Cheap Elliott Carter: Orchestral Songs; Complete Choral Music (Music) (Jan Opalach, Elliott Carter, Gregg Smith, Adirondack Chamber Orchestra, Edward Green, Jerald Stone, Mark Suttonsmith, Rosalind Rees) Price
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| ARTIST: | Jan Opalach, Elliott Carter, Gregg Smith, Adirondack Chamber Orchestra, Edward Green, Jerald Stone, Mark Suttonsmith, Rosalind Rees |
| CATEGORY: | Music |
| MANUFACTURER: | Composers Recordings |
| TYPE: | Secular Choral Music with Chamber Ensemble, Secular Choral Music for Male Voices, Classical, Classical Composers, Choral, Solo Voice(s) and Orchestra, Vocal, 20th/21st Century Music for Voice and Keyboard, Secular Choral Music for Female Voices, Secular Choral Music a cappella |
| MEDIA: | Audio CD |
| TRACKS: | Warble For Lilac-Time, Voyage, Three Poems of Robert Frost: Dust of Snow, Three Poems of Robert Frost: The Rose Family, Three Poems of Robert Frost: The Line-Gang, Tarantella, Emblems, The Harmony of Morning, Heart Not So Heavy As Mine, Musicians Wrestle Everywhere, To Music, The Defense Or Corinth |
| # OF MEDIA: | 1 |
| UPC: | 090438064828 |
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Customer Reviews of Elliott Carter: Orchestral Songs; Complete Choral Music
A perfect example of Carter's underrated early work. The pieces contained on this disc may well be among the most underrated in 20th Century American music. While the sound and performances on this disc leave a bit to be desired (when will Dawn Upshaw record the brilliant "Warble for Lilac Time" or "Voyage"?) this is still an entirely worthwile disc in that it contains nearly all of Carter's early vocal music. In addition, these are the arrangements for large ensembles. Recordings of some of these works arranged for soloist and piano are available, but the orchestral versions are more effective.
It is hard to understand why these pieces continue to be so little-known. They are very accessible, easily describe as beautiful--words not often associated with Carter's post-1948 output. Carter's early style more closely approximates Barber, or the neo-romanticism of Stravinsky than the starkly dissonant, incredibly complex music most listeners think of now as typical Carter. The intricacy of Carter's writing is still what sets it apart, though. This collection's most straightforwardly lyrical selection, "Voyage", is far more tightly woven, and less obvious than, say, Barber's "Knoxville:Summer of 1915". "Three Poems of Robert Frost" makes fresh, daring use of the guitar with soprano and orchestra. "Musicians Wrestle Everywhere" and "To Music" are masterworks for unaccompanied mixed choir. All the pieces mentioned thus far deserve a place in the standard repertoire of ensembles capable of playing them.
Whatever Carter's reasons for taking on the dramatic stylistic change that started with 1948's "Sonata for Cello and Piano" (which has produced plenty of great music), even Carter's own doubts about the worthiness of some of his early music will surely be overcome as audiences recognize the young genius captured in these stunning works.