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Musician, Wrestling (1935–1946)
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After his return from Paris, Carter embarked on a composing career, writing a variety of pieces, most of which he soon discarded. Carter’s remaining early works (“pre-Carter”) reflect the opposed influences of Walter Piston (objectivity, craftsmanship) and the poet Hart Crane (experimentation, rebellion). These contravening tendencies appear in the short choral works of the period, most of them written for college choruses, and more ambitious works like the score for the ballet, Pocahontas, and the Symphony no. 1. Balancing craft and expression proved difficult and Carter was often dismayed to find that works which he had intended to be accessible to performers or audiences were deemed too difficult. The Piano Sonata, completed in 1946, finally showed that Carter could bring together the demands of formal clarity and emotional intensity in a personal way and on a large scale.
Title: Musician, Wrestling (1935–1946)
Description:
After his return from Paris, Carter embarked on a composing career, writing a variety of pieces, most of which he soon discarded.
Carter’s remaining early works (“pre-Carter”) reflect the opposed influences of Walter Piston (objectivity, craftsmanship) and the poet Hart Crane (experimentation, rebellion).
These contravening tendencies appear in the short choral works of the period, most of them written for college choruses, and more ambitious works like the score for the ballet, Pocahontas, and the Symphony no.
1.
Balancing craft and expression proved difficult and Carter was often dismayed to find that works which he had intended to be accessible to performers or audiences were deemed too difficult.
The Piano Sonata, completed in 1946, finally showed that Carter could bring together the demands of formal clarity and emotional intensity in a personal way and on a large scale.
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