Track Listing

1. String Quartet No. 1: 1. Fantasia: Maestoso -
2. String Quartet No. 1: 1. - Allegro scorrevole
3. String Quartet No. 1: 2. Allegro scorrevole -
4. String Quartet No. 1: 2. - Adagio
5. String Quartet No. 1: 3. Variations
6. String Quartet No. 5: 1. Introduction -
7. String Quartet No. 5: 2. Giocoso -
8. String Quartet No. 5: 3. Interlude 1 -
9. String Quartet No. 5: 4. Lento espressivo -
10. String Quartet No. 5: 5. Interlude 2 -
11. String Quartet No. 5: 6. Presto scorrevole -
12. String Quartet No. 5: 7. Interlude 3 -
13. String Quartet No. 5: 8. Allegro energico -
14. String Quartet No. 5: 9. Interlude 4 -
15. String Quartet No. 5: 10. Adagio sereno -
16. String Quartet No. 5: 11. Interlude 5 -
17. String Quartet No. 5: 12. Capriccioso

Product Details

• Amazon Sales Rank: #24118 in Music
• Released on: 2008-01-29
• Number of discs: 1
• Dimensions: .23 pounds

Album Description
2009 GRAMMY Award winner: Best Chamber Music Performance

The New York Times, February 2008, Bernard Holland
Prototypically American, Atypically Challenging

A friend of mine once asked Pierre Boulez why he had taken up the music of Elliott Carter and done so much to make it an international presence. Mr. Boulez, a French composer and conductor, had an interesting answer: "Because he sounded so American."

Mr. Carter, approaching his 100th birthday and subject of the Focus! 2008 weeklong series of concerts at the Juilliard School, could not be mistaken for a soulful Russian, a singing Italian or a Central European bearing the accumulated spiritual weight of the centuries. In his music there is no patina, only fresh paint. The edges are not worn smooth but sharp to the touch.

James Levine conducted the Juilliard Orchestra in the "Symphonia: sum fluxae pretieum spei" and the Cello Concerto, a very large mouthful of Mr. Carter's art and one that assuredly left these splendid young musicians and a packed Saturday night house at the Peter Jay Sharp Theater both satisfied and exhausted. The cellist Dane Johansen was brave and virtuosic and needed to be both.

The idea of Mr. Carter as American-made makes sense. There are the reserves of psychic energy: the impulsiveness and aggression, the hard work achieved through high sophistication, the absence of neurosis. The concerto greets us with the musical equivalent of gunshots. The contrasting lyrical writing sings gracefully; it shines but without a hint of sweetness.

The "Symphonia" gathers three movements composed separately that together constitute an evening of listening all in themselves. Mr. Carter makes no pretense of simplicity. He has that American knack for making complex constructions work. The Cello Concerto resembles a series of conversations between one instrument and different parts of the orchestra, from percussion to choirs of reed instruments to brass in little puffs of sound. There is an elaborate solo introduction and a big orchestra response at the end.

Mr. Carter and his audience create another microcosm of the America experience. People on Saturday, the concluding performance of the Carter celebration, struggled to find seats, so concentrated and intense was this sophisticated gathering. His music was being conducted by one of the world's great conductors and a fervent admirer, and it is deceiving to call the Juilliard players a student orchestra. The difficulties were immense, and the attention required to deal with Mr. Carter's quicksilver changes in movement and color unabating.

Yet in the larger world of classical-music audiences -- those who find comfort in Mozart, inspiration in Beethoven and exotic fantasies fulfilled in Ravel or the young Stravinsky -- Mr. Carter has virtually no audience at all. Like America as seen by some nations, he is famous, admired and not particularly liked. Also like many Americans in the postwar era, he was born into comfort, has lived in prosperity and functioned with a confidence bordering on impunity. Most of us want everybody to love us, but Mr. Carter seems comfortable with the admiration of the chosen.

Americana of another kind began the evening with "Three Places in New England," Charles Ives's great essay on the powers and pitfalls of memory. Beneath an orchestral glaze of indeterminacy, 19th-century hymn tunes, marches and popular songs struggle to the surface and then recede. Ives does not prepare us for the endings of his movements. "The Housatonic at Stockbridge" simply trails away in midsentence. It is like waking abruptly from a dream.

Ives did things no European would have ever done because there was no European around to tell him he couldn't. There is an element of Mr. Carter in Ives's music but also a world of difference. Mr. Carter is an original, but he is no eccentric.

The Whole Note Magazine, Davis Ods
The still young, but very well established Pacifica Quartet gives convincing and passionate performances of these extremely difficult pieces which are among the most daunting but rewarding chamber works of our time.

Customer Reviews

Naxos cashes in on the Carter craze
It isn't necessary anymore to mention in every review that Elliott Carter will turn 100 in December 2008 and that at 99 he is still vital and composing, but it's just too impressive and heartening a fact to ignore. As a centenary offering, Naxos is releasing Carter's five string quartets in two volumes, performed by the Pacifica Quartet. This first disk contains the composer's first and, to date, his last works in the genre.
The First, from 1951, is generally considered Carter's breakthrough into his signature brand of modernism -- a sweeping, forty-minute tour de force, in three big sections, teeming with all the technical and expressive ideas that had been lurking in his subconscious. The Pacifica, a young group, plays with energy and a high polish that emphasizes beauty over drama, and a blending rather than a confrontation of instruments. The rich sound is particularly impressive in the opening Maestoso. The players seem to lose focus in the transition between the Adagio and the Variations, but they recover in the finale, which, in their hands, is luminous, rather than driving. The work is multifaceted and deep enough to support the approach. The Pacifica reveals a side to Carter that, in the face of all the clichés about his spiky modernism, has been unfairly overlooked.
The Fifth Quartet, which appeared forty-four years after the First, inhabits much the same sound world, but on a more concentrated, intimate scale. The piece is half the length of the First Quartet, yet it has twice as many tracks, each between one and three minutes long. The introduction is followed by six movements, each with a single, sustained character, separated by five interludes that mix together fragments of the extended music. Carter has compared the piece to a chamber rehearsal, in which the musicians comment on what they've just played or try out bits of what they are going to play later. The piece is also self-referential, recapping textures, techniques and moods, though not literal passages, from his four earlier quartets. The pizzicato Capriccioso that ends the work recalls the Third Quartet, the Presto scorrevole refers directly to the Allegro scorrevole of the First Quartet, and some the solo passages in the interludes remind me of the solos in the Second. Carter says he wrote the Fifth Quartet as a "farewell to the previous four and an exploration of a new vision," though we may still hope it is not a farewell to the form itself. The notes, by Bayan Northcott, say the music has a playful, divertimento-like character, but I must add this lightness does not rule out many passages of great power and anguished lyricism. The Pacifica gives a crisp reading that benefits from a spacious reverb. Brandon Vamos' incisive, rich-toned cello playing in the piece deserves special mention.
A second Naxos disk, containing the Pacifica's recordings of the Second, Third and Fourth quartets, is scheduled for release in summer of 2008. When it arrives, we shall at last have a unified cycle of Carter's greatest chamber music, played, moreover, by enthusiastic young champions who understand and love it. That's a birthday present any hundred-year-old man should be happy to receive.

Elliott Carter on Naxos
This year includes the 100th birthday of the great American composer Elliott Carter (b. 1908). To celebrate the occasion, Naxos is releasing two CDs consisting of Carter's five string quartets, the first and the fifth of which are included on this disk. The Pacifica Quartet, a group of young musicians from California, perform these difficult works with passion and clarity. The Pacifica Quartet specializes in contemporary music, especially the works of Elliott Carter.

Carter began the serious study of music as an adolescent and his efforts were encouraged by Charles Ives. In the 1940s, some of his music (including his first symphony available on Naxos in a recording by Kenneth Schermerhorn) is reminiscent of the Americana music of Aaron Copland, but Carter soon developed his own unmistakably modernist musical voice. (The Schermerhorn CD also includes the difficult Carter piano concerto.) The five string quartets, written over a period of 45 years give an outstanding overview of this modernist American composer.

Although Carter's quartets bristle with difficulties for the performer and listener, I was struck by the accessibility and the visceral, emotional character of these quartets when I first listened through them. There is a tendency to over-intellectualize modern music and Carter's music in particular. But this is music which, when given the chance, speaks to the heart first, before it speaks to the mind, and which mirrors the complexity of both specifically modern experience and of the human condition.

Carter's first string quartet, composed in 1950-51, was among his first modernist efforts. It is a lengthy, difficult work in five movement which are played without a break between them. The work is densely scored, with bristling harmonies and marked shifts in tempos and rhythm. The texture of the work also is full of shifts, from passages for solo instruments, to sections for impassioned ensemble playing, to moments when the quartet breaks into two groups (the cello and the viola playing against the two violins in the fourth movement), and to long pizzicato passages. Yet the work makes a cohesive, unified whole. I was fascinated by the transitions between movements in this work, and in the fifth quartet, as musical passages of widely different characters flow seamlessly together. Thus the work opens with a lengthy, emotional solo for cello which, after elaboration by the other insturments, shifts imperceptibly into the following scherzo. The adagio consists, as I mentioned, of a section for cello and viola juxtaposed against a figure for the two violins, and these two competing voices are ultimately unified into a taut section which becomes the basis for the long variation movement which concludes the work. The variations work up to a climax (and the thematic material remains identifiable throughout) and then the bubble bursts as Carter closes the work with a solo for the violin, quiet and high in the instrument's register.

The fifth quartet, composed in 1995, has a lighter texture. It consists of 12 short movements played without pause and lasts only about 21 minutes. In this work, short sections of a distinct musical character are juxtaposed against an opening introduction and against sections marked "interlude". There are two slow movements, the fourth and the tenth, three scherzo-like movements, the second, sixth, and eighth, and a concluding pizzacato movement, with some odd sounds from the instruments, marked capriccioso. The fascination of the work lies in the interrelationship of these sections with the interludes, as Carter joins the movements together by weaving moments from the surrounding short pieces into the interludes -- which have a deceptively sketchy style. Thus, interlude II, takes up the slow, expressive character of the preceding Lento, but turns at the last moment to transition to the following presto. Interlude V, in contrast, only makes a gesture towards the previous adagio before it sets the stage for the final Capriccioso. I listened several times to this work straight through and, on my last hearing, watched the second timer on my CD so that I could see directly how the movements flowed together.

Carter's music will not appeal to those listeners with exclusively conservative musical tastes. But listeners with a background in classical music who wish to be adventurous will respond to the music of Elliott Carter. Naxos is doing a great service in making Carter's music available to a wide audience at a budget price.

Robin Friedman

Superlative
This recording is every bit the equal of the earlier Julliard and Arditti discs. Its probably fair to say that Pacifica strikes a midpoint between the coolness of the Arditti recordings and the almost romantic warmth of Julliard. This music benefits from multiple interpetations and viewpoints so it is difficult to speak of one approach being definitive or markedly superior to another when musicians the quality of the Pacifica, Arditti and Julliard quartets are involved. The sound quality here is excellent and given that the Julliard recording is currently out of print, I would recommend this as the first choice for anyone heretofore unfamiliar with Carter's quartets.