Elliott Carter, 1908-2012

[(poco) Sforzando]

I intend to read this thread the coming days. The first Carter pieces I'll be listening to are several 'Firsts' - First Piano Sonata, First String Quartet, First Symphony... and the Woodwind Quintet.

There is only one piano sonata, a relatively early but very strong work. The symphony I don't know but it is also fairly early; the quartet on the other hand is Carter's first work in his more personal style (even though he wrote some more neo-classical pieces in the immediate years following).

All I can say offhand is that if I were to create a short list of essential Carter, it would certainly include the first quartet, but I'm not sure about the other pieces. If you're referring to the Eight Etudes and Fantasy for Woodwind Quartet, it doesn't impress me much. From Carter's neoclassical period I think the real gem is the Sonata for Fl, Ob, Vc, and Hpschd. From his later work my short list would definitely include the first three quartets, the Double Concerto, and the Concerto for Orchestra. Lots of other good stuff, of course, but those are some of the top works in my opinion.

[J.Z. Herrenberg]

Thanks for all the reactions! (And thank you, Sforzando, for setting me straight on that one and only Piano Sonata...)

[J.Z. Herrenberg]

I have the early Symphony (naxos), he didn't have his identity then...it's not representative and a snore really (i'd say skip it). The Piano Sonata is his first truly great work. A must-have.

Just downloaded it from classicsonline (the Piano Sonata, that is). 

[J.Z. Herrenberg]

Ergo: Sara Laimon - I hope she does the work justice...

[J.Z. Herrenberg]

Ah yes - Charles Rosen... I admire his books, but haven't yet heard him in either Beethoven or Carter... 

[J.Z. Herrenberg]

I am listening to the Piano Sonata. Can't say I have any difficulty with this music. It's very American, to my ears. There is something jazzy to it. Dare I say it: Gershwin meets Scriabin... (First impression, mind you.)

[bwv 1080]

I intend to read this thread the coming days. The first Carter pieces I'll be listening to are several 'Firsts' - First Piano Sonata, First String Quartet, First Symphony... and the Woodwind Quintet.

Rather than the piano sonata, I would recommend Night Fantasies, which you can listen to for free here:

http://artofthestates.org/cgi-bin/piece.pl?pid=72

[J.Z. Herrenberg]

I welcome any recommendation!

I just listened to the Piano Sonata - quite an attractive work, I must say.

[J.Z. Herrenberg]

I am glad my ears didn't deceive me, then. (But there is definitely something Scriabinesque, too...) The Night Fantasies are very good. Just heard them. It's night here now, and they really capture the nocturnal atmosphere.

This Carter adventure is turning out very well. I had expected a struggle, but what I find is a music that is colourful and quite sensuous. I like it.

[J.Z. Herrenberg]

No doubt; Scriabin's music really captures the heart & soul of the jazz musician. Gut wrenchingly lyrical and harmonically adventurous. Lots of jazzers love Scriabin.

And so does Jez.

[Mark G. Simon]

I first posted this on another forum, but I repeat it here for you Carterphiles.

My next project is to digitize all my old Carter LPs, that aren't duplicated on CD. Last night it was Frederick Prausnitz conducting the Variations for Orchestra. Wow, I'd forgotten what a piece it is.

This is probably the best piece for a Carter newbie. It has so many trademarks of his mature style, but is also structurally transparent. It has a theme you can follow, the variations are distinct in character, and it has a dramatic sweep from beginning to end, culminating in an exhilerating fortissimo restatement of the principal motive of the theme, which unleashes a tumultous episode for solo trombone and timpani.

It very much follows the same format as Schoenberg's orchestral variations, op. 31: an introduction that opens mysteriously, a theme stated in the lower strings, 9 variations of varied character, and an extended coda with an wild climax.

Last night I had the feeling that Carter had improved upon his model.

The Prausnitz Carter album was recorded in England in the late 1960s on Columbia. The orchestra is the New Philharmonia. The other side has the Double Concerto with Paul Jacobs on harpsichord and Charles Rosen on piano, and the English Chamber Orchestra. The cover shows the 60-year-old Carter sitting outdoors on a wicker chair, appearing to be deep in thought. One assumed these must be very late works, and would have few successors. Now it's 40 years later and the guy is cranking them out faster than ever.

[J.Z. Herrenberg]

A tantalizing description, Mark!

Tonight - String Quartet No. 1 for me (Pacifica Quartet/Naxos). Virgin territory... 

[bhodges]

My next project is to digitize all my old Carter LPs, that aren't duplicated on CD. Last night it was Frederick Prausnitz conducting the Variations for Orchestra. Wow, I'd forgotten what a piece it is.

Thanks much for this, Mark.  It's quite a creation, isn't it!  I've said it before (I think) but the Variations for Orchestra was the piece that finally "sold" me on Carter, via Levine's recording with Chicago.  May have to spin it tonight after all these posts (and on Joe's Tanglewood thread).

And enjoy the quartet, Johan! 

--Bruce

[(poco) Sforzando]

I first posted this on another forum, but I repeat it here for you Carterphiles.

My next project is to digitize all my old Carter LPs, that aren't duplicated on CD. Last night it was Frederick Prausnitz conducting the Variations for Orchestra. Wow, I'd forgotten what a piece it is.

This is probably the best piece for a Carter newbie. It has so many trademarks of his mature style, but is also structurally transparent. It has a theme you can follow, the variations are distinct in character, and it has a dramatic sweep from beginning to end, culminating in an exhilerating fortissimo restatement of the principal motive of the theme, which unleashes a tumultous episode for solo trombone and timpani.

It very much follows the same format as Schoenberg's orchestral variations, op. 31: an introduction that opens mysteriously, a theme stated in the lower strings, 9 variations of varied character, and an extended coda with an wild climax.

Last night I had the feeling that Carter had improved upon his model.

The Prausnitz Carter album was recorded in England in the late 1960s on Columbia. The orchestra is the New Philharmonia. The other side has the Double Concerto with Paul Jacobs on harpsichord and Charles Rosen on piano, and the English Chamber Orchestra. The cover shows the 60-year-old Carter sitting outdoors on a wicker chair, appearing to be deep in thought. One assumed these must be very late works, and would have few successors. Now it's 40 years later and the guy is cranking them out faster than ever.

I consider that the best recorded performance of both those works. Levine has better sound for the Vars, but I don't think he outdoes Prausnitz (who died recently) in the conducting.

[Mark G. Simon]

I can't believe I wrote "an wild climax".

a wild climax.

[J.Z. Herrenberg]

I can't believe I wrote "an wild climax".

That's how wild it was.

[bhodges]

I can't believe I wrote "an wild climax".

a wild climax.

Well, you know that "Carter devil music" just plays weird tricks with your brain. 

--Bruce

[J.Z. Herrenberg]

I listened to the First String Quartet yesterday evening, a massive piece that will take a few more listenings. Very linear music - the four voices are sometimes so independent of one another I compared them to four separate radio stations, all playing at once. Once I had found that metaphor I could 'tune into' the first violin, or to the cello et cetera. Only seldom was the music homophonic. Real polyphony in heaps.

Assimilating such a work on one hearing is out of the question. I don't know whether I 'like' it as much as the Piano Sonata. What I do know is that I have heard a work of staggering intellectual energy - and that I like very much.

[bhodges]

I like the radio station analogy--very apt, not to mention imaginative.  You will probably find that this quartet, as with most great works, grows more interesting with each hearing.

--Bruce

[karlhenning]

Splendid, Johan. Rock on!