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61 results

Page 1 of 4

  • 4 - Rhythm and Form

  • from Part I - Context
  • John Link
  • Book:
    Elliott Carter's Late Music
    Published online:
    06 January 2022
    Print publication:
    27 January 2022, pp 77-92

  • Summary

    A study of Elliott Carter’s rhythm and rhythmic practice, including his use of pulse streams, speeds, metric modulation (tempo modulation), polyrhythms (cross-rhythms), coincidence points, and sectional forms.

  • 9 - A Free Society

  • from Part III - Instrumental Music
  • John Link
  • Book:
    Elliott Carter's Late Music
    Published online:
    06 January 2022
    Print publication:
    27 January 2022, pp 297-316

  • Summary

    A study of Elliott Carter’s compositions for large chamber ensemble from the period 1997-2011. Included are individual analytical essays on Luimen (1997), Asko Concerto (2000), Mosaic (2004), Tintinnabulation (2008), and Double Trio (2011).

  • 10 - Social Relations

  • from Part III - Instrumental Music
  • John Link
  • Book:
    Elliott Carter's Late Music
    Published online:
    06 January 2022
    Print publication:
    27 January 2022, pp 317-369

  • Summary

    A study of Elliott Carter’s chamber music compositions from the period 1995-2012. Included are individual analytical essays on String Quartet No. 5 (1995), Quintet for Piano and String Quartet (1997), Oboe Quartet (2001), Clarinet Quintet (2007), Nine by Five (2009), String Trio (2011), and Epigrams (2012).

  • 11 - Reflections

  • from Part III - Instrumental Music
  • John Link
  • Book:
    Elliott Carter's Late Music
    Published online:
    06 January 2022
    Print publication:
    27 January 2022, pp 370-439

  • Summary

    A study of Elliott Carter’s shorter instrumental compositions. Included are individual analytical essays on each of the six “Figments”; each of the five “Retracings”; each of the short piano pieces 90+ (1994), Two Diversions (1999), Retrouvailles (2000), Two Thoughts About the Piano (2005-06, including Intermittences and Caténaires), Tri-Tribute (2007-08, including Matribute, Fratribute, and Sistribute); the instrumental solos Shard (1997), 4 Lauds (1984/1999-2000, including Statement - Remembering Aaron, Riconoscenza per Goffredo Petrassi, Rhapsodic Musings, and Fantasy - Remembering Roger), Steep Steps (2001), HBHH (2007), and Mnemosyné (2011); the duos, trios, and quartets Two Fragments (1994/1999), Hiyoku (2001), Au Quai (2002), Call (2003), Elegy (1939, arr. 2007), Tre Duetti (2008-09), Trije Glasbeniki (2011), and Rigmarole (2011); and the ensemble pieces Sound Fields (2007), and Wind Rose (2008).

  • 7 - Illusions

  • from Part III - Instrumental Music
  • John Link
  • Book:
    Elliott Carter's Late Music
    Published online:
    06 January 2022
    Print publication:
    27 January 2022, pp 229-255

  • Summary

    A study of Elliott Carter’s compositions for orchestra from the period 2002-2012. Included are individual analytical essays on Boston Concerto (2002), Three Illusions for Orchestra (2002-04), Réflexions (2004), Soundings (2005), and Instances (2012)

  • 8 - Social Aspirations

  • from Part III - Instrumental Music
  • John Link
  • Book:
    Elliott Carter's Late Music
    Published online:
    06 January 2022
    Print publication:
    27 January 2022, pp 256-296

  • Summary

    A study of Elliott Carter’s concertos for solo instrument(s) and ensemble from 1996-2011. Included are individual analytical essays on Clarinet Concerto (1996), Cello Concerto (2000), Dialogues (2003), Horn Concerto (2006), Interventions (2007), Flute Concerto (2008), Concertino for Bass Clarinet and Chamber Orchestra (2009), Dialogues II (2010), and Two Controversies and a Conversation (2010-11)

  • Afterword

  • from Part III - Instrumental Music
  • John Link
  • Book:
    Elliott Carter's Late Music
    Published online:
    06 January 2022
    Print publication:
    27 January 2022, pp 440-443

  • Summary

    A summary of the book’s conclusions regarding Elliott Carter’s late music, on his fusing of technical and expressive concerns, the patterns of harmonic, rhythmic, and textural change in his music, and his engagement with modernist poetry and eighteenth- and nineteenth-century music, as well as the comic elements in his late compositions.

Page 1 of 4