Cor anglais or English horn

Woodwind instrument
Classification	Woodwind Wind Aerophone
Hornbostel–Sachs classification	422.112-71 (Double reed aerophone with keys)
Developed	about 1720 from the oboe da caccia
Playing range
in F: sounds one fifth lower than written.
Related instruments
Piccolo oboe Oboe Oboe d'amore Oboe da caccia Bass oboe Heckelphone Contrabass oboe

The cor anglais (UK /ˌkɔr ˈɑːŋɡleɪ/ or US /ˌkɔr ɒŋˈɡleɪ/; French: [kɔʁ ɑ̃ɡlɛ]), or English horn (American English), is a double-reed woodwind instrument in the oboe family.

The cor anglais is a transposing instrument pitched in F, a perfect fifth lower than the oboe (a C instrument), and is consequently approximately one and a half times the length of the oboe. The fingering and playing technique used for the cor anglais are essentially the same as those of the oboe, and most oboists double on the cor anglais. Music for the cor anglais is thus written a perfect fifth higher than the instrument actually sounds. Because the cor anglais normally lacks the lowest B-flat of the oboe, its sounding range stretches from the E (written B natural) below middle C to the C two octaves above middle C.

Description and timbre[link]

Its pear-shaped bell gives it a more covered timbre than the oboe, closer in tonal quality to the oboe d'amore. Whereas the oboe is the soprano instrument of the oboe family, the cor anglais is generally regarded as the alto member of the family, and the oboe d'amore—pitched between the two in the key of A—as the mezzo-soprano member. The cor anglais is perceived to have a more mellow and plaintive tone than the oboe. Its appearance differs from the oboe in that the reed is attached to a slightly bent metal tube called the bocal, or crook, and the bell has a bulbous shape. It is also much longer.

Reeds used to play the cor anglais are similar to those used for an oboe, consisting of a piece of cane folded in two. While the cane on an oboe reed is mounted on a small metal tube (the staple) partially covered in cork, there is no such cork on a cor anglais reed, which fits directly on the bocal. The cane part of the reed is wider and longer than that of the oboe. Unlike American style oboe reeds, cor anglais reeds typically have wire at the base, approximately 5 millimeters from the top of the string used to attach the cane to the staple. This wire serves to hold the two blades of cane together and stabilize tone and pitch.

Perhaps the best known makers of modern instruments are the French firms of F. Lorée, Marigaux and Rigoutat, the British firm of T W Howarth, and the American firm Fox. Instruments from smaller makers, such as A. Laubin, are also sought after. Instruments are usually made from African Blackwood (aka Grenadilla), although some makers offer instruments in a choice of alternative woods as well, such as cocobolo (Howarth) or violet wood (Lorée), which are said to alter the voice of the cor anglais slightly, reputedly making it even more mellow and warmer. Fox has recently made some instruments in plastic resin.

History and etymology[link]

The term cor anglais is French for English horn, but the instrument is neither from England nor related to the (French) horn. The instrument originated in Silesia about 1720, when a bulb bell was fitted to a curved oboe da caccia-type body by the Weigel family of Breslau. The two-keyed, open-belled straight tenor oboe (in French called taille de hautbois, i.e., tenor oboe) and more especially the flare-belled oboe da caccia, resembled the horns played by angels in religious images of the Middle Ages and this gave rise in German-speaking central Europe to the Middle High German name engellisches Horn, meaning angelic horn. But engellisch also meant English in the vernacular of the time, and so the angelic horn became the English horn and—in the absence of any better alternative—retained the name for the curved, bulb-belled tenor oboe even after the oboe da caccia fell into disuse around 1760.^[1]

The earliest known orchestral part specifically for the English horn is in the Vienna version of Niccolò Jommelli's opera Ezio dating from 1749.^[2] Gluck and Haydn followed suit in the 1750s,^[3] and the first English horn concertos were written in the 1770s. Considering the name cor anglais, it is ironic that the instrument was not used in France until about 1800 or in England until the 1830s.^[3] The local equivalent for "English horn" is used in other European languages such as Italian, German and Spanish.

The name is sometimes incorrectly^{[citation needed]} said to derive from its original resemblance to the oboe da caccia, which was curved in shape and was thus supposedly called a cor anglé (bent horn), a name later corrupted to cor anglais. The cor anglais still has a bent metal pipe, known as the bocal, which connects the reed to the instrument proper. This, however, is a false etymology, as anglé does not mean angled in any language. The name first appeared on a regular basis in Italian, German and Austrian scores from 1749, usually in the Italian form corno inglese.

Repertoire[link]

Concertos[link]

Until the 20th century, there were few solo pieces for the instrument with a large ensemble. Important examples of such concertos and concertante works are:

• William Alwyn's Autumn Legend for English horn and string orchestra (1954)
• Emmanuel Chabrier's Lamento for English horn and orchestra (1875)
• Aaron Copland's Quiet City for trumpet, English horn, and string orchestra (1940) †
• Gaetano Donizetti's Concertino in G major (1816)
• Arthur Honegger's Concerto da camera for flute, English horn and string orchestra (1948)
• Gordon Jacob's Rhapsody for English Horn and Strings (1948)
• Aaron Jay Kernis' Colored Field (2000)
• James MacMillan's The World's Ransoming, for obbligato English horn and orchestra (1995–96)—part of the orchestral tryptich Triduum) (1995–97) †
• Walter Piston's Fantasy for English horn, harp and string orchestra (1952)
• Ned Rorem's Concerto for English Horn and Orchestra (1992)
• Jean Sibelius' The Swan of Tuonela (1893) †
• Pēteris Vasks' Concerto for English horn and orchestra (1989)
• Ermanno Wolf-Ferrari's Concertino in A-flat, op. 34 (1947)

† Though concertante in nature, these are just orchestral works featuring extensive solos, with the player seated within the orchestra

Chamber music[link]

Better known chamber music for English horn include:

• Ludwig van Beethoven's Trio for 2 oboes and English horn, Op. 87 (1795)
• Ludwig van Beethoven's Variations on "Là ci darem la mano", for 2 oboes and English horn, WoO 28 (1796)
• Elliott Carter's Pastoral for English horn (or viola, or clarinet) and piano (1940)
• Felix Draeseke's Little Suite for English horn and piano, Op. 87 (1911)
• Paul Hindemith's English Horn Sonata (1941)
• Charles Koechlin's Monody for English Horn, Op. 216, Nr. 11 (1947–1948)
• Wolfgang Amadeus Mozart's Adagio in F (or C) major, K 580a (Fragment, 1789) (Probably not an original piece for cor anglais^[4])
• Vincent Persichetti's Parable XV for Solo English Horn
• Igor Stravinsky's Pastorale for soprano and piano (1907), in the composer's own arrangements for soprano, oboe, English horn, clarinet, and bassoon (1923), and violin, oboe, English horn, clarinet, and bassoon (1933)
• Carlo Yvon's Sonata in F minor for English Horn (or Viola) and Piano (published ca. 1831), one of the few sonatas written during the Romantic era for this combination.

Solos in orchestral works[link]

The English horn's timbre makes it well suited to the performance of expressive, melancholic solos in orchestral works (including film scores) as well as operas. Famous examples are:

Opening motive from the 2nd movement (Largo) of Dvořák's Symphony No. 9, From the New World

• Vincenzo Bellini's Il Pirata (Act II: Introduzione) (1827)
• Hector Berlioz's Harold in Italy (1834)
• Hector Berlioz's Rob Roy Overture (1826)
• Hector Berlioz's Roman Carnival Overture (1844)
• Hector Berlioz's Symphonie fantastique (third movement) (1830)
• Alexander Borodin's In the Steppes of Central Asia (1880)
• Alexander Borodin's Polovetsian Dances from "Prince Igor" (1890)
• Claude Debussy's Nocturnes (1899) ("Nuages")
• Antonín Dvořák's Symphony No. 9 (1893), "From the New World" (Largo)
• César Franck's Symphony in D minor (1888) (2nd movement)
• Joseph Haydn's Symphony No. 22, The Philosopher (1764) (two English horns)
• Joseph Haydn's Divertimento in F for Two Violins, Two English Horns, Two Horns & Two Bassoons Hob. II: 6 (1760)
• Joseph Haydn's Divertimento in Eb, for Flute, Two English Horns, Bassoon, Two Horns, Two Violins & Bass Hob. II: 24 (Fragment-Ca. 1761)
• Zoltán Kodály's Summer Evening (1906)
• Gustav Mahler's Wenn dein Mütterlein from Kindertotenlieder (1905)
• Olivier Messiaen's L'ascension (1932–33) (2nd movement)
• Thea Musgrave's Phoenix Rising (1997)
• Basil Poledouris' Conan the Barbarian score – "Riddle of Steel" (1982)
• Gaetano Pugnani's Werther Melodrama in Two Parts, (Part II No. 21 Largo assai) (1790)
• Sergei Rachmaninoff's Symphonic Dances (1940)
• Sergei Rachmaninoff's The Bells (1913) (4th movement)
• Maurice Ravel's Piano Concerto in G (1931) (2nd movement)
• Maurice Ravel's Ballet Daphnis et Chloé (1912)
• Maurice Ravel's Rapsodie espagnole (1908)
• Alfred Reed's Russian Christmas Music (1944)
• Ottorino Respighi's Lauda per la Natività del Signore (1930)
• Ottorino Respighi's Pini di Roma (1924)
• Nikolai Rimsky-Korsakov's Capriccio Espagnol (1887) (2nd Movement)
• Nikolai Rimsky-Korsakov's Scheherazade Op. 35 (1888)
• Joaquín Rodrigo's Concierto de Aranjuez (1939) (2nd movement)
• Gioachino Rossini's William Tell Overture (1829)
• Howard Shore's The Lord of the Rings film trilogy (Film Score)
• Dmitri Shostakovich's Symphony No. 8 in C minor (1943) (1st movement)
• Dmitri Shostakovich's Symphony No. 10 in E minor (1953) (3rd movement)
• Dmitri Shostakovich's Symphony No. 11 in G minor (1957) (4th movement)
• Jean Sibelius' Karelia Suite (1893) and Pelléas et Mélisande (1905)
• Robert W. Smith's Symphony No. 2 "The Odyssey" (3rd Movement,"The Isle of Calypso")
• Richard Strauss' Ein Heldenleben (1898)
• Igor Stravinsky's The Rite of Spring (1913) Mainly in the Intro to Part I and the next-to-last dance in Part II, Ritual Action of the Ancestors
• Pyotr Ilyich Tchaikovsky's Romeo and Juliet Fantasy Overture (1870) (Love Theme, Exposition)
• Pyotr Ilyich Tchaikovsky's The Nutcracker (1892)
• Ralph Vaughan Williams's In the Fen Country (1904)
• Ralph Vaughan Williams's Symphony No. 2 (Vaughan Williams)"A London Symphony" (2nd Movement)
• Ralph Vaughan Williams's Symphony No. 5 in D Major (1943) (3rd Movement)
• Ralph Vaughan Williams's Symphony No. 6 in E Minor (1946–7) (2nd Movement)
• Richard Wagner's Tristan und Isolde (1859) (Act 3, Scene 1)
• John Williams' Harry Potter and the Philosopher's Stone (film) (film score) (2001)
• John Williams' Schindler's List (film score) (1993)

Use outside classical music[link]

Though primarily featured in classical music, the cor anglais has also been used by a few musicians as a jazz instrument; most prominent among these are Paul McCandless, Jean-Luc Fillon, Sonny Simmons, and Vinny Golia (see also Oboists performing primarily outside classical genres). The cor anglais figures in the instrumental arrangements of several Carpenters songs. It has made some appearances in pop music, such as in King Crimson's Dawn Song on their album Lizard, Lindisfarne's Run For Home, Randy Crawford's One Day I'll Fly Away, Tanita Tikaram's Twist in My Sobriety, Marianne Faithfull's As Tears Go By, and many (e.g., Judy Collins' and Barbra Streisand's) versions of Send in the Clowns. In Britain, Tony Hatch's theme tune to the long-running soap opera Emmerdale Farm was originally performed on the cor anglais. The cor anglais is also featured in the Lionel Richie and Diana Ross version of Endless Love, and in Elton John's Can You Feel the Love Tonight and Candle in the Wind 1997. The song A Mutual Friend by the band Wire from the album 154 uses a cor anglais.

Paul McCartney holds a cor anglais on the album cover of Sgt. Pepper's Lonely Hearts Club Band. The instrument also features in the 2005 film American Pie Presents: Band Camp (referred to as an oboe).

v t e Members of the oboe family Piccolo oboe Piccolo heckelphone Oboe Baroque oboe Oboe d'amore Cor anglais (English horn) Oboe da caccia Bass oboe Heckelphone Lupophon Contrabass oboe

References[link]

External links[link]

Wikisource has the text of the 1911 Encyclopædia Britannica article Cor anglais.

• Media related to Cor anglais at Wikimedia Commons
• English horn fingering guide

Giuliano Giuliani (born September 29, 1958 in Rome; died November 14, 1996 in Bologna) was an Italian professional football player.

He represented Italy at the 1988 Summer Olympics.

Honours[link]

• Serie A champion: 1989/90.
• UEFA Cup winner: 1988/89.

External links[link]

• Career summary by playerhistory.com

v t e Italy squad – 1988 Summer Olympics 1 Tacconi 2 Cravero 3 Carnevale 4 De Agostini 5 Ferrara 6 Tassotti 7 Colombo 8 Pellegrini 9 Brambati 10 Carobbi 11 Crippa 12 Giuliani 13 Virdis 14 Rizzitelli 15 Galia 16 Iachini 17 Desideri 18 Mauro 19 Evani 20 Pagliuca Coach: Rocca

This biographical article related to an Italian association football goalkeeper is a stub. You can help Wikipedia by expanding it. v t e

This biographical article needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (February 2010)

Pēteris Vasks (born 16 April 1946) is a Latvian composer.

Vasks was born in Aizpute, Latvia, into the family of a Baptist pastor. He trained as a violinist at the Jazeps Vitols Latvian Academy of Music, as a double-bass player with Vitautas Sereikaan at the Lithuanian Academy of Music and Theatre, and played in several Latvian orchestras before entering the State Conservatory in Vilnius in the neighboring Lithuania to study composition with Valentin Utkin, as he was prevented from doing this in Latvia due to Soviet repressive policy toward Baptists. He started to become known outside Latvia in the 1990s, when Gidon Kremer started championing his works and now is one of the most influential and praised European contemporary composers.

Vasks' early style owed much to the aleatoric experiments of Witold Lutosławski, Krzysztof Penderecki and George Crumb. Later works included elements of Latvian folk music, such as his gentle and pastoral cor anglais concerto (1989). His works are generally extremely clear and communicative, with a solid and muscular sense of harmony. Lyrical passages may be followed by agitated dissonances, or interrupted by sombre sections with a march-like feel. He made extensive use of minimalist techniques as well, but never became a slave to any particular method.

Vasks feels strongly about environmental issues, and a sense of nature both pristine and destroyed can be found in many of his works, such as the String Quartet No. 2 (1984). Other important works include Cantabile (1979) and Musica dolorosa (1984) and "Bass Trip" (2003) for solo double bass. He has written five string quartets, the fourth (2003) and fifth (2006) of which were written for the Kronos Quartet.

Vasks was the recipient of the Vienna Herder Prize of the Alfred Toepfer Foundation in 1996 and the Latvian Grand Music Award in 1997, the latter for his violin concerto Tālā Gaisma (1996-7). He received the Cannes Classic Award in 2004. His important works also include "Viatore", Symphony #2, "Music for a deceased Friend" et al.

Since 1994 he is an honorary member of the Latvian Academy of Sciences and in 2001 he became a member of the Royal Swedish Academy of Music. In 1996 he was main composer at the Stockholm New Music Festival and in 2006 composer-in-residence at the Presteigne Festival of Music and the Arts and the Vale of Glamorgan Festival in Wales.

In 2005 he received the Order of the White Star, 3rd Class.^[1]

References[link]

• "Peteris Vasks: Composer and Sinfonietta Riga deplore destruction" Kokafi article

External links[link]

• Profile at Schott Music website
• Latvian Web Page on Vasks in English
• Web Page on Vasks in English
• Ondine Records: Peteris Vasks
• orfile on Music.lv website
• Liner notes for Pater Noster performed by Latvian Radio Choir

Detail from the Statue of William Tell and his son in Altdorf, Switzerland (Richard Kissling, 1895)

William Tell (in the four languages of Switzerland: German: Wilhelm Tell; French: Guillaume Tell; Italian: Guglielmo Tell; Romansh: Guglielm Tell) is a folk hero of Switzerland. His legend is recorded in a late 15th-century Swiss chronicle.

It is set in the period of the original foundation of the Old Swiss Confederacy in the early 14th century. According to the legend, Tell — an expert marksman with the crossbow — assassinated Gessler, a tyrannical reeve of Habsburg Austria positioned in Altdorf, Uri.

Along with Arnold Winkelried, Tell is a central figure in Swiss patriotism as it was constructed during the Restoration of the Confederacy after the Napoleonic era.

The legend[link]

Tell's leap (Tellensprung) from the boat of his captors at the Axen cliffs 46°55′57″N 8°36′42″E / 46.9326°N 8.6118°E / 46.9326; 8.6118. Study by Ernst Stückelberg (1879) for his fresco at the Tellskapelle.

There are several accounts of the Tell legend. The earliest sources give an account of the apple-shot, Tell's escape and the ensuing rebellion. The assassination of Gessler is not mentioned in the Tellenlied, but is already present in the White Book of Sarnen account.

The legend as told by Tschudi (ca. 1570) goes as follows: William Tell, who originally came from Bürglen, was known as a strong man and an expert shot with the crossbow. In his time, the Habsburg emperors of Austria were seeking to dominate Uri. Albrecht (or Hermann) Gessler, the newly appointed Austrian Vogt of Altdorf, raised a pole in the village's central square, hung his hat on top of it, and demanded that all the townsfolk bow before the hat. On 18 November 1307, Tell visited Altdorf with his young son and passed by the hat, publicly refusing to bow to it, and so was arrested. Gessler — intrigued by Tell's famed marksmanship, yet resentful of his defiance — devised a cruel punishment: Tell and his son would be executed, but he could redeem his life by shooting an apple off the head of his son, Walter, in a single attempt. Tell split the apple with a bolt from his crossbow.^[1]

But Gessler noticed that Tell had removed two crossbow bolts from his quiver, not one. Before releasing Tell, he asked why. Tell replied that if he had killed his son, he would have used the second bolt on Gessler himself. Gessler was angered, and had Tell bound. He was brought to Gessler's ship to be taken to his castle at Küssnacht to spend his newly won life in a dungeon. But, as a storm broke on Lake Lucerne, the soldiers were afraid that their boat would founder, and unbound Tell to steer with all his famed strength. Tell made use of the opportunity to escape, leaping from the boat at the rocky site now known as the Tellsplatte ("Tell's slab") and memorialized by the Tellskapelle.

The Hohle Gasse between Immensee and Küssnacht

Tell ran cross-country to Küssnacht. As Gessler arrived, Tell assassinated him with the second crossbow bolt along a stretch of the road cut through the rock between Immensee and Küssnacht, now known as the Hohle Gasse.^[2] Tell's blow for liberty sparked a rebellion, in which he played a leading part. That fed the impetus for the nascent Swiss Confederation. He fought again against Austria in the 1315 Battle of Morgarten. Tschudi also has an account of Tell's death in 1354, according to which he was killed trying to save a child from drowning in the Schächenbach river in Uri.^[3]

Earliest mentions (15th century)[link]

The first reference to William Tell appears in the White Book of Sarnen (German: Weisses Buch von Sarnen). This volume was written in 1475 by a country scribe named Hans Schreiber. It makes mention of the Rütli oath (German: Rütlischwur) of 1291, the Burgenbruch and Tell's heroic deeds.^[4]

A roughly equally early account of Tell is found in the Tellenlied, a song composed during the 1470s, its oldest extant manuscript copy dating to 1501. This song begins with the Tell legend, which it presents as the origin of the Confederacy, calling Tell the "first confederate". The narrative presented includes Tell's apple-shot, his preparation of a second arrow to shoot Gessler in the event of his killing his son, and his escape, but it omits the assassination of Gessler. The text then goes on to enumerate the cantons of the Confederacy, and it was expanded with "current events" in the course of the Burgundy Wars, ending with the death of Charles the Bold in 1477.^[5]

Early Modern period[link]

Chronicles[link]

Depiction of the apple-shot scene in Sebastian Münster's Cosmographia (1554 edition).

Der Apfelschuss. Fresco by Ernst Stückelberg (1831–1903) in the Tellskapelle, Switzerland

Further reference to William Tell is found in Petermann Etterlin's Chronicle of the Swiss Confederation (German: Kronika von der loblichen Eydtgenossenschaft). Etterlin's 1507 chronicle is the earliest printed version of the Tell story.^[6]

An account of William Tell's deeds is also given in the chronicle of Melchior Russ from Lucerne. This book, which its author dates to 1482, is an incoherent compilation of older writings, including the Song of the Founding of the Confederation, Conrad Justinger's Bernese Chronicle, and the Chronicle of the State of Bern (in German, Chronik der Stadt Bern).^[7]

The version of the legend compiled by Aegidius Tschudi from Glarus in his monumental Chronicon Helveticum (ca. 1570) became the major model for later writers dealing with William Tell.^[8] Not only did Tschudi's chronicle become the main source for Johannes von Müller's History of the Swiss Confederation (German: Geschichte Schweizerischer Eidgenossenschaft, 1780), it also served as a model for Friedrich Schiller's play William Tell (1804).^[8] Tschudi is known to have manipulated documents.^[9]

Veneration[link]

A widespread veneration of Tell, including sight-seeing excursions to the scenes of his deeds, can be ascertained for the early 16th century. Heinrich Brennwald in the early 16th century mentions the chapel (Tellskapelle) on the site of Tell's leap from his captors' boat. Tschudi mentions a "holy cottage" (heilig hüslin) built on the site of Gessler's assassination. The church of Bürglen had a bell dedicated to Tell from 1581, and a nearby chapel has a fresco dated to 1582 showing Tell's death in the Schächenbach.^[10]

William Tell can be found in a Tell play (Tellspiel), whose first performance was probably in the winter of either 1512 or 1513 in Altdorf.^[7] The oldest existing written version of a Tell play is known as the Urner Tellspiel (The "Tell Play of Uri").^[11]

The Three Tells[link]

The Three Tells (die Drei Tellen, also die Drei Telle) were symbolic figures of the Swiss Peasant War of 1653. They expressed the hope of the subject population to repeat the success story of the rebellion against Habsburg in the early 14th century.

By the 18th century, the Drei Tellen had become associated with a sleeping hero legend. They were said to be asleep in a cave at the Rigi. The return of Tell in times of need was already foretold in the Tellenlied of 1653 and symbolically fulfilled in the impersonation of the Three Tells by costumed individuals, in one instance culminating in an actual assassination executed by these impersonators in historical costume.

Tell during the 16th century had become closely associated and eventually merged with the Rütlischwur legend, and the "Three Tells" represented the three conspirators or Eidgenossen Walter Fürst, Arnold von Melchtal and Werner Stauffacher.

In 1653, three men dressed in historical costume representing the Three Tells appeared in Schüpfheim. Other impersonations of the Three Tells also appeared in the Freie Ämter and in the Emmental.

The first impersonators of the Three Tells were Hans Zemp, Kaspar Unternährer of Schüpfheim and Ueli Dahinden of Hasle. They appeared at a number of important peasant conferences during the war, symbolizing the continuity of the present rebellion with the resistance movement against the Habsburg overlords at the origin of the Swiss Confederacy. Unternährer and Dahinden fled to the Entlebuch alps before the arrival of the troops of general Sebastian Peregrin Zwyers; Zemp escaped to the Alsace. After the suppression of the rebellion, the peasants voted for a tyrannicide, directly inspired by the Tell legend, attempting to kill the Lucerne Schultheiss Ulrich Dulliker. Dahinden and Unternährer returned in their roles of Tells, joined by Hans Stadelmann replacing Zemp. In an ambush, they managed to injure Dulliker and killed a member of the Lucerne parliament, Caspar Studer. The assassination attempt — an exceptional act in the culture of the Old Swiss Confederacy — was widely recognized and welcomed among the peasant population, but its impact was not sufficient to rekindle the rebellion. Even though it did not have any direct political effect, its symbolic value was considerable, placing the Lucerne authorities in the role of the tyrant (Habsburg and Gessler) and the peasant population in that of the freedom fighters (Tell). The Three Tells after the deed went to mass, still wearing their costumes, without being molested. Dahinden and Unternährer were eventually killed in October 1653 by Lucerne troops under Colonel Alphons von Sonnenberg. In July 1654, Zemp betrayed his successor Stadelmann in exchange for pardon and Stadelmann was executed on 15 July 1654.^[12]

The Three Tells appear in a 1672 comedy by Johann Caspar Weissenbach. The "sleeping hero" version of the Three Tells legend was published in Deutsche Sagen by the Brothers Grimm in 1816 (no. 298).

Reception 1789–1945[link]

This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (November 2011)

An allegorical Tell defeating the chimera of the French Revolution (1798)

Sketches of Gessler and Tell by Ernst Stückelberg (1880)

Official seal of the Helvetic Republic

Throughout the long nineteenth century, and into the World War II period, Tell was perceived as a symbol of rebellion against tyranny both in Switzerland and in Europe.

Antoine-Marin Lemierre wrote a play inspired by Tell in 1766 and revived it in 1786. The success of this work established the association of Tell as a fighter against tyranny with the history of the French revolution.

The French revolutionary fascination with Tell was reflected in Switzerland with the establishment of the Helvetic Republic. Tell became, as it were, the mascot of the short-lived republic, his figure being featured on its official seal. The French Navy also had a Tonnant class ship of the line named Guillaume Tell, which was captured by the British Royal Navy in 1800.

Johann Wolfgang von Goethe learned of the Tell saga during his travels through Switzerland between 1775 and 1795. He obtained a copy of Tschudi's chronicles and considered writing a play about Tell, but ultimately gave the idea to his friend Friedrich von Schiller, who in 1803–04 wrote the play Wilhelm Tell, first performed on March 17, 1804, in Weimar. Schiller's Tell is heavily inspired by the political events of the late 18th century, the French and American revolutions, in particular. Schiller's play was performed at Interlaken (the Tellspiele) in the summers of 1912 to 1914, 1931 to 1939 and every year since 1947. In 2004 it was first performed in Altdorf itself.

Gioachino Rossini used Schiller's play as the basis for his 1829 opera William Tell. The William Tell Overture is one of his best-known and most frequently imitated pieces of music; in the 20th Century, the "coda" of the Overture became the theme for the radio, television, and motion picture incarnations of The Lone Ranger, a fictional Western hero.

John Wilkes Booth, the assassin of Abraham Lincoln, was inspired by Tell. Lamenting the negative reaction to his action, Booth wrote in his journal on April 21, 1865 "with every man's hand against me, I am here in despair. And why; For doing what Brutus was honored for and what made Tell a Hero. And yet I for striking down a greater tyrant than they ever knew am looked upon as a common cutthroat."

Following a national competition, won by Richard Kissling, Altdorf in 1895 erected a monument to its hero. Kissling casts Tell as a peasant and man of the mountains, with strong features and muscular limbs. His powerful hand rests lovingly on the shoulder of little Walter, but the apple is not shown. The depiction is in marked contrast with that used by the Helvetic Republic, where Tell is shown as a landsknecht rather than a peasant, with a sword at his belt and a feathered hat, bending down to pick up his son who is still holding the apple.

The first film about Tell was made by French director Charles Pathé in 1900; only a short fragment survives.^{[citation needed]} A version of the legend was retold in P.G. Wodehouse's William Tell Told Again (1904), written in prose and verse with characteristic Wodehousian flair.

The design of the Federal 5 francs coin issued from 1922 features the bust of a generic "mountain shepherd" designed by Paul Burkard, but due to a similarity of the bust with Kissling's statue, in spite of the missing beard, it was immediately widely identified as Tell.

Adolf Hitler was enthusiastic about Schiller's play, quoting it in his Mein Kampf, and approving of a German/Swiss co-production of the play in which Hermann Göring's mistress Emmy Sonnemann appeared as Tell's wife. But on June 3, 1941, Hitler had the play banned. The reason for the ban is not known, but may been related to the failed assassination attempt in 1938 by young Swiss Maurice Bavaud^[13] (executed on May 14, 1941, and later dubbed "a new William Tell" by Rolf Hochhuth), or the subversive nature of the play.^[14][15] Hitler is reported to have exclaimed at a banquet in 1942: "Why did Schiller have to immortalize that Swiss sniper!"^[14]

Salvador Dalí painted The Old Age of William Tell and William Tell and Gradiva in 1931, and The Enigma of William Tell in 1933.

Charlie Chaplin parodies William Tell in his famous 1928 silent movie The Circus (film).

Reception after 1945[link]

Max Frisch in his "William Tell for Schools" deconstructed the legend, portraying the bailiff as a well-meaning administrator suffering from being placed in a barbaric back-corner of the empire, while Tell is a simpleton who stumbles into his adventure by a series of misunderstandings.^{[citation needed]}

Spanish playwright Alfonso Sastre re-worked the legend in 1955 in his "Guillermo Tell tiene los ojos tristes" (William Tell has sad eyes); it was not performed until the Franco regime in Spain ended.^{[citation needed]}

William Tell lives on as a hero in popular culture. He is still a powerful identification figure, and according to a 2004 survey, 60% of the Swiss believe that he existed.^[16]

Historicity debate[link]

François Guillimann, a statesman of Fribourg and later historian and advisor of the Habsburg Emperor Rudolph II, wrote to Melchior Goldast in 1607: "I followed popular belief by reporting certain details in my Swiss antiquities [published in 1598], but when I examine them closely the whole story seems to me to be pure fable."

In 1760, Simeon Uriel Freudenberger from Luzern anonymously published a tract arguing that the legend of Tell in all likelihood was based on the Danish saga of Palnatoki. A French edition of his book, written by Gottlieb Emmanuel von Haller (Guillaume Tell, Fable danoise), was burnt in Altdorf.^[17]

The skeptical view of Tell's existence remained very unpopular. Friedrich von Schiller used Tschudi's version as the basis for his play Wilhelm Tell in 1804, interpreting Tell as a glorified patriot assassin. This interpretation became very popular, especially in Switzerland, where the Tell figure was used in the early 19th century as a "national hero" and identification figure in the Helvetic Republic, and later in the beginnings of the Schweizerische Eidgenossenschaft, the modern democratic federal state that developed. When historian Joseph Eutych Kopp dared to question the legend in the 1830s, his effigy was burnt on the Rütli, a meadow above Lake Lucerne where — according to the legend — the oath was sworn that concluded the alliance between the founding cantons of the Swiss confederacy.

Historians continued to argue over the saga until well into the 20th century. In 1891 Wilhelm Öchsli published a scientific account of the founding of the confederacy (commissioned by the government for the celebration of the first National holiday of Switzerland on August 1, 1891), dismissing the story as fiction. Still, 50 years later in 1941, when Tell had again become a national identification figure, historian Karl Meyer tried to tie the saga's events to known places and events. Modern historians generally regard the saga to be fiction, since neither Tell's nor Gessler's existence can be proven. The legend also tells of a Burgenbruch, a coordinated uprising including the slighting of many forts; however, archeological evidence shows that many of these forts were abandoned and destroyed long before 1307–1308.

A possible historical basis of the legend was suggested by Arnold Schärer in 1986. He identified a Wilhelm Gorkeit of Tellikon (modern Dällikon in the Canton of Zurich) as the real William Tell. "Gorkeit", he claimed, was a version of the surname Armbruster (crossbow maker). Historians were not convinced, but the theory was once referred to by Rudolf Keller, at the time president of the nationalistic right Swiss Democrats, on 1 August 2004 in Basel.^[18]

Comparative mythology[link]

The Tell legend has been compared to a number of other myths or legends, specifically in Norse mythology, involving a magical marksman coming to the aid of a suppressed people under the sway of a tyrant. The story of a great hero successfully shooting an apple from his child's head is an archetype present in the story of Egil in the Thidreks saga (associated with the god Ullr in Eddaic tradition) as well as in the stories of Adam Bell from England, Palnatoki from Denmark and a story from Holstein.

Such parallels were pointed out as early as 1760 by Gottlieb Emmanuel von Haller and the pastor Simeon Uriel Freudenberger in a short leaflet with the title William Tell, a Danish Fable (German: Der Wilhelm Tell, ein dänisches Mährgen).^[19]

Rochholz (1877) connects the similarity of the Tell legend to the stories of Egil and Palnatoki with the legends of a migration from Sweden to Switzerland during the Middle Ages. He also adduces parallels in folktales among the Finns and the Lapps (Sami). From pre-Christian Norse mythology, Rochholz compares Ullr, who bears the epithet of Boga-As ("bow-god"), Heimdall and also Odin himself, who according to the Gesta Danorum (Book 1, chapter 8.16) assisted Haddingus by shooting ten bolts from a crossbow in one shot, killing as many foes. Rochholz further compares Indo-European and oriental traditions and concludes (pp. 35–41) that the legend of the master marksman shooting an apple (or similar small target) was known outside the Germanic sphere (Germany, Scandinavia, England) and the adjacent regions (Finland and the Baltic) in India, Arabia, Persia and the Balkans (Serbia).

The Danish legend of Palnatoki, first attested in the twelfth-century Gesta Danorum by Saxo Grammaticus.^[20] is the earliest known parallel to the Tell legend. As with William Tell, Palnatoki is forced by the ruler, (in this case King Harald Bluetooth), to shoot an apple off his son's head as proof of his marksmanship.^[21] A striking similarity between William Tell and Palnatoki is that both heroes take more than one arrow out of their quiver.^[20] When asked why he pulled several arrows out of his quiver, Palnatoki, too, replies that if he had struck his son with the first arrow, he would have shot King Harald with the remaining two arrows.^[20]

See also[link]

• Historiography of Switzerland
• Robin Hood
• William Wallace
• Arnold Winkelried

Notes[link]

References[link]

• Bergier, Jean-François. Wilhelm Tell: Realität und Mythos. München: Paul List Verlag, 1990.
• Fiske, John. Myths and Myth-Makers: Old Tales and Superstitions Interpreted by Comparative Mythology, 1877. Ch. 1: (On-line) Quotes Saxo Grammaticus, the ballad of William of Cloudeslee, and instances other independent occurrences.
• Head, Randolph C. "William Tell and His Comrades: Association and Fraternity in the Propaganda of Fifteenth- and Sixteenth-Century Switzerland." in The Journal of Modern History 67.3 (1995): 527–557.
• Keightley, Thomas. Tales and Popular Fictions: Their Resemblance and Transmission from Country to Country. London: Whittaker, 1834.
• Öchsli, W. Die Anfänge der Schweizerischen Eidgenossenschaft. Zürich, 1891.
• Rochholz, Ernst Ludwig, Tell und Gessler in Sage und Geschichte. Nach urkundlichen Quellen, Heilbronn, 1877 (online copy).
• Salis, J.-R. v.: Ursprung, Gestalt, und Wirkung des schweizerischen Mythos von Tell; Bern, 1973.
• Schärer, Arnold Claudio, Und es gab Tell doch, Lucerne, 1986, ISBN 3-85725-106-9, OCLC 19264018.

External links[link]

Wikimedia Commons has media related to: William Tell

Wikisource has the text of the 1911 Encyclopædia Britannica article Tell, William.

• Wilhelm Tell Festival, New Glarus
• William Tell, Swissinfo special
• The Legend of William Tell by Markus Jud.
• The birth of the Swiss Confederation.
• William Tell is a lie; "Coopzeitung" 28/2004, interview with historian Sablonier, Zurich, translated
• Translation of Grimm's Saga No. 298 "The Three Tells"

Elliott Cook Carter Jr.

Elliott Cook Carter Jr. (born December 11, 1908) is a two-time Pulitzer Prize-winning American composer born and living in New York City. He studied with Nadia Boulanger in Paris in the 1930s, and then returned to the United States. After a neoclassical phase, he went on to write atonal, rhythmically complex music. His compositions, which have been performed all over the world, include orchestral and chamber music as well as solo instrumental and vocal works.

He has been extremely productive in his later years, publishing more than 40 works between the ages of 90 and 100,^[1] and over 14 more since he turned 100 in 2008.^[2]

Biography[link]

Carter's father, Elliott Carter Sr., was a businessman and his mother was the former Florence Chambers. The family was well-to-do. As a teenager, he developed an interest in music and was encouraged in this regard by the composer Charles Ives (who sold insurance to his family). In 1924, a galvanized 15-year-old Carter was in the audience when Pierre Monteux conducted the Boston Symphony Orchestra in the New York première of The Rite of Spring, according to a 2008 report. Carter was again in attendance (see below) at Carnegie Hall, on the occasion of his 100th birthday in 2008, when the orchestra, now under the baton of James Levine, again performed the Stravinsky piece as part of its tribute to Carter.^[3] Although Carter majored in English at Harvard College, he also studied music there and at the nearby Longy School of Music. His professors included Walter Piston and Gustav Holst. He sang with the Harvard Glee Club. He did graduate work in music at Harvard, from which he received a Master's degree in music in 1932. He then went to Paris to study with Nadia Boulanger (as did many other American composers). Carter worked with Mlle Boulanger from 1932–35 and in 1935 he received a doctorate in music (D Mus) from the Ecole Normale in Paris. Later in 1935, he returned to the US where he wrote music for the Ballet Caravan.

From 1940 to 1944, Carter taught in the program, including music, at St. John's College in Annapolis, Maryland. On July 6, 1939, Carter married Helen Frost-Jones. They had one child, a son, David Chambers Carter. During World War II, Carter worked for the Office of War Information. He later held teaching posts at the Peabody Conservatory (1946–1948), Columbia University, Queens College, New York (1955–56), Yale University (1960–62), Cornell University (from 1967) and the Juilliard School (from 1972). In 1967, he was appointed a member of the American Academy of Arts and Letters. In 1981, he was awarded the Ernst von Siemens Music Prize, in 1985 the National Medal of Arts. Carter has lived in Greenwich Village since 1945.^[1]

On December 11, 2008, Carter celebrated his 100th birthday at Carnegie Hall in New York, where the Boston Symphony Orchestra and pianist Daniel Barenboim played his Interventions for Piano and Orchestra from 2008. Between the ages of 90 and 100, Carter published more than 40 works, and after his 100th birthday he has composed at least 14 more.^[1]

On February 7, 2009, Carter was given the Trustees Award (a lifetime achievement award given to non-performers) by the Grammy Awards.^[4]

Carter is on the faculty of the Tanglewood Music Center where he gives annual composition master classes.

Style and works[link]

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (October 2011)

Carter's earlier works are influenced by Stravinsky, Harris, Copland, and Hindemith, and are mainly neoclassical in aesthetic. He had a strict and thorough training in counterpoint, from medieval polyphony through Stravinsky, and this shows in his earliest music, such as the ballet Pocahontas (1938–39). Some of his music during the Second World War is frankly diatonic, and includes a melodic lyricism reminiscent of Samuel Barber.

His music after 1950 is typically atonal and rhythmically complex, indicated by the invention of the term metric modulation to describe the frequent, precise tempo changes found in his work. While Carter's chromaticism and tonal vocabulary parallels serial composers of the period, Carter does not employ serial techniques in his music. Rather he independently developed and cataloged all possible collections of pitches (i.e., all possible three-note chords, five-note chords, etc.). Musical theorists like Allen Forte later systematized these data into musical set theory. A series of works in the 1960s and 1970s generates its tonal material by using all possible chords of a particular number of pitches.

The Piano Concerto (1964–65) uses the collection of three-note chords for its pitch material; the Third String Quartet (1971) uses all four-note chords; the Concerto for Orchestra (1969) all five-note chords; and the Symphony of Three Orchestras uses the collection of six-note chords. Carter also makes frequent use of "tonic" 12-note chords. Of particular interest are "all-interval" 12-tone chords where every interval is represented within adjacent notes of the chord. His 1980 solo piano work Night Fantasies uses the entire collection of the 88 symmetrical-inverted all-interval 12 note chords. Typically, the pitch material is segmented between instruments, with a unique set of chords or sets assigned to each instrument or orchestral section. This stratification of material, with individual voices assigned not only their own unique pitch material, but texture and rhythm as well, is a key component of Carter's musical style. Carter's music after Night Fantasies has been termed his late period and his tonal language has become less systematized and more intuitive, but retains the basic characteristics of his earlier works.

Carter's use of rhythm can best be understood within the concept of stratification. Each instrumental voice is typically assigned its own set of tempos. A structural polyrhythm, where a very slow polyrhythm is used as a formal device, is present in many of Carter's works. Night Fantasies, for example, uses a 216:175 tempo relation that coincides at only two points in the entire 20+ minute composition. This use of rhythm is part of his goal to expand the notion of counterpoint to encompass simultaneous different characters, even entire movements, rather than just individual lines.

Carter developed his technique to further his artistic goals. His use of rhythm allows his music a structured fluidity and sense of time perhaps unique in classical music. The music also is overtly expressive and dramatic. He has said that "I regard my scores as scenarios, auditory scenarios, for performers to act out with their instruments, dramatizing the players as individuals and participants in the ensemble."^{[cite this quote]} He has also talked about his desire to portray a "different form of motion," in which players are not locked in step with the downbeat of every measure.

He has said that such steady pulses remind him of soldiers marching or horses trotting, sounds that are not heard anymore in the late 20th century, and he wants his music to capture the sort of continuous acceleration or deceleration experienced in an automobile or an airplane. While Carter's atonal music shows little trace of American popular music or jazz, his vocal music has demonstrated strong ties to contemporary American poetry. He has set works of Elizabeth Bishop, John Ashbery, Robert Lowell, William Carlos Williams, Wallace Stevens, Ezra Pound, and Marianne Moore. Several of his large instrumental works such as the Concerto for Orchestra or Symphony of Three Orchestras are inspired by twentieth-century poets as well.

Among his better known works are the Variations for Orchestra (1954–5); the Double Concerto for harpsichord, piano and two chamber orchestras (1959–61); the Piano Concerto (1964–65), written as an 85th birthday present for Igor Stravinsky; the Concerto for Orchestra (1969), loosely based on a poem by Saint-John Perse; and the Symphony of Three Orchestras (1976). He has also written five string quartets,^[5] of which the second and third won the Pulitzer Prize for Music in 1960 and 1973 respectively. Symphonia: Sum Fluxae Pretium Spei (1993–1996) is his largest orchestral work, complex in structure and featuring contrasting layers of instrumental textures, from delicate wind solos to crashing brass and percussion outbursts.

In spite of a usually rigorous derivation of all pitch content of a piece from a source chord, or series of chords, Carter never abandons lyricism, and ensures that a text is sung intelligibly, sometimes even simply. In A Mirror on Which to Dwell (1975) (based on poems by Elizabeth Bishop) Carter writes colorful, subtle, transparently clear music; yet almost every pitch in the piece is derived from the content of a single sonority. Most of Carter's music is published by either G. Schirmer/Associated Music Publishers (works up to 1981) or Boosey & Hawkes (works since 1981).

Carter continues composing. Interventions for Piano and Orchestra received its premiere on December 5, 2008, by the Boston Symphony Orchestra conducted by James Levine featuring pianist Daniel Barenboim at Symphony Hall in Boston. The pianist reprised the work again with the BSO at Carnegie Hall in New York in the presence of the composer on his 100th birthday.^[1] Carter was also present at the 2009 Aldeburgh Festival to hear the world premiere of his song-cycle On Conversing with Paradise, based on Ezra Pound's Canto 95 (from the section Rock-Drill) and one of Pound's 'Notes' intended for later Cantos, and usually published at the end of the Cantos. ^[6] The premiere was given on June 20, 2009 by baritone Leigh Melrose and the Birmingham Contemporary Music Group conducted by Oliver Knussen.^[7]

Figment V for marimba with Simon Boyar was premiered in New York on 2 May 2009 and Poems of Louis Zukofsky for soprano and clarinet had its first performance by Lucy Shelton and Stanley Drucker at the Tanglewood Festival on August 9, 2009. The US premiere of the Flute Concerto took place on February 4, 2010, with soloist Elizabeth Rowe and the Boston Symphony Orchestra conducted by James Levine.

Partial list of works[link]

Ballet[link]

• Pocahontas (1938–39)
• The Minotaur (1947)

Chamber[link]

• Canonic Suite for saxophone quartet (AAAA) (1939)
• Elegy for viola and piano (1943)
• Piano Sonata (1945–46)
• Cello Sonata (1948)
• Woodwind Quintet (1948)
• Eight Etudes and a Fantasy for wind quartet (1949) [2]
• String Quartet No. 1 (1951)
• Sonata for flute, oboe, cello, and harpsichord (1952)
• String Quartet No. 2 (1959)
• Canon for 3 (1971)
• String Quartet No. 3 (1971)
• Brass Quintet (1974)
• Duo for violin and piano (1974)
• Birthday Fanfare for three trumpets, vibraphone, and glockenspiel (1978)
• Triple Duo (1983)
• Esprit rude/esprit doux for flute and clarinet (1984)
• Canon for 4 (1984)
• String Quartet No. 4 (1986)
• Enchanted Prelude for flute and cello (1988)
• Con leggerezza pensosa for clarinet, violin, and cello (1990)
• Quintet for piano and winds (1991)
• Trilogy for oboe and harp (1992)

1. Bariolage for harp
2. Inner Song for oboe
3. Immer Neu for oboe and harp

• Esprit rude/esprit doux II for flute, clarinet, and marimba (1994)
• Fragment I for string quartet (1994)
• String Quartet No.5 (1995)
• Luimen for ensemble (1997)
• Quintet for piano and string quartet (1997)
• Fragment II for string quartet (1999)
• Oboe Quartet, for oboe, violin, viola, and cello (2001)
• Hiyoku for two clarinets (2001)
• Au Quai for bassoon and viola (2002)
• Call for two trumpets and horn (2003)
• Clarinet Quintet (2007)
• Tintinnabulation for percussion sextet (2008)
• Tre Duetti for violin and cello (2008, 2009)

1. Duettone
2. Adagio
3. Duettino

• Trije glasbeniki for flute, bass clarinet, and harp (2011)
• String Trio (2011)
• Double Trio for trumpet, trombone, percussion, piano, violin and cello (2011)

Choral[link]

• Tarantella for men's chorus and two pianos (1937)
• Let's Be Gay for women's chorus and two pianos (1937)
• Harvest Home for a capella choir (1937)
• To Music for a capella choir (1937)
• Heart Not So Heavy for a capella choir (1939)
• The Defense of Corinth for speaker, men's chorus and piano four hands (1941)
• The Harmony of Morning for women's chorus and chamber orchestra (1944)
• Musicians Wrestle Everywhere for a capella choir (1945)
• Emblems for men's chorus and piano (1947)

Concertante[link]

• Double Concerto for piano, harpsichord and 2 chamber orchestras (1959–61)
• Piano Concerto (1964)
• Concerto for Orchestra (1969)
• Oboe Concerto (1986–1987)
• Violin Concerto (1989)
• Clarinet Concerto (1996)
• Cello Concerto (2001)
• Boston Concerto (2002)
• Dialogues for piano and chamber orchestra (2003)
• Mosaic for harp and ensemble (2004)
• Horn Concerto (2007)
• Flute Concerto (2008)
• Concertino for bass clarinet and chamber orchestra (2009)
• Conversations for piano, percussion, and chamber/full orchestra (2010)
• Two Controversies and a Conversation for piano, percussion, and chamber/full orchestra (2011)

Large ensemble[link]

• Penthode for ensemble (1985)
• ASKO Concerto for sixteen players (2000)
• Réflexions for ensemble (2004)
• Wind Rose for wind ensemble (2008)

Opera[link]

• What Next? (opera in one act) (1997)

Orchestra[link]

• Symphony No. 1 (1942, revised 1954)
• Holiday Overture (1944, revised 1961)
• Variations for orchestra (1954–1955)
• A Symphony of Three Orchestras (1976)
• Three Occasions for orchestra (1986–89)

1. A Celebration of Some 150x100 Notes
2. Remembrance
3. Anniversary

• Symphonia: Sum fluxae pretium spei (1993–96)

1. Partita
2. Adagio Tenebroso
3. Allegro Scorrevole

• Three Illusions for orchestra (2002–04)

1. Micomicón
2. Fons Juventatis
3. More's Utopia

• Soundings for piano and orchestra (2005)
• Interventions for piano and orchestra (2007)
• Sound Fields for string orchestra (2007)

Solo instrumental[link]

• Piano Sonata (1945–46)
• Eight Pieces for Four Timpani (1949/66)
• Night Fantasies for piano (1980)
• Changes for guitar (1983)
• Scrivo in Vento for flute (1991)
• Gra for clarinet (1994)
• 90+ for piano (1994)
• Figment for cello (1994)
• A 6-letter Letter for English horn (1996)
• Shard for guitar (1997)
• Two Diversions for piano (1999)
• Four Lauds for solo violin (1999, 1984, 2000, 1999)

1. I. Statement – Remembering Aaron
2. II. Riconoscenza per Goffredo Petrassi
3. III. Rhapsodic Musings
4. IV. Fantasy – Remembering Roger

• Retrouvailles for piano (2000)
• Figment II for cello (2001)
• Steep Steps for bass clarinet (2001)
• Retracing for bassoon (2002)
• Intermittences for piano (2005)
• Caténaires for piano (2006)
• HBHH for oboe (2007)
• Figment III for contrabass (2007)
• Figment IV for viola (2007)
• Tri-Tribute for piano (2007, 2008)

1. "Matribute"
2. "Fratribute"
3. "Sistribute"

• Figment V for marimba (2009)
• Retracing II for horn (2009)
• Retracing III for trumpet (2009)

Voice[link]

• My Love Is in a Light Attire for voice and piano (1928)
• Tell Me Where Is Fancy Bred for voice and guitar (1938)
• A Mirror on Which to Dwell for soprano and ensemble (1975)
• Syringa for mezzo-soprano, bass-baritone, guitar, and ensemble (1978)
• Three Poems of Robert Frost for baritone and ensemble (1942, orchestrated 1980)
• In Sleep, in Thunder for tenor and ensemble (1981)
• Of Challenge and of Love for soprano and piano (1994)
• Tempo e Tempi for soprano, oboe, clarinet, violin, and cello (1998–99)
• Of Rewaking for mezzo-soprano and orchestra (2002)
• In the Distances of Sleep for mezzo-soprano and chamber orchestra (2006)
• Mad Regales for six solo voices (2007)
• La Musique for solo voice (2007)
• Poems of Louis Zukofsky (2008) for mezzo-soprano and clarinet
• On Conversing with Paradise (2008) for baritone and chamber orchestra
• What Are Years (2009) for soprano and chamber orchestra
• A Sunbeam's Architecture (2010) for tenor and chamber orchestra
• Three Explorations (2011) for bass-baritone, winds, and brass

Partial discography[link]

• Sonata for Flute, Oboe, Cello and Harpsichord; Sonata for Cello and Piano; Double Concerto for Harpsichord and Piano With Two Chamber Orchestras. Paul Jacobs, hpschd; Joel Krosnick, cello; Gilbert Kalish, piano; The Contemporary Chamber Ensemble, Arthur Weisberg, cond. Elektra/Nonesuch 9 79183-2.
• String Quartets Nos. 1 and 2. The Composers Quartet. Elektra/Nonesuch 9 71249-2
• Piano Concerto; Variations for Orchestra. Ursula Oppens, piano; Cincinnati Symphony Orchestra, Michael Gielen, cond. New World Records, NW 347–2.
• Triple Duo; Clarinet Concerto; short pieces. Nouvel Ensemble Moderne, Lorraine Vaillancourt, cond. ATMA Classique, ACD2 2280.
• Complete Music for Piano. Charles Rosen, Piano. Bridge 9090.
• Vocal Works (1975–81): A Mirror on Which to Dwell; In Sleep, In Thunder; Syringa; Three Poems of Robert Frost. Speculum Musicae with Katherine Ciesinki, mezzo; Jon Garrison, tenor; Jan Opalach, bass; Christine Schadeberg, soprano. Bridge, BCD 9014.
• Dialogues; Boston Concerto; Cello Concerto; ASKO Concerto. Nicolas Hodges, piano; Fred Sherry, cello; London Sinfonietta, BBC Symphony Orchestra, ASKO Ensemble, Oliver Knussen, cond. Bridge 9184.

Notable students[link]

• Ronald Caltabiano
• Joel Chadabe
• Alvin Curran
• Joel Hoffman
• Tod Machover
• Jeffrey Mumford
• Tobias Picker
• David Schiff
• William Schimmel
• Ellen Taaffe Zwilich

References[link]

Doering, William T. Elliott Carter: A Bio-Bibliography. Greenwood Press, 1993.

Interviews[link]

• Elliott Carter interview by Bruce Duffie, June 1986
• American Gothic: An Interview with Elliott Carter, by Andy Carvin, 1992
• A January 1994 interview with Elliott Carter by Phil Lesh
• NewMusicBox: Elliott Carter in conversation with Frank J. Oteri, 2000
• MusicMavericks.PublicRadio.org: An interview with Elliot Carter by Alan Baker, Minnesota Public Radio, July 2002
• Radical Connections on Counterstream Radio: Elliott Carter and Phil Lesh in Conversation, December 2007]
• Elliott Carter Centenary Podcast, an interview with Frank J. Oteri, November 27, 2007
• TV Interview (with Daniel Barenboim and James Levine) by Charlie Rose, December 10, 2008

Listening[link]

• Elliott Carter: A Life In Music, a documentary (1983)
• Art of the States: Elliott Carter four works by the composer
• Elliott Carter interview from American Mavericks site
• Excerpts from sound archives of Carter's works

External links[link]

Wikiquote has a collection of quotations related to: Elliott Carter

• Yale University Library: Research Guide to Elliott Carter's Life and Music
• Elliott Carter by photographer Philippe Gontier
• Elliott Carter: A Centennial Portrait in Letters and Documents by Felix Meyer & Anne C. Shreffler published by the Boydell Press in association with the Paul Sacher Foundation.
• Elliott Carter at G. Schirmer/AMP
• Elliott Carter at Boosey and Hawkes
• The String Quartets of Elliott Carter Booklet note for recording by the Arditti Quartet of Quartets 1–4 and Elegy (1988 ETCETERA KTC 1065/1066), by David Harvey
• CompositionToday – Elliot Carter article and review of works
• http://web.archive.org/web/20080201015213/http://www.carter100.com/ Elliott Carter Centenary 2008]
• John Link's Analysis of Night Fantasies
• Joshua B. Mailman's "Imagined Drama of Competitive Opposition in Carter's Scrivo in Vento (with Notes on Narrative, Symmetry, Quantitative Flux and Heraclitus)"
• (French) A biography of Elliott Carter, from IRCAM's website.
• Lifetime Honors - National Medal of Arts