The Music of Elliott Carter Vol. 7; Boston Concerto, Cello Concerto, ASKO Concerto, Dialogues

Elliott Carter (Composer), Oliver Knussen (Conductor), London Sinfonietta; BBC Symphony Orchestra; Asko Ensemble (Orchestra), Nicolas Hodges (piano); Fred Sherry (cello) (Performer) | Format: Audio CD

Product Details

• Performer: Nicolas Hodges (piano); Fred Sherry (cello)
• Orchestra: London Sinfonietta; BBC Symphony Orchestra; Asko Ensemble
• Conductor: Oliver Knussen
• Composer: Elliott Carter
• Audio CD (November 15, 2005)
• SPARS Code: DDD
• Number of Discs: 1
• Label: Bridge Records; Inc.
• ASIN: B000C6NO6E
• In-Print Editions: MP3 Download
• Average Customer Review: 4.8 out of 5 stars  See all reviews (5 customer reviews)
• Amazon Best Sellers Rank: #91,042 in Music (See Top 100 in Music)

Editorial Reviews

This highly anticipated recording, a Bridge co-production with the BBC, presents first recordings of four major Elliott Carter compositions, all composed within the past six years. Conducted by the distinguished British conductor, Oliver Knussen, these recordings tell the amazing tale of an American composer, well into his nineties, composing at the peak of his powers. Malcolm McDonald writes that “Carter is not far short of his own centenary, and continuing to produce highly complex, sophisticated scores with an energy that would hardly be conceivable even in a much younger man.” The composer traveled to London and Amsterdam to oversee the performance and recording of these four works. Dialogues for piano and chamber orchestra was a BBC Radio 3 commission for the brilliant young British pianist Nicolas Hodges and is scored for piano solo and a chamber orchestra comprising 18 instruments. Carter writes that “Dialogues is a conversation between the soloist and the orchestra: responding to each other, sometimes interrupting one another or arguing.” Hodges, Knussen and the London Sinfonietta give a reading of electrifying intensity. Boston Concerto was commissioned by the Boston Symphony Orchestra, and is based on a William Carlos Williams poem, “Rain”, a verse chosen to convey the composer’s enduring love for his wife Helen, the dedicatee of Boston Concerto. Describing the diaphanous textures of this work, Bayan Northcott writes of Boston Concerto that “despite occasional deep sonorities, the whole work has a kind of distanced lightness, seeming to hover in mid air.” Carter’s Cello Concerto is a twenty minute span introduced by the soloist alone, playing a cantilena that presents ideas later to be expanded into a series of linked movements. The concerto is played by long-time colleague and valued Carter interpreter Fred Sherry who, during the composition of the work, consulted with Carter about the finer details of the cello writing. Scored for a large orchestra that frequently plays with intimately drawn orchestral textures, the Cello Concerto was commissioned by the Chicago Symphony Orchestra and was first performed by the CSO with Yo Yo Ma, cello soloist and Daniel Barenboim, conductor. Carter completed the concise 12 minute Asko Concerto in January 2000 to a commission from the Asko Ensemble of Amsterdam and the recording on this disc is of its first performance in the Concertgebouw on April 26 of that year. The composer writes: “Although the music is in light-hearted mood, each soloistic section approaches ensemble playing in a different spirit.” Bridge has also just issued Volume Six of this series which features Rolf Schulte’s performance of Carter’s Violin Concerto (BRIDGE 9177).

Customer Reviews

Most Helpful Customer Reviews

29 of 30 people found the following review helpful:

5.0 out of 5 stars A Major Release, December 26, 2005

By 

Joe Barron (Philadelphia, Pennsylvania United States) - See all my reviews

This review is from: The Music of Elliott Carter Vol. 7; Boston Concerto, Cello Concerto, ASKO Concerto, Dialogues (Audio CD)

I've put off reviewing this CD, even though I've had it for a while, because when you like a recording as much I like this one, it's hard to find the right words. Suffice it to say this is the most exciting collection of Carter's music in years: four major works, including three first recordings, all completed since 2000, when the composer was well into his 90s, superbly played and impeccably engineered. The release was delayed for a number of reasons, most notably the illness last summer of Oliver Knussen and his well-known fastidiousness in editing. But it's here now, and Carterphiles should rejoice.

Critics and listeners have noted a newfound transparency in Carter's late music, and it is much in evidence here. As in the past, Mr. Carter separates the orchestra into smaller groups, but these days, he generally lets them speak one at a time, instead of having them talk over each other, as he does, say, in the Concerto for Orchestra and the Symphony of Three Orchestras. The 17-minute Boston Concerto provides a fine example of the approach. The work is a concerto grosso, with light tutti passages, which evoke the patter of rainfall, separating more sustained and substantial statements from various groups of instruments. Carter has spoken of the structure as resembling a club sandwich. It's all captivating, but the highlights for me are the beautiful sunset glow of the brass choir and an espressivo passage for violins and cellos that makes me wish Mr. Carter would write a string symphony.

The Dialogues for Piano and Chamber Orchestra is a worthy addition to the composer's impressive catalog of solo-instrument concerti, but the Cello Concerto is much more than that. It is stunning, and as fine a concerto as Mr. Carter has ever written. The Dialogues was written for Nicolas Hodges, who performs masterfully. The Cello Concerto was written for Yo-Yo Ma but is performed here by Fred Sherry, a longtime Carter associate who provided technical advice during the composition. He gives an assured reading with a strong tone and a lovely sense of the ever-unfolding line. I've heard Mr. Ma perform this concerto live, and - no disrespect intended - I don't miss him. Mr. Knussen's accompaniment in both works is sufficiently dramatic.

The ASKO Concerto, which concludes the disk, is the only work on the program that appears on another recording. As I said in my review of the other release, it is a good-humored and colorful little chamber symphony that packs a lot of incident into its 10-minute length. The witty instrumentation of the concerto sections includes a duo for violin and trumpet and a bassoon solo.

Bayan Northcott's succinct and comprehensible notes afford a helpful, play-by-play guide to the goings on.

7 of 9 people found the following review helpful:

5.0 out of 5 stars spectacular works from Elliott Carter!, February 12, 2006

By 

R. Hutchinson "autonomeus" (a world ruled by fossil fuels and fossil minds) - See all my reviews
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This review is from: The Music of Elliott Carter Vol. 7; Boston Concerto, Cello Concerto, ASKO Concerto, Dialogues (Audio CD)

Easily the record of the year 2005 in contemporary classical, this latest Bridge release presents four of Elliott Carter's latest compositions in superb performances and recordings. Another recording of the "ASKO Concerto" (2000 -- 10'38") was previously released on ECM along with the opera "What Next?" (see my review), but this is actually the first recording, a recording of the live premiere by the ASKO Ensemble on 4/26/00 at the Concertgebouw in Amsterdam. The other three works are also premiere recordings, but never before heard -- the piano concerto "Dialogues" (2003 -- 13'28"), the "Cello Concerto" (2001 -- 20'06"), and the "Boston Concerto" (2002 -- 16'54"). Nicolas Hodges plays piano, Fred Sherry plays cello, and Oliver Knussen conducts the BBC Symphony Orchestra, the London Sinfonietta and the ASKO Ensemble.

Excellent liner notes by Bayan Northcott provide insight into the works' contents. The booklet includes a great painting for the cover by Pavel Tchelitchew, apparently from Elliott Carter's collection, and several photos, including two of the composer and his late wife Helen to whom the "Boston Concerto" is dedicated. These are magnificent pieces at the highest level of sustained imagination, wit, and craft. This music of Elliott Carter makes no concessions to popular sensibilities, but it has the elegance, balance, drive and sparkle of Mozart.

Viva la Carter! Happy 97th!

4 of 5 people found the following review helpful:

5.0 out of 5 stars The masterpieces just keep coming!, February 24, 2006

By 

Tom Furgas (Youngstown, OH United States) - See all my reviews
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This review is from: The Music of Elliott Carter Vol. 7; Boston Concerto, Cello Concerto, ASKO Concerto, Dialogues (Audio CD)

All of these works, written between 2000 and 2003, are superb additions to Carter's flawless string of masterpieces. In fact Carter's "late period" may be his most fertile and beautiful of all. Of course, as we know, Carter was something of a "late bloomer", as he did not begin to produce works in his "mature style" (beginning with his String Quartet No. 1) until he was in his mid-40's. From that point he produced his complex music slowly (by neccessity) but as he has aged he has produced more and more great music, including short incidental chamber and solo works. The works on this superb CD are among his best ever. It is great to see an icon of 20th-century modernism bring his distinctive style intact into the 21st century. Don't wait for Yo Yo Ma to record the Cello Concerto...Fred Sherry's reading is matchless, understandable considering his long-standing association with Carter. Knussen brings all his intellectual rigor and warmth of soul to these works, imbueing them with color and vigor. The recording by Bridge is perfectly crystal clear and perfectly balanced.