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Der Erwerb des Buches enthält gleichzeitig die kostenlose Mitgliedschaft im Buchklub des Verlags zum Ausprobieren - dort können Sie von über einer Million Bücher ohne weitere Kosten auswählen. Das Buch besteht aus Wikipedia-Artikeln: John Norman, Elliott Carter, Robert Goldwater, Marian Radke-Yarrow, Roland Hanna, Carl Gustav Hempel, Ze'ev Levy, Arthur Sard, Richard Alewyn, Michael J. Behe, Dagmar Leupold, Karol Rathaus, George Perle, Edwin Moise, Walter Henry Zinn, Benjamin Lees, Zvi Yavetz, Juanita M. Kreps, Paul Avrich, Nora Glickman, Keith Copeland, Eric Salzman, Liliana Porter, Robert Kurka, Alan Isler,. Online finden Sie die kostenlose Aktualisierung der Bücher. Nicht dargestellt. Auszug: John Norman, eigentlich John Frederick Lange Jr., (* 3. Juni 1931 in Chicago) ist ein US-amerikanischer Schriftsteller und Philosoph. Der Schwerpunkt seiner Tätigkeit liegt in den Genres Fantasy und Science-Fiction. Norman erwarb 1953 den Bachelor an der University of Nebraska und den M.A. 1957 an der University of Southern California. 1963 erwarb er an der Princeton University einen Doktortitel und unterrichtete lange Philosophie am Queens College in New York. Der Titel seiner Dissertation lautet „In defence of ethical naturalism: an examination of certain aspects of naturalistic fallacy, with particular attention to the logic of an open question argument". Neben seiner akademischen Laufbahn war er bereits in der Highschoolzeit als Sprecher und Redakteur für den Sender KOLN in Lincoln tätig, später auch als Filmautor für die University of Nebraska und Stoff-Analytiker für Warner Bros. sowie Lektor für Rocketdyne. Seine Romane erreichen international Auflagen in Höhe von mehreren Millionen Exemplaren. Er ist seit 1956 verheiratet und hat drei Kinder. Das gesamte Werk des Schriftstellers reflektiert seine Sicht auf das Verhältnis männlicher Dominanz und weiblicher Unterwerfung. Hierbei verwendet Norman überwiegend Fantasy- und Science-Fi...http://booksllc.net/?l=de&id=396658 ... Read more

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Kapitel: Elliott Carter, Nicolas Nabokov, David Sánchez, Ingrid Jensen, Norman Cazden, Sidney Forrest, Jaap Schroeder, Nicholas Maw, Frederik Prausnitz. Aus Wikipedia. Nicht dargestellt. Auszug: Elliott Cook Carter, Jr. (born December 11, 1908) is a two-time Pulitzer Prize-winning American composer born and living in New York City. 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 has been extremely productive in his latter years, publishing more than 40 works between the ages of 90 and 100, and three more since he turned 100. 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 his 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) at Carnegie Hall, on the occasion of his 100th birthday in 2008, when the orchestra, now under the baton of 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. He 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 Mlle Bou...http://booksllc.net/?l=de ... Read more

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Commissioned for Pierre Boulez's 75th birthday by Royal Festival hall, and first performed in 2000 by Rolf Hind at South Bank Center, London. Recorded by Charles Rosen on Bridge Records, and Winston Choi (l'empreinte digitale). 2 minutes. This is the third piece Carter has written in honour of Boulez. Esprit Rude/Esprit Doux (flute, clarinet 48001496) was composed for Boulez's 60th birthday. Esprit Rude/Esprit Doux II (flute, clarinet, marimba, full score 48001313, set of parts 48001587) was composed for Boulez's 70th birthday. ... Read more

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This digital document is an article from Sensible Sound, published by Sensible Sound on June 1, 2000. The length of the article is 480 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.

Citation Details
Title: Elliott Carter: Symphonia: sum fluxae pretium spei and Clarinet Concerto Michael Collins, clarinet/BBC Symphony Orchestra/ London Sinfonietta/Oliver Knussen.
Author: Karl W. Nehring
Publication: Sensible Sound (Magazine/Journal)
Date: June 1, 2000
Publisher: Sensible Sound
Page: 55

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Der Erwerb des Buches enthält gleichzeitig die kostenlose Mitgliedschaft im Buchklub des Verlags zum Ausprobieren - dort können Sie von über einer Million Bücher ohne weitere Kosten auswählen. Das Buch besteht aus Wikipedia-Artikeln: Luciano Berio, Peter Schickele, Vincent Persichetti, John Weaver, Elliott Carter, William Schuman, John Houseman, Eduard Steuermann, Henry Brant, Christopher Rouse, Joseph Alessi, Sixten Ehrling, Josef Lhévinne, John Corigliano, Benjamin Lees, David Berger, Carl Allen, Itzhak Perlman, Dorothy DeLay, Ivan Galamian, Christopher Durang, Frederik Prausnitz,. Online finden Sie die kostenlose Aktualisierung der Bücher. Nicht dargestellt. Auszug: Luciano Berio (* 24. Oktober 1925 in Oneglia; † 27. Mai 2003 in Rom) war ein italienischer Komponist, bekannt für seine experimentellen Arbeiten und einer der Pioniere der elektronischen Musik. Berio wurde in einer musikalischen Familie in der ligurischen Küstenstadt Oneglia geboren. Sowohl sein Vater als auch sein Großvater waren beide Organisten und lehrten ihn das Klavierspiel. Während des Zweiten Weltkriegs wurde er zur Armee eingezogen, verletzte sich aber bereits am ersten Tag mit einem Gewehr die Hand. Er verbrachte einige Zeit in einem Militärkrankenhaus und floh schließlich, um sich einer Widerstandsgruppe anzuschließen. Nach dem Krieg studierte Berio am Mailänder Konservatorium bei Giulio Cesare Paribeni und Giorgio Federico Ghedini. Durch die verletzte Hand am Klavierspiel gehindert, konzentrierte er sich auf die Komposition. 1947 fand die erste öffentliche Aufführung eines seiner Werke statt, einer Suite für Klavier. Zu dieser Zeit verdiente Berio seinen Lebensunterhalt mit der Begleitung von Gesangsklassen; dabei lernte er die amerikanische Sopranistin Cathy Berberian kennen. Sie heirateten kurz nach seinem Universitätsabschluss 1950 (die Ehe wurde 1964 geschieden). 1951 ging Berio in die Vereinigten Staaten, um in Tanglewood bei Luigi Dallapiccola z...http://booksllc.net/?l=de&id=36572 ... Read more

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Purchase includes a free trial membership in the publisher's book club where you can select from more than a million books without charge. Chapters: Luciano Berio, Milton Babbitt, Itzhak Perlman, Christopher Durang, Elliott Carter, John Houseman, Tony Kushner, Vincent Persichetti, Alan Shulman, Lillian Fuchs, Rose Bampton, Kathleen Parlow, Karen Tuttle, William Schuman, Henry Brant, Indrani Rahman, Sharon Isbin, David Hammond, Homer Mensch, Robert Ward, Marian Seldes, Bessie Schonberg, Glenn Dicterow, Felix Salmond, Steven Lubin, Richard Cross, Joel Krosnick, Joseph Alessi, Robert Beaser, Edouard Dethier, Ivan Galamian, Samuel Adler, James Depreist, Eric Ewazen, Marsha Norman, Robert Folk, Andrew Thomas, Tim Cobb, György Sándor, Dorothy Delay, Paul Doktor, Robert Mann, Emanuel Ax, Sixten Ehrling, Jeffrey Milarsky, Giora Schmidt, Christopher Rouse, Olga Samaroff, John Mack, Teddy Wilson, Gerre Hancock, Monica Huggett, Martha Hill, Paul Jacobs, Dodi Protero, Maureen Fleming, Julius Baker, Cynthia Phelps, Isidore Cohen, Josef Lhévinne, Ellen Faull, Juilliard String Quartet, Philip Lasser, Arthur Weisberg, American Brass Quintet, Yoheved Kaplinsky, Orin O'brien, Lester Trimble, Paul Kantor, Eugene Levinson, Stefan Milenković, Simon Kovar, Benjamin Harkarvy, Judith Leclair, Joseph Fuchs, Walter Trampler, Jerome Lowenthal, Simon Sargon, Joseph W. Polisi, Jacob Lateiner, Joseph Allard, Charles L. Bestor, Carl Schachter, Adele Marcus, Oren Brown, Baruch Arnon, David Soyer, Joseph Bloch, William Vacchiano, Frank Deal, William Fitzpatrick, Bernard Wagenaar, Albert Laszlo, Lewis Kaplan, Nancy Allen, Kevin Cobb, Richard Westenburg, David Dubal, Harold Gomberg, Kenneth Law, Mischa Mischakoff, Elaine Douvas, Melvin Kaplan, Fred Sherry, John Ferrillo, Paul Neubauer, Jeffrey Khaner. Source: Wikipedia. Free updates online. Not illustrated. Excerpt: Elliott Cook Carter, Jr. (born December 11, 1908) is a two-time Pulitzer Prize-winning American...More: http://booksllc.net/?id=246830 ... Read more

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This digital document is an article from Notes, published by Music Library Association, Inc. on December 1, 2001. The length of the article is 719 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.

Citation Details
Title: Elliott Carter: A Guide to Research. (Book Reviews).
Author: Carl Rahkonen
Publication: Notes (Refereed)
Date: December 1, 2001
Publisher: Music Library Association, Inc.
Volume: 58Issue: 2Page: 344(2)

Article Type: Book Review

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This digital document is an article from Notes, published by Music Library Association, Inc. on June 1, 2010. The length of the article is 1533 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available immediately after purchase. You can view it with any web browser.

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Title: Elliott Carter: A Centennial Celebration.(Elliott Carter: A Centennial Portrait in Letters and Documents)(Book review)
Author: Carl Rahkonen
Publication: Notes (Magazine/Journal)
Date: June 1, 2010
Publisher: Music Library Association, Inc.
Volume: 66Issue: 4Page: 750(3)

Article Type: Book review

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Includes two new piano pieces: Intermittences and Catenaires. ... Read more

Customer Reviews (1)

more interesting Carter
These are two somewhat compact pieces, the first dedicated to Peter Serkin, has the more multi-dimensional structures, of polyrhthms extended, distended over time, with interruption of the dialectic of the sustained moments, and the wistful mercurial. Two hallmarks of Carter his existence.
"Intermittences" has a rare threadbare beauty, contrapuntal lines-regions, but in register; not simply note against note;Carter deplys musical ideas in gradations of opaque, not knowing where an idea may move,and more obvious; things the mind already knows, as Jasper Johns once said of icons and objects for contemplation;So these obvious textures Carter employs like around measure 66 you have Six in triplet formation against quintuplets; the top trebel RH being legato and the LH bass is staccato, more baroque-like gesturings; Carter's music always has resonance because it does reflect upon passed developed materials from history, those things the mind already knows;;

Likewise the :Catenaires: to Pierre Laurent Aimard, is a continuous note scorrevole piece,repeated notes at times,like a Debussy "etude", toccata like but single voice, "voices" do emerge from the onward rush of the single line texture; again the threadbare dimension gives a kind of "danger" to the piece, an anxiety; a "speed" that not so much overwhelms, for you become comfortable with the pulse elicited; ... Read more

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Composed for and first performed by Fred Sherry at Alice Tully Hall, New York, in 2001, and recorded by him on Bridge Records. 5 minutes. The music recalls fragments of Charles Ives' Concord Sonata and Hallowe'en. ... Read more

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Elliot Carter is considered one of the most significant composers of the 20th century whose works are usually quite involved and intellectual. This full score includes extensive notes on seating for the players, types of instruments used, performance suggestions and program notes. Instrumentation: Piano, Harpsichord and 2 chamber ensembles. Parts available on rental. ... Read more

Customer Reviews (1)

great water mark of modernity
this is again a high point for Carter's newly found aesthetic,neo this or neo that, I simply listen these days,but he had fashioned a musical language of continuation, intervallic mosaics,rhythmical structures employed over large swabs of time with the combustible emotive freedoms of here two keyboard soloists,,,the agenda here was to associate certain chamber timbres with either the harpsichord or the piano, like a timbral dialogue,latterly developed in his "Penthode"/ / / Here the "Double Concerto" it begins quite mysteriously with fragments and shards,tinkles,thuds,and chunks of percussive sounds, lightly tapped tom-toms and suspended cymbals/ / /I heard performances where the percussion cadre came to dominate the timbral space given,too loud! no the two keyboard instruments should reign supreme here with their own cadre of chamber orchestras to help them convey their content. The Harpsichord which can be amplified is first in exposition of materials,you hardly know the piano exists,lighly trying to penetrate the discussion,like some marginal prophet trying to find where it belongs, with lightly sprinkled finger cymbals and idle taps on a metal plate, there is not much sustaining power here unless you find these overwhelming arpeggiations in the harpsichord which Carter does employ, each orchestra has their own materials, their own intervallic language,timbres,rhythms to establish who they are in Cartesian formation, like a "clash of civilizations"to a degree promuligated now for greater divisions of greed and wealth, so to within the realms of the aesthetic these metaphors have some substance,The piano then comes to dominate the latter half of the piece,within its more rotund timbres to help convey its persona, trombones and lower strings and winds help this tyranny along, and lower tom-toms, these timbres do interestingly enough cross in diagonals between chamber borders, and if all these expressive emotive minutae are not sorted out you have a real quagmire on your hands/ / / if you have strong persuasive musician soloists as Ursula Oppens, the piece ceases the "double concerto" narrative. The work is compact, classic in shape and agenda,quite difficult to perform in that much happens of intervallic configurations,although Carter kept his orchestrations quite lean,and understared, at least that is my take on how to read the work, yet there are layering devices to distinguish mere accompaniment from primary material.This was Carter's first primary work subsequent to the associative achievements of context of the First and Second String Quartets/ / /there has not been yet another modern concerto of this modest magnitude, unpretencious, yet proclaiming a territory nonetheless.Too bad this work is not perfomred more often than it is by primary venues,usually student orchestras take up the cause,and as relavant as that enterprising course is, it is far from the trajectory where masterworks of modernity should reside. ... Read more

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Premiered in 2001 by the Chicago Symphony Orchestra, Daniel Barenboim, conductor, Yo-Yo Ma, cello. 18 minutes. ... Read more

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solitude,darknesses herein
This was written for well-known New York City Cellist Fred Sherry, who knows Carter's music quite well throughout both their lifetimes,have worked together before;even when Carter was neglected on the scene. But this work has been played widely, as its premiere with Yo-Yo Ma and the Chicago Symphony September 27, 2001.

Carter has numerous late late concerti,almost for all instruments, Horn,Oboe, Clarinet, Violin,and his conception is to shape the soloist round as a strong spine within the orchestra,in fact the orcehstra is reduced to one role; Yes the forces do emerge with at-times discreet dark wistful colours, as the forever present Bass Clarinet, English Horn,muted trumpet in these concertos.

The Cello role here is never shakened as soloist,as if it is emerging from a lifeworld already suffered, stronger more vibrant;nothing is ever extracted from it;an unknown state,quite arrogant at times,like within an ill-defined purgatory.

The Cello Solo has all the interesting,powerful fascinating rhythms and pitch content,double triple stopped declamations, provocations of its own; while the orchestra merely,feebly accompanies,within its one-dimensional.almost tyrannical state with crushing tutti chordal provocations,angered of its eternal subservient role;
This however structurally allows full graphic relief for the soloist,emerging out of a void,vuota the orcehstra provides;. The Cello's destiny is to wind forward, without traces of where it has been;enclosed within itself, self-possessed, safeguarded by an unknown power outside itself like shapes,icons, temporalities standing out from a Roman Forum structure;

Now and then an orchestral-soloist emerges but only in fragments,incomplete,unfulfilled and you always have Carter's penchant for quick mercurial contrasts, rhyhmic ostinati that quickly disspates to nothing;

The soloist is so formidably the untouched, exceptional star that is concludes the piece itself,after more feeble fluttertongue moments from the Flute then Bb Clarinet;like their voices are alone as well, although more bleak,abandoned than the soloist;,perhaps as an momentary agent, not really dispossessed simply alone, as if nothing mattered, but proclaiming an existence,The Cello claims its solitude without necessity other than itself. All role's all characterizations lead toward it, the Cello timbre in its darknesses, in its penumbrality. ... Read more

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Piano part, 48 pp.; Cello part, 16 pp. First composed in 1948. Duration: about 20 minutes. ... Read more

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This field guide is for identifying the birds most commonly found on McChord Air Force Base. It is written primarily to assist elementary school children, McChord Air Force Base housing residents and any other interested persons. It originated from an idea presented by Mr. Gunnar Petersen, a fifth grade teacher at Heartwood Elementary School at McChord Air Force Base. ... Read more

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Call was written in 2003 as a fanfare to introduce the film Elliott Carter - A Labyrinth of Time. Composer Elliott Carter's 100th birthday was celebrated in December of 2008. ... Read more

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First performed in 2001 in Amsterdam by Charles Neidich and Ayako Oshima, and recorded by them on Bridge Records. "Hiyoku" is a poetic word, originally used by the ancient Chinese poet, Bai Juyi, later adopted by Japanese authors. It means two birds flying together with the connotation of eternal love. ... Read more