Carter, Elliott Cook, Jr.

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Carter, Elliott Cook, Jr.,

1908–2012, American composer, b. New York City. Carter is considered by many to be the most important late-20th-century American composer. Mentored early in life by Charles IvesIves, Charles
, 1874–1954, American composer and organist, b. Danbury, Conn., grad. Yale, 1898; pupil of Dudley Buck and Horatio Parker. He was an organist (1893–1904) in churches in Connecticut, New Jersey, and New York.
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, Carter studied with Walter PistonPiston, Walter,
1894–1976, American composer and teacher, b. Rockland, Maine. Piston studied at Harvard and with Nadia Boulanger in Paris; he joined the faculty of Harvard in 1926. He became a Guggenheim Fellow in 1934.
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, E. B. Hill, and Gustav HolstHolst, Gustav
, 1874–1934, English composer, studied at the Royal College of Music. Grieg, Richard Strauss, and Ralph Vaughan Williams influenced his early work, but most of his music is highly original.
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 at Harvard and with Nadia BoulangerBoulanger, Nadia
, 1887–1979, French conductor and musician, b. Paris. Boulanger was considered an outstanding teacher of composition. She studied at the Paris Conservatory, where in 1945 she became professor.
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 in Paris (1932–35). His early work was neo-Classical or neo-Romantic, but his style changed at mid-century, as exemplified in his first string quartet (1951), a breakthrough work. Carter's complex mature music, which combined elements of European and American modernism, is organized into highly intellectualized contrapuntal patterns. He characteristically used constantly changing tempo as an element of form, notably in his technique of "metrical modulation," his most famous musical innovation. The pace of his composition increased in the 1980s and many of his late pieces often have lyrical elements despite their essentially dissonant nature. Highlights from an unusually long (he composed in ten decades) and prolific (he wrote more than 130 pieces) musical career include the ballet Pocahontas (1939), a piano sonata (1946), a cello sonata (1948), five string quartets (1951, 1958–59, 1973, 1986, 1995), Variations (1953–55) for orchestra, the Double Concerto for Harpsichord and Piano with Two Chamber Orchestras (1961), a piano concerto (1966), a concerto for orchestra (1969), A Mirror on Which to Dwell (1976) for soprano and nine players to poems by Elizabeth BishopBishop, Elizabeth,
1911–79, American poet, b. Worcester, Mass., grad. Vassar, 1934. During the 1950s and 60s she lived in Brazil, eventually returning to her native New England, where she taught at Harvard (1970–77).
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, Night Fantasies (1980) for piano, Changes (1983) for guitar, Adagio Tenebroso (1995) for orchestra, the opera What's Next? (1999), a cello concerto (2001) composed for Yo-Yo MaMa, Yo-Yo
, 1955–, American cellist, b. Paris. The son of musicologist Hiao-Tsun Ma, who left China in the 1930s, he was a musical prodigy, giving a public recital in Paris at the age of six.
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, and 12 Short Epigrams (2012) for piano.


See J. W. Bernard, ed., Elliot Carter: Collected Essays and Lectures (1998) and N. Hopkins and J. F. Link, ed., Harmony Book (2002); biographical study by J. Wierzbicki (1998); D. Schiff, The Music of Elliot Carter (1983, rev. ed. 1998), F. Meyer and A. C. Shreffler, ed., Elliott Carter: A Centennial Portrait in Letters and Documents (2008), and M. Boland and J. F. Link, Elliot Carter Studies (2012); F. Scheffer, A Labyrinth in Time (documentary, 2004).

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Campbell's program, spare and specific, featured five short but challenging pieces (and some were played from memory) written between 1994 and 2015 by Elliott Carter, Matthias Pintscher, Charles Wourinen, David Fulmer and Jason Eckardt -- this last one enjoyed a world premiere of his "Practical Alchemy.
30pm features three of the great composer's works, opuses 95, 96 and 97, the latter being the Piano Trio in B flat, Archduke, while a 10pm concert called Postcards from America offers works by John Williams, Tibor Serly, Elliott Carter and La Revue de Cuisine by Bohuslav Martinu.
Machover studied with Elliott Carter and Roger Sessions at The Juilliard School and was the first Director of Musical Research at Pierre Boulez's IRCAM in Paris.
David Schiff, whose 1983 book The Music of Elliott Carter remains the standard guide to Carter's work, speaks in an interview of the pressing problem of voice that Carter's settings can occlude: poets who work by subtlety and understatement, like Bishop, can find themselves "taken over" by Carter.
At the time of his passing in late 2012 at the age of 103, Elliott Carter was widely regarded as one of the most influential and celebrated twentieth-century American composers.
UO faculty members Molly Barth, flute; Louis DeMartino, clarinet; Melissa Pe[+ or -]a, oboe; Idit Shner, saxophone; and Steve Vacchi, bassoon, play works by Samuel Barber, Paul Hindemith, Irving Fine, Elliott Carter and David Kechley.
FOR ALMOST A QUARTER OF A CENTURY, we cheered Elliott Carter on, as he approached and passed the age of eighty, then ninety, then a hundred.
The choice of Elliott Carter as the subject of a book with barely 100 pages of actual text certainly created challenges for the author, for two reasons.
Elliott Carter, the critically acclaimed and two-time Pulitzer Prize winning American composer, died in his Manhattan home on Monday.
Two days prior to its conclusion, Elliott Carter, who also financially supported the project, died at the age of 103.
Susan has premiere works by Elliott Carter, Milton Babbitt, Steve Mackey and many other contemporary composers.
I dare to make a comparison between John Joubert and the great American composer Elliott Carter, still composing at the age of 103, whose music has softened over the years and become less gritty.