Carter Elliott: Signed (6 results)

Hardcover. Condition: Very Good. Dust Jacket Condition: Good. Second Edition First Printing. Inscribed by the author on the ffep. Minor shelf wear to binding. Light wear and soiling to edges of text block. Text and images unmarked. DJ lightly worn with scuffs, small scratches & tiny tears around edges in a mylar cover. Signed by Author.…

Hardcover. Condition: Fine. Dust Jacket Condition: Fine. 1st Edition. 1st Printing. Signed. 371 pages. Published in 1983. Definitive book-length account on subject. Remains the single best book on the musical art and achievement of Elliott Carter. Review Copy. Review Materials laid-in. The First Hardcover Edition. Precedes and should not be confused with all other subsequent editions, of which there are several, in particular the 1998 Reprint Edition reissued fifteen years later. Published in a small and limited first print run as a hardcover original only by Ernst Eulenburg Limited London in conjunction with Da Capo Press New York. The First Edition is now rare. Presents, in its true first format, David Schiff's "The Music of Elliott Carter". The one composer regarded by Pierre Boulez (arguably the most important French composer of the late-20th century) as the greatest American composer of the 20th century. Boulez also lavished praise on this brilliant book. "His handling of time - that elusive component of all music - his invention of forms, his investigation of the vocabulary itself are certainly of extreme importance to me. But even more, I feel extremely involved in the way he expands the labyrinth of his vision, in the gripping complexity of his poetic universe" (Pierre Boulez). Boulez is referring to Elliott Carter's principal contribution, "metrical modulation", which the composer explored and realized to its fullest extent possible. An absolute "must-have" title for Elliott Carter collectors. This is a Review Copy. The Review Materials are laid-in, particularly a signed personal note from the publisher. It is magnificently signed in black pen-marker on the matching orange 3 X 5 inch Souvenir Bookplate (that is pasted on the front free endpaper) by Elliott Carter. As such, it is the single most beautiful signature by the composer we have ever seen. This title is a great book on modern music. This is the only such pre-signed Review Copy of the First Hardcover Edition/First Printing available online and is in fine condition: Clean, crisp, and bright. Please note: Almost ALL other copies available online are the subsequent edition, particularly the 1998 Reprint Edition, issued fifteen years later. This is surely an accessible and lovely alternative. A rare, one-of-a-kind signed copy thus. Lavishly illustrated with musical examples from Elliott Carter's works. One of the greatest composers of the 20th century. A fine collectible copy. (SEE ALSO OTHER ELLIOTT CARTER TITLE IN OUR CATALOG) ISBN 0903873060. Signed by Author.…

4°. XVII, 390 S. mit Frontispitz und Notenbeisp. OLn. Mit eigenh. Widmung von Elliott Carter.

Hardcover. Condition: Fine. Dust Jacket Condition: Very Good. 1st Edition. Signed by Carter. Hardback in fine condition with no wear to book or jacket. Carter was an American composer who lived to see the 100th anniversary of his birth. He writes here on his music, which at the time encompassed the mid-century trends of modernism strongly influenced by angularity of sound. In very good condition. Signed by Author(s).…

Hardcover. Condition: Fine. Dust Jacket Condition: Fine. 1st Edition. 1st Printing. Signed. 128 pages. Published in 1971. Collection of conversations. One of the best books on the ground-breaking art and achievement of Elliott Carter. The first and only edition. Published in a small and limited first print run as a hardcover original only. NO other subsequent or new edition is indicated or available online. Most copies of the First Edition are now in Permanent University Collections. There is no ISBN. The First Edition is now rare. Presents Elliott Carter's and Allen Edwards' "Flawed Words And Stubborn Sounds: A Conversation With Elliott Carter". Transcribed in an engaging and accessible way by Allen Edwards. Carter's critical influences were Ives, Varese, Scriabin, Stravinsky, and the Second Vienna School. He studied and learned from them in order to find his own style and voice. The decisive innovation by Carter is "metric modulation", that is to say, writing multiple lines in vastly different tempos for different instrumental groups simultaneously. Carter emphasizes that this technique is by no means original on his part, and may be found to some degree in various musical traditions, Charles Ives being an exemplary American model. But it is undeniably developed to definitive and powerful effect in Elliott Carter's work. The Conversation also discusses, unpretentiously, his rarefied upbringing: Intense "culture trips" to Europe, Harvard, the Greek classics, even the philosophy of Alfred North Whitehead, whose ideas he discusses in the book as if he were himself a philosopher-student. And of course, he lived in Paris to study advanced composition with Nadia Boulanger, the greatest music teacher of the 20th century. "I must say that the one issue that I am concerned with, unlike most of my colleagues since the War, is making the flow of music be the most important thing. Music is the only world in which you can really manipulate the flow of time in a free way. The only concern of most composers today is with block-like, terribly simplified structures of time" (Elliott Carter). The latter criticism is an unmistakable swipe at Igor Stravinsky in particular. An absolute "must-have" title for Elliott Carter collectors. This copy is very boldly and beautifully signed in black ink-pen on the front free endpaper by Elliott Carter. It is signed directly on the page itself, not on a tipped-in page. His specimen-signature on this copy is one of the most beautiful we have ever seen. It is also signed in black ink-pen on the half-title page by one of the most important choral conductors of our time: "David Wordsworth, London, Feb, '91". This title is a great book. As far as we know, this is the only such signed copy of the First Hardcover Edition/First Printing available online and is in fine condition overall: Clean, crisp, and bright. A rare signed copy thus. One of the greatest composers of the 20th century. A fine collectible copy. (SEE ALSO OTHER ELLIOTT CARTER TITLE IN OUR CATALOG). Signed by Author.…

Octavo. Full black cloth with titling gilt to spine. 1f. (recto half-title, verso blank), 1f. (recto title, verso copyright), 1f. (recto quotation from Wallace Stevens, verso blank), 1f. (recto contents, verso blank), [9]-10 (Foreword), 1f. (half-title, verso blank), [13]-128 pp, In dustjacket. With the composer's autograph inscription to front free endpaper: "For Vera & Jacob [Lateiner] affectionately & with gratitude Elliott" in black ink. Dustjacket slightly worn. "One of the most respected composers of the second half of the 20th century, [Carter] blended the achievements of European modernism and American "ultra-modernism" into a unique style of surging rhythmic vitality, intense dramatic contrast, and innovative facture." David Schiff, revised by Mark D. Porcaro in Grove Music Online. Jacob Lateiner (1928-2010), a noted American pianist and long-time teacher at Juilliard, commissioned Carter's Piano Concerto and gave its first performance in 1967 with the Boston Symphony Orchestra under Leinsdorf. Signed.…