Elliott Carter, 1908-2012

[Guido]

Cheers! I had forgotten about that Billy the Kid arrangement actually. Does either the Gershwin or Copland work well?

[Lilas Pastia]

I'll let you know when I've listened to it  . I'm taking this disc and a few others in the car for the week.

[bwv 1080]

The Pacifica recording of SQ 2-4 is out, just downloaded it from the Zune Marketplace

[sul G]

Cheers! I had forgotten about that Billy the Kid arrangement actually. Does either the Gershwin or Copland work well?

I have the score to Short Story (the Gershwin) somewhere. Haven't seen it for years, but IIRC it's a real git, technically. Though that might only be the impression it made on a teenager who didn't know better...

I'll try to find it for you.

[Guido]

I have the score to Short Story (the Gershwin) somewhere. Haven't seen it for years, but IIRC it's a real git, technically. Though that might only be the impression it made on a teenager who didn't know better...

I'll try to find it for you.

Cheers! It's been recorded by Maria Kliegel on a 'virtuoso cello encores' album, so I can more than believe that!

[bwv 1080]

So listened through the 3rd quartet last night with the score in hand, would say that this recording lacks the overall dramatic conception of the Julliard quartet, but brings out the details of the piece better.  There is much more of an even balance between the duos and the texture therefore seems thicker.  The Pizzicato passages are really well done

[karlhenning]

Most interesting, thanks, Steve!

[Joe Barron]

So listened through the 3rd quartet last night with the score in hand, would say that this recording lacks the overall dramatic conception of the Julliard quartet, but brings out the details of the piece better.  There is much more of an even balance between the duos and the texture therefore seems thicker.  The Pizzicato passages are really well done

I agree with this, but it must be noted that the Pacifica's sound is glorious. I never thought I'd be able to describe any of the middle Carter middle quartets as "gorgeous," but there it is. Even the Third, the densest and most confrontational of the lot, seems tamed, and the Fourth, the often overlooked poor stepsister of the cycle, is lovely here. This is a beautiful recording, and the beauty more than compensates for any loss of drama. These performances prove that Carter's quartets, like Beethoven's, are deep and mulifacted enough to sustain a variety of approaches, much as Boulez' second recording of Le Marteau revesled the beauty inherent in that score. They vindicate the Carter's faith in his life's work.

Atonality: it isn't just for angst anymore.

Bravo.

[Joe Barron]

 

[karlhenning]

Joe? What's a matter?

[Catison]

I agree with this, but it must be noted that the Pacifica's sound is glorious. I never thought I'd be able to describe any of the middle Carter middle quartets as "gorgeous," but there it is. Even the Third, the densest and most confrontational of the lot, seems tamed, and the Fourth, the often overlooked poor stepsister of the cycle, is lovely here. This is a beautiful recording, and the beauty more than compensates for any loss of drama. These performances prove that Carter's quartets, like Beethoven's, are deep and mulifacted enough to sustain a variety of approaches, much as Boulez' second recording of Le Marteau revesled the beauty inherent in that score. They vindicate the Carter's faith in his life's work.

Atonality: it isn't just for for angst anymore.

Bravo.

I guess I am weird because that poor stepsister is my favorite.

[Joe Barron]

I guess I am weird because that poor stepsister is my favorite.

I'd say the Second is mine. The Fourth is great, too, I think, but for some reason it gets overlooked, at least in terms of critical opinion. It's not the breaktrough that either the First or Second is, it's not as witty and approachable as the Fifth, and it's not as extreme and extroverted as the Third (which, in David Schiff's phrase, has become something of a crowd pleaser). It also seems to be regarded as the most difficult, even though it has the most sustained, closely argued, single-mood movements of any of the quartets besides the First, a beautiful adagio, and an unforgettable ending.

Karl, it just seems like I get no responses in this thread.

[bhodges]

Some of us are lurking, and our listening is lagging just a little behind you!  I just recently got the first Pacifica CD (with Nos. 1 and 5) and am still digesting that one.  (And it's just great, by the way, so I'm very much looking forward to the new release.)

"Atonality: it isn't just for for angst anymore."   Like that...  0:)

--Bruce

[karlhenning]

Karl, it just seems like I get no responses in this thread.

I haven't snapped up the second Pacifica Quartet disc yet, but 'tis only a matter of time.

Really enjoying the Mosaic/Dialogues/&c. disc (don't take this amiss, I pray, but Mosaic was my 'drifting-off' music last night).  Haven't watched the DVD yet, will probably wait to do that together with my mom-in-law.

[Joe Barron]

I haven't snapped up the second Pacifica Quartet disc yet, but 'tis only a matter of time.

Really enjoying the Mosaic/Dialogues/&c. disc (don't take this amiss, I pray, but Mosaic was my 'drifting-off' music last night).  Haven't watched the DVD yet, will probably wait to do that together with my mom-in-law.

Yes, I always found Carter's music is a good way to bond with relatives ...

The Naxos disk is very attractive, which surprised me, since it consists mostly of small pieces that have been recorded before. And I'd like to take this opportunity to remark what a wonderfully appropriate  title "Scrivo in Vento" (I write in air) is for a flute solo.

I've watched Naxos DVD, which was OK, though the sound quality wasn't as good as the CD, and in Mosiac, the director kept playing wth his new toy, an unnecessary kaleidoscope effect. I guess he was looking for a visual analogue to the Mosaic idea, but it was distracting and amateurish --- a shame, since the perfomance was so good. The Dialogues was well done, though, and of course, the Carter interview was interesting and charming, as all Carter interviews are. I can't remember if it was Aitken or Certer who compared the pedal work in Mosaic's harp music to driving a car.

My Carter buddy Colin of Manchester recommends the new CD called "Happy Birthday Elliott Carter: New Chamber Works," which I've ordered. He says he prefers the performance of Mosaic to the Naxos version, and the disk also includes some new short pieces, such as HBHH for solo oboe. that are not available elsewhere.

Let's also not forget Usula Oppens' recording of the piano music, which is terrific, and my favorite of all the recent releases. 

I still need to get around to reviewing these things at Amazon.

[karlhenning]

Yes, I always found Carter's music is a good way to bond with relatives ...

Well, I think that the added visual element will be a 'help' to Mom (Irina), and that the novelty of the music will be engaging for her.

Keep in mind, that Maria genuinely enjoyed the Horn Concerto, which is a great gain over her dislike of the Symphonia some years before . . . I must be musically charitable with my near & dear ones.

[Joe Barron]

Keep in mind, that Maria genuinely enjoyed the Horn Concerto, which is a great gain over her dislike of the Symphonia some years before . . . I must be musically charitable with my near & dear ones.

I remember Maria being surprised that I flew all the way to Boston to hear these 13 minutes of music. Of course, there were the added bonuses of the Mahler first and the pleasant company. The BSO plans to present the Flute Concerto in 2010. I'd come up for that, too, but I doubt I'll be able to afford it then.

[karlhenning]

I remember Maria being surprised that I flew all the way to Boston to hear these 13 minutes of music. Of course, there were the added bonuses of the Mahler first and the pleasant company. The BSO plans to present the Flute Concerto in 2010. I'd come up for that, too, but I doubt I'll be able to afford it then.

If you can get here, we'll be going, and we should be able to wrangle a ticket for you.

[karlhenning]

I guess I am weird because that poor stepsister is my favorite.

I'd say the Second is mine. The Fourth is great, too, I think, but for some reason it gets overlooked, at least in terms of critical opinion. It's not the breaktrough that either the First or Second is, it's not as witty and approachable as the Fifth, and it's not as extreme and extroverted as the Third (which, in David Schiff's phrase, has become something of a crowd pleaser). It also seems to be regarded as the most difficult, even though it has the most sustained, closely argued, single-mood movements of any of the quartets besides the First, a beautiful adagio, and an unforgettable ending.

One reason I am keen to fetch in Pacifica disc 2 is, I haven't yet heard nos. 3 or 4. (Don't be hatin' on me . . . .)

[karlhenning]

I agree with this, but it must be noted that the Pacifica's sound is glorious [. . .] This is a beautiful recording, and the beauty more than compensates for any loss of drama. These performances prove that Carter's quartets, like Beethoven's, are deep and mulifaceted enough to sustain a variety of approaches . . . .

To briefly indulge in a tangent, Carter's, Beethoven's . . . and Bartók's and Shostakovich's.  I wonder if some of the tendency to 'recording-chauvinism' viz. the latter two composers, isn't simply fixating on one approach to pieces which happily dwell in a larger sphere.