Carter, Elliott Cook, Jr.
metrical modulation,his most famous musical innovation. The pace of his composition increased in the 1980s and many of his late pieces often have lyrical elements despite their essentially dissonant nature. Highlights from an unusually long (he composed in ten decades) and prolific (he wrote more than 130 pieces) musical career include the ballet Pocahontas (1939), a piano sonata (1946), a cello sonata (1948), five string quartets (1951, 1958–59, 1973, 1986, 1995), Variations (1953–55) for orchestra, the Double Concerto for Harpsichord and Piano with Two Chamber Orchestras (1961), a piano concerto (1966), a concerto for orchestra (1969), A Mirror on Which to Dwell (1976) for soprano and nine players to poems by Elizabeth Bishop , Night Fantasies (1980) for piano, Changes (1983) for guitar, Adagio Tenebroso (1995) for orchestra, the opera What's Next? (1999), a cello concerto (2001) composed for Yo-Yo Ma , and 12 Short Epigrams (2012) for piano.
See J. W. Bernard, ed., Elliot Carter: Collected Essays and Lectures (1998) and N. Hopkins and J. F. Link, ed., Harmony Book (2002) biographical study by J. Wierzbicki (1998) D. Schiff, The Music of Elliot Carter (1983, rev. ed. 1998), F. Meyer and A. C. Shreffler, ed., Elliott Carter: A Centennial Portrait in Letters and Documents (2008), and M. Boland and J. F. Link, Elliot Carter Studies (2012) F. Scheffer, A Labyrinth in Time (documentary, 2004).
The Columbia Electronic Encyclopedia, 6th ed. Copyright © 2012, Columbia University Press. All rights reserved.
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