This book surveys the life and work of the great American composer Elliott Carter (1908–2012). It examines his formative, and often ambivalent, engagements with Charles Ives and other “ultra-modernists”, with the classicist ideas he encountered at Harvard and in his three years of study with Nadia Boulanger in Paris; and with the populism developed by his friends Aaron Copland and Marc Blitzstein in Depression-era New York, and the unique synthesis of modernist idioms that he began to develop in the late 1940s. The book re-groups the central phase of Carter’s career, from the Cello Sonata to Syringa in terms of Carter’s synthesis of European and American modernist idioms, or “neo-modernism,” and his complex relation to the European avant-garde. It devotes particular attention to the large number of instrumental and vocal works of Carter’s last two decades, including his only opera, What Next?, and a final legacy project: seven works for voice and large ensemble to poems by the founding generation of American modern poetry: e.e. cummings, T.S. Eliot, Marianne Moore, Ezra Pound, Wallace Stevens and William Carlos Williams.
Digitizing artist periodicals: new methodologies from the Digital Humanities for Analysing Artist Networks