Elliott Carter: the first 100 years...

[ahinton]

...to better replace the other "related"(?!) topic here...

Let's hear it from those interested...

Best,

Alistair

[thalbergmad]

The first hundred years eh.

Are there going to be a second hundred years?

How long is this bloke gonna live?

Thal

[minor9th]

Based on his newest work, "Interventions" for piano and orchestra, premiered this week in Boston by Daniel Barenboim (piano) and James Levine, he shows no signs of slowing down. It's amazing that his mind is still so fertile. Last week I attended a two-day celebration of his centenary in which the Pacifica Quartet played his complete quartets, and Ursula Oppens played his complete solo piano pieces. Admittedly, the note density made that a lot to absorb in two sittings, but I was struck at how often his music is actually a bit playful at times, which forms an interesting contrast to the more abrasive moments. I'm especially attracted to his use of polyphony and the uncompromising virtuosity in his music.

[furtwaengler]

Last week I attended a two-day celebration of his centenary in which the Pacifica Quartet played his complete quartets, and Ursula Oppens played his complete solo piano pieces.

What an unbelievable task!

And yes his music is fascinating. I've got the Julliard's recording of the quartets. I shall listen this weekend.

[indutrial]

Based on his newest work, "Interventions" for piano and orchestra, premiered this week in Boston by Daniel Barenboim (piano) and James Levine, he shows no signs of slowing down. It's amazing that his mind is still so fertile. Last week I attended a two-day celebration of his centenary in which the Pacifica Quartet played his complete quartets, and Ursula Oppens played his complete solo piano pieces. Admittedly, the note density made that a lot to absorb in two sittings, but I was struck at how often his music is actually a bit playful at times, which forms an interesting contrast to the more abrasive moments. I'm especially attracted to his use of polyphony and the uncompromising virtuosity in his music.

Though he's one of my favorite composers out there right now, I don't think I would want to attend that many pieces in two days. I picked up Oppens' new disc of his complete (so far) piano solo pieces and I haven't even let myself listen to a lot of the new pieces, since I'm still trying to fully appreciate works like 90+ and Night Fantasies, both of which I've been listening to for years. Later chamber works like Triple Duo, the string quartets, and the Quartet for Piano & Winds are even more involved and I find myself listening to recordings of them again and again so I can discover more of the seemingly infinite nuances that populate his compositions. The past few recitals I've seen that include Carter's work usually have his work mixed with pieces that are far less involved. When I saw his Cello Sonata played recently, the remainder of the evening consisted of works by Beethoven, Brahms, Barber, and another rather 'easy' modern piece. I rather prefer that set-up, since a fall-on assault of modern music for over 2 hours can easily wear me out after a day at work.

His music is incredibly playful at times. The pizzicato movement (Capriccio, I think) at the end of the fifth string quartet is a great example of this. Even moreso, his solo instrumental pieces like Gra (clarinet) and Shard (guitar) indicate how tastefully whimsical he can be.

[minor9th]

Though he's one of my favorite composers out there right now, I don't think I would want to attend that many pieces in two days. I picked up Oppens' new disc of his complete (so far) piano solo pieces and I haven't even let myself listen to a lot of the new pieces, since I'm still trying to fully appreciate works like 90+ and Night Fantasies, both of which I've been listening to for years. Later chamber works like Triple Duo, the string quartets, and the Quartet for Piano & Winds are even more involved and I find myself listening to recordings of them again and again so I can discover more of the seemingly infinite nuances that populate his compositions. The past few recitals I've seen that include Carter's work usually have his work mixed with pieces that are far less involved. When I saw his Cello Sonata played recently, the remainder of the evening consisted of works by Beethoven, Brahms, Barber, and another rather 'easy' modern piece. I rather prefer that set-up, since a fall-on assault of modern music for over 2 hours can easily wear me out after a day at work.

His music is incredibly playful at times. The pizzicato movement (Capriccio, I think) at the end of the fifth string quartet is a great example of this. Even moreso, his solo instrumental pieces like Gra (clarinet) and Shard (guitar) indicate how tastefully whimsical he can be.

Indeed, the all-quartet program was a strain on everyone, but I still enjoyed it. His other major guitar piece, Changes, is far more involved and less "whimsical" than Shard. It's as thorny for the guitarist as any of his other pieces.

[cmg]

Yes, big doses can be a strain, but, I suppose, time will tell as our ears become more attuned to his work.

Meanwhile, we have his whimsy here and there . . . and Thal's, too.  We all recall, surely, that memorable critique Thal gave one of the piano sonatas:

"Sounds like someone typing a letter."  (Hilarious!!)