Instrumental Dramaturgy as Humane Comedy What Next? by Elliott Carter and Paul Griffiths

2017 ◽  
pp. 473-497
Author(s):  
Anne C. Shreffler
Tempo ◽  
2000 ◽  
pp. 2-6 ◽  
Author(s):  
David Schiff

What next indeed! Since his 90th birthday in December 1998, Elliott Carter has turned out a stream of works that are as personal and inventive as ever – if not more so. In addition to significant miniatures for solo piano, solo violin and string quartet, Carter has written his first settings of Italian poems (Tempo e tempi), his first concerto grosso (Askö Concerto) and, most surprising of all, his first opera, What Next? with a libretto by Paul Griffiths. (And a Cello Concerto – for Yo-yo Ma – is well underway.)


2008 ◽  
Vol 2 (2-3) ◽  
pp. 293-315
Author(s):  
Diana Walsh Pasulka

A contemporary movement in Christian religious thought advocates for the recovery of pre-modern exegetical practices. Wesley Kort, Paul Griffiths, and Catherine Pickstock are among several theorists who support a return to pre-modern reading and writing practices as an answer to the crisis of modernity. In the context of scripture studies, the works of Kort, Griffiths, and Pickstock can be understood as examples of analyses that focus on the performative elements of scripture. Their stress on memorization, recitation, and reading reflect the influence of studies of the performative function of scriptures by Wilfred Cantwell Smith and William Graham. Kort, Griffiths, and Pickstock take this line of argument even further, by arguing that is it the very loss of scripture as performance that has inaugurated a loss of the sacred in modernity. This development thus tackles the philosophical issues at stake between secularism and theology and moves beyond the localized analysis of the meaning of specific scriptures. The following analysis places this development in an historical and philosophical context by revealing the theoretical precedents that each scholar draws upon, specifically the later writings of Martin Heidegger.


1990 ◽  
Vol 28 (2) ◽  
pp. 180 ◽  
Author(s):  
Jonathan W. Bernard ◽  
Elliott Carter
Keyword(s):  

Tempo ◽  
1988 ◽  
pp. 2-13 ◽  
Author(s):  
David Schiff

ApproachingHisEightiethBirthday, Elliott Carter has acquired a new fluency, as if composing had suddenly—finally—become easy. In his middle years Carter felt compelled to exhaust a musical vocabulary with each composition. Since the solo piano Night Fantasies of 1980, however, he has based a series of widely different works on similar premises: after years of ploughing through rocky soil it was now time for the harvest. As an overflow of this bounty Carter has produced a new (for him) genre: short occasional pieces of three to six minutes in duration. Along with the five major works composed since Night Fantasies, there are seven new short works for media ranging from solo violin to large orchestra. The inventiveness and high spirits of his recent music may call to mind those other wonders of a secondyouth, Falstaff and Agon.


Tempo ◽  
2013 ◽  
Vol 67 (265) ◽  
pp. 80-81
Author(s):  
Tim Mottershead

You're probably wondering why a violin concerto was given its UK première by the chamber ensemble Psappha? An informative programme note by Paul Griffiths for the 15 February concert revealed that Swedish composer Klas Torstensson (b. 1951) had in fact written a much longer, though still compactly scored, work in 2010 and had ‘squashed it down’ in length and further reduced the number of players. The work's full title is Pocket Size Violin Concerto – scored for soloist with unconducted accompaniment from piano, flute, and cello. Whilst compression of this kind is not uncommon in other branches of the arts, and concision is a noble artistic aim, one's fear was that such drastic pruning might have short-circuited the music's arguments. Happily this proved unfounded; and whilst the original half-hour's duration might have been pushing it a bit, the modified version (at a whisker under 17 minutes) seemed just about right.


2018 ◽  
pp. 233-246
Author(s):  
Brian Ferneyhough
Keyword(s):  

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