Notice bibliographique
- Notice
Type(s) de contenu et mode(s) de consultation : Texte noté : sans médiation
Auteur(s) : Carter, Elliott (1908-2012)
Titre(s) : Elliott Carter speaks [Texte imprimé] : unpublished lectures / edited and with an introduction by Laura Emmery
Publication : Urbana : University of Illinois Press, copyright 2021
Description matérielle : xiv, 187 pages : illustrations, music ; 24 cm
Collection : Music in American life
Lien à la collection : Music in American life
Note(s) : Includes bibliographical references (pages 175-181) and index
"These previously unpublished lectures by Elliott Carter date to the summer of 1967,
when the acclaimed composer taught at the Contemporary Music Workshop held by the
University of Minnesota. Leading an introductory course on orchestra repertoire, Carter
gave nine hours of lectures covering principal topics like how to live with the musical
present and whether the symphony orchestra was a relic of the past or a possible active
force for new music. But Carter's observations and prompts by audience questions broadened
the discussion into areas ranging from electronic music to analyses of works by other
artists and himself. Laura Emmery presents the complete text from each session alongside
introductions, commentary, and annotated examples that provide valuable context for
readers. Expansive and essential, Elliott Carter Speaks opens up the artist's teaching
and introspection to new contemporary perspectives on his thought and art"
Autre(s) auteur(s) : Emmery, Laura V.. Éditeur scientifique. Préfacier
Sujet(s) : Esthétique musicale -- 20e siècle
Orchestre, Musique d' -- 20e siècle
Concertos -- 20e siècle
Identifiants, prix et caractéristiques : ISBN 0252044207. - ISBN 9780252044205
Identifiant de la notice : ark:/12148/cb46967337z
Notice n° :
FRBNF46967337
(notice reprise d'un réservoir extérieur)
Table des matières : Introduction. On the "Minnesota Workshop" Lectures ; Part I. Basic Needs for a Music
Situation That Is Alive. On Artist's Originality ; On Music Tradition ; Composer's
Own Training as a Criticism of the Society ; Composer as a Critic of Contemporary
Music, Art, and the Audience ; The Historic Relation between the Public and the Music
Profession ; Music as a Force of Communication ; The View of Twentieth-Century Music
through the Present and the Past ; Composers as Critics of Their Own Works ; Toward
"New Virtuosity" ; Toward Metric Virtuosity ; Part II. How to Live with the Musical
Present. On Charles Ives ; Luigi Nono's Il canto sospeso ; On Pierre Boulez and Karlheinz
Stockhausen ; On Edgard Varèse ; On Krzysztof Penderecki ; What Is the Domain of
Serious Music? A Case Study of Olivier Messiaen ; On Musical Thought ; Part III.
The Symphony Orchestra: Relic of the Past or Active Force for New Music? Sociological
Aspects of the Symphony Orchestra: State-Supported and Privately Funded Orchestras
; Techniques of Orchestration ; Pocahontas (1939) ; Holiday Overture (1944) ; Variations
for Orchestra (1953-1955) ; Part IV. Can an Established Musical Form Like the Concerto
Have Any Relevance Today? Contextualizing Piano Concertos ; J. S. Bach : Brandenburg
Concerto No. 5 in D Major ; Mozart Piano Concerto No. 24 in C Minor, K. 491 ; Beethoven
: Piano Concerto No. 4 in G Major ; Alexander Scriabin : Prometheus ; Igor Stravinsky
: Concerto for Piano and Wind Instruments and Capriccio for Piano and Orchestra ;
Béla Bartók : Piano Concerto No. 1 ; Elliott Carter : The Double Concerto (1959-1961)
and Piano Concerto (1964-1965) ; Double Concerto for Harpsichord and Piano ; Piano
Concerto (1964-1965).
