- In full:
- Elliot Cook Carter, Jr.
- Born:
- December 11, 1908, New York, New York, U.S.
- Died:
- November 5, 2012, New York City (aged 103)
- Awards And Honors:
- Pulitzer Prize
- Grammy Award (1993)
- Notable Works:
- “String Quartet No. 1”
- “String Quartet No. 2”
Elliott Carter
-
Who was Elliott Carter?
Elliott Carter (1908–2012) was a highly influential American composer known for his innovative and erudite style. His pioneering use of polyrhythm, called metric modulation, garnered him international acclaim.
Carter's early musical interests were nurtured by composer Charles Ives. He studied at Harvard University and later in Paris with Nadia Boulanger. His early compositions displayed a unique diatonic style influenced by ancient Greek music. A significant turning point in Carter's development was his Piano Sonata (1945–46), which showcased complex textures and irregular counterpoint.
He received two Pulitzer Prizes for music, in 1960 for his String Quartet No. 2, and in 1973 for his String Quartet No. 3. Andrew Porter, a critic, called Carter "America's great musical poet," noting the wit, humor, anger, lyricism, and beauty found throughout his works.
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What kind of music did Elliott Carter compose?
Elliott Carter was an American composer known for his erudite style and innovative principles of polyrhythm, called metric modulation.
Carter's early works displayed an original diatonic style influenced by ancient Greek music. His Piano Sonata (1945–46) marked a stylistic turning point, featuring complex textures. In his Cello Sonata (1948), the principles of metric modulation were well established.
His String Quartet No. 1 (1951) is characterized by densely woven counterpoint. The Double Concerto (1961) displayed his interest in unusual instrumentation and canonic texture. The governments of France, Germany, Italy, and Monaco also awarded him high honors.
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What is unique about Elliott Carter's style of composition?
Elliott Carter was a musical innovator known for his erudite style and novel principles of polyrhythm, called metric modulation. Carter's Piano Sonata (1945–46) marked a turning point in his stylistic development, where he used a complex texture of irregularly cross-accented counterpoint within a large-scale framework. His innovative rhythmic technique culminated in his String Quartet No. 1 (1951), characterized by the densely woven counterpoint that became a hallmark of his style. Carter conceived of form as a dynamic interaction between contrasting and continually evolving sound events.
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Which musical periods or movements influenced Elliott Carter?
Elliott Carter's early works displayed an original diatonic style influenced by the rhythmic and melodic patterns of ancient Greek music and literature. Later in his career, Carter's work evolved to incorporate elements of serial writing and new instrumental effects, similar to Béla Bartók. Carter also developed a technique called metric modulation, a novel principle of polyrhythm.
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What are some of Elliott Carter's most famous works?
Elliott Carter was a musical innovator known for his erudite style and novel principles of polyrhythm. His notable works include Piano Sonata (1945–46) and Cello Sonata (1948), which established metric modulation principles. His String Quartet No. 1 (1951) and String Quartet No. 2 (1959) became standard repertoire, with the latter winning him a Pulitzer Prize in 1960.
Other famous compositions include Variations for Orchestra (1955), Double Concerto (1961), and Concerto for Orchestra (1970). Carter won a second Pulitzer Prize for his String Quartet No. 3 in 1973. Later popular works are the Oboe Concerto (1987) and Violin Concerto (1990), the latter of which won a Grammy Award in 1993.
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How did Elliott Carter impact modern classical music?
Elliott Carter significantly impacted modern classical music through his innovative and erudite style. His novel principles of polyrhythm, called metric modulation, garnered worldwide attention, and he received the Pulitzer Prize for music twice.
Carter's Piano Sonata (1945–46) signaled a shift in his style, featuring complex textures of irregularly cross-accented counterpoint. His innovative rhythmic technique reached its height in his String Quartet No. 1 (1951), defined by densely woven counterpoint. Carter focused on fragments of melodies, and his String Quartet No. 2 (1959) won the Pulitzer Prize in 1960 and became part of the standard repertoire. Major orchestras globally increasingly performed his music, solidifying his place as one of the few contemporary composers to enter the standard repertoire.
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Elliott Carter (born December 11, 1908, New York, New York, U.S.—died November 5, 2012, New York City) was an American composer, a musical innovator whose erudite style and novel principles of polyrhythm, called metric modulation, won worldwide attention. He was twice awarded the Pulitzer Prize for music, in 1960 and 1973.
Carter, who was born of a wealthy family, was educated at Harvard University (1926–32), where he first majored in English and later studied music with Walter Piston and Gustav Holst. His interest in music dated from his teens and was fostered by the composer Charles Ives, who was Carter’s neighbour in 1924–25.
Carter began composing seriously in 1933, while studying in Paris with Nadia Boulanger. His early works displayed an original diatonic style that was strongly influenced by the rhythmic and melodic patterns of ancient Greek music and literature. Among his early works were choral and instrumental pieces and a ballet. Two pieces from the early 1940s—The Defense of Corinth for narrator, men’s chorus, and two pianos (1941) and Symphony No. 1 (1942)—were especially representative work of that period.
Carter’s Piano Sonata (1945–46) marked a turning point in his stylistic development; in it he used a complex texture of irregularly cross-accented counterpoint within a large-scale framework. In the Cello Sonata (1948) the principles of metric modulation were well established. In a 2002 radio interview, Carter said, “Everybody hated it. I couldn’t get it published. Now it’s taught in most universities and it’s played all the time.” The composer’s innovative rhythmic technique culminated in his String Quartet No. 1 (1951), characterized by the densely woven counterpoint that became a hallmark of his style. Both that quartet and the String Quartet No. 2 (1959; Pulitzer Prize, 1960) became part of the standard repertory. The Variations for Orchestra (1955) marked another phase of Carter’s development, leading to a serial approach to intervals and dynamics. The Double Concerto for harpsichord, piano, and two chamber orchestras (1961), which won rare praise from Igor Stravinsky, displayed Carter’s interest in unusual instrumentation and canonic texture (based on melodic imitation). The conflict generated between the two orchestral groups and the great difficulty of the concerto were mirrored in his Piano Concerto (1965). Carter’s Concerto for Orchestra was first performed in 1970 and the String Quartet No. 3, for which he won a second Pulitzer Prize, in 1973.
The 1980s began a major creative period for Carter. Some of his more frequently performed works from that and subsequent decades include the Oboe Concerto (1987); Violin Concerto (1990), a recording of which won the 1993 Grammy Award for best contemporary composition; String Quartet No. 5 (1995); the playful Clarinet Concerto (1996); the ambitious Symphonia: Sum Fluxae Pretium Spei (1993–96; “I Am the Prize of Flowing Hope”); an opera, What Next? (1999), about six characters in the aftermath of a car accident; the Cello Concerto (2000), first performed by Yo-Yo Ma; and a continuing string of commissions beyond the composer’s 100th birthday. Major orchestras and other performers around the world increasingly played his music, and he became one of the few contemporary composers whose works entered the standard repertoire.
Carter was the first composer to receive the U.S. National Medal of Arts (1985); the governments of France, Germany, Italy, and Monaco also awarded him high honours. He became a member of the American Academy of Arts and Letters and the American Academy of Arts and Sciences. Referring to the “wit and humour…anger…lyricism and beauty” found throughout Carter’s works, the critic Andrew Porter labeled the composer “America’s great musical poet.”
Carter’s writings, edited by Jonathan W. Bernard, appear in Elliott Carter: Collected Essays and Lectures, 1937–1995 (1997).
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