John Link     Elliott Carter on the web | home

Elliott Carter Studies
Edited by Marguerite Boland and John Link

Elliott Carter Studies is an extraordinary volume and a vital contribution to Carter scholarship.”
        —Laura Emmery, Twentieth-Century Music

“In sum, this is a most valuable addition to the growing body of Elliott Carter literature.”
        —Edward Jurkowski, Music Library Association Notes

“...a collection of over a dozen expertly-wrought essays amounting to a highly useful in-depth survey and summary of Carter's achievement.”
        —Mark Sealey, ClassicalNet

[Elliott Carter Studies cover]

Over the course of an astonishingly long career, Elliott Carter has engaged with many musical developments of the twentieth and now twenty-first centuries—from his early neo-classic music of the interwar period, to his modernist works of conflict and opposition in the 1960s and 1970s, to the reshaping of a modernist aesthetic in his latest compositions. Elliott Carter Studies throws new light on these many facets of Carter's extensive musical oeuvre. This collection of essays presents historic, philosophic, philological and theoretical points of departure for in-depth investigations of individual compositions, stylistic periods in Carter's output and his contributions to a variety of genres, including vocal music, the string quartet and the concerto. The first multi-authored book to appear on Carter's music, it brings together new research from a distinguished team of leading international Carter scholars, providing the reader with a wide range of perspectives on an extraordinary musical life.

Published by Cambridge University Press.

Also available from Amazon, Barnes & Noble, or your favorite bookseller.

Contents

Part I: Overview: Music Early and Late
Ch 1 — The True Significance of Elliott Carter's Early Music (Jonathan W. Bernard)
Ch 2 — Elliott Carter's Late Music (John Link)

Part II: Analysis and Aesthetics
Ch 3 — The Search for Order: Carter's Symphonia and late-modern thematicism (Arnold Whittall)
Ch 4 — Ritornello Form in Carter's Boston and ASKO Concertos (Marguerite Boland)
Ch 5 — "The matter of human cooperation" in Carter's Mature Style (John Roeder)
Ch 6 — Time Management: Rhythm as a Formal Determinant in Certain Works of Elliott Carter (Andrew Mead)
Ch 7 — "I try to write music that will appeal to an intelligent listener's ear." On Elliott Carter's String Quartets (Dörte Schmidt)
Ch 8 — Composition With Intervals: Melodic Invention in Elliott Carter's Recent Concertos (Stephen Heinemann)

Part III: Sketch Studies
Ch 9 — Left by the Wayside: Elliott Carter's Unfinished Sonatina for Oboe and Harpsichord (Felix Meyer)
Ch 10 — At the Edge of Creation: Elliott Carter's Sketches in the Library of Congress (Stephen Soderberg)

Part IV: Music and Text
Ch 11 — Three Illusions... and Maybe a Fourth: A Hermeneutic Approach to Carter's Recent Music (Max Noubel)
Ch 12 — Layers of Meaning: Expression and Design in Carter's Songs (Brenda Ravenscroft)
Ch 13 — Text, Music, and Irony in What Next? (Guy Capuzzo)
Ch 14 — Words and Music in The Defense of Corinth (Annette van Dyck-Hemming)