Yes, PD, Kodaly, another good find - and so is Holst's Egdon heath. Just like Sibelius they stayed at the artistically more "serious" side of that quickly changing era.
As for the British composers, possibly Constant Lambert's The Rio grande (1927) alines well with the more extravagant, unorthodox aspects of that period: it combines influences of jazz, South-American rythms, plenty of percussion.
From Wiki:
Lambert noted in a 1928 article:
The chief interest of jazz rhythms lies in their application to the setting of words, and although jazz settings have by no means the flexibility or subtlety of the early seventeenth-century airs, for example, there is no denying their lightness and ingenuity … English words demand for their successful musical treatment an infinitely more varied and syncopated rhythm than is to be found in the nineteenth-century romantics, and the best jazz songs of today are, in fact, nearer in their methods to the late fifteenth-century composers than any music since.
Music critic Christopher Palmer said of this piece that
Lambert would be the first to concede, today, that some of the harmonic and rhythmic clichés he decried in others had slipped into his own work. Yet, for all that, The Rio Grande retains a pristine quality. Now hard, now soft, it sparkles and glitters one moment, then seduces us the next with the kind of bluesy urban melancholy to be found in deeper, richer measure in a quite different context in Summer's Last Will and Testament. It is above all the work of a poet, and Lambert’s poetic sensibility has ensured the survival of his best music. The free-fantasy form is simplicity itself: first section (allegro) – cadenza for piano and percussion – slow central section, in the style of a nostalgic tango – recapitulation – tranquil coda.
The poem refers to a river in Brazil, although there is no Brazilian river called Rio Grande.
https://youtu.be/rGmIfkoZbZQNow it's time for Ballet mécanique (1923-24) by George Antheil.
