Elliott Carter

Britannica Concise Encyclopedia: Elliott Cook Carter, Jr.

(born Dec. 11, 1908, New York, N.Y., U.S.) U.S. composer. Born to a wealthy family, he studied English and music at Harvard University and later studied in Paris with Nadia Boulanger. He taught at many institutions, after 1972 primarily at the Juilliard School. He absorbed a range of influences, including Igor Stravinsky and Charles Ives. His style evolved into a densely contrapuntal and rhythmically complex texture in which the various instrumental parts frequently suggest conversation and combat. His principal works include Sonata for Flute, Oboe, Cello, and Harpsichord (1952), Variations for Orchestra (1955), Double Concerto for piano and harpsichord (1961), Concerto for Orchestra (1969), A Symphony of Three Orchestras (1977), Oboe Concerto (1987), Cello Concerto (2001), and five string quartets (1951, 1959, 1971, 1986, 1995), two of which received the Pulitzer Prize. He is often called the greatest American composer of the late 20th century.

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Music Encyclopedia: Elliott (Cook) Carter

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(b New York, 11 Dec 1908). American composer. He studied at Harvard (1926-32), at the Ecole Normale de Musique in Paris (1932-5) and privately with Boulanger. Back in the USA he worked as musical director of Ballet Caravan (until 1940) and as a teacher. From boyhood he had been acquainted with the music of Schoenberg, Varèse, Ives and others, but for the moment his works leaned much more towards Stravinsky and Hindemith: they included the ballets Pocahontas (1939) and The Minotaur (1947), the Symphony no.1 (1942) and Holiday Overture (1944). However, in his Piano Sonata (1946) he began to work from the interval content of particular chords, and inevitably to loosen the hold of tonality. The development was taken further in the Cello Sonata (1948), already characteristic of his later style in that the instruments have distinct roles.

A period of withdrawal led to the First Quartet (1951), a work of complex rhythmic interplay, long-ranging atonal melody and unusual form, the ‘movements’ being out of step with the given breaks in the musical continuity: effectively it is a single unfolding of 40 minutes' duration. It was followed by exclusively instrumental works of similar complexity, activity and energy, including the Variations for orchestra (1955), the Second Quartet (1959), the Double Concerto for harpsichord and piano, each with its own chamber orchestra (1961), the Piano Concerto (1965), the Concerto for Orchestra (1969), the Third Quartet (1971) and the Brass Quintet (1974). At that point Carter returned to vocal composition for a triptych of works for soloist and ensemble: A Mirror on which to Dwell (1975), Syringa (1978) and In Sleep, in Thunder (1981), with words by Elizabeth Bishop, John Ashbery and Robert Lowell respectively. But he has also continued the output of large instrumental movements with A Symphony of Three Orchestras (1976), the piano solo Night Fantasies (1980), the Triple Duo (1983) and Penthode for small orchestra (1985). His String Quartet no.4 (1986) is in a simpler style.

works:
Ballets

Pocahontas (1939)
The Minotaur (1947)

Orchestral music

Sym. no.1 (1942)
Holiday Ov. (1944)
Variations (1955)
Double Conc. , hpd, pf, 2 chamber orch (1961)
Pf Conc. (1965)
Conc. for Orch (1969)
A Sym. of Three Orch s (1976)
Penthode, 5 inst(s) qts (1985)

Voice and ensemble

A Mirror on which to Dwell (1975)
Syringa (1978)
In Sleep, in Thunder (1981)

Chamber music

Elegy, vc, pf (1943)
Woodwind Qnt (1948)
Sonata, vc, pf (1948)
Eight Etudes and a Fantasy (1950)
4 str qts (1951, 1959, 1971, 1986)
Sonata, fl, ob, vc, hpd (1952)
Duo, vn, pf (1974)
Brass Qnt (1974)
Triple Duo, ens (1983)

Piano music

Sonata (1946)
Night Fantasies (1980)

Biography: Elliott Cook Carter, Jr.

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The American composer Elliott Cook Carter, Jr. (born 1908), developed an individual musical style, courageously ignoring many of the passing musical fashions to become one of the most respected composers of his time.

Elliott Carter was born in 1908 in New York, the son of a wealthy businessman. He was an English major at Harvard and, encouraged toward a musical career by his friend and mentor Charles Ives, he took his master's degree in music there, then spent 3 years in Paris studying with Nadia Boulanger. His first compositions, written upon his return to the United States, were a neoclassic ballet, Pocahontas (1939; rev. 1941), and Holiday Overture (1944).

Carter's Piano Sonata (1945-1946) is generally considered the first example of his mature style. It is highly dissonant and rhythmically complex, characteristics of all of his subsequent compositions. In his Sonata for Cello and Piano (1948) there is no attempt to "blend" the two instruments; each seems to go its own way. This manner of combining instruments is also used in his first String Quartet (1951-1952), in which the four instruments are treated like individual soloists, not sharing the same musical material. "I regard my scores as scenarios," the composer once said, "for performers to act out with their instruments, dramatizing the players as individuals and as participants in the ensemble." In this piece there are also examples of "metrical modulation," a method devised by Carter for precisely changing from one tempo and meter to another, giving a subtlety and flexibility to the time dimension of his music not achieved by other composers.

Variations for Orchestra (1955), a second String Quartet (1959), and a Double Concerto for Harpsichord, Piano, and Two Chamber Orchestras (1961) are later examples of his complex style. "I have tried to give musical expression to experiences anyone living today must have when confronted with so many remarkable examples of unexpected types of changes and relationships of character uncovered in every domain of science and art."

The Piano Concerto (1964-1965) continues the explorations of new tonal and temporal relationships. The composer described the piece as a "conflict between man and society. The piano is born, the orchestra teaches it what to say. The piano learns. Then it learns the orchestra is wrong. They fight and the piano wins - not triumphantly, but with a few, weak, sad notes - sort of Charlie Chaplin humorous." In his Concerto for Orchestra (1969) Carter achieves his complex texture by dividing the orchestra into four sections, each one different in composition and complete in itself.

Much of the composer's music since the 1970s took the form of solo and chamber works. His A Mirror on Which to Dwell (1978) is a song cycle based on the work of American poet Elizabeth Bishop. His String Quartet No. 5 was premiered by the Arditti Quartet in Antwerp, Belgium, in 1995. The same year also saw the premiere of a new song cycle, Of Challenge and Of Love. His later orchestral works include Three Occasions (1986-89) and his enormously successful Violin Concerto (1990). The latter piece has been performed frequently in more than a dozen countries. His Partita was commissioned by the Chicago Symphony Orchestra (1994) and around the same time his Adagio Tenebroso was commissioned by the BBC Symphony Orchestra for the 100th anniversary of the BBC Proms.

Carter has remained active well into his 80s. He has twice won the Pulitzer Prize and was the first composer to receive the United States National Medal of Arts. Carter was one of only four composers to win Germany's Ernst Von Siemens Music Prize, and in 1988 he was made a commander in the Orders of Arts and Letters by the French government. Among his other honors were Guggenheim fellowships, UNESCO citations, and several honorary doctorates. His compositions are performed and recorded as soon as they are completed. "I write for records," he said. "My last three pieces run about twenty-five minutes - the length of an LP side. They should be so rich that they can be played many times." It is this richness that makes a first hearing of Carter's music a confusing experience for many listeners, and the chief reason why it has not found popularity with a general audience.

Biography

One of the most significant post-World War II American composers, Elliott Carter remains a forceful and eloquent voice into his tenth decade. From an early, quasi-neo-Classical style, Carter has forged his own complex, dramatically oriented adaptation of serial methods.

His initial education was at the Horace Mann School and at Harvard, where he obtained a B.A. in English, in 1930; two years later, he got his M.A. in Music, after studies with Walter Piston and Gustav Holst. He also received early encouragement from Charles Ives. From Harvard, he went to Paris, studying at the Ecole Normale de Musique and taking private lessons with Nadia Boulanger. Carter had an interest in modern music almost from the beginning (in fact, he once said that he took his degrees at Harvard so he could be near the Boston Symphony Orchestra, which under Serge Koussevitzky's direction was performing a broad range of contemporary compositions at the time). But he also sang in a madrigal group and conducted choral concerts in Paris, and has pursued interests in mathematics, literature, and languages.

After his return to the U.S., he served as the musical director of the Ballet Caravan from 1937 to 1939. From 1940 on, Carter has held an impressive variety of teaching posts at, among others, St. John's College, Annapolis (1940-1942); the Peabody Conservatory (1946-1948); Columbia University (1948-1950); Queen's College, New York (1955-1956); Yale University (1960-1962); the American Academy in Rome (1963 and 1967); and the Juilliard School (1972). Carter has also been the recipient of many honors and awards, including honorary doctorates from almost a dozen universities, many foundation grants, a Prix de Rome, two Guggenheim fellowships, and Pulitzer Prizes for his second (1960) and third (1973) string quartets.

His ballet Pocahontas, written for the Ballet Caravan, and the Holiday Overture (1944) are representative of Carter's early style, a fusion of Igor Stravinsky's neo-Classicism and the American populism of Aaron Copland. In the mid-'40s, however, Carter decided that the style he had employed to that point avoided some important modes of expression. Subsequent works, such as the 1946 Piano Sonata and the 1948 Cello Sonata, employ more dissonance and rhythmic complexity. Carter developed his notion of "metrical modulation," in which one tempo leads gradually to another through changing the note values in different voices of the ensemble. One starts to hear this process in the String Quartet No. 1 (1951), and colorful works like the Variations for Orchestra (1954-1955), the Double Concerto (1961) and the Quartet No. 2 develop those ideas further. Carter also occasionally develops dramatic scenarios for his compositions. The Quartet No. 3, for example, pits two duos (violin/viola and violin/cello) against one another as they play in different tempos and rhythms; Claus Adam of the Juilliard Quartet, which premiered the work, called it the most difficult work the quartet had ever played.

Carter has gone on to write a total of five quartets, along with a variety of symphonic works, concertos, chamber and solo pieces and, in the late '70s and early '80s, a handful of vocal works. He has continued to be productive: Carter's Symphonia: sum fluxae pretium spei (1993-1996), which he completed at the age of 88, was received with great enthusiasm. Carter astounded the music world by creating his first opera, What Next? (1998), at the age of 90. ~ Chris Morrison, All Music Guide

Wikipedia: Elliott Carter

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Portrait of Elliott Carter

Elliott Cook Carter, Jr. (born December 11, 1908) is a two-time Pulitzer Prize-winning American composer born and living in New York City. He studied with Nadia Boulanger in Paris in the 1930s, and then returned to the United States. After a neoclassical phase, he went on to write atonal, rhythmically complex music. His compositions, which have been performed all over the world, include orchestral and chamber music as well as solo instrumental and vocal works.

1 Biography
2 Style and works
3 Partial list of works
4 Partial discography
5 Notable students
6 References
7 External links
- 7.1 Interviews
- 7.2 Listening

Biography

Carter's father, Elliott Carter, Sr. was a businessman and his mother was the former Florence Chambers. The family was well-to-do. As a teenager he developed an interest in music and was encouraged in this regard by the composer Charles Ives (who sold insurance to his family). In 1924 a "galvanized" 15-year-old Carter was in the audience when Pierre Monteux conducted the Boston Symphony Orchestra in the New York première of The Rite of Spring, according to a 2008 report. Carter was again in attendance (see below) at Carnegie Hall, on the occasion of his 100th birthday in 2008, when the orchestra, now under the baton of James Levine, again performed the Stravinsky piece as part of its tribute to Carter. ^[1] Although Carter majored in English at Harvard College, he also studied music there and at the nearby Longy School of Music. His professors included Walter Piston and Gustav Holst. He sang with the Harvard Glee Club. He did graduate work in music at Harvard, from which he received a Master's degree in music in 1932. He then went to Paris to study with Nadia Boulanger (as did many other American composers). Carter worked with Mlle Boulanger from 1932-35 and in 1935 he received a doctorate in music (D Mus) from the Ecole Normale in Paris. Later in 1935 he returned to the US where he wrote music for the Ballet Caravan.

From 1940 to 1944 Elliott Carter taught in the program, including music, at St. John's College in Annapolis, Maryland. On July 6, 1939, Carter married Helen Frost-Jones. They had one child, a son, David Chambers Carter. During World War II, Carter worked for the Office of War Information. He later held teaching posts at the Peabody Conservatory (1946 - 1948), Columbia University, Queens College, New York (1955-56), Yale University (1960-62), Cornell University (from 1967) and the Juilliard School (from 1972). In 1967 he was appointed a member of the American Academy of Arts and Letters. Carter has lived in Greenwich Village since 1945^[2].

On February 7, 2009, Carter was given the Trustees Award (a lifetime achievement award given to non-performers) by the Grammy Awards.^[3]

Carter is at the faculty of the Tanglewood Music Center where he gives annual composition masterclasses.

Style and works

Carter's earlier works are influenced by Stravinsky, Harris, Copland, and Hindemith, and are mainly neoclassical in aesthetic. He had a strict and thorough training in counterpoint, from medieval polyphony through Stravinsky, and this shows in his earliest music, such as the ballet Pocahontas (1938-9). Some of his music during the Second World War is frankly diatonic, and includes a melodic lyricism reminiscent of Samuel Barber. Interestingly, Carter abandoned neoclassicism around the same time Stravinsky did, saying that he felt he had been evading vital areas of feeling.

His music after 1950 is typically atonal and rhythmically complex, indicated by the invention of the term metric modulation to describe the frequent, precise tempo changes found in his work. While Carter's chromaticism and tonal vocabulary parallels serial composers of the period, Carter does not employ serial techniques in his music. Rather he independently developed and cataloged all possible collections of pitches (i.e. all possible 3 note chords, 5 note chords etc.). Musical theorists like Allen Forte later systematized this data into musical set theory. A series of works in the 1960s and 1970's generates its tonal material by using all possible chords of a particular number of pitches.

The Piano Concerto (1964-65) uses the collection of three note chords for its pitch material; the Third String Quartet (1971) uses all four-note chords; the Concerto for Orchestra (1969) all five-note chords; and the Symphony of Three Orchestras utilizes the collection of six note chords. Carter also makes frequent use of "tonic" 12-note chords. Of particular interest are "all-interval" 12-tone chords where every interval is represented within adjacent notes of the chord. His 1980 solo piano work Night Fantasies utilizes the entire collection of the 88 symmetrical-inverted all-interval 12 note chords. Typically the pitch material is segmented between instruments, with a unique set of chords or sets assigned to each instrument or orchestral section. This stratification of material, with individual voices assigned not only their own unique pitch material, but texture and rhythm as well, is a key component of Carter's musical style. Carter's music after Night Fantasies has been termed his late period and his tonal language has become less systematized and more intuitive, but retains the basic characteristics of his earlier works.

Carter's use of rhythm can best be understood within the concept of stratification. Each instrumental voice is typically assigned its own set of tempos. A structural polyrhythm, where a very slow polyrhythm is used as a formal device, is present in many of Carter's works. The solo piano work Night Fantasies, for example, uses a 216:175 tempo relation that coincides at only two points in the entire 20+ minute composition. This use of rhythm is part of his goal to expand the notion of counterpoint to encompass simultaneous different characters, even entire movements, rather than just individual lines.

Carter developed his technique to further his artistic goals. His use of rhythm allows his music a structured fluidity and sense of time perhaps unique in classical music. The music also is overtly expressive and dramatic. He has said that "I regard my scores as scenarios, auditory scenarios, for performers to act out with their instruments, dramatizing the players as individuals and participants in the ensemble." He has also talked about his desire to portray a "different form of motion," in which players are not locked in step with the downbeat of every measure.

He has said that such steady pulses remind him of soldiers marching or horses trotting, sounds that are not heard anymore in the late 20th century, and he wants his music to capture the sort of continuous acceleration or deceleration experienced in an automobile or an airplane. While Carter's atonal music shows little trace of American popular music or jazz, his vocal music has demonstrated strong ties to contemporary American poetry. He has set works of Elizabeth Bishop, John Ashbery, Robert Lowell, William Carlos Williams and, most recently, Wallace Stevens. Several of his large instrumental works such as the Concerto for Orchestra or Symphony of Three Orchestras are inspired by Twentieth Century poets as well.

Among his better known works are the Variations for Orchestra (1954-5); the Double Concerto for harpsichord, piano and two chamber orchestras (1959-61); the Piano Concerto (1964-65), written as an 85th birthday present for Igor Stravinsky; the Concerto for Orchestra (1969), loosely based on a poem by Saint-John Perse; and A Symphony of Three Orchestras (1976). He has also written five string quartets^[4], of which the second and third won the Pulitzer Prize for Music in 1960 and 1973 respectively. Symphonia: Sum Fluxae Pretium Spei (1993-1996) is his largest orchestral work, complex in structure and featuring contrasting layers of instrumental textures, from delicate wind solos to crashing brass and percussion outbursts.

In spite of a usually rigorous derivation of all pitch content of a piece from a source chord, or series of chords, Carter never abandons lyricism, and ensures that a text is sung intelligibly, sometimes even simply. In A Mirror on Which to Dwell (1975) (based on poems by Elizabeth Bishop) Carter writes colorful, subtle, transparently clear music; yet almost every pitch in the piece is derived from the content of a single sonority. While Carter seems to set up rigorous systems for deriving the pitch content of a piece, he deviates from them on occasion: not every note can be explained with the same rigor as can be done, for example, in Webern^{[original research?]}. Most of Carter's music is published by either G. Schirmer/Associated Music Publishers (works up to 1982) or Boosey & Hawkes (works since 1982).

Carter continues composing. Interventions for Piano and Orchestra received its premiere on December 5, 2008, by the Boston Symphony Orchestra conducted by James Levine featuring pianist Daniel Barenboim at Symphony Hall in Boston. The pianist reprised the work again with the BSO at Carnegie Hall in New York in the presence of the composer on his 100th birthday.^[2] Carter was also present at the 2009 Aldeburgh Festival to hear the world premiere of his song-cycle On Conversing with Paradise, based on Ezra Pound's 'Pisan' cantos 95 and the unfinished 121.^[5] The premiere, on 20th June 2009 was given by baritone Leigh Melrose and the Birmingham Contemporary Music Group conducted by Oliver Knussen.^[6]

Figment V for marimba with Simon Boyar was premiered in New York on 2 May 2009 and Poems of Louis Zukofsky for soprano and clarinet had its first performance by Lucy Shelton and Stanley Drucker at the Tanglewood Festival on 9 August 2009. The US premiere of the Flute Concerto will take place on 4 February 2010 with soloist Elizabeth Ostling and the Boston Pops Orchestra conducted by Keith Lockhart.

Partial list of works

Ballet

Pocahontas (Ballet) (1938-39)
The Minotaur (Ballet) (1947)

Chamber

Elegy for Viola and Piano (1943)
Piano Sonata (1945-46)
Cello Sonata (1948)
Woodwind Quintet (1948)
Eight Etudes and a Fantasy for Wind Quartet (1949)
String Quartet No.1 (1951)
Sonata for Flute, Oboe, Cello and Harpsichord (1952)
String Quartet No.2 (1959)
Eight Pieces for Four Timpani (1950/66)
Canon for 3 (1971)
String Quartet No.3 (1971)
Brass Quintet (1974)
Duo for Violin and Piano (1974)
Birthday Fanfare for Three Trumpets, Vibraphone, and Glockenspiel (1978)
Triple Duo (1983)
Esprit rude/esprit doux for Flute and Clarinet (1984)
Canon for 4 (1984)
String Quartet No.4 (1986)
Enchanted Prelude for Flute and Cello (1988)
Con leggerezza pensosa for Clarinet, Violin, and Cello (1990)
Quintet for Piano and Winds (1991)
Trilogy for Oboe and Harp (1992)

Bariolage for Harp
Inner Song for Oboe
Immer Neu for Oboe and Harp

Esprit rude/esprit doux II for Flute, Clarinet, and Marimba (1994)
Fragment I for String Quartet (1994)
String Quartet No.5 (1995)
Luimen for Ensemble (1997)
Quintet for Piano and Strings (1997)
Fragment II for String Quartet (1999)
Oboe Quartet for Oboe, Violin, Viola, and Cello (2001)
Hiyoku for Two Clarinets (2001)
Au Qui for Bassoon and Viola (2002)
Call for Two Trumpets and Horn (2003)
Clarinet Quintet (2007)
Tinntinabulation for percussion sextet (2008)
Due Duetti for Violin and Cello (2008, 2009)

Duettone
Duettino

Choral

Tarantella for Men's Chorus and Two Pianos (1937)
Let's Be Gay for Women's Chorus and Two Pianos (1937)
Harvest Home for a capella Choir (1937)
To Music for a capella Choir (1937)
Heart Not So Heavy for a capella Choir (1939)
The Defense of Corinth for Speaker, Men's Chorus and Two Pianos (1941)
The Harmony of Morning for Women's Chorus and Chamber Orchestra (1944)
Musicians Wrestle Everywhere for a capella Choir (1945)
Emblems for Men's Chorus and Piano (1947)

Concertante

Double Concerto for piano, harpsichord and 2 chamber orchestras (1959-61)
Piano Concerto (1964)
Concerto for Orchestra (1969)
Oboe Concerto (1986-1987)
Violin Concerto (1989)
Clarinet Concerto (1996)
ASKO Concerto for Chamber Ensemble (2000)
Cello Concerto (2001)
Boston Concerto (2002)
Horn Concerto (2007)
Flute Concerto (2008)

Large Ensemble

Penthode for Ensemble (1985)
Dialogues for Piano and Chamber Orchestra (2003)
Mosaic for Harp and Ensemble (2004)
Réflexions for Ensemble (2004)
Wind Rose for Wind Ensemble (2008)

Opera

What Next? (opera in one act) (1997)

Orchestra

Symphony No. 1 (1942, revised 1954)
Holiday Overture (1944, revised 1961)
Variations for Orchestra (1954–1955)
A Symphony of Three Orchestras (1976)
Three Occasions for Orchestra (1986-89)

A Celebration of Some 150x100 Notes
Remembrance
Anniversary

Symphonia: Sum Fluxae Pretiam Spei (1993-96)

Partita
Adagio Tenebroso
Allegro Scorrevole

Three Illusions for Orchestra (2002-04)

Micomicón
Fons Juventatis
More's Utopia

Soundings for Piano and Orchestra (2005)
Interventions for Piano and Orchestra (2007)
Sound Fields for String Orchestra (2007)

Solo Instrumental

Piano Sonata (1945-46)
Night Fantasies for Piano (1980)
Changes for Guitar (1983)
Scrivo in Vento for Flute (1991)
Gra for Clarinet (1994)
90+ for Piano (1994)
Figment for Cello (1994)
A 6-letter Letter for English Horn (1996)
Shard for Guitar (1997)
Two Diversions for Piano (1999)
Four Lauds for Solo Violin (1999, 1984, 2000, 1999)

I. Statement - Remembering Aaron
II. Riconoscenza per Goffredo Petrassi
III. Rhapsodic Musings
IV. Fantasy - Remembering Roger

Retrouvailles for Piano (2000)
Figment II for Cello (2001)
Steep Steps for Bass Clarinet (2001)
Retracing for Bassoon (2002)
Intermittences for Piano (2005)
Catenaires for Piano (2006)
HBHH for Oboe (2007)
Figment III for Double Bass Solo (2007)
Figment IV for Viola Solo (2007)
Matribute for Piano (2007)
Figment V for marimba (2009)

Voice

My Love is in a light attire for Voice and Piano (1928)
Tell Me Where Is Fancy Bred for Voice and Guitar (1938)
A Mirror on Which to Dwell for Soprano and Ensemble (1975)
Syringa for Mezzo-Soprano, Bass-Baritone, Guitar and Ensemble (1978)
Three Poems of Robert Frost for Baritone and Ensemble (1942, orchestrated 1980)
In Sleep, in Thunder for Tenor and Ensemble (1981)
Of Challenge and of Love for Soprano and Piano (1994)
Tempo e Tempi for Soprano, Oboe, Clarinet, Violin and Cello (1998-99)
Of Rewaking for Mezzo-Soprano and Orchestra (2002)
In the Distances of Sleep for Voice and Ensemble (2006)
Mad Regales for Six Solo Voices (2007)
La Musique for Solo Voice (2007)
Poems of Louis Zukofsky (2008) for mezzo-soprano and clarinet
On Conversing with Paradise (2008) for baritone and chamber orchestra

Partial discography

Sonata for Flute, Oboe, Cello and Harpsichord; Sonata for Cello and Piano; Double Concerto for Harpsichord and Piano With Two Chamber Orchestras. Paul Jacobs, hpschd; Joel Krosnick, cello; Gilbert Kalish, piano; The Contemporary Chamber Ensemble, Arthur Weisberg, cond. Elektra/Nonesuch 9 79183-2.
String Quartets Nos. 1 and 2. The Composers Quartet. Elektra/Nonesuch 9 71249-2
Piano Concerto; Variations for Orchestra. Ursula Oppens, piano; Cincinnati Symphony Orchestra, Michael Gielen, cond. New World Records, NW 347-2.
Triple Duo; Clarinet Concerto; short pieces. Nouvel Ensemble Moderne, Lorraine Vaillancourt, cond. ATMA Classique, ACD2 2280.
Complete Music for Piano. Charles Rosen, Piano. Bridge 9090.
Vocal Works (1975-81): A Mirror on Which to Dwell; In Sleep, In Thunder; Syringa; Three Poems of Robert Frost. Speculum Musicae with Katherine Ciesinki, mezzo; Jon Garrison, tenor; Jan Opalach, bass; Christine Schadeberg, soprano. Bridge, BCD 9014.
Dialogues; Boston Concerto; Cello Concerto; ASKO Concerto. Nicolas Hodges, piano; Fred Sherry, cello; London Sinfonietta, BBC Symphony Orchestra, ASKO Ensemble, Oliver Knussen, cond. Bridge 9184.

Notable students

References

^ "Celebrating a Birthday as Well as a Score" by Anthony Tommasini, The New York Times 12-13-2008
^ ^a ^b Daniel J. Watkin (2008-12-11). "Turning 100 at Carnegie Hall, With New Notes". The New York Times. http://www.nytimes.com/2008/12/12/arts/music/12carter.html?hp. Retrieved 2008-12-17.
^ "Recording Industry Salutes Musical Alums." The Horace Mann Report. Vol 106: Issue 9. January 23, 2009. (Retrieved February 9, 2009)
^ 'Minimalism is death'. Telegraph, 26 July 2003.
^ http://www.classicalsource.com/db_control/db_features.php?id=7220
^ http://www.aldeburgh.co.uk/whatson/conversing-paradise

Doering, William T. Elliott Carter: A Bio-Bibliography. Greenwood Press, 1993.

External links

Wikiquote has a collection of quotations related to: Elliott Carter

Elliott Carter: A Centennial Portrait in Letters and Documents by Felix Meyer & Anne C. Shreffler published by the Boydell Press in association with the Paul Sacher Foundation.
Elliott Carter at G. Schirmer/AMP
Elliott Carter at Boosey and Hawkes
The String Quartets of Elliott Carter Booklet note for recording by the Arditti Quartet of Quartets 1-4 and Elegy (1988 ETCETERA KTC 1065/1066), by David Harvey
CompositionToday - Elliot Carter article and review of works
Elliott Carter Centenary 2008
John Link's Analysis of Night Fantasies
(French) A biography of Elliott Carter, from IRCAM's website.

Interviews

Elliott Carter interview by Bruce Duffie, June 1986
American Gothic: An Interview with Elliott Carter, by Andy Carvin, 1992
A January 1994 interview with Elliott Carter by Phil Lesh
NewMusicBox: Elliott Carter in conversation with Frank J. Oteri, 2000
MusicMavericks.PublicRadio.org: An interview with Elliot Carter by Alan Baker, Minnesota Public Radio, July 2002
Radical Connections on Counterstream Radio: Elliott Carter and Phil Lesh in Conversation, December 2007]
Elliott Carter Centenary Podcast, an interview with Frank J. Oteri, November 27, 2007
TV Interview (with Daniel Barenboim and James Levine) by Charlie Rose, December 10, 2008

Listening

Elliott Carter: A Life In Music, a documentary (1983)
Art of the States: Elliott Carter four works by the composer
Elliott Carter interview from American Mavericks site
Excerpts from sound archives of Carter's works

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Elliott Carter

Biography

Contents

Biography

Style and works

Partial list of works

Ballet

Chamber

Choral

Concertante

Large Ensemble

Opera

Orchestra

Solo Instrumental

Voice

Partial discography

Notable students

References

External links

Interviews

Listening