Elliott Carter, 1908-2012

[Joe Barron]

Thanks, Allan. The program is being repeated in Philadelphia March 2. Think I'll save myself the train fare to New York.

[bwv 1080]

Got the Pacifica Quartet recording of SQs 1 & 5, and it has met my hope of being somewhere between the Julliard and Arditti recordings - somewhat more precise and clear than Julliard without sacrificing the sense for overall form that happens sometimes in the Arditti (particularly the 80s recording of 1).  Looking forward to hearing their version of 3

[Joe Barron]

Happiness

Just got back from Center City Philadelphia, where I heard the Juilliard Quartet play Carter's String Quartet No. 2. I hesitate to call it my favorite of the Carter Five, but it is the one I listen to the most often.

I also hesitate to use the word "perfect" to describe a performance. Suffice to say the Juilliard played with just the right combination of warmth and tension. First violinist Joel Smirnoff, who replaced Robert Mann a few years back, was particularly memorable in the florid cadenza that beings at measure 373. He held the first note, a high e-flat, for what seemed like forever, building the volume slowly. The sound seemed to descend from a clear blue sky. It was wonderful.

Samuel Rhodes, the violist, gave a brief introduction before the performances. He described Carter as a "national treasure," which might not have convinced everyone in attendance. He also described the psychological characteristics of each instrumental part, and he and the other members of the quartet played sample phrases. I found it helpful while watching the players interact during the piece.

The program also included Verdi's String Quartet and Mozart's Clarinet Quintet, with Ricardo Morales as soloist. Both were fine, especially the Mozart, which I think went a long way to assuage folks who were disgruntled by the Carter. I must say I was apprehensive when I saw all the gray heads in the audience, but there was very little grumbling while the music was in progress.

[Joe Barron]

Tanglewood festival

The prospectus for the Tanglewood 2008 festival arrived in my mailbox yesterday, and the news is exciting. The festival of contemporary music runs from July 20 to 24 and is devoted entirely to Elliott Carter. There will be 10 concerts in all, and, except for the final performance by the BSO, all will be perfromed by Tanglewood fellows. Tickets to all performances, except again for the final BSO concert, are $11. Early-evening prelude concerts are  free with a ticket to the evening performance. An additional morning performance with Ursula Oppens and Charles Rosen playing the Double Concerto will also require an $11 ticket purchase. So, you get 10 concerts for the price of six, and five of the six tickets will cost you  $55 total.

I have already ordered my ticket for the BSO performance on July 24, which will consist  of --- project this --- the Boston Concerto, the Horn Concerto, the Three Illusions and the Symphonia. Unfortunately, the $11 tickets are available only at the door the day of the performance, but I am assured the cocnerts do not sell out.

Other festival highlights will include the great Concerto for Orchestra conducted by Oliver Knussen, premieres of new piano and vocal pieces, a film of What Next?  and an interview with the composer.

I'm going. Who's with me? Anybody want to share expenses for a hotel room?

[karlhenning]

The festival of contemporary music runs from July 20 to 24 and is devoted entirely to Elliott Carter.

Ah well; those of us who write contemporary music, yet who are not Elliott Carter must set our hopes on next summer 

[Joe Barron]

Ah well; those of us who write contemporary music, yet who are not Elliott Carter must set our hopes on next summer 

You've got another fifty years, Karl. 

[karlhenning]

One hopes.

I am pleased for Carter that he did not have to wait nearly so long for public recognition  0:)

[Joe Barron]

I am pleased for Carter that he did not have to wait nearly so long for public recognition  0:)

There are those, of course, who would say he has never actually achieved public recognition.  0:)

[paulb]

There are those, of course, who would say he has never actually achieved public recognition.  0:)

Elliott Carter's recognition awaits a  new class of music aficionados.
Ahh, 15 yrs perhaps.
Great genius is always , ALWAYS, ahead of his time.
Especially in the mass market consciousness / academia hype N pump era we live in.
Where a  *composer* like Philip Glass has a  place of prominence along side of Elliott Carter.

[karlhenning]

Joe, Joe: world premieres in Symphony Hall are not a private affair!

Period  0:)

[karlhenning]

Where a  *composer* like Philip Glass has a  place of prominence along side of Elliott Carter.

Well, but that's just like your "musicological" observations resting side-by-side with ours, Paul 

[Joe Barron]

Joe, Joe: world premieres in Symphony Hall are not a private affair!

Period  0:)

Entirely James Levine's doing, and the public complains about it, despite all the energy he has brought to Boston.

And I agree with Paul about PG.

[karlhenning]

Entirely James Levine's doing, and the public complains about it

How often, Joe, have we pointed out to others the error of supposing the public to be a monolith unanimous in some objectionable course of action or habit of thought?  If there were no public for Carter in Boston, Levine would scarcely be in any position for this to be "entirely his doing."

If the April 2003 premiere of the Boston Concerto were "entirely Levine's doing," at least Ingo Metzmacher was a willing accomplice.

[karlhenning]

I agree with the theory, though, that if Levine were the only one who admired Carter, then the composer had no public recognition.

[karlhenning]

Two Pulitzer Prizes, in 1960 and 1973, are no private affair, either.

[paulb]

Entirely James Levine's doing, and the public complains about it, despite all the energy he has brought to Boston.

And I agree with Paul about PG.

I have to give Levine a  standing ovation for his personal efforts to bring Elliott Carter to Boston audiences.
Which i am not surprised at Joe's observation that at *least some * Bostonians are not happy about. *what dreadful noise* I can hear some as the leave the concert.
But frankly, Levine is not my favorite conductor, so i am not sure how I would critique the concert. I would have to be there.
My reference to Glass, is how if you read critiques made of various late 20th c american composers, words like "seminal* *ground breaking*, *heights of american musical art* *shaping the american 20th C musical landscape* and other praises are lavished freely to many of these avant gardists. So if these composers fit in  these big shoes, unavoidably we are led to the dilemma on  level should we place the works of Elliot Carter?
Thats untenable.

[paulb]

Two Pulitzer Prizes, in 1960 and 1973, are no private affair, either.

Pulitzer Prize = almost absolute meaningless.
Besides look at the yrs 1960,1973.
if this PP was a  legit org for the recognition of true cultural achievement in the arts.
Well in music Elliott Carter should have ben awarded that prize in the following yrs:
1974,75,76,77,78,79,80,81,82,83,84,85,86,87,88,89,90,91,92,93,94,95,96,97,98,99,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013......ad infin
You get the idea.

[karlhenning]

Pulitzer Prize = almost absolute meaningless.

At the very least, Paul, it is a significant form of public recognition.

And, Paul, face it, if Carter had had no public recognition (which was Joe's waggish commentary), one thing which would be absolutely true would be (for instance) that you would never have heard of him, let alone attached one of your enthusiasms upon him.  His fame is partly measured by this, Paul:  that you enjoy the luxury of multiple, commercially-available recordings of his work.

The phrase absolutely meaningless must be reserved for such things as, your applying that phrase to the Pulitzer Prize, e.g.

[Joe Barron]

If there were no public for Carter in Boston, Levine would scarcely be in any position for this to be "entirely his doing."

I'll wait and see just how long he lasts.

One does weary tired of expending the energy needed to be a contrarian and longs to rest in the good fellowship of the crowd. 

[karlhenning]

One does weary tired of expending the energy needed to be a contrarian and longs to rest in the good fellowship of the crowd.

Oh, I am just possibly one of the wrong people (a genuinely unknown composer) for you to try to convince that a world-famous composer has 'no public recognition'