to combine the expanded harmonic vocabulary developed by chromatic composers such as
John Field,
Ludwig Spohr and
Carl Maria von Weber, with the structural innovations of Beethoven.
Robert Schumann and
Felix Mendelssohn were two leading Germanic composers whose works attempted this fusion. At the same time a more experimental form of symphonic writing was coming into being, featuring a greater number of symphonies with textual meaning or specific programs. While "program symphonies" had been written as early as 1790, their place and role became expanded with
Hector Berlioz'
Symphonie Fantastique (1830) and then
Liszt's program symphonies, such as the
Dante Symphony and the
Faust Symphony (both 1857).
This period corresponds with what is generally labelled the "Romantic" period, and ends around the middle of the 19th century, though the term "Romantic" is often used in music to correspond with the longer musical era from Beethoven all the way through
Sergei Rachmaninoff.
In the second half of the 19th century, symphonies included movements using a much-expanded but often strict
Sonata Form.
Johannes Brahms, who took Schumann and Mendelssohn as his point of departure, set the standard for composing symphonies which very high levels of structural unity. At the same time symphonies grew in length, and became the centerpiece of the expanding number of symphony orchestras. Other important symphonists of the late 19th century include
Anton Bruckner,
Antonín Dvořák,
Pyotr Ilyich Tchaikovsky and
Camille Saint-Saëns.
By the end of the 19th century
French organists like
Widor named some of their organ compositions
symphony too: the "romantic" type of organs they played on (like the ones built by
Cavaillé-Coll) allowed a thorough orchestral approach and sound, so these composers didn't think of their
symphonies as inferior to those written for execution by a symphonic orchestra. In the cases of Widor and Vierne in particular it is much less usual to hear their symphonies for "orchestra alone", of which Vierne wrote one and Widor several, than those they wrote for organ.
The 20th century symphony
The twentieth century saw further diversification in the style and content of works which composers labelled "symphonies" - the idea that the "symphony" was a definite form which had certain standards was eroded, and the symphony instead came to be any major orchestral work which its composer saw fit to label such. While some composers - such as
Sergei Rachmaninoff and
Carl Nielsen, continued to write in the traditional four-movement form, other composers took different approaches.
Gustav Mahler, whose
second symphony written at the end of the 19th century is in five movements, continued to write novel works in the form: his
third symphony, like the second, has parts for soloists and choir and is in six movements, the
fifth,
seventh and
tenth symphonies are in five movements, and the
eighth symphony, which in another age would more likely have been called a
cantata or
oratorio, is in two large parts, with vocalists singing for virtually the duration of the work.
Jean Sibelius'
Symphony No. 7, his last, is in just one movement.
Despite this diversification, there remained certain tendencies - symphonies were still limited to being works for orchestra. Vocal parts were sometimes used alongside the orchestra, but remained rare, and the use of solo instruments was virtually unheard of. Notable exceptions were the "organ symphonies" composed for solo organ by French composers such as
Louis Vierne and
Charles-Marie Widor which exploited the power and increased resources of the modern organ to present an orchestral effect. Designating a work a "symphony" still implied a degree of weightiness - very short or very frivolous works were rarely called symphonies. The label
sinfonietta came into use to designate a work that was "lighter" than the term "symphony" implied (
Leoš Janáček's
Sinfonietta is one of the best known examples).
Along with a widening of what could be considered a symphony, the 20th century saw an increase in the number of works which could reasonably be called symphonies but which were given some other name by their composer. The
Concerto for Orchestra by
Béla Bartók is just one such example (Bartók never wrote a work he called a symphony). Mahler's
Das Lied von der Erde is sung throughout but would likely have been christened a symphony, with justification, but for the
Curse of the Ninth. Some present-day composers continue to write works which they call "symphonies" (
Philip Glass, for example, has written eight as of 2005), but the tendency in the 20th century has been for the symphony to be less a recognisable form with its own conventions and norms, and more a label which composers apply to orchestral works of a certain ambition.
Among composers who have composed symphonies are (listed in chronological order of birth):
*
Giuseppe Torelli, Italian composer of the
Sinfonia à 4, the first real symphony.
*
Giovanni Battista Sammartini (around 1701-1775), Italian composer.
*
Antonio Brioschi, Italian composer.
*
William Boyce (1710-1779), whose opus 2 is a set of eight "symphonies", although they started life as overtures to other works.
*
Ignaz Holzbauer (1711-1783)
*
Carl Philipp Emanuel Bach (1714-1788), son of
Johann Sebastian Bach, composer of around 20 symphonies.
*
Georg Christoph Wagenseil (1715-1777)
*
Georg Matthias Monn (1717-1750), whose symphony in D of 1740 is the first to include a minuet as a third movement.
*
Johann Stamitz (1717-1757), the first composer to regularly include a minuet as the third movement of his symphonies.
*
Wenzel Raimund Birck (1718-1763)
*
Leopold Mozart (1719-1787), who wrote symphonies in which he included thrillingly incorporated French horns.
*
Karl Friedrich Abel (1725-1787), active in London.
*
Joseph Haydn (1732-1809), one of the best known Classical composers of symphonies, he wrote 106 examples, combining wit and structural clarity (see the
list of symphonies by Joseph Haydn and the
Category of Haydn Symphonies).
*
Franz Ignaz Beck (1734-1809), composer of about 25 symphonies (
biography describes his symphonies especially as ahead of their time)
*
François-Joseph Gossec (1734-1829), French composer of over 60 symphonies.
*
Johann Christian Bach (1735-1782), son of
Johann Sebastian Bach, active in London.
*
Leopold Hoffmann (1738-1793)
*
Johann Baptist Vanhal (1739-1813), Bohemian composer of at least 24 symphonies. [
1]
*
Karl Ditters von Dittersdorf (1739-1799)
*
Andrea Luchesi (1741-1801)
*
Antonio Rosetti (c.1750-1792),
Bohemian composer, wrote many symphonies,
concertos (notably for
horn), and vocal works.
*
Muzio Clementi (1752-1832), Italian composer of symphonies.
*
Wolfgang Amadeus Mozart (1756-1791), one of the best known Classical symphonists. Writer of 41 such works, his last three reach the pinnacle of 18th century symphonic writing.
*
Pavel Vranický (1756-1808), Bohemian composer of about fifty symphonies.
*
Ignaz Pleyel (1757-1831) Austrian composer, in his time a famous pupil of Haydn.
*
Étienne Méhul (1763-1817), French composer of at least four symphonies.
*
Ludwig van Beethoven (1770-1827),often considered the greatest of all symphonists, he wrote 9 numbered symphonies plus sketches for a tenth - see
Category of Beethoven symphonies.
*
Georges Onslow (1784-1853), French composer of 4 symphonies in a style combining echoes of Beethoven and Schubert.
*
Louis Spohr (1784-1859), well known as a symphonist in his day, though his 10 works in the genre are largely forgotten today.
*
Carl Maria von Weber (1786-1826), German composer, wrote 2 symphonies.
*
Franz Schubert (1797-1828), composer of 9 surviving symphonies, with the
Symphony No. 8 (the
Unfinished) and
Symphony No. 9 (the
Great) the largest in scale and best known.
*
Franz Lachner (1803-1890) wrote 8 symphonies between 1828 & 1851. His 5th symphony won him the prize offered by the Vienna Gesellschaft der Musicfreunde in 1835. However, Schumann reckoned his 6th symphony was twice as good!
*
Hector Berlioz (1803-1869), best remembered for his
Symphonie Fantastique, perhaps the first true programmatic symphony.
*
Felix Mendelssohn (1809-1847), composer of 12 complete string symphonies (the 13th was left unfinished) and 5 numbered symphonies, sketches for a 6th (1847).
*
Robert Schumann (1810-1856), who wrote 4 numbered symphonies, the last of which experimented with cyclic form.
*
Franz Liszt (1811-1886), wrote 2 programmatic symphonies, the
Faust Symphony and the
Dante Symphony.
*
César Franck (1822-1890), wrote 1 symphony best known for its use of cyclic form.
*
Joachim Raff (1822-1882), composer of 11 symphonies, several with programmatic elements, well known in his day, but now largely forgotten.
*
Anton Bruckner (1824-1896), composer of 11 large-scale symphonies, including Nos. 00 and 0.
*
Anton Rubinstein (1829-1894), composer of 6 symphonies, with the second, the
Ocean, and the sixth being the best known (though neither as well known now as they were in Rubinstein's day).
*
Georges Bizet (1833-1875), French composer remembered by his Opera
Carmen, wrote 1 symphony at the age of 17.
*
Johannes Brahms (1833-1897), composer of 4 symphonies, considered to be the artistic heir of Beethoven. Regarded as one of the great symphonists of the Romantic period.
*
Felix Draeseke (1835-1913), composer of the New German School wrote 4 symphonies.
*
Camille Saint-Saëns (1835-1921), composer of 5 symphonies (three of which are numbered while the other two are not), of which the best known is the third, his
Symphony n°3 with organ.
*
Pyotr Ilich Tchaikovsky (1840-1893), who wrote 6 numbered symphonies plus the
Manfred Symphony.
*
Antonín Dvořák (1841-1904), who wrote 9 symphonies, of which the most famous is the
ninth (
From the New World). He successfully combined Bohemian folk elements with large-scale structure.
*
Ernest Chausson (1855-1899), French composer of 1 symphony and sketches for a second.
*
Edward Elgar (1857-1934), completed 2 symphonies, with sketches for a third made into a performing version by
Anthony Payne.
*
Hans Rott (1858-1884), Austrian composer of a symphony (1879/1880), which features many stylistic similarities to the later symphonies of his friend and fellow student Gustav Mahler. A Symphony No.2 was planned.
*
Gustav Mahler (1860-1911), completed 9 large-scale symphonies, plus an incomplete 10th - see
Category of Mahler symphonies. His
third symphony is his longest symphony at 95 minutes, and his
eighth, the
Symphony of a Thousand, premiered with over one thousand performers.
*
Felix Weingartner (1863-1942), composer of 7 symphonies and a sinfonietta.
*
Carl Nielsen (1865-1931), composer of 6 symphonies.
*
Jean Sibelius (1865-1957), composer of the
Kullervo Symphony, and of 7 numbered symphonies (a No.8 was destroyed by the composer in 1929).
*
Vasily Kalinnikov (1866-1901), Russian composer of 2 symphonies.
*
Albert Roussel (1869-1937), French composer of 4 symphonies.
*
Wilhelm Stenhammar (1871-1927), Swedish composer of 2 symphonies, one disowned by him.
*
Alexander von Zemlinsky (1871-1942), Austrian composer of 3 symphonies, a symphony in all but name called
Die Seejungfrau (1902), and a Sinfonietta (1934).
*
Ralph Vaughan Williams (1872-1958), composer of 9 symphonies.
*
Sergei Rachmaninoff (1873-1943), composer of 3 symphonies in a late-Romantic style.
*
Josef Suk (1874-1934), Czech composer of two symphonies - in E major opus 14, and in C minor (the
Asrael Symphony, opus 27).
*
Franz Schmidt (1874-1939), Austrian composer of 4 symphonies.
*
Charles Ives (1874-1954), American composer of 4 symphonies, his 'Holiday Symphony' referred to as his 5th, and his 'Universe Symphony' later reconstructed.
*
Arnold Schoenberg (1874-1951), Austrian composer of 2 chamber symphonies and several sketches for unpublished symphonies.
Alban Berg thought of Schoenberg's tone poem
Pelleas und Melisande (1902) as a symphony.
*
Julián Carrillo (1875-1965), Mexican Composer, wrote 2 symphonies plus 3 atonal symphonies written in the "Thirteen Sound" technique.
*
Richard Wetz (1875-1935), German late romantic composer of 3 symphonies
*
Mieczysław Karłowicz (1876-1909), Polish composer of only one symphony, in e minor Op.7 "Rebirth" (1897).
*
Ermanno Wolf-Ferrari (1876-1948), Italian-German composer of the
Sinfonia da Camera (1901); an early composer in the genre of the 20th century chamber symphony.
*
Havergal Brian (1876-1972), English composer of 32 symphonies, most of which he wrote in his seventies and eighties. His first symphony
'The Gothic is the largest one ever written.
*
Franz Schreker (1879-1934), Austrian composer of the
Chamber Symphony.
*
Nikolai Myaskovsky (1881-1950), Soviet composer (moved from Poland at a very young age) and composer of 27 symphonies.
*
George Enescu (1881-1955), Romanian composer. Wrote 3 acknowledged and complete symphonies, 4 earlier ones and 2 later ones " the last completed by
Pascal Bentoiu.
*
Igor Stravinsky (1882-1971), wrote 3 purely orchestral symphonies plus the
Symphony of Psalms for chorus and orchestra; his
Symphonies of Wind Instruments uses the word
symphony in its old sense of "sounding together".
*
Arnold Bax (1883-1953), English composer of 7 symphonies.
*
Anton Webern (1883-1945), Austrian Composer of 1 symphony (1928).
*
Wilhelm Furtwängler (1886-1954), German composer of 3 symphonies, plus a
Symphonic Concerto for Piano and Orchestra.
*
Heitor Villa-Lobos (1887-1959), Brazilian composer of 12 symphonies.
*
Bohuslav Martinů (1890-1959), Czech composer of 6 symphonies.
*
Sergei Prokofiev (1891-1953), Soviet composer of 7 symphonies, plus a
Symphony-Concerto for Cello and Orchestra - see
Category of Prokofiev symphonies.
*
Arthur Honegger (1892-1955), Swiss-French composer of 5 symphonies.
*
Walter Piston (1894-1976), American composer of 8 symphonies
*
Erwin Schulhoff (1894-1942), Czech composer of 8 symphonies (the last two in short score).
*
Paul Hindemith (1895-1963), German composer of several works with descriptive titles designated symphonies, of which the best known is
Mathis der Maler, as well as the
Symphony in E-flat of 1939 and the
Symphony in B-flat for Concert Band.
*
Howard Hanson (1896-1981), American composer of 7 symphonies (no. 1
Nordic, no. 2
Romantic " his most famous, no. 4
Requiem, no. 5
Sinfonia Sacra, and no. 7
Sea Symphony).
*
Roger Sessions (1896-1985), American composer of 9 symphonies, all but the first two of which are written using some form of the
twelve-tone technique.
*
Viktor Ullmann (1898-1944), Czech Composer of 2 symphonies (1944, both are reconstructions from the short score of the
Piano Sonatas No.5 and
Piano Sonatas No.7 by Bernard Wulff).
*
Hanns Eisler (1898-1962), German Composer of a
Little Symphony (1932), a
Chamber Symphony (1940) and a
German Symphony for choir and orchestra (1930-1958).
*
Roy Harris (1898-1979), American composer of 15 symphonies, of which
Symphony No. 3 is by far the most famous.
*
Pavel Haas (1899-1944), Czech Composer of an unfinished Symphony (1940/41, orchestration completed by Zdenek Zouhar).
*
Carlos Chávez (1899-1978), Mexican composer of 6 symphonies.
*
Aaron Copland (1900-1990), American composer of 3 symphonies. The fourth movement of
No. 3 is based on his famous
Fanfare for the Common Man.
*
Ernst Krenek (1900-1991), Austrian composer of 5 symphonies.
*
Kurt Weill (1900-1950), German Composer of 2 symphonies.
*
Edmund Rubbra (1901-1986), English composer of 11 symphonies.
*
William Walton (1902-1983), English composer of 2 symphonies.
*
Aram Khachaturian (1903-1978), world-famous
Armenian composer, wrote 3 symphonies.
*
Cemal Reşit Rey (1904-1985), Turkish composer of 2 symphonies.
*
Michael Tippett (1905-1998), English composer of 4 symphonies.
*
Eduard Tubin (1905-1982), Estonian composer of 10 symphonies.
*
Karl Amadeus Hartmann (1905-1963), German composer of 8 symphonies.
*
Benjamin Frankel (1906-1973), English composer of 8 symphonies.
*
Janis Ivanovs (1906-1983), Latvian composer of 21 symphonies.
*
Dmitri Shostakovich (1906-1975), Soviet composer of 15 symphonies - see
Category of Shostakovich symphonies.
*
Ahmet Adnan Saygun (1907-1991), Turkish composer of 5 symphonies.
*
Vagn Holmboe (1909-1996), Danish composer of 13 symphonies, 4 symphonies for strings and 3 chamber symphonies (these seven works not discarded, but not included by him among the other 13).
*
Samuel Barber, (1910-1981), American composer of 2 symphonies.
*
William Schuman (1910-1992), American composer of 10 symphonies.
*
Bernard Herrmann (1911-1975), American composer of 1 symphony (1940).
*
Allan Pettersson (1911-1980), Swedish composer of 17 expressive symphonies.
*
Benjamin Britten (1913-1976), British composer of several symphonies, including the
Sinfonia da Requiem (1940) and the
Cello Symphony (1963).
*
Witold Lutosławski (1913-1994), Polish composer, wrote 4 symphonies.
*
David Diamond (1915-2005), American composer of 11 symphonies.
*
Henri Dutilleux (1916), French composer of 2 symphonies.
*
Sven Einar Englund (1916-1999), Finnish composer of 7 symphonies.
*
Rowan Taylor (1916-2005), American composer, considered the most prolific composer of all time, wrote 265 symphonies.
*
Lou Harrison (1917-2003), American composer of 4 symphonies.
*
Leonard Bernstein (1918-1990), American composer and conductor, composed 3 symphonies.
*
Mieczyslaw Weinberg (1919-1996), Polish composer who emigrated to the Soviet Union, composer of 20 symphonies for full orchestra and 4 chamber symphonies.
*
Malcolm Arnold (born 1921), British composer of 9 symphonies.
*
Robert Simpson (1921-1997), British composer, wrote 11 symphonies.
*
Peter Mennin (1923-1983), American composer, wrote 9 symphonies.
*
Luciano Berio (1925-2003) Italian composer of the famous
Sinfonia (1968-69).
*
Hans Werner Henze (born 1926), German Composer of 10 symphonies.
*
Einojuhani Rautavaara (born 1929), Finnish composer of 8 symphonies.
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John Williams (born 1932), American Composer of a symphony (1966).
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Krzysztof Penderecki (born 1933), Polish composer of 8 symphonies (as of 2005).
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Henryk Górecki (born 1933), Polish composer of 3 symphonies.
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Alfred Schnittke (1934-1998), Russian Composer of Symphonies, Nos.1-8 (1972-98).
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Peter Maxwell Davies (born 1934), British Composer of a
Sinfonia (1962), a
Sinfonia Concertante (1982), a
Sinfonietta (1983) and eight numbered symphonies (1976-2001).
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Arvo Pärt (born 1935), composer of 3 symphonies (-1971)
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Philip Glass (born 1937), composer of 8 symphonies
as of 2005.
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Ilayaraaja (born 1943),
Indian composer. Composer of
Thiruvasagam in Symphony (Classical Collection of Hymns on Lord Shiva) for the Royal Philharmonic Orchestra (London, 1993).
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Hristo Spasov Tsanoff (born 1947), composer of 1 symphony.
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John Coolidge Adams (born 1947), composer of a
Chamber Symphony (1992) and 3 other works, symphonies in all but name.
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Heinz Chur (born 1948), German composer of 4 symphonies (1978-1991).
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Oliver Knussen (born 1953), English Composer of 3 symphonies.
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John Kenneth Graham (born 1955), American composer of 3 symphonies, orchestral tableaux of American folklore and legend.
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Nigel Keay (born 1955), New Zealand composer of the
Symphony in Five Movements (1996).
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Tan Dun (born 1957), Chinese composer of the
Symphony 1997.
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Aaron Jay Kernis (born 1960), American composer of 2 symphonies.
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Michael Torke (born 1961), American composer of 1 symphony (1997).
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Joe Monzo (born 1962), American composer of 2 completed symphonies and an unfinished 3rd.
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Robert Steadman (born 1965), UK composer of 2 symphonies and a chamber symphony.
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Thomas Adès (born 1971), British Composer of the
Chamber Symphony For Fifteen Players Op.2 (1991).
In a more modern usage, a
symphony or
symphony orchestra is an
orchestra, particularly one that plays or is equipped to play symphonies. Going to hear a symphony orchestra play is sometimes called "going to the symphony," whether or not an actual symphony is on the programme.
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List of symphony orchestras *
List of conductors*
List of symphony orchestra concert halls*
A Chronology of the Symphony 1730-1998 A list of selected major symphonies composed
1800-
2000, with composers of 18th century symphonies
