Skip to main content Accessibility help
×
  1. Home
  2. Books
  3. Elliott Carter's String Quartet No. 1
  • Cited by 3
    • Video Abstract: Music Since 1945 : Elliott Carter’s String Quartet No. 1 -Files for Production:Laura Emmery
      • Show more authors
      • You may already have access via personal or institutional login
    • Select format
    • Publisher:
      Cambridge University Press
      Publication date:
      29 November 2024
      02 January 2025
      ISBN:
      9781009537124
      9781009537131
      9781009537148
      DOI:
      https://doi.org/10.1017/9781009537124
      Dimensions:
      (229 x 152 mm)
      Weight & Pages:
      0.27kg, 84 Pages
      Dimensions:
      (229 x 152 mm)
      Weight & Pages:
      0.136kg, 84 Pages
      • Subjects:
      Twentieth-Century and Contemporary Music, Music, Music: General Interest
      Series:
      Elements in Music since 1945
    You may already have access via personal or institutional login
    • Selected: Digital
    Add to cart View cart Buy from Cambridge.org
    Subjects:
    Twentieth-Century and Contemporary Music, Music, Music: General Interest
    Series:
    Elements in Music since 1945
    Information

    Book description

    This Element offers a critical analysis of the history of Elliott Carter's String Quartet No. 1 and the composer's rise to public acclaim, not through the study of the work itself but through intriguing and captivating narratives that surround this quartet and their socio-cultural-political context, which led Carter to become one of the most dominant voices in the post-1945 American music scene. Carter's road to success was meticulously paved by powerful institutions and individuals, including critics, scholars, festival and radio programming directors, and the US government, for whom, in the context of the Cold War, Carter was chosen to represent an exemplary American triumphant story. The author argues that it is not the quartet itself that contributed to Carter's reception and legacy, but the inextricable narratives that we associate with this work.

    References

    Bibliography

    Archival Sources

    Carter Collection, Elliott. Sketches for String Quartet No. 1 (1951). Library of Congress, Washington, DC. http://lcweb2.loc.gov/diglib/ihas/loc.natlib.ihas.200155638/default.html.
    Carter Papers, Elliott, 1945–95 [bulk 1980–95]. New York Public Library Archives and Manuscripts.
    The Elliott Carter Collection. Correspondence. Paul Sacher Stiftung, Basel, Switzerland.
    The Elliott Carter Collection Sketches for String Quartet No. 1 (1950–51). Paul Sacher Stiftung, Basel, Switzerland.
    The Elliott Carter Collection String Quartet No. 1, “Einführungstext” [Introduction]. Paul Sacher Stiftung, Basel, Switzerland.
    The Elliott Carter Collection “Time Lecture.” Paul Sacher Stiftung, Basel, Switzerland.

    Published Sources

    Adlington, Robert. 2020. “Curating Difference: Elliott Carter and Democracy.” In Finding Democracy in Music, ed. Adlington, Robert and Buch, Esteban, 80–100. London: Routledge.
    Altizer, Thomas J. J. 1997. The Self-Embodiment of God. San Francisco: Harper and Row.
    d’Amico, Fedele. 1954. “Current Chronicle.” The Musical Quarterly 40 (4): 587–94.
    [Ansari] Abrams, Emily. 2005. “Aaron Copland Meets Soviet Composers: A Television Special,” transcribed and introduced by Emily Abrams. In Aaron Copland and His World, ed. Oja, Carol J. and Tick, Judith, 379–92. Princeton: Princeton University Press.
    [Ansari] Abrams, Emily 2011. “Aaron Copland and the Politics of Cultural Diplomacy.” Journal of the Society for American Music 5 (3): 335–64.
    Barnhisel, Greg. 2015. Cold War Modernists: Art, Literature, and American Cultural Diplomacy. New York: Columbia University Press.
    Berger, Arthur. 1953. “Music: Composers.” Saturday Review, March 14: 17–18.
    Bernard, Jonathan W. 1988. “The Evolution of Elliott Carter’s Rhythmic Practice.” Perspectives of New Music 26 (2): 164–203.
    Bernard, Jonathan W. 1993. “Problems of Pitch Structure in Elliott Carter’s First and Second String Quartets.” Journal of Music Theory 37 (2): 231–66.
    Bernard, Jonathan W. 1995. “Elliott Carter and the Modern Meaning of Time.” The Musical Quarterly 79 (4): 644–82.
    Bernard, Jonathan W. 2009. “The String Quartets of Elliott Carter.” In Intimate Voices: The Twentieth-Century String Quartet, vol. 2, ed. Jones, Evan, 238–75. Rochester: University of Rochester Press.
    Bernard, Jonathan W., and Carter, Elliott. 1990. “An Interview with Elliott Carter.” Perspectives of New Music 28 (2): 180–214.
    Bose, Sudip. 2018. “A Year in the Desert: Elliott Carter and His Revolutionary First String Quartet.” The American Scholar, January 11. https://theamericanscholar.org/a-year-in-the-desert/.
    Boykan, Martin. 1964. “Elliott Carter and the Postwar Composers.” Perspectives of New Music 2 (2): 125–28.
    Brindle, Reginald Smith. 1954. “Notes from Abroad.” The Musical Times 95 (1336): 328–29.
    Brody, Martin. 2014a. “Class of ’54: Friendship and Ideology at the American Academy in Rome.” In Music and Musical Composition at the American Academy in Rome, ed. Brody, Martin, 222–54. Rochester: University of Rochester Press.
    Brody, Martin 2014b. “Cold War Genius: Music and Cultural Diplomacy at the American Academy in Rome.” In Crosscurrents: American and European Music in Interaction, 1900–2000, ed. Meyer, Felix, Oja, Carol J., Rathert, Wolfgang, and Shreffler, Anne, 375–87. Woodbridge: Boydell & Brewer.
    Bruhn, Siglind. 1997. Images and Ideas in Modern French Piano Music: The Extra-Musical Subtext in Piano Works by Ravel, Debussy, and Messiaen. Stuyvesant: Pendragon Press.
    Bruhn, Siglind 2000. Musical Ekphrasis: Composers Responding to Poetry and Painting. Hillsdale: Pendragon Press.
    Carr, Maureen A. 2014. After the Rite: Stravinsky’s Path to Neoclassicism (1914–1925). Oxford: Oxford University Press.
    Carter, Elliott. 1960. “Shop Talk by an American Composer.” The Musical Quarterly 46 (2): 189–201.
    Carter, Elliott 1997 (1939). “The Case of Mr. Ives.” In Elliott Carter: Collected Essays and Lectures, 1937–1997, ed. Bernard, Jonathan W., 87–90. Rochester: University of Rochester Press.
    Carter, Elliott 1997 (1944). “Ives Today: His Vision and Challenge.” In Elliott Carter: Collected Essays and Lectures, 1937–1997, ed. Bernard, Jonathan W., 90–93. Rochester: University of Rochester Press.
    Carter, Elliott 1997 (1946). “An American Destiny.” In Elliott Carter: Collected Essays and Lectures, 1937–1997, ed. Bernard, Jonathan W., 93–98. Rochester: University of Rochester Press.
    Carter, Elliott 1997 (1955). “The Rhythmic Basis of American Music.” In Elliott Carter: Collected Essays and Lectures, 1937–1997, ed. Bernard, Jonathan W., 57–62. Rochester: University of Rochester Press.
    Carter, Elliott 1997 (1963). “Letter from Europe.” In Elliott Carter: Collected Essays and Lectures, 1937–1997, ed. Bernard, Jonathan W., 31–40. Rochester: University of Rochester Press.
    Carter, Elliott 1997 (1965/94). “La Musique sérielle aujourd’hui.” In Elliott Carter: Collected Essays and Lectures, 1937–1997, ed. Bernard, Jonathan W., 17–18. Rochester: University of Rochester Press.
    Carter, Elliott 1997 (1967/94). “Soviet Music.” In Elliott Carter: Collected Essays and Lectures, 1937–1997, ed. Bernard, Jonathan W., 331–35. Rochester: University of Rochester Press.
    Carter, Elliott 1997 (1970). “String Quartets Nos. 1, 1951, and 2, 1959.” In Elliott Carter: Collected Essays and Lectures, 1937–1997, ed. Bernard, Jonathan W., 231–35. Rochester: University of Rochester Press.
    Carter, Elliott 1997 (1974). “Charles Ives Remembered.” In Elliott Carter: Collected Essays and Lectures, 1937–1997, ed. Bernard, Jonathan W., 98–107. Rochester: University of Rochester Press.
    Carter, Elliott 1997 (1975). “Documents of a Friendship with Ives.” In Elliott Carter: Collected Essays and Lectures, 1937–1997, ed. Bernard, Jonathan W., 107–18. Rochester: University of Rochester Press.
    Carter, Elliott 1997 (1976). “Music and the Time Screen.” In Elliott Carter: Collected Essays and Lectures, 1937–1997, ed. Bernard, Jonathan W., 262–80. Rochester: University of Rochester Press.
    Carter, Elliott, and Boretz, Benjamin. 1970. “Conversation with Elliott Carter.” Perspectives of New Music 8 (2): 1–22.
    Chou, Wen-Chung. 1966. “Varèse: A Sketch of the Man and His Music.” The Musical Quarterly 52 (2): 161–70.
    Cocteau, Jean, dir. 1930. Le Sang d’un poète. The Criterion Collection.
    Copland, Aaron, and Perlis, Vivian. 1984. Copland: 1900 through 1942. New York: St. Martin’s Press.
    Coroniti, Joseph A. Jr. 1989. “Scoring the ‘Absolute Rhythm’ of Williams Carlos Williams: Steve Reich’s ‘The Desert Music.’” William Carlos Williams Review 15 (2): 36–48.
    Coulembier, Klaas. 2012. “Elliott Carter’s Structural Polyrhythms in the 1970s: ‘A Mirror on Which to Dwell.’” Tempo 66 (261): 12–25.
    Crane, Hart. 1930. The Bridge. Paris: Black Sun Press.
    Edwards, Allen. 1972. Flawed Words and Stubborn Sounds: A Conversation with Elliott Carter. New York: W. W. Norton & Co.
    Eliot, T. S. 1922. The Waste Land. New York: Boni & Liveright.
    Emmery, Laura. 2013a. “An American Modernist: Teatime with Elliott Carter.” Tempo 67 (264): 22–29.
    Emmery, Laura 2013b. “Rhythmic Process in Elliott Carter’s Fourth String Quartet.” Mitteilungen der Paul Sacher Stiftung 26: 34–38.
    Emmery, Laura 2014. “Evolution and Process in Elliott Carter’s String Quartets.” Ph.D. diss., University of California, Santa Barbara.
    Emmery, Laura 2015. “In Disguise: Musical Borrowings in Elliott Carter’s Early String Quartets.” In Form and Process in Music, 1300–2014: An Analytical Sampler, ed. Boss, Jack, Holmquest, Heather, Knight, Russell, Thiebaut, Inés, and Yorgason, Brent, 125–46. Newcastle: Cambridge Scholars Publishing.
    Emmery, Laura 2019. “Elliott Carter’s First String Quartet: In Search of Proustian Time.” The Musical Quarterly 102 (4): 440–80.
    Emmery, Laura 2020. Compositional Process in Elliott Carter’s String Quartets: A Study in Sketches. New York: Routledge.
    Emmery, Laura 2022. Elliott Carter Speaks: Unpublished Lectures. Urbana: University of Illinois Press.
    Feldman, Morton. 2000 (1971). “Give My Regards to Eighth Street (1971).” In Give My Regards to Eighth Street: Collected Writings of Morton Feldman, ed. Friedman, B. H., 93–101. Cambridge, MA: Exact Change.
    Fiechtner, Helmuth A. 1954. “Tonkunst und Debatten beim Römischen Musikkongreß.” Österreichische Musikzeitschrift 9 (5): 159–60.
    Fosler-Lussier, Danielle. 2015. Music in America’s Cold War Diplomacy. Oakland: University of California Press.
    Frankel, Max. 1967. “Ex-Official of C.I.A. Lists Big Grants to Labor Aides.” New York Times, May 8, 1967: 1, 36. https://timesmachine.nytimes.com/timesmachine/1967/05/08/issue.html.
    Frankenstein, Alfred. 1956. “California String Quartet Offers Concert Eloquence.” San Francisco Chronicle, January 5, 1956: 25.
    Fox, Sylvan. 1967. “Stephen Spender Quits Encounter: British Poet Says Finding of C.I.A. Financing Led to His Leaving Magazine.” New York Times, May 8, 1967: 1, 37. https://timesmachine.nytimes.com/timesmachine/1967/05/08/issue.html.
    Gillespie, Don. 2009. “Chou Wen-Chung on Varèse: An Interview.” American Music 27 (4): 441–60.
    Goehr, Lydia. 2010. “How to Do More with Words: Two Views of (Musical) Ekphrasis.” The British Journal of Aesthetics 50 (4): 389–410.
    Goldman, Richard Franko. 1957. “The Music of Elliott Carter.” The Musical Quarterly 43 (2): 151–70.
    Guberman, Daniel. 2012. “Composing Freedom: Elliott Carter’s ‘Self-Reinvention’ and the Early Cold War.” Ph.D. diss., University of North Carolina at Chapel Hill.
    Guberman, Daniel. 2021. “Victory in Liège? Elliott Carter and the Diplomacy of International Competitions.” Elliott Carter Studies Online 4. https://studies.elliottcarter.org/volume04/01Guberman/01Guberman.html.
    Harris, Sarah Miller. 2016. The CIA and the Congress for Cultural Freedom in the Early Cold War: The Limits of Making Common Sense. New York: Routledge.
    Hilewicz, Orit. 2018. “Reciprocal Interpretations of Music and Painting: Representation Types in Schuller, Tan, and Davies after Paul Klee.” Music Theory Online 24 (3). https://mtosmt.org/issues/mto.18.24.3/mto.18.24.3.hilewicz.html.
    Holliger, Heinz. 1991. “Abseits des Mainstreams: Ein Gespräch mit dem Amerikanischen Komponisten Elliott Carter.” Neue Zeitschrift für Musik 152 (3): 4–9.
    Iber, Patrick. 2015. Neither Peace nor Freedom: The Cultural Cold War in Latin America. Cambridge, MA: Harvard University Press.
    Iber, Patrick. 2017. “The Spy Who Funded Me: Revisiting the Congress for Cultural Freedom.” Los Angeles Review of Books, June 11, 2017. https://lareviewofbooks.org/article/the-spy-who-funded-me-revisiting-the-congress-for-cultural-freedom/.
    Jasper, David. 2004. The Sacred Desert: Religion, Literature, Art, and Culture. Oxford: Blackwell Publishing.
    Jenkins, J. Daniel. 2010. “After the Harvest: Carter’s Fifth String Quartet and the Late Late Style.” Music Theory Online 16 (3).
    Kerman, Joseph. 1958. “American Music: The Columbia Series.” The Hudson Review 11 (3): 420–30.
    Klemm, David E. 2004. “Foreword.” In The Sacred Desert: Religion, Literature, Art, and Culture, Jasper, David, xi–xiv. Oxford: Blackwell Publishing.
    Koch, Martine. 2019. Louis Poulet & le concours international de quatuor à cordes de la ville de Liège: Composition–interpretation–lutherie (1951–1972), illustrated ed. Liège: Les éditions de la province de Liège.
    Kozinn, Allan. 2008. “A Century Has Passed; His Time Is Still Now.” New York Times, July 26, 2008. www.nytimes.com/2008/07/26/arts/music/26cont.html.
    Krutch, Joseph Wood. 1952. The Desert Year. New York: The Viking Press.
    Levy, Beth E. 2012. Frontier Figures: American Music and the Mythology of the American West. Berkeley: University of California Press.
    Link, John F. 1994. “Long-range Polyrhythms in Elliott Carter’s Recent Music.” Ph.D. diss., University of New York.
    Lochhead, Judy. 1994. “On the ‘Framing’ Music of Elliott Carter’s First String Quartet.” In Musical Transformation and Musical Intuition: Eleven Essays in Honor of David Lewin, ed. Atlas, Raphael and Cherlin, Michael, 179–98. Roxbury: Ovenbird Press.
    Lowney, John. 2004. “Reading the Borders of ‘The Desert Music.’” William Carlos Williams Review 24 (2): 61–77.
    Mailman, Joshua B. 2010. “Temporal Dynamic Form in Music: Atonal, Tonal, and Other.” Ph.D. diss., University of Rochester.
    Margulis, Elizabeth Hellmuth. 2011. “Empirical Approaches to Repetition in Music.” Paper presented at the Society for Music Theory, October 29, 2011, Minneapolis.
    Margulis, Elizabeth Hellmuth 2013. “Aesthetic Responses to Repetition in Unfamiliar Music.” Empirical Studies of the Arts 31 (1): 45–57.
    Margulis, Elizabeth Hellmuth 2014. On Repeat: How Music Plays the Mind. New York: Oxford University Press.
    Mattis, Olivia. 1992. “Varèse’s Multimedia Conception of ‘Déserts.’” The Musical Quarterly 76 (4): 557–83.
    Mead, Andrew 2012. “Time Management: Rhythm as a Formal Determinant in Certain Works of Elliott Carter.” In Elliott Carter Studies, ed. Boland, Marguerite and Link, John, 138–67. Cambridge, UK: Cambridge University Press.
    Mead, Rita H. 1981. Henry Cowell’s New Music, 1925–1936: The Society, the Music Editions, and the Recordings. Ann Arbor: UMI Research Press.
    Felix, Meyer, and Shreffler, Anne C.. 2008. Elliott Carter: A Centennial Portrait in Letters and Documents. Suffolk: The Boydell Press.
    Myers, Neil. 1970. “Williams’ Imitation of Nature in “The Desert Music.” Criticism 12 (1): 38–50.
    The Nation Editorial. 1964. “Foundations as ‘Fronts.’” The Nation, September 14, 1964: 102–3.
    Noubel, Max. 2000. Elliott Carter ou le temps fertile. Geneva: Éditions Contrechamps.
    Office of the Historian. n.d. “Marshall Plan, 1948.” The United States of America, Department of State. https://history.state.gov/milestones/1945-1952/marshall-plan.
    Oja, Carol J. 2000. Making Music Modern: New York in the 1920s. New York: Oxford University Press.
    Pascone, Tere. 1953. “Four Honors Fall to Elliott Carter, Southporters’ Son.” The Bridgepost Sunday. Accessed via the New York Public Library, Elliott Carter Papers archive.
    Perse, Saint-John. 1961. Winds, bilingual ed., trans. Chisholm, Hugh. New York: Pantheon Books.
    Ponthus, Marc, and Tang, Susan, eds. 2008. Elliott Carter: A Centennial Celebration. Festschrift Series 23. Hillsdale, NY: Pendragon Press.
    Poudrier, Ève. 2008. “Toward a General Theory of Polymeter: Polymetric Potential and Realization in Elliott Carter’s Solo and Chamber Instrumental Works after 1980.” Ph.D. diss., City University of New York.
    Proust, Marcel. 1981–82 (1913–27). Remembrance of Things Past, Vol. 1: Swann’s Way & Within a Budding Grove, trans. C. K. Scott Moncrieff and T. Kilmartin. New York: Random House, 1981. Vol. 2: The Guermantes Way & Cities of the Plain, trans. C. K. Scott Moncrieff and T. Kilmartin. New York: Random House, 1982. Vol. 3: The Captive, The Fugitive & Time Regained, trans. C. K. Scott Moncrieff, T. Kilmartin, and Andreas Mayor. New York: Random House, 1982.
    Rao, Nancy Yunhwa. 2014. “Allegro scorrevole in Carter’s Frist String Quartet: Crawford and the Ultramodern Inheritance.” Music Theory Spectrum 36 (2): 181–202.
    Rochberg, George. 1957. “Review, Elliott Carter: Quartet by Elliott Carter.” The Musical Quarterly 43 (1): 130–32.
    Rosen, Charles. 2011. “Music and the Cold War.” The New York Review of Books April 7, 2011. www.nybooks.com/articles/2011/04/07/music-and-cold-war/?pagination=false&printpage=true.
    Said, Edward W. 2001. “A Standing Civil War.” In Reflections on Exile and Other Literary and Cultural Essays, 31–40. London: Granta Books.
    Salzedo, Carlos. 2026. “Outward Shows.” Eolus 5 (2), May 1926.
    Saunders, Frances Stonor. 1999. “How the CIA Plotted against Us.” New Statesman, July 12, 1999. Last access July 8, 2024. https://web.archive.org/web/20141010045414/http://www.newstatesman.com/node/135185.
    Saunders, Frances Stonor 2000 (1999). Who Paid the Piper? The Cultural Cold War: The CIA and the World of Arts and Letters. London: Granta Books.
    Schiff, David. 1998 (1983). The Music of Elliott Carter, 2nd ed. London: Faber and Faber.
    Schiff, David 2018. Carter. New York: Oxford University Press.
    Schmidt, Dörte. 2012. “‘I Try to Write Music that Will Appeal to an Intelligent Listener’s Ear.’ On Elliott Carter’s String Quartets.” In Elliott Carter Studies, ed. Boland, Marguerite and Link, John, 168–89. Cambridge, UK: Cambridge University Press.
    Arnold, Schoenberg. 1950. “Brahms the Progressive (1947).” In Style and Idea, 52–101, New York: Philosophical Library, Inc.
    Arnold, Schoenberg 1960. “The Orchestral Variations, Op. 31: A Radio Talk.” The Score 27: 27–40.
    Arnold, Schoenberg 1975. “Composition with Twelve Tones (1) (1941).” In Style and Idea: Selected Writings of Arnold Schoenberg, ed. Stein, Leonard, trans. Leo Black, 214–45. London: Faber and Faber Limited.
    Arnold, Schoenberg 1975. “Schoenberg’s Tone-Rows (1936).” In Style and Idea: Selected Writings of Arnold Schoenberg, ed. Stein, Leonard, trans. Leo Black, 213–14. London: Faber and Faber Limited.
    Scott-Smith, Giles. 2002. The Politics of Apolitical Culture: The Congress for Cultural Freedom and the Political Economy of American Hegemony 1945–1955. London: Routledge.
    Sheehan, Neil. 1967. “A Student Group Concedes It Took Funds from C.I.A.” New York Times, February 14, 1967.
    Shreffler, Anne C. 1994. “Elliott Carter and His America.” Sonus 14 (2): 38–66.
    Shreffler, Anne C. 2000. “The Myth of Empirical Historiography: A Response to Joseph N. Straus.” The Musical Quarterly 84 (1): 30–39.
    Skulsky, Abraham. 1953. “Elliott Carter.” Bulletin of American Composers Alliance 3 (2): 2–11.
    Souriau, Étienne. 1966. La poésie française et la peinture. London: Athlone Press.
    Steinberg, Michael. 1954. “Rome Fete Hears 3 Chamber Works.” New York Times, April 13, 1954: 40.
    Straus, Joseph N. 1999. “The Myth of Serial ‘Tyranny’ in the 1950s and 1960s.” The Musical Quarterly 83 (3): 301–43.
    Taruskin, Richard. 2005. The Oxford History of Western Music, vol. 5: The Late Twentieth Century. Oxford: Oxford University Press.
    Taruskin, Richard 2009. “Afterword: Nicht blutbefleckt?” The Journal of Musicology 26 (2): 274–84.
    Thomson, Virgil. 2014. Music Chronicles, 1940–1954. New York: The Library of America.
    Thoreau, Henry David. 1893. “Walking.” In Excursions: The Writings of Henry David Thoreau, Riverside ed., 11 vols., vol. 9, 251–304. Boston: Houghton Miflin Company.
    Tynan, Aidan. 2020. The Desert in Modern Literature and Philosophy: Wasteland Aesthetics. Edinburgh: Edinburgh University Press.
    de Vries, Tity. 2012. “The 1967 Central Intelligence Agency Scandal: Catalyst in a Transforming Relationship between State and People.” The Journal of American History 98 (4): 1075–92.
    Wellens, Ian. 2016 (2002). Music on the Frontline: Nicolas Nabokov’s Struggle against Communism and Middlebrow Culture. London and New York: Routledge.
    Whitney, Joel. 2017. Finks: How the C.I.A. Tricked the World’s Best Writers. New York: OR Books.
    Wierzbicki, James. 2011. Elliott Carter. Urbana: University of Illinois Press.
    Wilford, Hugh. 2008. The Mighty Wurlitzer: How the CIA Played America. Cambridge, MA: Harvard University Press.
    Williams, William Carlos. 1954. The Desert Music and Other Poems by William Carlos Williams. New York: Random House.
    Wolf, Robert Erich. 1957. “Review [String Quartet, 1951, by Elliott Carter].” Notes 14 (2): 198–99.
    Zimmermann, Walter. 1976. Desert Plants: Conversations with 23 American Musicians. Vancouver: Walter Zimmermann and A.R.C. Publications.
    Zuckerman, Laurence. 2000. “How the C.I.A. Played Dirty Tricks with Culture.” New York Times, March 18, 2000. www.nytimes.com/2000/03/18/books/how-the-cia-played-dirty-tricks-with-culture.html.

    Discography

    Carter, Elliott. 1956. Elliott Carter String Quartet. The Walden Quartet of the University of Illinois: Homer Schmitt (violin I), Bernard Goodman (violin II), John Garvey (viola), Robert Swenson (cello). Columbia ML 5104.
    Carter, Elliott 1970. Elliott Carter: String Quartets Nos. 1 & 2. The Composers Quartet: Matthew Raimondi (violin I), Anahid Ajemian (violin II), Jean Dupouy (viola), Michael Rudiakov (cello). Nonesuch H 71249. Reissued on Elliott Carter: A Nonesuch Retrospective. Nonesuch 510893-2 (2009). Also issued as Elektra Nonesuch 71249-2 (CD) [after 1983].
    Carter, Elliott 1988. Elliott Carter: The Works for String Quartet, Volume 1: String Quartets 1 & 4. The Arditti String Quartet: Irvine Arditti (violin I), David Alberman (violin II), Levine Andrade (viola), Rohan De Saram (cello). Etcetera KTC 1065.
    Carter, Elliott 1991. Elliott Carter: The Four String Quartets; Duo for Violin and Piano. The Juilliard String Quartet: Robert Mann (violin I), Joel Smirnoff (violin II), Samuel Rhodes (viola), Joel Krosnick (cello); Christopher Oldfather (piano). Sony S2K 47229.
    Carter, Elliott 2008. Elliott Carter: String Quartets Nos. 1 & 5. Pacifica Quartet: Simin Ganatra (violin I), Sibbi Bernhardsson (violin II), Masumi Per Rostad (viola), Brandon Vamos (cello). Naxos 8.559362. Reissued on Elliott Carter: The Complete String Quartets; 100th Anniversary Release. Naxos 8.503225 (2010).
    Carter, Elliott 2014. Elliott Carter: The Five String Quartets. The Juilliard String Quartet: Robert Mann (violin I), Joel Smirnoff (violin II), Samuel Rhodes (viola), Joel Krosnick (cello). Quartets Nos. 1–4, reissue from Elliott Carter: The Four String Quartets; Duo for Violin and Piano (1991). Quartet 5: Joseph Lin (violin I), Ronald Copes (violin II), Samuel Rhodes (viola), Joel Krosnick (cello). Sony 8843-03383-2.

    Websites

    The Amphion Foundation, Inc. Elliott Carter. www.elliottcarter.com/.

    Metrics

    Altmetric attention score

    Full text views

    Total number of HTML views: 0
    Total number of PDF views: 0 *
    Loading metrics...

    Book summary page views

    Total views: 0 *
    Loading metrics...

    * Views captured on Cambridge Core between #date#. This data will be updated every 24 hours.

    Usage data cannot currently be displayed.

    Accessibility standard: Unknown

    Why this information is here

    This section outlines the accessibility features of this content - including support for screen readers, full keyboard navigation and high-contrast display options. This may not be relevant for you.

    Accessibility Information

    Accessibility compliance for the PDF of this book is currently unknown and may be updated in the future.