Posted By : PMO Official
Piece Title : Eight Pieces for Four Timpani
No. of times Viewed (May 2019) :6
Total No. of times Viewed :1079
No. of Media Uploads :0(Videos -0, MP3 - 0, Photos - 0)
Dificulty Rating :
Level :
Composer / Arranger : Carter, Elliott (1908-2012)
Composer / Arranger Details:

Twice winner of the Pulitzer Prize, first composer to receive the United States National Medal of Arts, one of the few composers ever awarded Germany`s Ernst Von Siemens Music Prize, and in 1988 made "Commandeur dans l`Ordre des Arts et des Lettres" by the Government of France, Elliott Carter is internationally recognized as one of the leading American voices in classical music. He recently received the Prince Pierre Foundation Music Award, bestowed by the Principality of Monaco, and was one of a handful of living composers elected to the Classical Music Hall of Fame.

December 11, 2008 marked Carter’s 100th birthday, bringing salutes from performing organizations around the globe. A number of recordings were issued including Carter: String Quartets Nos. 1 & 5 from Pacifica Quartet and Elliott Carter: A Nonesuch Retrospective. A four-disc set, the collection includes most of the recordings Nonesuch made of Carter’s music between 1968 and 1985. The event launched major celebrations around the world, including dedicated festivals at the BBC Proms and at Tanglewood.

First encouraged toward a musical career by his friend and mentor Charles Ives, Carter was recognized by the Pulitzer Prize Committee for the first time in 1960 for his groundbreaking compositions for the string quartet medium, and was soon thereafter hailed by Igor Stravinsky for his Double Concerto for harpsichord, piano and two chamber orchestras (1961) and Piano Concerto (1967), both of which Stravinsky dubbed "masterpieces".

But the creative burst began in earnest during the 1980s, with major orchestral essays such as Oboe Concerto (1986–87), Three Occasions (completed 1989) and his enormously successful Violin Concerto (1990). The composer`s astonishing late-career creative burst has continued unabated. The first few weeks of 2004 brought a pair of acclaimed new scores: Micomicón (2002) for the Boston Symphony Orchestra, and the incisive Dialogues (2003) commissioned by the London Sinfonietta. In the United States, the Boston Symphony Orchestra brought Carter’s Three Illusions for Orchestra to life in October 2005, a piece which the Boston Globe calls “surprising, inevitable, and vividly orchestrated.”

Carter’s first opera, What Next? (1997–98), commissioned by the Staatsoper Unter den Linden in Berlin, was introduced there in 1999 under Daniel Barenboim and made its staged premiere in July of 2006 at the Tanglewood Music Festival under James Levine.

Carter continues to show his mastery in smaller forms as well. Along with a large number of brief solo and chamber works, his later years have brought major essays such as Triple Duo (1983), Nine by Five (2009), Quintet (piano and winds, 1991), and String Quartet No.5 (1995), composed for the Arditti Quartet. Another dedicated advocate of Carter’s music, Ursula Oppens, joined forces with the Arditti Quartet to give the premiere of Quintet for Piano and String Quartet (1997) in November 1998 at the Library of Congress’s Coolidge Auditorium in Washington. Recent premieres of chamber works include the playfully humorous Mosaic (2004), with the Nash Ensemble in 2005 as well as three premieres in 2006: Intermittances (2005), a piano solo co-commissioned by Carnegie Hall Corporation and The Gilmore International Keyboard Festival and performed by Peter Serkin, In the Distances of Sleep (2006), with Michelle DeYoung and the MET Chamber Ensemble under James Levine, and Caténaires (2006), a solo piano piece performed by Pierre-Laurent Aimard.

Still extraordinarily prolific at over 100 years of age, recent works include the Flute Concerto (2008), premiered by Emmanuel Pahud, flute, and the International Chamber Music Ensemble, led by Daniel Barenboim; What are Years, a 2009 joint commission of the Aldeburgh and Tanglewood Festivals; Tintinabulation (2008), premiered in 2008 by the New England Conservatory Percussion Ensemble at Jordan Hall in Boston; and the Concertino for Bass Clarinet and Chamber Orchestra (2009), premiered in Toronto in December 2010 by Virgil Blackwell and the New Music Concerts Ensemble. An all-Carter concert in honor of the composer’s 103rd birthday in December 2011 featured the world premieres of String Trio (2011) and A Sunbeam’s Architecture (2010), as well as two surprise pieces composed in the month preceding the concert: Rigmarole and Mnemosyné.

Total Number of Percussionists Required :1 Percussionist(s)
Categories : Timpani
Instrument / Discipline :
Instrumentation : N/A
Range of Instruments / Number of Drums :
Written for / Commissioned by : Unknown
Permission given for Youtube video by Copyright holder
and Youtube Channel Owner. Recorded / Provided by:
 Coming Soon...
Accompanied :N/A
Publisher :G. Schirmer Inc.
Publishers Website :www.schirmer.com
Publisher Details :

G. Schirmer, Inc. is a member of the Music Sales Group of Companies.  It publishes sheet music for opera, orchestra, band and wind ensemble, chorus and chamber music. 

G. Schirmer has two sister companies Chester Novello and EWH of Denmark.

Year Composed / Copyright Date :1950 / 
Duration :22Minutes
No. of Mallets/Sticks Required :2
Special Needs :
Sheet Music Available From :www.musicroom.com/se/ID_No/0021235/details.html?kbid=2487      Check to see if in stock
Programme Notes / Performance Details :

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  4 31"   (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   1 49"   (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  2 25"  (1966) - Jan Williams - Uses pedal tuned timpani to produce vibratos, harmonics and glissandos in dramatic outburst.

IV. Recitative  3 17"  (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 3 20"  (1949/1966) - Paul Price - The opening phrase furnishes materials for numerous variations with constant changes of speed.

VI. Canto  3 21"   (1966) - Jan Williams - Uses pedal tuned timpani played by snare drum sticks in a line that slides from one pitch to another.

VII. Canaries  3 36" (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 2 50"  (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.

Member Rating :  0Vote(s)
Rate This Piece :      
Scheduled Performances : Update
Who Venue Date Time
   Add to Favourite Add to Favourite
    Invite a friend to join PMO
     Print this page      Tell a friend
  Spot an error
  Know something about this piece? Tell Us
  Know a piece not on PMO? Post It Now!