By John F. Link
This can be a finished consultant to investigate at the American composer Elliott Carter (b. 1908), extensively said as one of many maximum composers of the 20 th century. It incorporates a chronology, entire checklist of works, exact discography, and entirely annotated bibliography of over 1,000 books, articles, interviews, video recordings, and Carter's personal writings. This crucial reference booklet covers the main major works in English, French, German, and Italian, from the 1940s-when Carter's tune first started to allure attention-to the Nineteen Nineties.
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Extra info for Elliott Carter: A Guide to Research (Routledge Music Bibliographies)
1 (November 1946): 4–7. Reprinted in WEC, 143–50, and in CEL, 93–98. Italian translation (“Un destino americano [Charles Edward Ives]”), trans. Elena Racca Bruno, in CARTER, 145–50. during this laudatory essay Carter admires Ives’s good fortune in totally different fields (insurance and song composition) and sketches a biographical portrait of Ives that emphasizes his creative and philosophical ideals. The serious tone stumbled on sometimes in Carter’s previous essays on Ives (items 411 and 474) is absent right here. 406. “American determine, with panorama. ” sleek track 20, no. four (May-June 1943): 219–25. Excerpts reprinted with remark in Minna Lederman, The existence and loss of life of a Small journal (Modern song, 1924–1946), 43–46. (Brooklyn, long island: Institute for experiences in American track, 1983. ISAM monographs, no. 18. ISBN 0–914678–20–5. ANNOTATED BIBLIOGRAPHY OF CARTER reviews 143 ML200. five. L4 1983. ) entire article reprinted in WEC, 87–93, and in CEL, 134–38. Carter offers Henry Franklin Belknap Gilbert (1868– 1928) as an American composer of a few advantage forgotten through the new release that him. the thing comprises an attractive part in regards to the formula in Gilbert’s day of a “sequence of periods…to disguise our nationwide musical evolution” and a few attention of Gilbert’s anti-European aesthetic, yet Carter is much less drawn to resurrecting Gilbert’s song than in providing a cautionary story to his friends. “After the 1st superb frenzy of the fashionable track flow had died down and Gilbert used to be forgotten, a complete crew of composers began rediscovering the virtues of simplicity, of ascetic Americanism, and of many different traits which he had prefigured. They claimed those as their very own invention, as though Gilbert and his fellow nationalists had by no means existed. ” Carter ends with a caution: “It will be unlucky for our tradition if the current new release have been as simply swept apart as all past ones were, but this is often the lesson which our historical past turns out to point. ” 407. “American song within the ny Scene, 1940. ” sleek track 17, no. 2 (January-February 1940): 93–101. Reprinted in WEC, 87–93, and in CEL, 48–53. Italian translation (“La musica americana sulla scena newyorchese, 1940”), trans. Elena Racca Bruno, in CARTER, 104–8. a short attention of the advance of yank track prefaces studies of diverse works by means of American composers. such a lot remarkable is Carter’s rave evaluation of Roy Harris’s 3rd Symphony, which Carter had greeted with little enthusiasm just a yr previous (see merchandise 538). Carter additionally praises the song of Roger classes in his overview of an all-Sessions live performance given by means of the Composers’ discussion board Laboratory and in brief mentions works through Walter Piston (Concertino for Piano and Orchestra), William Schuman (American competition Overture), John Alden wood worker (Skyscrapers), Howard Hanson (Third Symphony), 144 ELLIOTT CARTER Edward Burlingame Hill (Violin Concerto), Randall Thompson (Second Symphony), David Diamond (Cello Sonata; Quintet for Flute, String Trio, and Piano; and Elegy in reminiscence of Maurice Ravel), and Lazare Saminsky (Two Chorales and Violin Pieces).