Elliott Cook Carter Jr. (December 11, 1908 – November 5, 2012) was a two-time Pulitzer Prize-winning American composer.

He studied with Nadia Boulanger in Paris in the 1930s, and then returned to the United States. After a neoclassical phase, he went on to write atonal, rhythmically complex music. His compositions, which have been performed all over the world, include orchestral and chamber music as well as solo instrumental and vocal works.

He was extremely productive in his later years, publishing more than 40 works between the ages of 90 and 100, and over 14 more after he turned 100 in 2008. His last work, 12 Short Epigrams for piano, was completed on August 13, 2012.

 

Biography

Carter's father, Elliott Carter Sr., was a businessman and his mother was the former Florence Chambers. The family was well-to-do. As a teenager, he developed an interest in music and was encouraged in this regard by the composer Charles Ives (who sold insurance to Carter's family). In 1924, a galvanized 15-year-old Carter was in the audience when Pierre Monteux conducted the Boston Symphony Orchestra in the New York première of The Rite of Spring, according to a 2008 report. Carter was again in attendance (see below) in Carnegie Hall, on the occasion of his 100th birthday in 2008, when the orchestra, now under James Levine, again performed the Stravinsky piece as part of its tribute to Carter. Although Carter majored in English at Harvard College, he also studied music there and at the nearby Longy School of Music. His professors included Walter Piston and Gustav Holst. He sang with the Harvard Glee Club and did graduate work in music at Harvard, from which he received a master's degree in music in 1932. He then went to Paris to study with Nadia Boulanger (as did many other American composers). Carter worked with Boulanger from 1932 to 1935, and in that year received a doctorate in music (Mus.D.) from the Ecole Normale in Paris. Later that same year, he returned to the US and wrote music for the Ballet Caravan.

From 1940 to 1944, he taught in the program, including music, at St. John's College in Annapolis, Maryland. On July 6, 1939, Carter married Helen Frost-Jones. They had one child, a son, David Chambers Carter. During World War II, he worked for the Office of War Information. He later held teaching posts at the Peabody Conservatory (1946–1948), Columbia University,Queens College, New York (1955–56), Yale University (1960–62), Cornell University (from 1967) and the Juilliard School (from 1972). In 1967, he was appointed a member of the American Academy of Arts and Letters. In 1981, he was awarded the Ernst von Siemens Music Prize, in 1985 the National Medal of Arts. He has lived in Greenwich Village since 1945.

On December 11, 2008, Carter celebrated his 100th birthday at Carnegie Hall in New York, where the Boston Symphony Orchestra and pianist Daniel Barenboim played his Interventions for Piano and Orchestra written that year. Between the ages of 90 and 100 he published more than 40 works, and after his 100th birthday he composed at least 14 more.

On February 7, 2009, he was given the Trustees Award (a lifetime achievement award given to non-performers) by the Grammy Awards.

He was on the faculty of the Tanglewood Music Center, where he gave annual composition master classes. In June of 2012, the French government named him a Commandeur de la Légion d'honneur.

Carter died on November 5, 2012 at his home in New York City at age 103.

 

Music

His music after 1950 is typically atonal and rhythmically complex, indicated by the invention of the term metric modulation to describe the frequent, precise tempo changes found in his work. While Carter's chromaticism and tonal vocabulary parallels serial composers of the period, Carter does not employ serial techniques in his music. Rather he independently developed and cataloged all possible collections of pitches (i.e., all possible three-note chords, five-note chords, etc.). Musical theorists like Allen Forte later systematized these data into musical set theory. A series of works in the 1960s and 1970s generates its tonal material by using all possible chords of a particular number of pitches.Carter's earlier works are influenced by Stravinsky, Harris, Copland, and Hindemith, and are mainly neoclassical in aesthetic. He had a strict and thorough training in counterpoint, from medieval polyphony through Stravinsky, and this shows in his earliest music, such as the ballet Pocahontas (1938–39). Some of his music during the Second World War is frankly diatonic, and includes a melodic lyricism reminiscent of Samuel Barber.

The Piano Concerto (1964–65) uses the collection of three-note chords for its pitch material; the Third String Quartet (1971) uses all four-note chords; the Concerto for Orchestra (1969) all five-note chords; and the Symphony of Three Orchestras uses the collection of six-note chords. Carter also makes frequent use of "tonic" 12-note chords. Of particular interest are "all-interval" 12-tone chords where every interval is represented within adjacent notes of the chord. His 1980 solo piano work Night Fantasies uses the entire collection of the 88 symmetrical-inverted all-interval 12 note chords. Typically, the pitch material is segmented between instruments, with a unique set of chords or sets assigned to each instrument or orchestral section. This stratification of material, with individual voices assigned not only their own unique pitch material, but texture and rhythm as well, is a key component of Carter's musical style. Carter's music after Night Fantasies has been termed his late period and his tonal language has become less systematized and more intuitive, but retains the basic characteristics of his earlier works.

Carter's use of rhythm can best be understood within the concept of stratification. Each instrumental voice is typically assigned its own set of tempos. A structural polyrhythm, where a very slow polyrhythm is used as a formal device, is present in many of Carter's works. Night Fantasies, for example, uses a 216:175 tempo relation that coincides at only two points in the entire 20+ minute composition. This use of rhythm is part of his goal to expand the notion of counterpoint to encompass simultaneous different characters, even entire movements, rather than just individual lines.

Carter developed his technique to further his artistic goals. His use of rhythm allows his music a structured fluidity and sense of time perhaps unique in classical music. The music also is overtly expressive and dramatic. He has said that "I regard my scores as scenarios, auditory scenarios, for performers to act out with their instruments, dramatizing the players as individuals and participants in the ensemble." He has also talked about his desire to portray a "different form of motion," in which players are not locked in step with the downbeat of every measure.

He said that such steady pulses reminded him of soldiers marching or horses trotting, sounds no longer heard in the late 20th century, and he wanted his music to capture the sort of continuous acceleration or deceleration experienced in an automobile or an airplane. While Carter's atonal music shows little trace of American popular music or jazz, his vocal music has demonstrated strong ties to contemporary American poetry. He set works of Elizabeth Bishop, John Ashbery, Robert Lowell, William Carlos Williams, Wallace Stevens, Ezra Pound, andMarianne Moore. Several of his large instrumental works such as the Concerto for Orchestra or Symphony of Three Orchestras are inspired by twentieth-century poets as well.

Among his better known works are the Variations for Orchestra (1954–5); the Double Concerto for harpsichord, piano and two chamber orchestras (1959–61); the Piano Concerto (1964–65), written as an 85th birthday present for Igor Stravinsky; the Concerto for Orchestra (1969), loosely based on a poem by Saint-John Perse; and the Symphony of Three Orchestras (1976). He has also written five string quartets, of which the second and third won the Pulitzer Prize for Music in 1960 and 1973 respectively. Symphonia: Sum Fluxae Pretium Spei (1993–1996) is his largest orchestral work, complex in structure and featuring contrasting layers of instrumental textures, from delicate wind solos to crashing brass and percussion outbursts.

In spite of a usually rigorous derivation of all pitch content of a piece from a source chord, or series of chords, Carter never abandons lyricism, and ensures that a text is sung intelligibly, sometimes even simply. In A Mirror on Which to Dwell (1975) (based on poems by Elizabeth Bishop) Carter writes colorful, subtle, transparently clear music; yet almost every pitch in the piece is derived from the content of a single sonority. Most of Carter's music is published by either G. Schirmer/Associated Music Publishers (works up to 1981) or Boosey & Hawkes (works since 1981).

Interventions for Piano and Orchestra received its premiere on December 5, 2008, by the Boston Symphony Orchestra conducted by James Levine featuring pianist Daniel Barenboim atSymphony Hall in Boston. The pianist reprised the work again with the BSO at Carnegie Hall in New York in the presence of the composer on his 100th birthday. Carter was also present at the 2009 Aldeburgh Festival to hear the world premiere of his song-cycle On Conversing with Paradise, based on Ezra Pound's Canto 95 (from the section Rock-Drill) and one of Pound's 'Notes' intended for later Cantos, and usually published at the end of the Cantos. The premiere was given on June 20, 2009 by baritone Leigh Melrose and the Birmingham Contemporary Music Group conducted by Oliver Knussen.

Figment V for marimba with Simon Boyar was premiered in New York on 2 May 2009 and Poems of Louis Zukofsky for soprano and clarinet had its first performance by Lucy Shelton andStanley Drucker at the Tanglewood Festival on August 9, 2009. The US premiere of the Flute Concerto took place on February 4, 2010, with soloist Elizabeth Rowe and the Boston Symphony Orchestra conducted by James Levine. The last premiere of his lifetime was Dialogues II, written for Daniel Barenboim's 70th birthday and conducted in Milan in November 2012 by Gustavo Dudamel.

 

Ballet

• Pocahontas (1938–39)
• The Minotaur (1947)

 

Opera

• What Next? (opera in one act) (1997)

 

Choral

• Tarantella for men's chorus and two pianos (1937)
• Let's Be Gay for women's chorus and two pianos (1937)
• Harvest Home for a cappella choir (1937)
• To Music for a cappella choir (1937)
• Heart Not So Heavy for a cappella choir (1939)
• The Defense of Corinth for speaker, men's chorus and piano four hands (1941)
• The Harmony of Morning for women's chorus and chamber orchestra (1944)
• Musicians Wrestle Everywhere for a cappella choir (1945)
• Emblems for men's chorus and piano (1947)

 

Concertante

• Double Concerto for piano, harpsichord and 2 chamber orchestras (1959–61)
• Piano Concerto (1964)
• Concerto for Orchestra (1969)
• Oboe Concerto (1986–1987)
• Violin Concerto (1989)
• Clarinet Concerto (1996)
• Cello Concerto (2001)
• Boston Concerto (2002)
• Dialogues for piano and chamber orchestra (2003)
• Mosaic for harp and ensemble (2004)
• Soundings for piano and orchestra (2005)
• Interventions for piano and orchestra (2007)
• Horn Concerto (2007)
• Flute Concerto (2008)
• Concertino for bass clarinet and chamber orchestra (2009)
• Two Controversies and a Conversation for piano, percussion, and chamber orchestra (2010–11)
• Dialogues II for piano and chamber orchestra (2012)

 

Orchestra

• Symphony No. 1 (1942, revised 1954)
• Holiday Overture (1944, revised 1961)
• Variations for orchestra (1954–1955)
• A Symphony of Three Orchestras (1976)
• Three Occasions for orchestra (1986–89)

A Celebration of Some 150x100 Notes Remembrance Anniversary

• Symphonia: Sum fluxae pretium spei (1993–96)

Partita Adagio Tenebroso Allegro Scorrevole

• Three Illusions for orchestra (2002–04)

Micomicón Fons Juventatis More's Utopia

• Sound Fields for string orchestra (2007)
• Instances for chamber orchestra (2012)

 

Large ensemble

• Penthode for ensemble (1985)
• ASKO Concerto for sixteen players (2000)
• Réflexions for ensemble (2004)
• Wind Rose for wind ensemble (2008)

 

Chamber

• Canonic Suite for four alto saxophones or four clarinets (1939)
• Elegy for viola and piano, also version for string quartet (1943, revised 1961)
• Cello Sonata (1948)
• Woodwind Quintet (1948)
• Eight Etudes and a Fantasy for wind quartet (1949) [1]
• String Quartet No. 1 (1951)
• Sonata for flute, oboe, cello, and harpsichord (1952)
• String Quartet No. 2 (1959)
• Canon for 3 (1971)
• String Quartet No. 3 (1971)
• Brass Quintet (1974)
• Duo for violin and piano (1974)
• Birthday Fanfare for three trumpets, vibraphone, and glockenspiel (1978)
• Triple Duo (1983)
• Esprit rude/esprit doux for flute and clarinet (1984)
• Canon for 4 (1984)
• String Quartet No. 4 (1986)
• Enchanted Prelude for flute and cello (1988)
• Con leggerezza pensosa for clarinet, violin, and cello (1990)
• Quintet for piano and winds (1991)
• Trilogy for oboe and harp (1992)

Bariolage for harp Inner Song for oboe Immer Neu for oboe and harp

• Esprit rude/esprit doux II for flute, clarinet, and marimba (1994)
• Fragment I for string quartet (1994)
• String Quartet No.5 (1995)
• Luimen for ensemble (1997)
• Quintet for piano and string quartet (1997)
• Fragment II for string quartet (1999)
• Oboe Quartet, for oboe, violin, viola, and cello (2001)
• Hiyoku for two clarinets (2001)
• Au Quai for bassoon and viola (2002)
• Call for two trumpets and horn (2003)
• Clarinet Quintet (2007)
• Tintinnabulation for percussion sextet (2008)
• Tre Duetti for violin and cello (2008, 2009)

Duettone Adagio Duettino

• Nine by Five for wind quintet (2009)
• Trije glasbeniki for flute, bass clarinet, and harp (2011)
• String Trio (2011)
• Double Trio for trumpet, trombone, percussion, piano, violin and cello (2011)
• Rigmarole for cello and bass clarinet (2011)

 

Voice

• My Love Is in a Light Attire for voice and piano (1928)
• Tell Me Where Is Fancy Bred for voice and guitar (1938)
• A Mirror on Which to Dwell for soprano and ensemble (1975)
• Syringa for mezzo-soprano, bass-baritone, guitar, and ensemble (1978)
• Three Poems of Robert Frost for baritone and ensemble (1942, orchestrated 1980)
• In Sleep, in Thunder for tenor and ensemble (1981)
• Of Challenge and of Love for soprano and piano (1994)
• Tempo e Tempi for soprano, oboe, clarinet, violin, and cello (1998–99)
• Of Rewaking for mezzo-soprano and orchestra (2002)
• In the Distances of Sleep for mezzo-soprano and chamber orchestra (2006)
• Mad Regales for six solo voices (2007)
• La Musique for solo voice (2007)
• Poems of Louis Zukofsky (2008) for mezzo-soprano and clarinet
• On Conversing with Paradise (2008) for baritone and chamber orchestra
• What Are Years (2009) for soprano and chamber orchestra
• A Sunbeam's Architecture (2010) for tenor and chamber orchestra
• Three Explorations (2011) for bass-baritone, winds, and brass

 

Piano

• Piano Sonata (1945–46)
• Night Fantasies (1980)
• 90+ (1994)
• Two Diversions (1999)
• Retrouvailles (2000)
• Two Thoughts about the Piano (2005–06)

Intermittences Catenaires

• Tri-Tribute (2007–08)

Matribute Fratribute Sistribute

• 12 Short Epigrams (2012)

 

Solo instrumental

• Eight Pieces for Four Timpani (1949/66)
• Changes for guitar (1983)
• Scrivo in Vento for flute (1991)
• Gra for clarinet, also version for trombone (1994)
• Figment for cello (1994)
• A 6-letter Letter for English horn (1996)
• Shard for guitar (1997)
• Four Lauds for solo violin (1999, 1984, 2000, 1999)

I. Statement – Remembering Aaron II. Riconoscenza per Goffredo Petrassi III. Rhapsodic Musings IV. Fantasy – Remembering Roger

• Figment II for cello (2001)
• Steep Steps for bass clarinet (2001)
• Retracing for bassoon (2002)
• HBHH for oboe (2007)
• Figment III for contrabass (2007)
• Figment IV for viola (2007)
• Figment V for marimba (2009)
• Retracing II for horn (2009)
• Retracing III for trumpet (2009)
• Retracing IV for tuba (2011)
• Retracing V for trombone (2011)
• Mnemosyné for violin (2011)

 

Partial discography

• Sonata for Flute, Oboe, Cello and Harpsichord; Sonata for Cello and Piano; Double Concerto for Harpsichord and Piano With Two Chamber Orchestras. Paul Jacobs, hpschd; Joel Krosnick, cello; Gilbert Kalish, piano; The Contemporary Chamber Ensemble, Arthur Weisberg, cond. Elektra/Nonesuch 9 79183-2.
• String Quartets Nos. 1 and 2. The Composers Quartet. Elektra/Nonesuch 9 71249-2
• Piano Concerto; Variations for Orchestra. Ursula Oppens, piano; Cincinnati Symphony Orchestra, Michael Gielen, cond. New World Records, NW 347–2.
• Triple Duo; Clarinet Concerto; short pieces. Nouvel Ensemble Moderne, Lorraine Vaillancourt, cond. ATMA Classique, ACD2 2280.
• Complete Music for Piano. Charles Rosen, Piano. Bridge 9090.

 

• Vocal Works (1975–81): A Mirror on Which to Dwell; In Sleep, In Thunder; Syringa; Three Poems of Robert Frost. Speculum Musicae with Katherine Ciesinki, mezzo; Jon Garrison, tenor; Jan Opalach, bass; Christine Schadeberg, soprano. Bridge, BCD 9014.

• Dialogues; Boston Concerto; Cello Concerto; ASKO Concerto. Nicolas Hodges, piano; Fred Sherry, cello; London Sinfonietta, BBC Symphony Orchestra, ASKO Ensemble, Oliver Knussen, cond. Bridge 9184.

 

Notable students

• Ronald Caltabiano
• Joel Chadabe
• Alvin Curran
• Joel Hoffman
• Tod Machover
• Jeffrey Mumford
• Oliver Nelson
• Tobias Picker
• David Schiff
• William Schimmel
• Ellen Taaffe Zwilich

 

Interviews

 

• American Gothic: An Interview with Elliott Carter, by Andy Carvin, 1992
• A January 1994 interview with Elliott Carter by Phil Lesh
• NewMusicBox: Elliott Carter in conversation with Frank J. Oteri, 2000
• MusicMavericks.PublicRadio.org: An interview with Elliot Carter by Alan Baker, Minnesota Public Radio, July 2002
• Radical Connections on Counterstream Radio: Elliott Carter and Phil Lesh in Conversation, December 2007]
• Elliott Carter Centenary Podcast, an interview with Frank J. Oteri, November 27, 2007
• TV Interview (with Daniel Barenboim and James Levine) by Charlie Rose, December 10, 2008
• Tarmy, James (2012-06-06). "Elliott Carter, 103, Has World Premiere, Ponders Hitler, Romney". Bloomberg News. Retrieved 2012-06-13 .