Carol A. Hess
- Published in print:
- 2013
- Published Online:
- January 2014
- ISBN:
- 9780199919994
- eISBN:
- 9780199345618
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199919994.003.0007
- Subject:
- Music, Ethnomusicology, World Music, History, American
This chapter tracks the further demise of Pan Americanism via nueva canción, a folkloric, often anti-U.S. genre popular in cold war Latin America. It also attracted the U.S. composer and Marxist ...
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This chapter tracks the further demise of Pan Americanism via nueva canción, a folkloric, often anti-U.S. genre popular in cold war Latin America. It also attracted the U.S. composer and Marxist sympathizer Frederic Rzewski, whose fifty-minute virtuosic piano piece, 36 Variations on “The People United Will Never Be Defeated!,” reflects the values of nueva canción despite having been premiered under the auspices of the U.S. Bicentennial. Unlike Copland’s El salón México or Gershwin’s Cuban Overture, The People United commemorates one of the bleakest moments in U.S.–Latin American relations: the CIA-assisted coup that brought Augusto Pinochet to power in Chile. Applying theories of Freud and Paul Ricoeur reveals that the work’s unusual formal structure explicates processes of memory and forgetting, both central concerns in Latin America today. Memory and forgetting are also germane to the historiography of Latin American music in the United States, which has largely forgotten sameness-embracing in favor of fetishizing difference.Less
This chapter tracks the further demise of Pan Americanism via nueva canción, a folkloric, often anti-U.S. genre popular in cold war Latin America. It also attracted the U.S. composer and Marxist sympathizer Frederic Rzewski, whose fifty-minute virtuosic piano piece, 36 Variations on “The People United Will Never Be Defeated!,” reflects the values of nueva canción despite having been premiered under the auspices of the U.S. Bicentennial. Unlike Copland’s El salón México or Gershwin’s Cuban Overture, The People United commemorates one of the bleakest moments in U.S.–Latin American relations: the CIA-assisted coup that brought Augusto Pinochet to power in Chile. Applying theories of Freud and Paul Ricoeur reveals that the work’s unusual formal structure explicates processes of memory and forgetting, both central concerns in Latin America today. Memory and forgetting are also germane to the historiography of Latin American music in the United States, which has largely forgotten sameness-embracing in favor of fetishizing difference.
David Schiff
- Published in print:
- 2018
- Published Online:
- May 2018
- ISBN:
- 9780190259150
- eISBN:
- 9780190259181
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190259150.003.0002
- Subject:
- Music, History, American, Theory, Analysis, Composition
An account of the forty-year relationship between the author and the composer with an emphasis on Carter’s role as a teacher of composition. The author met Carter in 1971 when he attended rehearsals ...
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An account of the forty-year relationship between the author and the composer with an emphasis on Carter’s role as a teacher of composition. The author met Carter in 1971 when he attended rehearsals and performances of the Concerto for Orchestra by the Cleveland Orchestra conducted by Pierre Boulez. He studied composition with Carter while pursuing a doctorate at the Juilliard School. After Carter asked him to write a book about his music he spent much time with the composer at rehearsals, performances and recording sessions and at his homes in New York City and Westchester. The chapter details the history of their relationship and also portrays the Carters’ social circle.Less
An account of the forty-year relationship between the author and the composer with an emphasis on Carter’s role as a teacher of composition. The author met Carter in 1971 when he attended rehearsals and performances of the Concerto for Orchestra by the Cleveland Orchestra conducted by Pierre Boulez. He studied composition with Carter while pursuing a doctorate at the Juilliard School. After Carter asked him to write a book about his music he spent much time with the composer at rehearsals, performances and recording sessions and at his homes in New York City and Westchester. The chapter details the history of their relationship and also portrays the Carters’ social circle.
David Schiff
- Published in print:
- 2018
- Published Online:
- May 2018
- ISBN:
- 9780190259150
- eISBN:
- 9780190259181
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190259150.003.0013
- Subject:
- Music, History, American, Theory, Analysis, Composition
A discussion of three of Carter’s final works: The American Sublime, his last song cycle (to poetry of Wallace Stevens), Instances, his last orchestral work, and Epigrams, his last chamber work. ...
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A discussion of three of Carter’s final works: The American Sublime, his last song cycle (to poetry of Wallace Stevens), Instances, his last orchestral work, and Epigrams, his last chamber work. These works would not be performed until after his death, and thus never were fully polished, but they sum up his musical aesthetic. Particularly in returning to Stevens for a second vocal cycle, Carter affirmed his affiliation with a poet who celebrated the metaphysical aspects of everyday existence.Less
A discussion of three of Carter’s final works: The American Sublime, his last song cycle (to poetry of Wallace Stevens), Instances, his last orchestral work, and Epigrams, his last chamber work. These works would not be performed until after his death, and thus never were fully polished, but they sum up his musical aesthetic. Particularly in returning to Stevens for a second vocal cycle, Carter affirmed his affiliation with a poet who celebrated the metaphysical aspects of everyday existence.
