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Turning Points (1945–1948)
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Until the appearance of his Piano Sonata in 1946, and Sonata for Violoncello and Piano in 1948 Carter seemed to lack a distinctive voice. Aaron Copland, a close friend, taunted Carter about the “difficulty” of works that Carter had tried to make accessible, and did not mention Carter in an important 1948 article on emerging composers. Carter’s music at this time, however, was moving in new directions. The two sonatas for the first time deploy the distinctive formal and contrapuntal techniques of his mature style. Their idioms also reflect Carter’s realignment with ultra-modernism in his renewed friendship with Varèse and involvement with the publication and performance of Ives’ works. The appearance of metrical modulation in the Cello Sonata, an innovative approach to rhythmic organization, also sprang from Rudolf Kolisch’s study of tempo in Beethoven’s music.
Title: Turning Points (1945–1948)
Description:
Until the appearance of his Piano Sonata in 1946, and Sonata for Violoncello and Piano in 1948 Carter seemed to lack a distinctive voice.
Aaron Copland, a close friend, taunted Carter about the “difficulty” of works that Carter had tried to make accessible, and did not mention Carter in an important 1948 article on emerging composers.
Carter’s music at this time, however, was moving in new directions.
The two sonatas for the first time deploy the distinctive formal and contrapuntal techniques of his mature style.
Their idioms also reflect Carter’s realignment with ultra-modernism in his renewed friendship with Varèse and involvement with the publication and performance of Ives’ works.
The appearance of metrical modulation in the Cello Sonata, an innovative approach to rhythmic organization, also sprang from Rudolf Kolisch’s study of tempo in Beethoven’s music.
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