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Elliott Carter (American Composers), by James Wierzbicki
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This compact introduction to the life and works of composer Elliott Carter provides a fresh perspective on one of the most significant American composers of the twentieth and twenty-first centuries. A leading voice of the American classical music tradition and a two-time winner of the Pulitzer Prize for Music, Carter was initially encouraged to become a composer by Charles Ives, and he went on to learn from Walter Piston at Harvard University and Nadia Boulanger in Paris. Drawing on Carter's voluminous writings and compositions, James Wierzbicki provides a clear discussion of Carter's evolving understanding of musical time and the influence of film on his work. Celebrating his 100th birthday in 2008 by premiering a number of new compositions, Carter has been a powerful presence on the American new music scene, an important connection to American music's foundational figures, and a dynamic force in its continuing evolution.
- Sales Rank: #2263842 in eBooks
- Published on: 2011-02-15
- Released on: 2011-02-15
- Format: Kindle eBook
Review
"Thoroughly researched and accessible to the lay reader, the book will intrigue readers who wish to deepen their appreciation of this legendary composer."--Library Journal
"The most complete picture of Carter's early life and career to date. Wierzbicki shows more clearly than anyone else how Carter's temporal techniques evolved over the course of his career."--Anne C. Shreffler, coeditor of Elliott Carter: A Centennial Portrait in Letters and Documents
"A gratifying success. The story of Elliott Carter's life and work is succinctly told and is one that specialists and non-experts alike can read with great profit."--Arnold Whittall, author of Exploring Twentieth-Century Music: Tradition and Innovation
About the Author
James Wierzbicki teaches musicology at the University of Sydney, Australia, and the author of Film Music: A History and Louis and Bebe Barron's Forbidden Planet: A Film Score Guide.
Most helpful customer reviews
3 of 3 people found the following review helpful.
Unambitious, but informative
By Christopher Culver
The public needs a more recent overview of Elliott Carter's immense career, but since the composer is still going strong after his 100th birthday, authors may fear that any effort they publish will immediately be out of date. As far as I know, the sole attempt as I write this is James Wierzbicki's book on Carter, part of the University of Illinois Press series American Composers.
The series allows the author precisely 100 pages of text (sans footnotes and index), so this is not a detailed analysis of the composer's works, and thus not competing with David Schiff's The Music of Elliott Carter (which I'd really like to see in a third edition). Rather, Wierzbicki sets out to sketch the arc of his career -- neoclassical youth, complex and aggressively modernist mature period, and prolific if somewhat lightweight old age. The only works that Wierzbicki really discusses in detail are the Piano Sonata (1945-46), the Sonata for Cello and Piano (1948) and the String Quartet No. 1 (1951) and the String Quartet No. 2 (195), since these are the turning point where Carter established a distinctive style. Even here, however, Wierzbicki does not present any examples from the scores, and his focus is on Carter's establishment of a new aesthetic, not the individual works.
Even if Wierzbicki wasn't given much room to work with, and so his comments must be to some degree general, this is still a useful book for fans of composers because of its large bibliography. Wierzbicki cites a great deal of critical response to Carter that I wasn't aware of, such as Taruskin ripping into him as some kind of abstract elitist, and Ned Rorem offering some surprising fraternal recognition. Wierzbicki also admits that Carter's very late pieces are not of the same quality as his work up to the "Symphonia", an opinion I share but which I had not yet seen in writing.
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