Elliott Cook Carter Jr

Elliott Cook Carter, Jr. 1908-, American composer, b. New York City. Carter is considered by many to be the most important contemporary American composer. He studied with Walter Piston , E. B. Hill, and Gustav Holst at Harvard and with Nadia Boulanger in Paris (1932-35). Carter's complex mature music is organized into highly intellectualized contrapuntal patterns to which sympathetic listeners attribute great emotional power. He characteristically uses tempo as an element of form, notably in his technique of "metric modulation," his most famous musical innovation. Highlights from an unusually long and prolific musical career include the ballet Pocahontas (1939), a cello and piano sonata (1948), five string quartets (1951, 1958-59, 1973, 1986, 1995), Variations (1953-55) for orchestra, a piano concerto (1966), a concerto for orchestra (1969), A Mirror on Which to Dwell (1976) for soprano and nine players to poems by Elizabeth Bishop , Night Fantasies (1980) for piano, Changes (1983) for guitar, Adagio Tenebroso (1995) for orchestra, the opera What's Next? (1999), and a cello concerto (2001) composed for Yo-Yo Ma .

Carter, Elliott Cook, Jr (1908– ) US composer, widely regarded as the leading modern American composer. His works are notable for their elaborate counterpoint, complex structures and use of tempo as an aspect of form. Compositions include a piano (1946) and a cello (1948) sonata, Variations (1953–55) and Concerto (1970) for orchestra, and four string quartets (1951, 1959, 1971 and 1986). He received a Pulitzer Prize for his second string quartet (1960).

Carter, Elliott (Cook) (b NY, 1908). Amer. composer. At 16 befriended by Ives, who took him to concerts of mus. by Varèse, Sessions, Ruggles, and Copland. Studied pf. at Cambridge, Mass. At Harvard Univ. 1926–32, studying with Piston and E. B. Hill and having lessons in 1931 from Holst. Continued studies at École Normale de Mus., Paris, and privately with Boulanger. On return to USA, mus. dir. Ballet Caravan 1936–40. Taught at Peabody Cons., Baltimore, 1946–8, Columbia Univ. 1948–50, Yale Univ. 1958–62. Worked in Rome and Berlin 1963–4. Prof. of mus., Cornell Univ. 1967–8. Pulitzer Prize 1960 (2nd str. qt.) and 1973 (3rd str. qt.). His music is uncompromising and challenging, its harsh brilliance enhanced by compelling intellectual qualities. Early works were neo-classical in style but a new harmonic structure and treatment of rhythm became apparent in the Piano Sonata (1945–6). With the Cello Sonata (1948) he developed ‘metric modulation’ whereby a new tempo is established from development of a cross-rhythm within the old tempo. The listener has a clear impression of the simultaneous existence of 2 tempos. The 4 str. qts. have been described as the most significant comps. in the medium since Bartók, and Stravinsky described the Double Conc. as ‘the first true American masterpiece’. His writings on many subjects were collected into one vol. (NY 1977). Prin. works: BALLETS: Pocahontas (1937–9); The Minotaur (1947).ORCH.: Prelude, Fanfare, and Polka (1938); Sym. No.1 (1942, rev. 1954); Holiday Overture (1944, rev. 1961); Elegy, str. (1952); Variations (1954–5); Double Concerto, hpd., pf., 2 chamber orchs. (1961); pf. conc. (1964–5); Conc. for Orch. (1968–9); Symphony of 3 Orchestras (1976–7); Penthode for 5 Instrumental Quartets (1984–5); Three Occasions (1986–9): 1. A Celebration of Some 100 × 150 Notes (1986), 2. Remembrance (1988), 3. Anniversary (1989); ob. conc. (1986–7); vn. conc. (1990); Partita (1992–3); Adagio Tenebroso (1995).VOICE & ENS.: Warble for Lilac Time, high v., pf. or ens. (1943, rev. 1954); A Mirror on Which to Dwell, sop., ens. (1975); Syringa, mez., bass, gui., 10 performers (1978); In Sleep, In Thunder, ten., 14 players (1981).CHORAL: Tarantella, male ch., pf. (1936, arr. with orch. 1971); To Music, unacc. (1937); Heart Not So Heavy as Mine, unacc. (1938); The Defense of Corinth, spkr., male ch., pf. (1942); The Harmony of Morning, women's ch., small orch. (1944); Musicians Wrestle Everywhere, mixed ch., opt. str. (1945); Emblems, male ch., pf. (1947).CHAMBER MUSIC: Canonic Suite, 4 alto sax. (1939, rev. 1981; arr. for 4 cl. 1955–6); Pastorale, ca. (or va., or cl.), pf. (1940, arr. ca., mar., str. 1988); Elegy, va. or vc., pf. (1943, rev. 1961; arr. str. qt. 1946, str. 1952); ww. quintet (1948); vc. sonata (1948); 8 Études and a Fantasy, ww. qt. (1949–50); str. qts., No.1 (1950–1), No.2 (1959), No.3 (1971), No.4 (1986), No.5 (1995); 8 Pieces for 4 Kettledrums (1950, rev. 1966); Sonata, fl., ob., vc., hpd. (1952); Canon for 3: in memoriam Igor Stravinsky, equal instr. (1971); Duo, vn., pf. (1973–4); brass quintet (1974); A Fantasy about Purcell's Fantasia upon One Note, 2 tpt., hn., tb., btb. (1974); Triple Duo, vn., vc., fl., cl., pf., perc. (1982–3); Changes, gui. (1983); Esprit rude—esprit doux, fl., cl. (1984); Canon for 4: Homage to William, fl., bcl., vn., vc. (1984); Riconoscenza—per Goffredo Petrassi, vn. (1984); Enchanted Preludes, fl., vc. (1988); Birthday Flourish, 5 tpt. or brass quintet (1988); Con leggerezza pensosa, cl., vn., vc. (1990); Scrivo in Vento, fl. (1991); Quintet, pf., ob., cl., bn., hn. (1992); Trilogy: 1. Bariolage, hp., 2. Inner Song, ob., 3. Immer Neu, ob., hp. (1992); Gra, cl. (1993); Fragment for String Quartet, str. qt. (1994).VOICE & INSTR.: Tell me, where is fancy bred, v., gui. (1938); Voyage, mez. or bar., pf. (1943, also for small orch. 1975, rev. 1979); 3 Poems of Robert Frost, medium v., pf. (1. Dust of Snow, 2. The Rose Family, 3. The Line Gang) (1943); Of Challenge and of Love: 5 Poems of John Hollander, sop., pf. (1994–5).PIANO: sonata (1945–6); Night Fantasies (1980).