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Elliott Carter: Piano Concerto; Variations for Orchestra (1986)

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The Variations for Orchestra and the Piano Concerto belong to two different decades and stylistic periods. The Variations, commissioned by the Louisville Orchestra and written in Rome in 1954-55, are a summation of the works Carter wrote after the stylistic breakthrough of the Cello Sonata of 1948. Aaron Copland once remarked on Carter's wide knowledge of the music of his time; the Variations are a monumental synthesis of many different kinds of modern music (and in an overt way that Carter never again attempted). There are not only surface resemblances to Schoenberg and Berg, but there is also Carter's closest approach to serial technique. Charles Ives, who died while Carter was composing the work, is invoked explicitly in Variation 7, and Ives's technique of superimposition is the basis of the whole work's texture and form. Also present in the music are the spirit of Debussy, particularly of La Mer and Jeux; the rhythmic experiments of Conlon Nancarrow and Henry Cowell; jazz (variation 8); and even the rhetoric of the Great American Symphony of Harris, Copland, and Schuman. In addition to these many stylistic strands, Carter also attempted to use all possible variation techniques, including an array of canonic and contrapuntal devices—Variation 2, for instance, is a free mensuration canon in which the size of intervals varies along with the rhythmic values.

Tracklist

Piano Concerto (22:35)

1- I (10:05)

2- II (12:25)

Ursula Oppens Piano

George Hambrecht, flute

William Harrod, English horn

Thomas LeGrand, bass clarinet

Phillip Ruder, violin

Marna Street-Ramsey, viola

John Sharp, cello

Barry Green, bass

Variations for Orchestra (22:17)

3- Introduction-Theme-Variations 1-9-Finale

Cincinnati Symphony Orchestra

Michael Gielen Conductor

New World Records 80347

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