Elliott Carter & Aaron Copland
The Carter was world-premiered on February 5, 1970.
Connotations was composed for the opening of Philharmonic Hall in the Lincoln Center in September 1962, a gnarly rather than celebratory piece. In certain details this first recording is perhaps to be preferred to Bernstein’s second NYP version for DG. It might be noted that Connotations appealed to Pierre Boulez who conducted it in New York in 1972.
In 1973 CBS UK issued a more-generous LP than had its US counterpart, adding the Carter to the two Copland works, the latter cut onto a long single side. I bought the LP (S 73198), curious about the music, and was transfixed by the Carter, playing it numerous times and then some. It remains a richly expressive, vibrant work that has never lost its potent appeal, Carter taking a year to notate the score, by hand. It was subsequently recorded by Gielen and Knussen, and toured in 1975 by the NY Phil and Boulez, including Berlin, the Edinburgh Festival (with Berlioz & Beethoven) and the BBC Proms (Mahler Nine).
Copland-Carter-Bernstein
Elliott Carter passed away in 2012 at the age of 103…
Like Carter, Aaron Copland’s career spanned most of the twentieth-century, 1900-90…
I remember buying it from WH Smith when I was at school Only one pound in the sale but what is that equivalent 52 years later?
Ah…WH Smith selling records. MY Sixth Form self remembers it well. Supraphon LPs for 17/6d (67.5p). The bigger branches of Boots sold LPs too. Apropos Carter: wish I understood the music. I’ve produced several albums of it and challenge anyone to decipher whether or not a Prestissimo piece with, e.g., an oboe on the downbeat, flute a demisemiquaver later followed by a violin a hemidemisemiquaver later than that, etc. is together. But I’m sure it’s my problem! Maybe, though, I’m not alone if an engaging Bernstein story is to be believed. Student backstage to Lenny: ‘Maestro, I’d feel so privileged if you signed this copy of your record of Carter’s Concerto for Orchestra for me’. LB: ‘Sure, hand it over’. Student: ‘It’s a great performance, but you know…in measure 314 there’s a wrong note in the second oboe’. LB: ‘A w-r-o-n-g note!! Look, ALL the notes in that piece are WRONG!!’. Can anyone corroborate this story?
Yes, if only as a different story. LB rehearsing Boston SO in something of Carter’s. An assistant points out a wrong note. “Baby, they’re all wrong notes. Let’s not worry about it.” is LB’s riposte.
I recall a wonderful Smith’s sale of CBS LPs years ago. I bought a few!