Эллиотт Картер цитаты (10 цитат) | Цитаты известных личностей

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Эллиотт Картер знаменитые цитаты

„Когда я изучал в Гарварде музыку, то была большая проблема: нам нужно было писать хоровые произведения в стиле Брамса и Мендельсона, что под конец очень угнетало, поскольку ты понимал, насколько хорош Брамс и насколько плох ты.“

Эллиотт Картер

That was one of the big problems when I was at Harvard studying music. We had to write choral pieces in the style of Brahms or Mendelssohn, which was distressing because in the end you realized how good Brahms is, and how bad you are.

„Квартеты всегда были основной частью моей работы.“

Эллиотт Картер

The Quartets have been a major part of my work.

„Затем, когда наступила Депрессия, всё изменилось до неузнаваемости. С того момента публика стала совершенно иной, и современную музыку напрямую мало кто поддерживал.“

Эллиотт Картер

Then, when the Depression came, all of this changed completely. Since that time, the entire public is of a very different sort and there was not so much support for contemporary music in a direct way.

„Почти каждый свой «нулевой» день рожденья я отмечал большим концертом в Лондоне, а часто и в Париже.“

Эллиотт Картер

Almost every one of my various zero numbered birthdays has had a big concert in London and often in Paris.

Эллиотт Картер: Цитаты на английском языке

“I'm very concerned with the performer, but I'm not too concerned with the listener. It seems to me that if you can interest the performer and make him feel that he's done something really valuable, his playing will convince the audience just that. To write for the audience is just too uncertain. You never know what your audience may be like, but you can usually know what your performers will be like. A good musician has the training to appreciate all sorts of things you might try to do in a piece. A performer will also recognize whether a piece is skillfully written or original -- an audience might not always be so sure.”

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Elliott Carter

From American Gothic: An Interview with Elliott Carter http://edwebproject.org/carter.html (1993) by Andy Carvin.

“People call my music complex because I will have instruments playing at their own paces, as if the other instruments weren't even there. It doesn't march along in the same way that most older music does. But to me, I honestly don't think that a work like Debussy's La Mer is any less complex than my work. It's full of all sorts of sounds and textures going on at once, yet we still look at is as beautiful, structured and fluid. That's all I'm trying to do; I'm not out to compose for complexity's sake.”

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Elliott Carter

From American Gothic: An Interview with Elliott Carter http://edwebproject.org/carter.html (1993) by Andy Carvin.

“I think more audiences would like contemporary music if they were presented with it, told about it. It's just a matter of familiarity, I think. Then one begins to look back at old music as stuffy, or even tiresome. It's funny -- I'm beginning to like older music more than I used to, but it's like I'm going into a museum and contemplating a Rembrandt. It just feels like its part of the aristocratic class system of kings and queens and dukes which just doesn't exist anymore.”

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Elliott Carter

From American Gothic: An Interview with Elliott Carter http://edwebproject.org/carter.html (1993) by Andy Carvin.

“The pre-World War I works of Schoenberg, Berg, and Webern, "give a glimpse of a new universe of emancipated discourse, unfortunately quickly abandoned when Schoenberg returned to the classical musical shapes upon adopting the twelve-tone system."”

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Elliott Carter

Elliott Carter (1977). The Writings of Elliott Carter, p.186. Bloomington: Indiana University Press.
Cited in Albright, Daniel (2004). Modernism and Music: An Anthology of Sources. University of Chicago Press. ISBN 0226012670.