Product Description
Composed in 1974 and commissioned by the McKim Fund in the Library of Congress, Duo was first performed by Paul Zukofsky and Gilbert Kalish on March 21, 1975. It reflects the contrast between the sounds made by stroking the violin with the bow and those made by striking the piano. ... Read more

Customer Reviews (1)

another genre givingborn again illumination
this dates from Carter's Middle period; the works after the massive "Concerto for Orchestra"and the upcoming :Third String Quartet:; this "Duo" for Violin and Piano reveals that you need to locate a new context if you want the genre itself to speak to you, otherwise you resort to nefarious predictable approaches as engaging the styles of Neo this or Neo that, and when you think of the countless Violin modern Sonatas that have been written,idly boring stuff. I would think you would want the genre not to be a deadend, and it has certainly the Beo-Romantic literature pummeled the Sonata genre into the ground,with Hindemith,Poulenc,Milhaud,Rorem.
Carter here directly wants a situation where he is dealing with timbre,timbre exposed in and by-itself rather than utilizing the already given expressive shapes of this genre,andto manipulate and explore the unique characteristics of the two instruments and set up a situation where the two can be developed along fairly interesting lines of complexity, opacity and communication if possible. He allows only certain intervals to appear in each part,as a way of fixing the field of play, giving the instruments like a shape of unique colour; for example the Violin is dominated,saturated with the intervals m2,M3,tritones,P5,M6 and m7th fairly resonant producing materials,with double stops; the piano is burdened with M2,m3,P4,also tritone,m6 and M7th, there is also a Fixed Octave scheme established in the first 83 measures of the work, the tones(beginning on the g below Middle C),g,a,c,d,eb,f,ab,b,c3,e,f#,g,a,c,d,eb,f,ab,b. The rhythmic utilizations as well plays a role in defining the characteristics of the instrument, so the Violin has more a soloistic demeanor,anarchic, free with tied over the bar tones, more asymmetrical units displayed, against the sometimes more predictable percussive piano.The piano is utilized very much as in the earlier :Sonata for Violoncello and Piano:,like a time keeper/retainer, a walking bass or Baroque Trio basso continuo. You really cannot say there is accompaniment here merely another part. Carter also morvelously utilizes differign arrays of articulations in the piano, something you will find later in his "Night Fantasies", and "90+" for piano solo.
The genre of the Violin and Piano is a well trodden, well reserfed for serious discourse in some respects, with Arnold Schoenberg's "Fantasy for Violin and Piano, one of the last works he wrote in the early Fifties.Also Milton Babbitt's "Joy of Sextetts", and "More Joy".The solo Violin genre as we travel past these times has not faired much better with Boulez's disappointing "Anthemes" utilzing antiphonal dimensions with very little to exploit or reveal or say, and Nono's weakest work of his innovative late period, the "Lontano. . . for two violins with also antiphonal handlings. ... Read more

Product Description
NY, Boosey, 1991 study score, 12mo 7.2 x 10.1 ins 10pp stapled wraps. ... Read more

Product Description
Grolier's Literary Annual -- essay-reviews of 100 outstanding books published in the United States in 1981 ... Read more

Product Description
Retracing is excerpted from Asko Concerto (2000). First performed by Peter Kolkay at Weill Recital Hall, New York, in 2002. Duration: 3 minutes. ... Read more

Product Description
Holiday Overture (1944/1961) ... Read more

Product Description
This digital document is an article from Southern Medical Journal, published by Southern Medical Association on February 1, 2004. The length of the article is 4232 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: Varied clinical presentations of Vibrio vulnificus infections: a report of four unusual cases and review of the literature.(Review Article)
Author: Ozlem Ulusarac
Publication: Southern Medical Journal (Refereed)
Date: February 1, 2004
Publisher: Southern Medical Association
Volume: 97Issue: 2Page: 163(6)

Distributed by Thomson Gale ... Read more

Product Description
Commissioned by Carnegie Hall, and first performed at Weill Recital Hall, New York, in 2000 by Kirill Gerstein. Recorded by Charles Rosen on Bridge Records, Winston Choi (l'empreinte digitale), and Ursula Oppens for the Carnegie Hall Millennium Piano Book (released as a book/CD by Boosey and Hawkes, 48002532). The set of two pieces contrasts between simultaneous musical ideas. 8 minutes. ... Read more

Customer Reviews (1)

nicely threadbare
Why are we still fascinated by Carter?, He keeps attracting attention, wherever you go, well in new music venues, I doubt if the rest of the globe cares who Carter is, so perhaps 200 afficianados in every city in the USA, less/more numbers of students, perhaps 1,000 music lovers on this planet admire Carter or even know his work on a sophisticated level, or on any level;Theodor Adorno would have said that his constituted forms carry the weight of history, the committment to shapes and spiraling polyrhythms, renders a truth(s) dimension to Carter, others simply might see the cold abstractedness of his music, I am somewheres in between,Yet "Two Diversions" is a nice threadbare piece,ricj=hly lyrical yet with anxiety.I prefer "90+" more expansive with miniature shapes; the first "diversion" is more resonant,beginning in dark penumbral reaches of the piano; with typical Carter ties across the bare-line,they recall Brahms, well romanticism lives in Carter maybe that's the conceptual hook he has cultivated, and gets everyone excited about.Did anyone ever relate to you their experiences withhearing Carter's music live? The second "Diversion is more contrapuntal, the excise of time, beginning with 12 Tone thinking,like the paradigm of "flatness" that came to painting; where time in music is displaced by how much, what gradations of affirmed intervals are or become spatialized over time; we only know the "meaning" of these intervals(again Adorno might ov-said) by how often they occur, or want to occur, but there are nice elegantly shaped places here, it is curious but the power of Carter's music in the mileau of after-post-modernity is that, his music only suggests what it is, there is history in it, but you seem to disregard that element, hearing Carter is like a nostalgia,or a melancholy for something no longer available or possible,like the time worn(encrusted) on the buildings of New York City, a time(moments) passed and not able to capture, only in the listening experience we have right now, once that recedes from memory nothing is left to contemplate. . . perhaps. . . You can find this in also in a nice collection(with her CD) instigated by Ursula Oppens for the Carnegie Endowment. . . ... Read more

Product Description
Written for the London Sinfonietta for Oliver Knussen's 50th birthday, and first performed by members of that ensemble in 2000 at Queen Elizabeth Hall, London. Recorded by Peter Kolkay, bassoon, and Maureen Gallagher, viola, on Bridge Records. The composer states: "The title of this piece was suggested by Arnold Schoenberg's short story 'To the Wharfs' in which he describes the mounting anxiety of the members of a French fishing village as the boats and the sea-bound fisherman failed to appear after a storm and several days' absence. When they were suddenly sighted all shouted 'to the wharfs, aux quais, O.K.'" 3 minutes. ... Read more

Product Description
Premiered in 2000 at Weill Recital Hall, New York, by Virgil Blackwell, and recorded by him on Bridge Records. The piece was composed for Blackwell. The composer states: "Its title comes from the fact that, unlike the other woodwind instruments, the clarinet overblows at the twelfth, a large interval that forms the basis of much of this composition." 3 minutes. ... Read more

Product Description
Written for two male voices and piano, four hands.Written by Pulitzer Prize Winner Elliott Carter for the Harvard Glee Club. ... Read more