how<\/em> to execute each discrete accent. Three instances:<\/p>\n1. Exaggerating the [hw] and [w]\u2019s of the alliterative and onomatopoeic line \u201cWhere the winds were\u201d immediately evokes wind. Whether it is to be a breeze or a gale is at the discretion of the singer, fully informed by the musical materials that encircle that image.<\/p>\n
2. Carter highlights the anaphora of \u201cturning, \/ Turn\u201d by placing the second \u201cTurn\u201d one half-step above the first. The singer can further reinforce this by intensifying the articulation of [t], especially in the context of the soft dynamic specified in the score.<\/p>\n
3. Carter discloses his personal take on how the poem should be read through the sudden rhythmic diminution of the final two lines of the stanza. This coupled with the insertion of both a rest and a large intervallic drop between \u201cone\u201d and \u201cwind\u201d results in a rush of urgent questioning: \u201cor were we burning in the ONE\u2026 wind?\u201d Again, the alliteration of two [w]\u2019s appears, but this time requiring a decidedly different affect via both literal meaning and positioning as the final cadence of the stanza. The singer must adjust the energy and texture of those juicy consonants accordingly.<\/p>\n
This is but a slice of the rich world revealed by digging deeper into the sonic properties of text. Any singer who continually broadens her timbral palette can free herself of what might otherwise feel like a wooden adherence to objective time. The tightly wound rhythmic structures found in the music of Elliott Carter deserve to be complemented with the utmost creative investment in the oft-neglected parameter of timbre. In doing so, the myriad expressivity embedded in his musical language is unearthed. As in the words of John Hollander, set by Carter in Of Challenge and of Love<\/em>:<\/p>\nBut when true beauty does finally come crashing at us through the stretched paper of the picturesque, we can wonder how we had for so long been able to remain distracted from its absence.<\/p><\/blockquote>\n","protected":false},"excerpt":{"rendered":"
The crux of the matter in grasping Elliott Carter\u2019s difficult and satisfying music lies not in conquering its inherent and unavoidable technical issues. What\u2019s crucial is finding the broader context in which those challenges can be seen not as obstacles to successful performance, but rather as essential musical materials that upon close investigation reveal important information about the nature of Carter\u2019s music itself, its structure, aesthetic, and intent.<\/p>\n","protected":false},"author":1032,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"inline_featured_image":false,"_uf_show_specific_survey":0,"_uf_disable_surveys":false,"footnotes":""},"categories":[63,3],"tags":[2572,1956,2573,337,2574,2575],"nmb_categories":[6],"how_to_category":[],"nmb_tags":[],"internal_taxonomy":[],"acf":[],"aioseo_notices":[],"yoast_head":"\n
Digging Deeper: Singing the Music of Elliott Carter - New Music USA<\/title>\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\t \n\t \n\t \n