Elliott Carter - String Quartet No 3 with score (1971)
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- เผยแพร่เมื่อ 30 ก.ย. 2020
- Carter's 3rd quartet is dedicated to the Juilliard String Quartet, and was premiered in 1973. This quartet earned Carter his second Pulitzer Prize in Music in that same year.
The quartet is divided into a pair of duos, Duo I made up of the first violin and the cello, and Duo II made up of the second violin and viola. The two duos play in their own overlapping movements: distinct tempos, articulation, and material, neither coinciding with the other. The first duo is instructed to play rubato throughout its four movements, while the second plays in strict time in six movements. In addition, each movement is assigned a characteristic interval. The ten movements are not played continuously, but rather are fragmented and recombined, producing a total of 24 possible pairings of movements between the duos, as well as a solo statement of each movement. An additional coda brings the total number of sections to 35. The duos rarely synchronize and frequently clash in complex polyrhythms and dissonances.
Each duo uses a distinct interval class, dynamic range, phrasing, and bowing techniques per movement. The movements are:
Duo I:
1. Furioso (major seventh)
2. Leggerissimo (perfect fourth)
3. Andante espressivo (minor sixth)
4. Pizzicato giocoso (minor third)
Duo II:
1. Maestoso (perfect fifth)
2. Grazioso (minor seventh)
3. Pizzicato giusto, mechanico (tritone)
4. Scorrevole (minor second)
5. Largo tranquillo (major third)
6. Appassionato (major 6th)
Carter intended to achieve the effect of two distinct ensemble groups playing two pieces at once, clashing in sound. However, he stressed the importance of observing the combinations of sound between the two sound sources.
Performers: The Arditti Quartet - เพลง
![Elliott Carter - String Quartet No. 4 (1986) [with score]](http://i.ytimg.com/vi/bi0JwXruBig/mqdefault.jpg)
![Elliott Carter - String Quartet No. 4 (1986) [with score]](/img/tr.png)
I have been obssessed with this piece for almost 20 years now. I have listened to it literally hundreds of times. When I learnt Carter had died, I remember it felt like an uncle had died or something.
It took me a long time to get used to the idea of the world without him. I was in denial for weeks.
I was very lucky to tell him to his face on his hundredth birthday that I had loved his music since I was 13 years old when I discovered his Orchestral Variations. I was 58 at the time.
Im filled with joy to read these comments. I sometimes wonder if im the only one who regards EC as one of the greatest ever to have composed music.
@@davidhickey1182 Last tine I saw him was at his 103rd birthday concert.
Y@@stueystuey1962 Yes, it is rather an exclusive club, but we are out there.
A brawling masterpiece!
His five string quartets are a great achievement in the history of contemporary music.
It is a melody that makes me feel very stable.
My patient told me that having this as white noise in her padded room complemented her endless writhings in her straitjacket.
@@psijicassassin7166 I guess it's better than having the sound of nails on a chalkboard in there with her!
No part of this makes me feel stable at all but it speaks to the human soul and the inherent unease of life itself I think.
As a listener I believe I've mastered a few other Carter works but it took me almost 50 years to finally sit down and listen to this quartet in earnest. Worth the wait. OK folks: It’s a masterpiece.
Wow....that was....y'know....like....Gosh-n-Gollies! Whaaaa? Superb performance, BRAVI !
I was at the Premiere of this Quartet.
I've heard most of his music live and have records, cd's, many authographed. I used to live around the corner from him.
A True American, or should I say, New York Original!
Very American in style overall too. Lots of cues from The American Modernists I think.
une des oeuvres les plus fascinantes de carter , tout l expressionnisme abstrait y trouve une consonnance multiple , labyrinthique , souvent impénétrable , la magie de carter y scintille divinement
Without the score this might be difficult. Uploading it with the score is excellent and makes it more accessible because it isn't always clear acoustically which instrument is where in the ensemble. Brilliant performance! One wonders just how far the formal string quartet developed initially by Haydn can be taken! Note: developed! before somebody jumps.
A masterpiece. What a wonderful musician! Strong and poetic, deeply poetic also
What poetry?
@@conl130 sorry,I meant poetic
@@mirrors1 I don’t understand what’s poetic about the piece, I’m trying to understand atonal music
@@conl130 read XX century poet: E. E. Cummings, Allen Ginsberg, Borges and so on and then you will hear poetic music in non tonal music (please, don't use atonal, there isn't atonal music. Schoenberg said, not me and he was right)
My robot dog wagged its tail when I played it. Also, my patient told me that having this as white noise in her padded room complimented her endless writhings in her straitjacket.
I'm starting to grasp this quartet on a deeper level. The opening cacophony is so perfectly cacophonic. This guy is such a genius. Ty to and for the uploader for preparing with score. Now someone should split screen and one panel score, one panel live performers.🙄
The opening has got to be some of the most violent music for any ensemble I think I’ve ever heard. And then the contrasts not just between the two duos but the ensemble as a whole as the work progresses are dramatic, even gripping. There’s so much text on Carter’s methods and complexity and so little on what makes his music so listenable despite all its thorniness, and that’s how much each work seeks to amaze and delight the listener. Here, the stunning violence of the opening grabbed me and there was no letting go after that. And while I usually find the score a great aid to orienting myself with a complex atonal work, I’m simply carried along here without it-there’s always something of new aural interest emerging from the textures. May be my new favorite work of his!!!
Violence is not an untoward word in this context, especially those opening measures. However most readers might find it as such. I think it is more a lack of cadence and rhythm associated with voice and dialogue or perhaps more accurately, argument, as opposed to violence per se. Violence annihialates whereas this devolves from argument to discursive exposition. Once the opening confusion of cacophony passes the work becomes rather trance like with monologues as opposed to cacophony. In any event a work of art, the rendering of human voice in dialogue in a way not achieved before and probably since.
What kind of amazes me is that after only 20 to 30 listens all the way through how "easy" it is to follow the various lines and arcs of the different instruments. As if it were constructed by Beethoven or Brahms under fairly strict compositional principles.
Casting the relationship as only argument denies the overall antagonism between and within the duos. While formally all parts may be closely related, the impression is one of radical independence, and internal development rather than development in response to the other parts. Carter himself may have likened the different voices in his works to the different voices in a democracy, but when you consider the historical context for his remarks-The USA in the 1960s and 1970s-the disagreements in the US’s political arena were themselves violent and had dreadful violent consequences abroad. I’m not claiming this is the specific programmatic content of this or any of his works written during this time, but it’s hard to see how these conflicts could not have impinged upon the mind of any thoughtful creator in that time, and this is why this work is not only violent, but it conditions even the moments of relative quiet in this work.
I think in general Carter was looking for a form or forms to take the place of sonata form(s), to have an abstract form that could still have a dramatic or narrative arc. His solutions appears to be use rhythmic conflicts and progressions (what is usually called metric modulation, but which he said is better described as tempo modulation) in place of the harmonic structure of tonal sonata form. In this I think he was successful, but just as on the one hand he had to reach for some unusual formal resources, so on the other hand did it expand his expressive vocabulary to include the extremes the listener finds here.
Super good, thank you!
If listening to the opening of Stravinsky's Agon ballet, I can marvel at the resulting harmony. I cannot say the same for Carter's quartet.
Imagine not getting dresed up and hearing this on a program with Hadyn then Schumann or Brahms string quartets then intermission maybe something before this an Italian or Greek or eastern European who is rarely heard and then at end of programme this difficult for all involve . How do you even make decisions when you look at this score CLOSELY . GLEAN all you can . Is this music for listeners or just specialists . Scrivo e vento the concerto for orchestra many of the late orchestral pieces are easy to get turned onto and one will come back . This is memorable for being a lot of activity not as frenetic or crazed as Ferneyhough and others but still -unless one is adept at reading a score and contemporary ones at that -How Are You Spending This Time.Are there motifs repetitions one can actually note ,are there moments of contraction ,differenttextures etc. Does it signify ? Well ,I think it does signify to those it was meant for . Luv tos ee films of any of Carter's works the flute and violin concerto the sonata has become a favorite .He makes us all work as he did over 103 years ! Energy abounds ! He knew Ives as a young man and got advice and friendship and I think Ives sold insurance to his family ! Carter and the Pulitzers .who on the board can make sense or read this music .Perle? 1973,must find out who voted that year.Carter is our master .There are 5 string Quartets ! Amazing in itself that anyone can play this music ,frightfully busy and difficult string music ! Last 16 or 20 pages unbelievable exploding ,desperate sound. Just the last 5 pages would be enough for an ear and mind. If Im ever near where this is played Im getting tickets and bringing folks! Superhuman. Now what's the idea. Hope I can find Carter talking saw one vid here years ago when he was still living . Incredible!!! Does anything stick out as really memorable not just different or understandable compared to what surrunds it . Perhaps for the lucky specialists. Music education doesn't offer many answers I met eople with doctorate degrees in other areas even other artits (you'd think a painter would be the last to say that's just noise or I can do that esp. after they've been introducred to advanced stuff in their feild but it happens with those I meet all da time !
goldang
Im to the point where im mystified that he isn't widely regarded as one of the greatest composers ever. Time will tell. Ive listened for 30 plus years and the experience i enjoy grows and grows seemingly without bound. All one has to do is listen. Certainly i get it thatserial composition is notfor every one. How it is that Babbitt and Wuorinen have a larger audience is freakish.
Elliott Carter never wrote serial music or used any kind of 12-tone approach.
weird piece. but good
19:00
I simply don't have the mental processing speed to understand this. I'm good to about Prokofiev.
Based
Beethoven's leftovers after the Grosse Fugue?
Higher Math on Score Paper.
like horror movie music very cool
KFF
This means nothing to me. How it can conjure up any feelings other than bewilderment and distaste is a mystery. What am I missing here?
The beauty here th-cam.com/video/2s9fM0CDAQ4/w-d-xo.html
@@ContemporaryClassical Granted; but if I want something robustly dissonant, I'd prefer this: th-cam.com/video/nXuosS5DA6c/w-d-xo.html, or anything by Allan Pettersson. Polyrhythms or discordant harmony, but I can't take both at the same time!
It's fucking based. Sucks to be you.
One pathetic minimalist began to study this work, and the remnants of his brain died out
The rhythms in this piece are total meaningless bullshit, just complexity for the sake of complexity.
You do realise that if the rhythms were simpler, they would sound completely different, right?
@@ContemporaryClassical and it would change a lot of the rhythmic stresses.
That is a fundamentally contradictory statement it seems to me: complexity by definition cannot be meaningless nor bullshit.
@@MarcusHK1 The most ridiculous statement I have read today.
@@ContemporaryClassical Yes, that doesn't change the fact that most of the complexity seems like complexity for the sake of complexity. I'm talking from a performer's point of view, I have performed Carter's music and really, if you fake the rhythms and play only 60% of the pitches correctly it doesn't make much of an audible difference (at least to the majority of listeners).
The piece fails at what it sets out to do: to differentiate the two duos, especially when they are heard simultaneously. On the page it's clear. Not in performance. Apart from this, the harmony is undifferentiated for long periods.
That's not my perception at all. The duos always sound very distinct to my ears, without the score.
@@ContemporaryClassical Glad to hear it.
Could it be a playback artifact? On my (pretty low-fi) stereo, the separation is quite distinct. But I first listened to this through my TV which has almost no channel separation and I found it completely compelling.
@@channelnameintentionallyle1557 Yes, headphones are your friend with this piece.