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Elliott Carter (1908-2012) was the foremost composer of classical music in America during the second half of the 20th century. Over the course of a career that spanned seven decades, he consistently produced works that critics hailed as creatively daring, intellectually demanding, and emotionally complex. Distancing himself from the various "schools" and movements that grew and waned in popularity during the postwar era, Carter cultivated a deeply personal musical style that he developed and refined up until the very end of his life. This book of the composer springs from author David Schiff's life-long interest in Elliott Carter's music and his close personal connection with the composer which spanned over forty years. This critical overview of Carter's life and work explores aspects of the composer's life about which he was usually reticent--and occasionally misleading--such as his complicated relationships with Charles Ives, Aaron Copland, Nicolas Nabokov, and his own parents. Schiff's study of Carter's complete oeuvre--from his politically charged Depression-era ballets to the deeply personal and reflective late works--is based on extensive study of the composer's personal sketches and letters. Featuring an in-depth look at the legacy project of Carter's final decade, seven settings of American modernist poetry by E.E. Cummings, T.S. Eliot, Marianne Moore, Ezra Pound, Wallace Stevens and William Carlos Williams, this newest addition to the Master Musicians Series paints with a fine brush the story of America's foremost composer of the second half of the twentieth century.
An important extra in the book is a survey of Kostelanetz's career and on evaluation of his achievements, contributed by noted radio historian Dick O'Connor. A foreword by Barbara Haws, archivist and historian of the New York Philharmonic, completes this invaluable reference. --Book Jacket.
Did he ever play Hamlet? Has she worked in television? What was the title of his first novel? Under whom did she study? How many children has he? Answers to such questions about contemporary Canadian artists have often been difficult, even impossible, to find. This series has been created to provide the answers; it covers creative and performing artists who have contributed as individuals to the culture of Canada in the twentieth century. Each volume in the series presents a cross-section of many different kinds of artists: authors of imaginative works, artists and sculptors, musicians (performers, composers, conductors, and directors), and performing artists in ballet, modern dance, radio, theatre, television, and motion pictures; directors, designers, and producers in theatre, cinema, radio, television, and the dance; choreographers and, for cinema, cartoonists and animators. Within each category of art is included a selection of those who have achieved national and international recognition; those who have been recognized locally, and some, now deceased, who markedly influenced their contemporaries locally, nationally, or internationally. This is not a critical compilation; rather it is an objective and factual reference work for those interested in contemporary Canadian culture. Information was collected by painstaking research in a wide variety of sources, and wherever possible it has been verified by the artist to make each entry as accurate and comprehensive as possible.
This superbly authoratitive new work provides a comprehensive A-Z guide to some 1000 years of Western music. It explores in detail the lives and achievements of a vast range of composers, as well as looking at such key topics as music history (from medieval plainchant to contemporary minimalism), performers, theory and jargon. Throught Griffiths skilfully blends lightly worn scholarship with personal insight, whether examining the emotional colouring that different musical keys achieve or charting the rise and development of the symphony.
Daniels’ Orchestral Music is the gold standard for all orchestral professionals—from conductors, librarians, programmers, students, administrators, and publishers, to even instructors—seeking to research and plan an orchestral program, whether for a single concert or a full season. This sixth edition, celebrating the fiftieth anniversary of the original edition, has the largest increase in entries for a new edition of Orchestral Music: 65% more works (roughly 14,050 total) and 85% more composers (2,202 total) compared to the fifth edition. Composition details are gleaned from personal inspection of scores by orchestral conductors, making it a reliable one-stop resource for repertoire. Users will find all the familiar and useful features of the fifth edition as well as significant updates and corrections. Works are organized alphabetically by composer and title, containing information on duration, instrumentation, date of composition, publication, movements, and special accommodations if any. Individual appendices make it easy to browse works with chorus, solo voices, or solo instruments. Other appendices list orchestral works by instrumentation and duration, as well as works intended for youth concerts. Also included are significant anniversaries of composers, composer groups for thematic programming, a title index, an introduction to Nieweg charts, essential bibliography, internet sources, institutions and organizations, and a directory of publishers necessary for the orchestra professional. This trusted work used around the globe is a must-have for orchestral professionals, whether conductors or orchestra librarians, administrators involved in artistic planning, music students considering orchestral conducting, authors of program notes, publishers and music dealers, and instructors of conducting.