Elliott Carter
b. 1908
Snapshot
Elliott Carter is "One of America's most distinguished creative artists in any field" (Aaron Copland) * His intricate, mercurial work often mirrors human interactions and relationships * Recent years have seen an outpouring of major orchestral scores, along with numerous chamber works * Late style marked by transparency and clarity of texture, with a new directness of formal design * Music championed by leading conductors including Boulez, Barenboim, Knussen, Dohnányi, Levine, Gielen, Holliger * His many awards include official recognition from the governments of France, Germany, Italy, and the U.S.
Works by Elliott Carter include:
Triple Duo (1983) for chamber ensemble
Symphonia for orchestra: Partita (1993), Adagio Tenebroso (1994), Allegro Scorrevole (1996)
What Next? (1999) opera in one act
Flute Concerto (2008) for flute and ensemble
Looking Ahead:
The New York Philharmonic performs the world premiere of Elliott Carter's Two Controversies and a Conversation June 8 at the Metropolitan Museum of Art and June 9 at Symphony Space, as part of the orchestra's CONTACT! series.
New Video: View a series of interviews with Elliott Carter talking about his life and music.
The New York Philharmonic performs the world premiere of Elliott Carter's Two Controversies and a Conversation June 8 at the Metropolitan Museum of Art and June 9 at Symphony Space, as part of the orchestra's CONTACT! series.
New Video: View a series of interviews with Elliott Carter talking about his life and music.
"There is often wit and humour to be heard in [Carter's] work; anger in some of the earlier big pieces; increasing lyricism and beauty in the compositions of the recent decades. He is America's great musical poet." — Andrew Porter, Musical America
“[Carter’s music is] often suffused with quiet delight, as if the Moderns’ great crisis of subjectivity might, and should, be looked on as an opportunity rather than an occasion for terrible doubt.”
---Guy Dammann, Times Literary Supplement
“[Carter’s music is] often suffused with quiet delight, as if the Moderns’ great crisis of subjectivity might, and should, be looked on as an opportunity rather than an occasion for terrible doubt.”
---Guy Dammann, Times Literary Supplement
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