Includes bibliographical references (pages 175-181) and index.
Contents:
Introduction. On the "Minnesota Workshop" Lectures -- Part I. Basic Needs for a Music Situation That Is Alive. On Artist's Originality ; On Music Tradition ; Composer's Own Training as a Criticism of the Society ; Composer as a Critic of Contemporary Music, Art, and the Audience ; The Historic Relation between the Public and the Music Profession ; Music as a Force of Communication ; The View of Twentieth-Century Music through the Present and the Past ; Composers as Critics of Their Own Works ; Toward "New Virtuosity" ; Toward Metric Virtuosity -- Part II. How to Live with the Musical Present. On Charles Ives ; Luigi Nono's Il canto sospeso ; On Pierre Boulez and Karlheinz Stockhausen ; On Edgard Varese ; On Krzysztof Penderecki ; What Is the Domain of Serious Music? A Case Study of Olivier Messiaen ; On Musical Thought -- Part III. The Symphony Orchestra: Relic of the Past or Active Force for New Music? Sociological Aspects of the Symphony Orchestra: State-Supported and Privately Funded Orchestras ; Techniques of Orchestration ; Pocahontas (1939) ; Holiday Overture (1944) ; Variations for Orchestra (1953-1955) -- Part IV. Can an Established Musical Form Like the Concerto Have Any Relevance Today? Contextualizing Piano Concertos ; J. S. Bach : Brandenburg Concerto No. 5 in D Major ; Mozart Piano Concerto No. 24 in C Minor, K. 491 ; Beethoven : Piano Concerto No. 4 in G Major ; Alexander Scriabin : Prometheus ; Igor Stravinsky : Concerto for Piano and Wind Instruments and Capriccio for Piano and Orchestra ; Bela Bartok : Piano Concerto No. 1 ; Elliott Carter : The Double Concerto (1959-1961) and Piano Concerto (1964-1965) ; Double Concerto for Harpsichord and Piano ; Piano Concerto (1964-1965).
Summary:
"These previously unpublished lectures by Elliott Carter date to the summer of 1967, when the acclaimed composer taught at the Contemporary Music Workshop held by the University of Minnesota. Leading an introductory course on orchestra repertoire, Carter gave nine hours of lectures covering principal topics like how to live with the musical present and whether the symphony orchestra was a relic of the past or a possible active force for new music. But Carter's observations and prompts by audience questions broadened the discussion into areas ranging from electronic music to analyses of works by other artists and himself. Laura Emmery presents the complete text from each session alongside introductions, commentary, and annotated examples that provide valuable context for readers. Expansive and essential, Elliott Carter Speaks opens up the artist's teaching and introspection to new contemporary perspectives on his thought and art"-- Provided by publisher.
This resource is supported by the Institute of Museum and Library Services under the provisions of the Library Services and Technology Act as administered by State Library of Iowa.