Download Elliott Carter: Collected Essays and Lectures, 1937-1995 by Elliott Carter PDF

By Elliott Carter

Elliott Carter (b.1908) is now as a rule said as America's most outstanding residing composer. This definitive quantity of his essays and lectures -- many formerly unpublished or uncollected -- exhibits his pondering and writing on tune and linked concerns constructing in parallel together with his occupation as a composer; his recognition turned validated within the Fifties, and the fabric during this publication deals an enormous and a professional statement at the process American and eu song within the succeeding many years. Carter's articles on his personal tune became vintage texts for college students of his oeuvre; he additionally writes at the kingdom of latest tune in Europe and the U.S. and the family among song and the opposite arts. different items diversity from a attention of features of song to the paintings of person composers. As an entire, the gathering is the expression of Carter's musical philosophy, and a useful checklist for historians of recent track.

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From the Preface :

This e-book illustrates a set of tune manuscripts which was once made in recent times to profit the root for modern functionality Arts. the gathering was firm by means of conditions instead of any strategy of choice. therefore it indicates the various instructions during which song notation is now going. The manuscripts usually are not prepared in accordance with sorts of song, yet alphabetically in line with the composer's identify. No explanatory details is given.

The textual content for the booklet is the results of a strategy applying I-Ching likelihood operations. those decided what percentage phrases relating to his paintings have been to be written via or approximately which of 2 hundred and sixty-nine composers. the place those passages (never greater than sixty-four phrases, occasionally just one) were specifically written for this ebook, they're preceded by way of a paragraph signal and by means of the author's identify. different feedback have been selected or written through the editors - John Cage and Alison Knowles. not just the variety of phrases and the writer, however the typography too - letter dimension, depth, and typeface - have been all decided unintentionally operations. This technique used to be to be able to reduce the adaptation among textual content and illustrations. The composition of the pages is the paintings of Alison Knowles.

A precedent for the textual content is the Questionnaire. (The composers have been requested to jot down approximately notation or some· factor proper to it. ) A precedent for the absence of knowledge which characterizes this booklet is the modern aquarium (no longer a depressing hallway with every one species in its personal illuminated tank separated from the others and named in Latin): a wide glass apartment with the entire fish in it swimming as in an ocean. the gathering of manuscripts constitutes an archive, the contents of that are indexed on the finish of this booklet. The editors are thankful to the various composers and song publishers who've made this presentation of mid-twentieth century track notation attainable.

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Page_25 next page > < previous page page_26 next page > Page 26 around common tones was, of course, characteristic of impressionistic composers (whom, perhaps because of the Mallarmé text, Boulez is evoking) and has been uncommon until recently. The groups of grace notes (as in Chopin) are to be played ad libitum before or within a beat, wherever they are placed visually. This ad libitum playing, a feature given the approval of "new" at Darmstadt a few years ago (formerly used, of course, by composers to suggest to the performer a style of playing found in the improvisations of folk or popular performers, and for similar reasons in our time by Ives, who encouraged great latitude of interpretation in his prefaces and even in the notation of his scores), found an extreme demonstration in Bo Nilsson's twenty-sixmeasure piece Ein irrender Sohn for alto voice, alto flute, and eighteen other players,3 all distributed, as in some works of Henry Brant, around the concert hall, according to a seating plan given in the score, with only the conductor on the stage.

And he is rarely content to mention possible permutations, even of numbers, without listing them all. This takes up space but, as the editor points out, helps save time for hurried arrangers. < previous page page_15 next page > < previous page page_16 next page > Page 16 Again, if the book is more than a supplementary manual, how can one account for the rather surprising omissions which occur in almost every chapter? In the first one on rhythm, for instance, the function of the barline in relation to upbeats and downbeats, and the existence of the additive madrigal type of rhythm (which starts with a unit or a foot as a basis and combines these units in changing meters) are never mentioned.

For discussions, congresses, reports, articles, and reviews, no matter how numerous, will never do much good unless they refer to the common musical experience of the speaker and reader. From what has been said above, it should be obvious that the Europeans have begun to accomplish this since the war and that Europe is fast becoming again the source of our musical culture. The fact that money can be found to print an English version of Die Reihe and none to print a contemporary music magazine of our own is a sign of our sad plight.

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