Repertoire Search

Elliott Carter

Publisher: AMP

Eight Pieces for Four Timpani (1950)
Publisher
Associated Music Publishers Inc
Category
Solo Works (excluding keyboard)
Year Composed
1950
Duration
22 Minutes
Orchestration
Availability
Buy this work
Worldwide Sales   North American Sales
 
Score   

Programme Note
Elliott Carter Eight Pieces for Four Timpani (1950)
The Canto and Adagio of this set of Eight Pieces for Four Timpani (One Player) were written in 1966, while the other six were composed in 1949. In those days, these six were found difficult, if not impossible to play effectively, but, as time passed interest in them and performing skills grew, so I decided to publish the set complete, as four of them had been widely circulated in manuscript, in 1966. At that time, they were revised with the help of the percussionist, Jan Williams, of the New York State University at Buffalo. In gratitude for his advice, the Canto and Adagio were composed for him and included the set. Unlike the other, each of which is a four-note piece based on different tunings of the drums, these two employ the possibilities of the pedal-tuned chromatic timpani.

The six from 1949, besides being virtuoso solos for the instrumentalist, are studies in the controlled, interrelated changes of speed now called “metric modulation,” and generated ideas carried further in my First String Quartet begun at the same time and completed shortly afterwards. Each piece is dedicated to a performer who showed an interest in the works in their early days:

I. Saeta (1949/1966) – Al Howard – An Andalusian song of improvisatory character sung during an outdoor religious procession, usually at Easter; said to be the descendent of a rain ceremony during which an arrow (saeta) was shot into the clouds to release the rain

II. Moto Perpetuo (1949/1966) – Paul Price – A rapid patter of notes of equal length, broken up into phrases of constantly changing accentuation, played with special, small, light drum sticks.

III. Adagio (1966) – Jan Williams – Uses pedal tuned timpani to produce vibratos, harmonics and glissandos in dramatic outburst.

IV. Recitative (1949/1966) – Morris Lang – Short contrasting phrases, one of which is condensed into the irregularly repeated major third in the latter part and punctuated by another phrase that disintegrates

V. Improvisation (1949/1966) – Paul Price – The opening phrase furnishes materials for numerous variations with constant changes of speed.

VI. Canto (1966) – Jan Williams – Uses pedal tuned timpani played by snare drum sticks in a line that slides from one pitch to another.

VII. Canaries (1949/1966) – Raymond DesRoches – A dance of the XVI and XVII centuries, ancestor of the gigue, supposedly imported from the “wild men” of the Canary Islands; in 6/8 time with dotted rhythms-here fragmented and developed.

VIII. March (1949/1966) – Saul Goodman – Two march rhythms of different speeds are superimposed, one played with the butts, the other with the heads of the drum sticks. These produce musical ideas expanded in the middle section.


--Elliott Carter

  • Ensemble
    Speculum Musicae members
    Soloist(s)
    Daniel Druckman (Timpani)
    Conductor
    William Purvis
    Bridge:
Close X

Newsletter Signup

Enter your email address to keep up to date with the latest news and special offers from Music Sales Classical.
Your data is secure and you can unsubscribe at any time. Read our Privacy Policy




Click here to receive regular news
© Copyright 2018 Music Sales Classical. Part of the Music Sales Group.