Elliott Carter's Ballets Released on BMOP/sound

Elliott Carter's Ballets Released on BMOP/sound
The Minotaur, National Archaeological Museum, Spain
© Marie-Lan Nguyen, photographer
While I was a student in Paris the choreographer George Balanchine had two weeks of Balanchine ballets in the Champs-Élysées. A man I’d known in college, Lincoln Kirstein, was very much impressed by this and it was he that got George Balanchine to come over to the United States and start the New York City Ballet. In the early days, I was a musical advisor to that for a while. I was commissioned actually to write one ballet for them, which was done in 1939 on the subject of Pocahontas…[it was] full of suggestions of things that were to remain important to me, as well as others which were later rejected or completely transformed. — Elliott Carter 

The album release on BMOP/sound of Elliott Carter: Ballets, recorded by Boston Modern Orchestra Project and conducted by Gil Rose, showcases the two-time Pulitzer Prize winner’s two ballet scores, The Minotaur (1947) and Pocahontas (1939).


Gil Rose on the ballets of Elliott Carter
“He could really write a lush orchestration, and with a big string section. In that way its inspiration is more a Romantic ballet than a 20th-century ballet. So it’s more like Prokofiev than anything else —nothing like the Neo-Classical stuff that does take him by storm down the road. The Minotaur is more like that. There’s a big pas de deux in it that could have come out of any middle-period Stravinsky ballet.

“In both of these ballets, the sophisticated use of harmony and rhythm foreshadows the stuff to come…He’s obviously a brilliant composer.”

For more information, please contact your local Wise Music Promotion Team. See Contact Us.

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