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), N. Hopkins and J. F. Link, ed., Harmony Book (2002), and F. Meyer and A. C. Shreffler, ed., Elliott Carter: A Centennial Portrait in Letters and Documents (2008); biography by D. Schiff (2019); biographical study by J. Wierzbicki (1998); D. Schiff, The Music of Elliot Carter (1983, rev. ed. 1998), and M. Boland and J. F. Link, Elliot Carter Studies (2012); F. Scheffer, A Labyrinth in Time (documentary, 2004).

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Oliver Janes is solo clarinet in this programme, the Arditti Quartet, so adept in the music of Brian Ferneyhough, Elliott Carter, and a whole panoply of the most technically exploratory composers, are guest artists, and Emilio Pomarico, a composer himself as well as a passionate advocate of contemporary music, conducts.
New York, NY, March 08, 2018 --( Melodia Women's Choir, New York's premier ensemble for women's choral music led by artistic director Cynthia Powell, closes out its 15th anniversary season with an all-American program The Harmony of Morning, titled from the rarely heard Elliott Carter composition by the same name for women's chorus and chamber orchestra.
It represents a high number of luminaries of contemporary music of the period, including George Crumb, Luciano Berio, Charles Wuorinen, Elliott Carter, Aaron Copland, Sylvano Bussotti, Giacinto Scelsi, Morton Feldman, and John Cage, as well as lesser-known figures whose representation here may be even more unique.
The players have situated Crawford's piece within a broader traversal of the American string quartet, connecting her work to later giants like Elliott Carter and contemporary composers including Erin Gee and Natacha Diels.
His topics include performance and social meaning in the Lied: Schubert's Erster Verlust, Hugo Wolf: subjectivity in the fin-de-siecle Lied, the harem threshold: Turkish music and Greek love in Beethoven's "Ode to Joy," the talking wound and the foolish question: symbolization in Parsifal, and modern madrigalisms: Elliott Carter and the aesthetics of art song.
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The second section of the book is thus divided by correspondent, and includes letters to and from teachers (including Boulanger and Landowska), patrons (Alexander Mackay-Smith and Elizabeth Sprague Coolidge), instrument builders (John Challis, William Dowd), conductors (Serge Koussevitzky), composers (notably Roger Sessions, Elliott Carter, Vincent Persichetti, and Henry Cowell), critics (Olin Downes), fellow scholar-performers (Kenneth Gilbert), and personal friends (Thornton Wilder).
And composer Elliott Carter received thunderous applause in 2012 when the New York Philharmonic premiered one of his orchestral works.
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."
at 7.30pm 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.
No less eminent a figure than Elliott Carter praised the German-born composer Stefan Wolpe (19021972) for his "comet-like radiance, conviction, fervent intensity, penetrating thought on many levels of seriousness and humor," along with his "breath-taking adventurousness and originality." (1) With such an endorsement, one might be surprised to learn that the beginning of Wolpe's career was a rocky one, as he was considered an outsider in the musical circles of his native Germany.