Overview

Elliott Carter (b.1908) is now generally acknowledged as America's most eminent living composer. This definitive volume of his essays and lectures - many previously unpublished or uncollected -shows his thinking and writing on music and associated issues developing in parallel with his career as a composer; his reputation became established in the 1950s, and the material in this book offers an important and knowledgeable commentary on the course of American and European music in the succeeding decades. Carter's articles on his own music have become classic texts for students of his oeuvre; he also writes on the state of new music in Europe and the United States and the relations between music and the other arts. Other pieces range from a consideration of aspects of music to the work of individual composers. As a whole, the collection is the expression of Carter's musical philosophy, and a valuable record for historians of modern music.

Full Product Details

Author:   Elliott Carter (Person) ,  Jonathan W. Bernard (Customer) ,  Jonathan W. Bernard (Customer)
Publisher:   Boydell & Brewer Ltd
Imprint:   University of Rochester Press
Edition:   New edition
Volume:   v. 7
Dimensions:   Width: 15.20cm , Height: 2.30cm , Length: 22.90cm
Weight:   0.604kg
ISBN:  

9781580460255

ISBN 10:   1580460259
Pages:   392
Publication Date:   25 November 1996
Audience:   Professional and scholarly ,  Professional & Vocational
Format:   Paperback
Publisher's Status:   Active
Availability:   Awaiting stock  
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Table of Contents

"Part 1 Surveying the compositional scene: the composer's viewpoint (1946); a further step (1958); the challenge of the new (1960-62/94); fallacy of the mechanistic approach (1946); ""la musique serielle aujourd'hui"" (1964/94); ISCM Festival, Rome (1959); ""Rasputin's End"" and ""Lady Macbeth of Mtsensk"" (1960); letter from Europe (1963); ISCM Festival, Amsterdam (1963/94). Part 2 American music: once again swing - also ""American music (1939); American music in the New York scene (1940); the agony of modern music in America, 1955 (1955/94); the rhythmic basis of American music (1955); the European roots of American musical culture (1961/94); Expressionism and American music (1965/72); ""the composer is a university commodity"" (1970). Part 3 Charles Ives: the case of Mr Ives (1939); Ives today - his vision and challenge (1944); an American destiny (1946); Charles Ives remembered (1974); documents of a friendship with Ives (1975). Part 4 Some other composers: Gabriel Faure (1945); the three late sonatas of Debussy (1959/94); American figure, with landscape - Henry F. Gilbert (1943); Stravinsky in 1940; Igor Stravinsky - two tributes (1971); on Edgard Varese (1975/79); Edward Steuermann (1966); Walter Piston (1946); Roger Sessions - violin concerto (1959); in memoriam - Roger Sessions, 1896-1985 (1985/95); in memoriam - Stefan Wolpe, 1902-1972 (1972); two essays on Goffredo Petrassi (1960, 1986); to think of Milton Babbitt (1976); for Pierre Boulez on his 60th (1985). Part 5 Life and work: to be a composer in America (1953/94); the composer's choices (circa 1960); shop talk by an American composer (1960); the time dimension in music (1965); two sonatas, 1948 and 1952 (1969); string quartets No 1, 1951, and No 2, 1959 (1970); the orchestral composer's point of view (1970); on Saint-John Perse and the concerto for orchestra (1974/94); brass quintet (1974); double concerto, 1961, and duo, 1974 (1975); music and the time screen (1976); ""elle est la musique en personne"" - a reminiscence of Nadia Boulanger (circa 1985/95); reminiscence of Italy (1988). Part 6 Philosophy, criticism and the other arts: more about Balanchine (1937); with the dancers (1938); remembering Balanchine (1991/95); theatre and films (1943); the genial sage - Paul Rosenfeld (1948); introduction to a poetry reading by W.H. Auden (1969); music as a liberal art (1944); time lecture (1965/94); the ""Gesamtkunstwerk"" (1966/94); Soviet music (1967/94); music criticism (1972). Appendices: notes on sources; published writings by Carter not included in this collection."

Reviews

Jonathan Bernard's collection...includes several highly characteristic pieces...he emphasizes the more substantial and elaborate materials of the essays and lectures. Bernard's selection contains plenty of incisively articulated views, and makes a strong case for taking seriously the writings of Elliott Carter. The volume leaves the reader with as vivid an impression of the man behind the music as could be hoped for. MUSIC & LETTERS Provides a renewed incentive to engage Carter's music through critical, historical, and analytical terms...will stimulate further scholarly and critical attention. ISAM NEWSLETTER Elliot Carter is a major figure who, from all evidence, has satisfied his desire to make durable music. That is his primary legacy, but these writings should prove hardly less lasting. This is a well-produced book, and Carter's chosen editor, Jonathan Bernard, was ideally suited for the task of assembling it. THEORY AND PRACTICE

Jonathan Bernard's collection. . . includes several highly characteristic pieces. . . he emphasizes the more substantial and elaborate materials of the essays and lectures. Bernard's selection contains plenty of incisively articulated views, and makes a strong case for taking seriously the writings of Elliott Carter. The volume leaves the reader with as vivid an impression of the man behind the music as could be hoped for. MUSIC & LETTERS Provides a renewed incentive to engage Carter's music through critical, historical, and analytical terms. . . will stimulate further scholarly and critical attention. ISAM NEWSLETTER Elliot Carter is a major figure who, from all evidence, has satisfied his desire to make durable music. That is his primary legacy, but these writings should prove hardly less lasting. This is a well-produced book, and Carter's chosen editor, Jonathan Bernard, was ideally suited for the task of assembling it. THEORY AND PRACTICE

Jonathan Bernard's collection. . . includes several highly characteristic pieces. . . he emphasizes the more substantial and elaborate materials of the essays and lectures. Bernard's selection contains plenty of incisively articulated views, and makes a strong case for taking seriously the writings of Elliott Carter. The volume leaves the reader with as vivid an impression of the man behind the music as could be hoped for. MUSIC & LETTERS Provides a renewed incentive to engage Carter's music through critical, historical, and analytical terms. . . will stimulate further scholarly and critical attention. ISAM NEWSLETTER Elliot Carter is a major figure who, from all evidence, has satisfied his desire to make durable music. That is his primary legacy, but these writings should prove hardly less lasting. This is a well-produced book, and Carter's chosen editor, Jonathan Bernard, was ideally suited for the task of assembling it. THEORY AND PRACTICE

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