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Carter vs. Poets (Round 1)
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With A Mirror on which to Dwell, composed in 1975, Carter returned to vocal music and to modern American poetry. Mirror, to poems of Elizabeth Bishop, was soon followed by Syringa (John Ashbery) and In Sleep, In Thunder (Robert Lowell). These three works explore a wide range of expressive territory. Bishop and Lowell were close to Carter in age, while Ashbery was twenty years younger. The two older poets pursue an intimate confessional style, while Ashbery’s far more experimental poetry derives from French surrealism. Bishop’s poetry is precise and observant, while Lowell’s seems to teeter on the verge of mental collapse. All three works reveal a complex relation between composer and poets, as does the single orchestra work of this period, A Symphony of Three Orchestras, which summed up and concluded Carter’s engagement with Hart Crane.
Title: Carter vs. Poets (Round 1)
Description:
With A Mirror on which to Dwell, composed in 1975, Carter returned to vocal music and to modern American poetry.
Mirror, to poems of Elizabeth Bishop, was soon followed by Syringa (John Ashbery) and In Sleep, In Thunder (Robert Lowell).
These three works explore a wide range of expressive territory.
Bishop and Lowell were close to Carter in age, while Ashbery was twenty years younger.
The two older poets pursue an intimate confessional style, while Ashbery’s far more experimental poetry derives from French surrealism.
Bishop’s poetry is precise and observant, while Lowell’s seems to teeter on the verge of mental collapse.
All three works reveal a complex relation between composer and poets, as does the single orchestra work of this period, A Symphony of Three Orchestras, which summed up and concluded Carter’s engagement with Hart Crane.
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