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	Carter, Elliott Cook, Jr. - MSN Encarta
		Carter received his B.A. and M.A. degrees from Harvard University in 1930 and 1932, where he studied with American composer Walter Piston.
		Carter’s determination to avoid the classical approach to thematic development and to find ways of creating a fluid, changeable continuity within a composition led him to explore serialization—that is, the organization of pitch, rhythm, and harmony according to carefully determined patterns.
		Carter stresses the individuality of each instrument in his chamber ensembles, even specifying that the players be seated some distance apart.
	encarta.msn.com /encyclopedia_761578590/Carter_Elliott_Cook_Jr_.html (557 words)

	Elliott Carter - Wikipedia, the free encyclopedia
		Carter's earlier works are influenced by Stravinsky and Hindemith, and are mainly neoclassical in aesthetic.
		While Carter seems to set up rigorous systems for deriving the pitch content of a piece, he deviates from them on occasion: not every note can be explained with the same rigor as can be done, for example, in Webern.
		Carter's large mature works are usually built around gigantic polyrhythms, and his attempt to expand the notion of counterpoint to encompass simultaneous different characters, even entire movements, rather than just individual lines.
	en.wikipedia.org /wiki/Elliott_Carter (865 words)

	The String Quartets of Elliott Carter
		Given the style of Carter's previous works, it might have come as a surprise to the Quartet's first audiences that its musical language is not at all superficially 'American', in spite of the quotations from Charles Ives' Second Violin Sonata (in the first movement) and Conlon Nancarrow's First Study for Player Piano (in the last).
		With the adagio, we find the strongest premonition of Carter's later textural experiments: the quartet is regrouped as two duos, the lower instruments' impassioned recitative unable to ruffle the ethereal calm of the two violins' 'harmony of the spheres'.
		Here Carter is composing against the traditions of the genre - each instrument has a unique group of intervals and a typical mode of musical behaviour, the quartet being concerned with varying degrees of relationship between the four parts.
	www.davethehat.com /articles/carterquartets.htm (1724 words)

	Elliott Carter Biography
		Elliott Carter was educated at Harvard University, where he majored in classical studies and literature.
		Carter’s musical language begins to change in works such as his Sonata for Cello and Piano (1948), and a more definitive break with the past is heard in his remarkable First String Quartet (1951).
		Carter’s music is mercurial in its range and rate of mood and textural change; its counterpoint, the source of strange and wonderful combinations, is more often about clashes of opposition than it is about fields of harmonic concordance.
	www.contemporarycomposers.umn.edu /Biography.php (260 words)

	Elliott Carter
		The other Carter premiere was the marvelous ASKO Concerto, which he composed for the Dutch chamber orchestra ASKO and which it first performed last April.
		That program began with a rather tentative -- despite Carter's suggestions in rehearsal (lucky students to be working directly with the master) -- performance of his little fanfare for the 70th birthday of his BBC friend, William Glock, who died this past June.
		Like much of Carter, this music was inspired by a poem (he was an English major at Harvard): a translation of Richard Crashaw's 17th-century Latin "Bulla" ("The Bubble"), his ironic image for his own work.
	www.bostonphoenix.com /archive/music/00/08/24/ELLIOTT_CARTER.html (1232 words)

	John Link - The Composition of Elliott Carter's Night Fantasies
		The all-interval chords Carter eventually decided to use in Night Fantasies are all RI-invariant, which means that the RI form of a given chord is equal to the chord itself.[7] All such chords have a tritone in the central order position number six, and complementary intervals occupying complementary order positions (see example 4).
		Carter also notes the symmetry of the QI-invariant chords by writing the intervals of chord 1a vertically from low to high in the margin of the first staff paper page of the chord table and drawing lines connecting complementary intervals.
		Carter probably began this task before the draft score was finished due to the proximity of the first performance, which was given by Ursula Oppens at the Bath Festival in June, 1980.
	www.wpunj.edu /coac/music/link/sonus/sonuspaper.html (3763 words)

	Elliott Carter: Annotated Bibliography
		Carter cites Cowell's New Musical Resources (1930) as having "furnished me with many ideas." Carter was also familiar with Nancarrow's studies for player piano as evidenced by his work for the New Music Quarterly during the 1940s.
		Harvey challenges the view of Elliott Carter as a "cerebral" or "intellectual" composer claiming that though his music may be based on certain structured principles, the final sound and communicative power of the music was always primary.
		Though Carter did not align himself with the twelve-tone method of Schoenberg, which continued to be vigorously applied in the works of Carter's contemporaries such as Milton Babbit, his musical language freely embraced the chromatic collection.
	theory.music.indiana.edu /isaacso/t556/bibliographies/carter.html (1656 words)

	Elliott Carter
		Elliott Carter’s earliest works date from the late 1920s, so he is verging on his eightieth year as a composer – surely the longest creative life for a major composer in history.
		Carter’s music began to move away from populism and neoclassicism in the late 1940s.
		The major tempo-related innovation was Carter’s use of what has been called “metric modulation.” Music had long incorporated changes of meter or tempo within movements, but they tended to be abrupt: the old tempo or meter stopped, and then the new one began.
	www.musicacademyonline.com /composer/biographies.php?bid=100 (980 words)

	Elliott Carter at 95 by John Warnaby. (Site not responding. Last check: )
		Moreover, Elliott Carter is a phenomenon who was composing before Harrison Birtwistle and Peter Maxwell Davies were born, and who has been the United States' foremost composer for more than half a century.
		Elliott Carter was born on 11 December, 1908 into a business family; and it was through the business community that he met and received an informal music education from Charles Ives.
		Carter's First String Quartet was the product of a long period of self-imposed isolation, which he felt was necessary to avoid any form of distraction.
	www.musicweb.uk.net /SandH/2004/Jan-Apr04/carter95.htm (2279 words)

	MPR: Composer Elliott Carter is much admired but not easy to love
		The difficulty of Elliott Carter's music has led to criticism that it can be appreciated and understood only by academics and intellectuals.
		Elliott Carter himself argues much the same thing in the documentary film, "A Labyrinth of Time," which began the festival Tuesday night.
		Carter is scheduled to arrive in the Twin Cities on Thursday.
	minnesota.publicradio.org /display/web/2006/03/08/elliott_carter (1039 words)

	BBC - Radio 3 - Elliot Carter Interview
		Elliott Carter is America's leading composer, though as he insists, he is a composer who happens to be American.
		Born in 1908 Carter has been increasingly recognised as a master of closely worked, disciplined, often passionate, sometimes violent music which he is now composing with a growing facility.
		Elliott Carter, some 50 years ago in an essay you wrote, you said that everything is a problem for the composer.
	www.bbc.co.uk /radio3/johntusainterview/carter_transcript.shtml (5260 words)

	Elliott Carter: Annotated Bibliography
		Carter cites Cowell's New Musical Resources (1930) as having "furnished me with many ideas." Carter was also familiar with Nancarrow's studies for player piano as evidenced by his work for the New Music Quarterly during the 1940s.
		Harvey challenges the view of Elliott Carter as a "cerebral" or "intellectual" composer claiming that though his music may be based on certain structured principles, the final sound and communicative power of the music was always primary.
		Though Carter did not align himself with the twelve-tone method of Schoenberg, which continued to be vigorously applied in the works of Carter's contemporaries such as Milton Babbit, his musical language freely embraced the chromatic collection.
	www.music.indiana.edu /department/theory/isaacso/t556/bibliographies/carter.html (1656 words)

	Elliott Carter
		ELLIOTT CARTER "is one of America's most distinguished creative artists in any field," said Aaron Copland in nominating Mr.
		Carter was the subject of recent documentaries by London Weekend Television and the Netherlands Broadcasting Corporation.
		Carter was first honored by the Pulitzer committee in 1960 for his daring string quartet compositions, and was thereafter hailed by Stravinsky for his Double Concerto (1961) and his Piano Concerto (1967), both of which Stravinsky dubbed "masterpieces." His second Pulitzer Prize came in 1973 for String Quartet #3.
	www.sai-national.org /phil/composers/ecarter.html (252 words)

	INKPOT - Elliott Carter Holiday Overture Symphony No.1 Piano Concerto Mark Wait,piano, Nashville SO, Kenneth ...
		Carter’s decision was more an act of social consciousness than aesthetic taste, and one with which, deep down, he was definitely not comfortable – artistically or personally.
		While Carter’s works sometimes are frenzied and hard to follow, they can also be extremely rewarding once a listener becomes acclimatized to their language.
		An integral part of Carter’s musical language and structure is the layering within his works: level after level of musical discourse interacting on its own and reacting with one another.
	inkpot.com /classical/naxcarter.html (1065 words)

	Carter (Site not responding. Last check: )
		Carter: Of course I used to be very interested in jazz and pianists like Fats Waller and others and one of the things that struck me always about this was the music of that time was based on a regular beat that a drummer played or the double bass.
		Carter: Well, to tell the honest truth I try very hard to--I can't say I try very hard, but what I really want to do is to have something in the piece, in the new piece, that challenges me in a way that I haven't been challenged before.
		Carter: Well, you know, I suppose I have tone painting in a sense, and certainly in the symphony for three orchestras the picture of New York harbor and the gull flying over it suggested the very long trumpet solo which gradually fades and descends.
	www.dead.net /cavenweb/philzone/carter.html (4836 words)

	washingtonpost.com: Style Live: Music & Nightlife
		Elliott Cook Carter was born on Dec. 11, 1908, in New York, the privileged son of a lace importer.
		Carter studied at Harvard, where his teachers included Walter Piston, Edward Burlingame Hill and Gustav Holst (best known for his score "The Planets"), who was then a visiting professor of composition, and then went to study with Nadia Boulanger in Paris, as had Aaron Copland, Virgil Thomson and Piston.
		Carter won his first Pulitzer Prize in 1960 for this quartet (he would win yet another with his String Quartet No. 3 (hear a soundclip) in 1973).
	www.washingtonpost.com /wp-srv/style/music/features/carter0809.htm (2350 words)

	Elliott Carter, Composer
		Carter’s crowning achievement as an orchestral composer may be his 50-minute triptych Symphonia: sum fluxae pretium spei [ "I am the prize of flowing hope"], which received its first integral performance on April 25, 1998 with Oliver Knussen conducting the BBC Symphony Orchestra as part of the ISCM World Music Days in Manchester.
		A native of New York City, Carter has been compared as an artist to another New Yorker, Henry James, with whom he is seen to share multifaceted richness of vision and fastidiousness of craft based on intimate familiarity with Western (and in Carter's case, non-Western) artistic traditions.
		In 1987 the Paul Sacher Foundation moved to acquire all Carter's musical manuscripts, to be permanently maintained in a public archive in Basel alongside similarly comprehensive deposits of the manuscripts of Stravinsky, Boulez, Bartók, Hindemith, Strauss and other universally acknowledged 20th-century masters.
	www.collagenewmusic.org /carter.html (718 words)

	classical music - andante - helen jones carter, wife of elliott carter, is dead at age 95
		Helen Jones Carter, a former sculptor and the wife of American composer Elliott Carter, died of heart failure on 17 May at the couple's home in New York City, according to an announcement from Boosey and Hawkes, the composer's publisher.
		Carter was born in New Jersey and studied there and at the Art Students League of New York, after which she became active as a sculptor in the city.
		Helen Jones Carter was the dedicatee of Elliott Carter's Boston Concerto, which received its world premiere last month from the Boston Symphony under conductor Ingo Metzmacher.
	www.andante.com /article/article.cfm?id=20969 (254 words)

	MTO 6.1: Jenkins, Review of Schiff
		Carter has produced new pieces at an astonishing rate since then, and although Schiff has published supplementary articles in Tempo, College Music Symposium, and Ovation, a new survey of the composer's oeuvre was in order.
		Structural polyrhythms, which have possessed such an important role in Carter's compositional thought since 1980, are defined in the glossary and specific relationships are mentioned as they occur in particular pieces.
		The description of Carter's use of all-interval twelve-note chords, which pervade his late music, is somewhat cursory, and has been described in much greater detail by Andrew Mead and John Link.
	www.societymusictheory.org:16080 /mto/issues/mto.00.6.1/mto.00.6.1.jenkins.html (1456 words)

	An Old Master Still in Development - New York Times
		ELLIOTT CARTER, a celebrated figure on the international stage even before Georg Solti took his Variations for Orchestra to Europe with the Chicago Symphony in 1971, is the most respected and admired of American composers.
		Carter is a genial, mild-mannered and unassuming man, extraordinarily cultivated, with a deep interest in art and literature as well as the entire history of music.
		Elliott said he had never been to a live television show, nor had I, so we both went to be in the audience and watch Copland discuss baseball, to show he was a regular guy and not just an intellectual classical musician.
	www.nytimes.com /2007/12/09/arts/music/09rose.html?ex=1354856400&en=106afcb0516ced7b&ei=5088&partner=rssnyt&emc=rss (1067 words)

	Carter Centenary Home
		Elliott Carter is "One of America's most distinguished creative artists in any field" (Aaron Copland).
		Carter was initially encouraged to become a composer by Charles Ives who had sold insurance to his parents, later going on to study at Harvard with Walter Piston and in Paris with Nadia Boulanger.
		Carter’s late style is marked by transparency and clarity of texture, with a new directness of formal design.
	www.carter100.com (197 words)

	Guardian Unlimited Arts \| Arts features \| Interview: Andrew Clements meets composer Elliot Carter
		Elliott Carter is more than one of the most important composers of our time; he remains a vital link with a long-gone musical era.
		He may be the greatest composer the US has produced since Ives, but Carter's outlook has always been at least as much European as it is American, and it was audiences on this side of the Atlantic who first recognised the importance of his knotty, demanding music.
		Carter is a New Yorker: he was born there in 1908, and the city has remained his home throughout his life; he lives now in an apartment on the edge of Greenwich Village.
	arts.guardian.co.uk /features/story/0,11710,1676887,00.html?gusrc=rss (1005 words)

	Classical Net Article - Charles Rosen on Elliott Carter
		Carter never succumbed totally to the influence of Ives, and he was never even briefly to try serial composition.
		Carter constructed what he was later to call "an auditory scenario for the players to act out with their instruments."
		Carter was the first American composer outside the field of popular music to achieve his reputation not as a minor follower of a European school or as a provincial voice exploiting a purely native material.
	www.classical.net /music/comp.lst/articles/carter/rosen.php (732 words)

	Elliott Carter MP3 Downloads - Elliott Carter Music Downloads - Elliott Carter Music Videos - Elliott Carter Pictures - ...
		Some believe Elliott Carter to be the greatest American-born composer; no less an authority than Igor Stravinsky considered Carter's "Double Concerto" (1961) the first true American masterpiece.
		Carter's work is characterized largely by its rhythmic complexity, befitting a man who was a serious student of mathematics.
		Carter received many honors for his composition, including two Guggenheim fellowships (1945 and 1959), and the American Prix de Rome (1953).
	www.mp3.com /artist/elliott-carter/summary (459 words)

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