
Sign up to save your podcasts
Or


At Carnegie Hall on today’s date in 2015, the Met Chamber Ensemble gave the posthumous premiere of a new work by American composer Elliott Carter, who died in November 2012, a month or so shy of what would have been his 104th birthday.
The debut of The American Sublime marked the last world premiere performance of Carter’s 75-year-long composing career.
Hearing Igor Stravinsky’s Rite of Spring at Carnegie Hall in the 1920s inspired Carter to become a composer. A high school teacher introduced him to Charles Ives, who became a mentor. By the mid-1930s, Carter was writing music in the “populist modern” style, à la Copland, but during a year spent in the Arizona desert in 1950, Carter finished his String Quartet No. 1 — 40 minutes of music uncompromising in both its technical difficulty and structural intricacy.
"That crazy long first quartet was played in Belgium," Carter recalled. "It was played over the radio, and I got a letter from a coal miner, in French, who said, 'I liked your piece. It's just like digging for coal.' He meant that it was hard and took effort."
Elliott Carter (1908-2012): Horn Concerto (2006); Martin Owen, fh; BBC Symphony; Oliver Knussen, cond. Bridge 9314
By American Public Media4.7
176176 ratings
At Carnegie Hall on today’s date in 2015, the Met Chamber Ensemble gave the posthumous premiere of a new work by American composer Elliott Carter, who died in November 2012, a month or so shy of what would have been his 104th birthday.
The debut of The American Sublime marked the last world premiere performance of Carter’s 75-year-long composing career.
Hearing Igor Stravinsky’s Rite of Spring at Carnegie Hall in the 1920s inspired Carter to become a composer. A high school teacher introduced him to Charles Ives, who became a mentor. By the mid-1930s, Carter was writing music in the “populist modern” style, à la Copland, but during a year spent in the Arizona desert in 1950, Carter finished his String Quartet No. 1 — 40 minutes of music uncompromising in both its technical difficulty and structural intricacy.
"That crazy long first quartet was played in Belgium," Carter recalled. "It was played over the radio, and I got a letter from a coal miner, in French, who said, 'I liked your piece. It's just like digging for coal.' He meant that it was hard and took effort."
Elliott Carter (1908-2012): Horn Concerto (2006); Martin Owen, fh; BBC Symphony; Oliver Knussen, cond. Bridge 9314

6,774 Listeners

38,890 Listeners

8,772 Listeners

9,216 Listeners

5,777 Listeners

928 Listeners

1,388 Listeners

1,287 Listeners

3,156 Listeners

1,975 Listeners

523 Listeners

183 Listeners

13,770 Listeners

3,082 Listeners

248 Listeners

28,116 Listeners

430 Listeners

5,467 Listeners

2,196 Listeners

14,146 Listeners

6,417 Listeners

2,513 Listeners

4,840 Listeners

575 Listeners

243 Listeners