Elliott Carter by James Wierzbicki

By James Wierzbicki

 

This compact advent to the existence and works of composer Elliott Carter presents a clean point of view on the most major American composers of the 20th and twenty-first centuries. a number one voice of the yankee classical track culture and a two-time winner of the Pulitzer Prize for tune, Carter was once first and foremost inspired to develop into a composer through Charles Ives, and he went directly to examine from Walter Piston at Harvard collage and Nadia Boulanger in Paris. Drawing on Carter's voluminous writings and compositions, James Wierzbicki presents a transparent dialogue of Carter's evolving knowing of musical time and the impact of movie on his paintings. Celebrating his a hundredth birthday in 2008 by means of premiering a few new compositions, Carter has been a robust presence at the American new track scene, a major connection to American music's foundational figures, and a dynamic strength in its carrying on with evolution.

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Elliott Carter

 This compact advent to the lifestyles and works of composer Elliott Carter offers a clean viewpoint on probably the most major American composers of the 20 th and twenty-first centuries. a number one voice of the yank classical track culture and a two-time winner of the Pulitzer Prize for song, Carter was once first and foremost inspired to turn into a composer by way of Charles Ives, and he went directly to study from Walter Piston at Harvard college and Nadia Boulanger in Paris.

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Still, Carter felt that despite its “directness,” the Symphony No. ”67 The “social emergency” to which Carter referred was, of course, the Second World War. Even though he was teaching at St. John’s, Carter attempted to enlist in military service as soon as the United States entered the hostilities late in 1941, but he was rejected on grounds of health. ”68 In 1943, after he and his wife resettled in New York and after their son was born, Carter very much wanted to put his knowledge of foreign languages to use in the military’s intelligence units, but he failed to pass the exams that tested for aptitude in cryptography.

Nevertheless, as Carter told Edwards, the reassessment of time vis-à-vis music seems to have happened rather quickly. ”12 Using a phrase that indeed suggests a bolt-from-the-blue enlightenment, Carter told Edwards that it “struck him” that despite the newness and variety of the post-tonal musical vocabulary, most modern pieces generally “went along” in an all-too-uniform way on their higher architectonic levels. 13 36 As noted in the previous chapter, Carter as a high-school student had been interested in the music of Indonesia and India, and after his first year in college he spent a summer in Tunisia making transcriptions of Arabic music.

Carter and Kirstein together had much admired the work of the young Russian choreographer George Balanchine, and while still in Paris Kirstein even dared to form a Balanchine-oriented dance troupe called Ballets 1933. Returning to the United States more or less simultaneous with Carter, Kirstein made preparations to launch a company called Ballet Caravan. The impact of the company’s debut, Kirstein hoped, would result at least in part from a balletic presentation of a solidly American story that combined daring choreography with comparably bold new music.

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