Customer Reviews

Elliott Carter: Eight Compositions

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Lloyd Schwartz, in his liner notes to Speculum Musicae's essential recordings of Carter's vocal works (Bridge 9014) writes of his early Frost settings that they are "like the early realistic drawings of a great abstract painter". It would be difficult to come up with a better analogy, not only for Carter's post-1950 compositions but for all works that have willfully surrendered any notion of conventional tonal centers. Tonality in this equation is the equivalent of the figurative in painting. Non tonal works are correspondingly abstract, like the paintings of Pollock or Motherwell: all figurative elements in such works are either accidental or part of a designated encounter of tonal and non tonal aspects (as in Maxwell Davies or the de Koonig of the 'women' series). Now, it is quite clear that, in music as in painting or even dance, there will a number of quite intelligent persons who will never accept the value of abstraction, who think abstract expressionism for instance so much tosh, a Greenbergian legerdemain concocted to brutally anchor american art in the history books as new, valid in its own right, not sub- par europeanism. And it is in fact unfortunate that such progressive art has too often been brandished as an ideological jackhammer, out to bring down the venerable Penn stations of the prevalent taste: this is what happens when true creativity gets ossified in academia. But for those who do not find abstraction anathema, who are as they say adventurous, it should be made clear that all the hyperbolic smoke surrounding Carter is not without fire. He may not be the greatest american composer just like Pollock is hardly the greatest american painter but there are brilliant things to discover here.
This however is not the disc to start with: it's well performed no doubt and the pieces are always interesting if not the best of Carter (except for the cello sonata). Just as it is not really possible to grasp Pollock's 'advance' without a knowledge of what preceded him (as in Kandinsky or the German expressionists: ie, how the figure gets progressively disintegrated and for what reasons) so with Carter (or Schoenberg for that matter) it is best to start with an earlier transitional work like his piano sonato of 1946. It's an astounding piece: Rosen does it well, Jacobs was great, but I favour Watson on Virgin because he choses to program it together with Copland's own monumental sonata and Barber's fighting romanticism. (all these were written in the 40s, an amazing decade for keyboard works: in addition to the above it is also when Dutilleux publishes his luminous and equally transitional sonata). After this, I would move to the cello sonata of '48 on Nonesuch (the better rendering) before taking a deep breath for the plunge into the mind boggling first quartet. (The Composers are the best on Nonesuch; they convey the excitement of discovery. The great Arditti is next and best all round. I find the later Juilliard plodding and too closely recorded for comfort: listen to the crisp page turning throughout). Then, you could turn to the superb Night Fantasies (by Rosen or Oppens) which echo Copland Night thoughts. From there, you're on your own but down forget the vocal pieces: Carter is the premiere reader of American poetry: in addition to Frost and Dickinson, he sets Bishop, Lowell, Ashbery, etc.

"If I didn't know better," says the reviewer below. He doesn't.

These are wonderful pieces. Carter's major works are for larger ensembles than the one, two, or three instruments of these pieces, but these exemplify what is possible for for just one or two instruments when the composer is as inventive as Carter. And far from expressing some late 20th-Century anxiety, most of the pieces are simply full of the joy of invention. To take just one example, Enchanted Preludes for Flute and Cello is marvellous, the deep resonant cello chasing the playful, mercurial flute, trying to emulate its lightness.

If you don't understand or appreciate modern music, stay away from Carter, sure, but don't condemn them out of ignorance. These are fine pieces by one of the great masters of our time.

Elliott Carter (b. 1908) is a composer whose music seems to inspire either love or hatred, with little in between. Carter started out studying with Nadia Boulanger in the 1930s, then wrote several years' worth of neo-Copland music before finally finding his own voice in the mid-1940s. Beginning with his Piano Sonata, Carter began writing in an exclusively atonal idiom, constructing works that are breathtaking in their complexity and integrity.

This is not music for the dilettantes who like to play Schubert like muzak when they are cleaning their house or chatting with friends. This is uncompromising, "serious" (often playfully so) music intended for listeners who approach it with the respect it deserves and with the willingness to spend the time required (however long that may be) to appreciate it. If you're looking for instant comprehension, look into [stuff] like "The World's Most Soothing Classical Album" and other corporate delights.

This is a truly invaluable collection, with important works culled from 45 years of Carter's creative development. The earliest work here was written when the composer was 40 and the latest when he was 85, but evident throughout is his daring, originality, extraordinary technique and adherence to his own creative vision. This is beautiful music by virtually any measure. The performances, mostly by the Group for Contemporary Music, are superb. This collection speaks for itself.

Milton Babbitt once asked, "Who cares if you listen?" The point of that notorious essay was that there is now more to music than Tchaikovsky, and that composers have an obligation to themselves and their art and not to close-minded, musically unlettered philistines. Though he wrote that essay in 1958, Babbitt's thesis is unfortunately still valid, as evidenced by the negative, dismissive reviews of Carter's music featured here. If you don't like it, don't listen to it; but don't attack the composer for being a fraud if you won't take the time to familiarize yourself with his music beyond a cursory listen.

This disc is full of some of the most interesting and beautiful compositions by one of American's greatest composers. Every piece is both delightful and challenging, and each rewards repeat listening. Some of these pieces needed some time for me to grow into them, but I very fond of all them now. Others I found to be terrific right away. You mileage may vary!

By the way, the performances are spectacular. It is difficult to imagine the possibility of performances with greater charm and commitment. The players believe in every note, and play it all with superb confidence and musicianship.

This disc is full of some of the most interesting and beautiful compositions by one of American's greatest composers. Every piece is both delightful and challenging, and each rewards repeat listening. Some of these pieces needed some time for me to grow into them, but I very fond of all them now. Others I found to be terrific right away. You mileage may vary!

By the way, the performances are spectacular. It is difficult to imagine the possibility of performances with greater charm and commitment. The players believe in every note, and play it all with superb confidence and musicianship.

In Julliard I had to brook my share of modernists (required, of course), some good, some awful. Carter, viewed overall, is an interesting composer, but these works show him in the worst possible light. The fact is: They are grating, obnoxious, of minimum invention or interest. Put me in a room with this CD on repeat for a few hours... and I'd even give up my virginity, had I to give it up, that is. (A minor Julliard joke.) Those immersed in modernism of this ilk will find this review abhorrent. That's tough. I've diddled around enough on my strad (I wish!) with composers like Carter, Danielpour, Maxwell-Davies, et. al., to know that this music will be forgotten long before Mozart ever will. Or Brahms. Or Bartok. Does Carter take us all for fools... or just some of us? This well is dry, my dears. Bone.

I happen to enjoy a goodly collection of so-called "modern" music of the twentieth century--- surely, I do have my likes and dislikes, as we all do. But there is a point where (as with the self-indulgent music of Danielpour, Rouse, Maxwell-Davies, et. al.) I simply draw the line, and no argument seems adequate enough to justify what I hear.

Such is the case with Carter's EIGHT PIECES. This is cacaphony, plain and simple. Squeaking, scratching, clawing. I don't need to have music like this to "impress" on me the "anxiety" produced by our anxiety-producing society. Besides, I think there are much better ways to produce the SAME results, emotionally, with music that is tonally and lyrically rich. Some composers come to mind: Arnold, Bax, Rubbra, Simpson, Blake, Lloyd, Moeran, Bridge.

These "compositions" prove, if anything, that Carter happened to be devoid of musical inspiration at that moment. [I won't hold it against him--- we ALL have our "moments."] But, had I only these pieces to judge him by, it would be an open and shut case, frankly. [However, I know that he has written some other music of worth; so, I'm dismissing these EIGHT PIECES as fragmented anomalies.]

Those of you into experimentation may well find these... curious. And that's just fine. As for me, if I never hear them again, it will be too soon.

There are some who might suggest that Elliott Carter's EIGHT COMPOSITIONS reflect the notion that such works mirror the tenuous, stressful and chaotic nature of "man in the latter part of the twentieth century," and as such are pieces completely representative of the "music of our time."

To my way of thinking, this is not music (our "time" or otherwise): it's musical notation of the most aggressive, argumentative, annoying and aurally irritating kind.

Each of the EIGHT COMPOSITIONS has its own uniquely obtuse quality or characteristic; luckily, though, with the exception of the Duo (1974) for Violin and Piano and the Sonata for Cello and Piano (1948), which run a seemingly endless 21:27 and 19:55, respectively, the remaining six COMPOSITIONS are mercifully brief. Frankly, I see no beauty in any of these pieces, no humanity, no depth, no insight, and no lyricism.

No. This is brutal, angry, confrontational stuff--- compositions that spark anxiety and discomfort. If I didn't know better, I might think these the random scribblings of a composer who was ineptly trying to impress by creating the most incomprehensible of modernistic utterings--- for effect.

Well, I'm not impressed.

[Running time: 78:39]

If only Carter would write electronic(ELEKTROACOUSMATIK, ELECTROINSTRUKTIVIST) music, instead of torturing those poor violins and violoncellos!(WHICH WERE DESIGNED TO PLAY TONAL MUSIC)....so much of this post-schoenbergian stuff just sounds "NAUGHTY" and "WRONGNOTE-EEE(K !)"...WHEREAS...my ear, at any rate, has a far greater tolerance for the conjunct/disjunct a-melodic spasms of so much current music(s) if elektronik sound generation is used..... unexpected AND UNLIMITED timbres carry no previous associations....so we can accept (AND WELCOME!)48-notes-to-the-octave-scales....as well as toilets flushing in counterpoint with wind chimes, buzzsaws, shakuhachis.......THE PERFORMANCES HERE ARE FULL-OF-FRIGHTENING-FABULOSITY!......AND, MAYBE IF I TAKE THE TIME TO LISTEN TO THIS CD 10 GAZILLION MORE TIMES, I'LL BEGIN TO ACTUALLY GET PLEASURE FROM IT(ALTHOUGH MUSIK/AS/PLEASURE IZ PROBABLY ANATHEMA TO CARTER AND HIS DISCIPLES....WHO PREFER "SERIOUS AND UNCOMPROMISING" STUFF!)...RANT RANT RANT..... yes I'm a composer too and write my share of self-referential elitist effusions.....but STRIVE TO juxtapose complexity with simplicity......without such contrasts, music becomes dry and lifeless.....look what happened to UNCLE IGOR......FIREBIRD/SACRE/PETTROUCHKA/LES NOCES/PULCINELLA/FAIRYS KISS/CAPRICCIO.....all masterpieces....AND THEN HE HAD TO GO INTERNATIONAL AND DILUTE HIS POWER BY WRITING FAKE-BACH AND PANDERING TO THE LIKES OF ROBERT CRAFT....WHO CONVINCED HIM TO BECOME AN ARNOLDWORSHIPPER.....BABBITT HAD THE RIGHT IDEA IN HIS SETTING OF JAMES JOYCES"WING AND A
PRAYER" FOR SOPRANO AND TAPE....A TRUE MEISTERPIECE.....THE ELEKTRONIK BLIP/BLEEPS PERFECTLY COMPLEMENT THE TEXT.....