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The Carter-Nancarrow Correspondence

The Carter-Nancarrow Correspondence ´ ˇ ´ DrAgANA sT oJANoViC -NoViC iC The Carter-Nancarrow Correspondence elliott Carter (b. 1908) and Conlon Nancarrow (1912–97) represent two poles of American art music in the late twentieth century: Carter the highly decorated, academically pedigreed pulitzer-prize composer, Nan- carrow the isolated maverick exile, a cult figure of experimentalism. Yet their musical personalities converge in a common devotion to rhythmic relativity and the rationalizing of both duration and tempo. Thus their compositions, from both sides of the ideological spectrum, have fueled much of the twenty-first century’s discourse about style and method. According to Carter ’s recollection, the two men met for the r fi st time in 1939 when Nancarrow—who had not long before returned from the s panish Civil War—was giving s panish lessons in New York City. o ne of his students was e lliott Carter himself: “He was penniless when he came to New York, and some friends and i took s panish lessons from him to help him make ends meet. . . . We became very good friends while he was living in New York.” The last time Carter and Nancarrow met was at the Thirty-Ninth Holland Festival in Amsterdam, held from June http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png American Music University of Illinois Press

The Carter-Nancarrow Correspondence

American Music , Volume 29 (1) – Sep 21, 2011

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Publisher
University of Illinois Press
ISSN
1945-2349

Abstract

´ ˇ ´ DrAgANA sT oJANoViC -NoViC iC The Carter-Nancarrow Correspondence elliott Carter (b. 1908) and Conlon Nancarrow (1912–97) represent two poles of American art music in the late twentieth century: Carter the highly decorated, academically pedigreed pulitzer-prize composer, Nan- carrow the isolated maverick exile, a cult figure of experimentalism. Yet their musical personalities converge in a common devotion to rhythmic relativity and the rationalizing of both duration and tempo. Thus their compositions, from both sides of the ideological spectrum, have fueled much of the twenty-first century’s discourse about style and method. According to Carter ’s recollection, the two men met for the r fi st time in 1939 when Nancarrow—who had not long before returned from the s panish Civil War—was giving s panish lessons in New York City. o ne of his students was e lliott Carter himself: “He was penniless when he came to New York, and some friends and i took s panish lessons from him to help him make ends meet. . . . We became very good friends while he was living in New York.” The last time Carter and Nancarrow met was at the Thirty-Ninth Holland Festival in Amsterdam, held from June

Journal

American MusicUniversity of Illinois Press

Published: Sep 21, 2011

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