Wednesday, 12/12/12

by musicclipoftheday

 passings

Charles Rosen, pianist, teacher, writer (1972 National Book Award for Nonfiction: The Classical Style), May 5, 1927-December 9, 2012

Frederic Chopin, Nocturne in B major (Op. 62, No. 1)
Live, Atlanta, 1985

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Johann Sebastian Bach, The Art of the Fugue, excerpts
Recording, 1967

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lagniappe

musical thoughts

A German pre-Romantic philosopher, Johann Georg Hamann, held that the sense of music was given to man to make it possible to measure time. The composer Elliott Carter’s fame comes partly from a reconception of time in music that fits the world of today (although there are many other aspects of his music to enjoy). We do not measure time regularly, like clocks do, but with many differing rates of speed. In the complexity of today’s experience, it often seems as if simultaneous events were unfolding with different measures. These different measures coexist and often blend but are not always rationalized in experience under one central system. We might call this a system of irreconcilable regularities.

In Carter’s music, things happen for different instruments at different tempos—none of them dominates the others, and an idiosyncratic character is often given to the different instruments that preserves their individuality. Carter is never dogmatic, and the different measures of time may occasionally combine briefly for a moment of synthesis. The individuality of tempo and rhythm can make his music difficult to perform as each player unconsciously responds physically to the different rhythms he or she hears and yet tries to preserve his or her own system intact. Carter is, for this reason, best interpreted by those musicians who have often played his scores. Just as, in a polyphonic work of Bach or any other competent and genial contrapuntist, one takes pleasure in the independent line and interest of the separate voices and rejoices in the way they illuminate each other, so in Carter we can often delight in a quick foreground movement heard against a mysteriously shifting background that gives the foreground a new sense.

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[T]he sense of his music is dependent as much upon tone color and dynamics as it is on pitch; the more salient aspects of the individual instrumental lines have always to be brought out.

—Charles Rosen, “Elliott Carter’s Music of Time,” New York Review of Books, 2/9/12

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Everyone needs a hobby. Some pianists collect Oriental vases. I write books.

—Charles Rosen, 1981 interview