The Info List - Elliott Carter

Elliott Cook Carter Jr. (December 11, 1908 – November 5, 2012) was an American composer who was twice awarded the Pulitzer Prize. He studied with Nadia Boulanger
Nadia Boulanger
in Paris in the 1930s, then returned to the United States. After an early neoclassical phase, he developed a personal harmonic and rhythmic language.[1][2][3] His compositions are known and performed throughout the world; they include orchestral, chamber music, solo instrumental, and vocal works. Carter was productive in his later years, publishing more than 40 works between the ages of 90 and 100,[4] and over 20 more after he turned 100 in 2008.[5] He completed his last work, Epigrams for piano trio, on August 13, 2012.[6]


1 Biography 2 Music 3 Partial list of works 4 Partial discography 5 Notable students 6 References 7 Further reading

7.1 Interviews 7.2 Listening

8 External links

Biography[edit] Elliott Cook Carter Jr. was born in Manhattan on December 11, 1908, the son of a wealthy lace importer, Elliott Carter
Elliott Carter
Sr., and the former Florence Chambers. As a teenager, he developed an interest in music, and was encouraged by Charles Ives, who sold insurance to Carter's family. While a student at the Horace Mann School, he wrote an admiring letter to Ives, who responded and urged him to pursue his interest in music. In 1924, a 15-year-old Carter was in the audience when Pierre Monteux
Pierre Monteux
conducted the Boston Symphony Orchestra
(BSO) in the New York première of The Rite of Spring.[7] When Carter attended Harvard, starting in 1926,[8] Ives took him under his wing and made sure he went to the BSO concerts conducted by Serge Koussevitzky, who programmed contemporary works frequently. Carter majored in English but also studied music, both at Harvard and at the nearby Longy School of Music. His Harvard professors included Walter Piston and Gustav Holst. He sang with the Harvard Glee Club
Harvard Glee Club
and did graduate work in music at Harvard, from which he received a master's degree in music in 1932. He then went to Paris to study with Nadia Boulanger (as did many other American composers) at the École Normale de Musique de Paris. Carter worked with Boulanger from 1932 to 1935, and that year received a doctorate in music (Mus.D.). Later that same year, he returned to the US and wrote music for the Ballet Caravan. On July 6, 1939, Carter married Helen Frost-Jones. They had one child, a son, David Chambers Carter. From 1940 to 1944, he taught in the program, including music, at St. John's College in Annapolis, Maryland. During World War II, he worked for the Office of War Information. He later held teaching posts at the Peabody Conservatory (1946–1948), Columbia University, Queens College, New York (1955–56), Yale University
Yale University
(1960–62), Cornell University
Cornell University
(from 1967) and the Juilliard School
Juilliard School
(from 1972). In 1967, he was appointed a member of the American Academy of Arts and Letters. In 1981, he was awarded the Ernst von Siemens Music Prize, in 1985 the National Medal of Arts. In 1983 Carter was awarded the Edward MacDowell Medal for outstanding contribution to the arts by the MacDowell Colony.[citation needed] He lived with his wife in the same apartment in Greenwich Village from the time they bought it in 1945 to her death in 2003.[4] Carter composed his only opera, What Next?, in 1997–98 at the behest of conductor Daniel Barenboim
Daniel Barenboim
for the Berlin State Opera. The work premiered in Berlin in 1999 and had its first staging in the United States at the Tanglewood Music Festival in 2006, conducted by James Levine.[9] He later considered writing operas on the themes of communal suicide and a story by Henry James, but abandoned both ideas and resolved to write no more operas.[10] On December 11, 2008, Carter celebrated his 100th birthday at Carnegie Hall in New York, where the Boston Symphony Orchestra
and pianist Daniel Barenboim
Daniel Barenboim
played his Interventions for Piano and Orchestra, written that year. Between the ages of 90 and 100 he published more than 40 works, and after his 100th birthday he composed at least 20 more.[4] On February 7, 2009, he was given the Trustees Award (a lifetime achievement award given to non-performers) by the Grammy Awards.[11] In June 2012, the French government named Carter a Commandeur de la Légion d'honneur.[12] Carter wrote music every morning until his death,[10] of natural causes, on November 5, 2012 at his home in New York City, at age 103.[13][14] Music[edit]

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Carter's earlier works were influenced by Igor Stravinsky, Roy Harris, Aaron Copland, and Paul Hindemith, and are mainly neoclassical. He had strict training in counterpoint, from medieval polyphony to Stravinsky, and this shows in his earliest music, such as the ballet Pocahontas (1938–39). Some of his music during the Second World War is fairly diatonic, and includes a melodic lyricism reminiscent of Samuel Barber. His music after 1950 shows an increasing development of a personal harmonic and rhythmic language, exemplified by the invention of the term metric modulation to describe its frequent, precise tempo changes. While Carter's chromaticism and tonal vocabulary parallels serial composers of the period, Carter did not use serial techniques. Carter said, "I certainly have never used a twelve-tone row as the basis of a composition, in the way described in Schoenberg’s Style and Idea, nor are my compositions a constant rotation of various permutations of twelve-tone rows".[15] Rather, he independently developed and catalogued all possible collections of pitches (i.e., all possible three-note chords, five-note chords, etc.). Musical theorists like Allen Forte
Allen Forte
later systematized these data into musical set theory. A series of Carter's works in the 1960s and 1970s generates its tonal material by using all possible chords of a particular number of pitches. The Piano Concerto (1964–65) uses the collection of three-note chords for its pitch material; the Third String Quartet (1971) uses all four-note chords; the Concerto for Orchestra
(1969) all five-note chords; and A Symphony of Three Orchestras uses the collection of six-note chords. Carter also made frequent use of "tonic" 12-note chords. Of particular interest are "all-interval" 12-tone chords, where every interval is represented within adjacent notes of the chord. His 1980 solo piano work Night Fantasies uses the entire collection of the 88 symmetrical-inverted all-interval 12-note chords. Typically, the pitch material is segmented between instruments, with a unique set of chords or sets assigned to each instrument or orchestral section. This stratification of material, with individual voices assigned not only their own unique pitch material but texture and rhythm as well, is a key component of Carter's style. His music after Night Fantasies has been termed his late period and his tonal language became less systematized and more intuitive, but retains the basic characteristics of his earlier works. Carter's use of rhythm can best be understood with the concept of stratification. Each instrumental voice is typically assigned its own set of tempos. A structural polyrhythm, where a very slow polyrhythm is used as a formal device, is present in many of Carter's works. Night Fantasies, for example, uses a 216:175 tempo relation that coincides at only two points over its 20+ minutes. This use of rhythm was part of his expansion of the notion of counterpoint to encompass simultaneous different characters, even entire movements, rather than just individual lines. He said that such steady pulses reminded him of soldiers marching or horses trotting, sounds no longer heard in the late 20th century, and he wanted his music to capture the sort of continuous acceleration or deceleration experienced in an automobile or an airplane. While Carter's music shows little trace of American popular music or jazz, his vocal music has demonstrated strong ties to contemporary American poetry. He set poems by Elizabeth Bishop, John Ashbery, Robert Lowell, William Carlos Williams, Wallace Stevens, Ezra Pound, and Marianne Moore. Twentieth-century poets also inspired several of his large instrumental works, such as the Concerto for Orchestra
and A Symphony of Three Orchestras. Among his better known works are the Variations for Orchestra (1954–5); the Double Concerto for Harpsichord and Piano with Two Chamber Orchestras (1959–61); the Piano Concerto (1964–65), written as an 85th-birthday present for Stravinsky; the Concerto for Orchestra
(1969), loosely based on a poem by Saint-John Perse; and the Symphony of Three Orchestras (1976). He also composed five string quartets,[16] of which the second and third won the Pulitzer Prize for Music in 1960 and 1973 respectively. Symphonia: sum fluxae pretium spei (1993–96) is his largest orchestral work, complex in structure and featuring contrasting layers of instrumental textures, from delicate wind solos to crashing brass and percussion outbursts. Interventions for Piano and Orchestra
received its premiere on December 5, 2008, by the BSO, conducted by James Levine
James Levine
and featuring the pianist Daniel Barenboim
Daniel Barenboim
at Symphony Hall, Boston.[17] Barenboim reprised the work with the BSO at Carnegie Hall
Carnegie Hall
in New York in the presence of the composer on his 100th birthday.[4] Carter was also present at the 2009 Aldeburgh Festival
Aldeburgh Festival
to hear the world premiere of his song cycle On Conversing with Paradise, based on Ezra Pound's Canto 81 and one of Pound's 'Notes' intended for later Cantos, and usually published at the end of the Cantos.[18] The premiere was given on June 20, 2009, by the baritone Leigh Melrose and the Birmingham Contemporary Music Group conducted by Oliver Knussen.[19][20] Figment V for marimba was premiered in New York on May 2, 2009, by Simon Boyar, and Poems of Louis Zukofsky for soprano and clarinet had its first performance by Lucy Shelton and Thomas Martin at the Tanglewood Festival on August 9, 2009. The US premiere of the Flute Concerto took place on February 4, 2010, with the flutist Elizabeth Rowe and the Boston Symphony Orchestra
conducted by Levine. The last premiere of Carter's lifetime was Dialogues II, written for Barenboim's 70th birthday and conducted in Milan in October 2012 by Gustavo Dudamel.[21] The last premiere ever, which happened after Carter's death, was "The American Sublime", a work for baritone and large ensemble, dedicated to and conducted by Levine.[22] Partial list of works[edit] Main article: List of compositions by Elliott Carter Partial discography[edit]

Sonata for Flute, Oboe, Cello and Harpsichord; Sonata for Cello and Piano; Double Concerto for Harpsichord and Piano With Two Chamber Orchestras. Paul Jacobs, hpschd; Joel Krosnick, cello; Gilbert Kalish, piano; The Contemporary Chamber Ensemble, Arthur Weisberg, cond. Elektra/Nonesuch 9 79183-2. String Quartets Nos. 1 and 2. The Composers Quartet. Elektra/Nonesuch 9 71249-2 Piano Concerto; Variations for Orchestra. Ursula Oppens, piano; Cincinnati Symphony Orchestra, Michael Gielen, cond. New World Records, NW 347–2. Triple Duo; Clarinet Concerto; Short Pieces. Nouvel Ensemble Moderne, Lorraine Vaillancourt, cond. ATMA Classique, ACD2 2280. Complete Music for Piano. Charles Rosen, piano. Bridge 9090. Vocal Works (1975–81): A Mirror on Which to Dwell; In Sleep, In Thunder; Syringa; Three Poems of Robert Frost. Speculum Musicae with Katherine Ciesinki, mezzo; Jon Garrison, tenor; Jan Opalach, bass; Christine Schadeberg, soprano. Bridge, BCD 9014. Dialogues; Boston Concerto; Cello Concerto; ASKO Concerto. Nicolas Hodges, piano; Fred Sherry, cello; London Sinfonietta, BBC Symphony Orchestra, ASKO Ensemble, Oliver Knussen, cond. Bridge 9184.

Notable students[edit] For Carter's notable students, see List of music students by teacher: C to F § Elliott Carter. References[edit]

^ "Elliott Carter's Own Website Biography".  ^ ""Carter's Continuing Presence"". New Music Box.  ^ "Elliott Carter's Own Book on Harmony".  ^ a b c d Daniel J. Watkin (2008-12-11). "Turning 100 at Carnegie Hall, With New Notes". The New York Times. Retrieved 2008-12-17.  ^ "Boosey & Hawkes works catalog". Boosey & Hawkes. Archived from the original on 2005-04-13.  ^ "Elliott Carter, Composer Who Decisively Snapped Tradition, Dies at 103", The New York Times
The New York Times
11-05-2012 ^ "Celebrating a Birthday as Well as a Score" by Anthony Tommasini, The New York Times
The New York Times
2008-12-13 ^ James Wierzbicki, Elliott Carter
Elliott Carter
(Urbana, Chicago, and Springfield: University of Illinois Press: 2011), p. 11. ^ F. Paul Driscoll (February 2013). "Obituary:Centenarian composer Elliott Carter". Opera News. 77 (8).  ^ a b "What Next for Elliott Carter?", Limelight, August 2012, p. 28 ^ "Recording Industry Salutes Musical Alums." The Horace Mann Report. Archived 2009-02-17 at the Wayback Machine. Vol 106: Issue 9. January 23, 2009. (Retrieved February 9, 2009) ^ "Elliott Carter". The Daily Telegraph. November 6, 2012.  ^ Eichler, Jeremy (November 5, 2012). "Composer Elliott Carter
Elliott Carter
dies at 103". Boston Globe. Archived from the original on November 6, 2012. Retrieved May 2, 2015.  ^ Kozinn, Allan (November 5, 2012). "Elliott Carter, Composer Who Decisively Snapped Tradition, Dies at 103". New York Times.  ^ Elliott Carter
Elliott Carter
to Samuel Randlett, April 11, 1966, Elliott Carter Collection ^ 'Minimalism is death'. Telegraph, 26 July 2003. ^ Guerrieri, Matthew (December 5, 2008). "The composer in Cambridge: Carter looks back". The Boston Globe. Retrieved August 6, 2016.  ^ Clements, Andrew (19 June 2009). "Classical preview: On Conversing With Paradise, Snape, nr Aldeburgh". The Guardian. Retrieved August 6, 2016.  ^ Clark, Andrew (June 23, 2009). "On Conversing with Paradise". Financial Times. Retrieved August 6, 2016.  ^ Clements, Andrew (22 June 2009). "Carter/Benjamin premieres". The Guardian. Retrieved August 6, 2016.  ^ Mark Swed (November 6, 2012). " Elliott Carter
Elliott Carter
dies at 103; inventive American composer". Los Angeles Times. Retrieved December 12, 2014.  ^ David Allen (2015). "Review: Elliott Carter
Elliott Carter
Premiere and Levine Withdrawal With Met Chamber Ensemble". The New York Times. p. C3. Retrieved December 16, 2014. 

Capuzzo, Guy. Elliott Carter's 'What Next?': Communication, Cooperation, Separation. Rochester: University of Rochester Press, 2012. ISBN 978-1-58046-419-2. Doering, William T. Elliott Carter: A Bio-Bibliography. Bio-bibliographies in music, no. 51. Westport, Conn.: Greenwood Press, 1993. ISBN 0-313-26864-9.

Further reading[edit]

Coulembier, Klaas. 2016. "Static Structure, Dynamic Form: An Analysis of Elliott Carter's Concerto for Orchestra". Perspectives of New Music 54, no. 1 (Winter): 97–136.


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Elliott Carter
Elliott Carter
interview by Bruce Duffie, June 10, 1986 American Gothic: An Interview with Elliott Carter, by Andy Carvin, 1992 A January 1994 interview with Elliott Carter
Elliott Carter
by Phil Lesh Elliott Carter
Elliott Carter
(February 4, 2000). "Elliott Carter: The Career of a Century". NewMusicBox (Interview). Interview with Frank J. Oteri (published March 1, 2000).  MusicMavericks.PublicRadio.org: An interview with Elliot Carter by Alan Baker, Minnesota Public Radio, July 2002 Radical Connections on Counterstream Radio: Elliott Carter
Elliott Carter
and Phil Lesh in Conversation, December 2007] Elliott Carter
Elliott Carter
Centenary Podcast, an interview with Frank J. Oteri, November 27, 2007 TV Interview (with Daniel Barenboim
Daniel Barenboim
and James Levine) by Charlie Rose, December 10, 2008 Tarmy, James (2012-06-06). "Elliott Carter, 103, Has World Premiere, Ponders Hitler, Romney". Bloomberg News. Retrieved 2012-06-13. 


Elliott Carter: A Life In Music, a documentary (1983) Art of the States: Elliott Carter
Elliott Carter
four works by the composer Elliott Carter
Elliott Carter
interview from American Mavericks site Excerpts from sound archives of Carter's works

External links[edit]

Wikiquote has quotations related to: Elliott Carter

Official website Elliott Carter
Elliott Carter
at Encyclopædia Britannica Elliott Carter
Elliott Carter
on IMDb Free scores by Elliott Carter
Elliott Carter
at the Open Music Library Yale University
Yale University
Library: Research Guide to Elliott Carter's Life and Music Elliott Carter
Elliott Carter
by photographer Philippe Gontier Elliott Carter: A Centennial Portrait in Letters and Documents by Felix Meyer & Anne C. Shreffler published by the Boydell Press in association with the Paul Sacher Foundation. Elliott Carter
Elliott Carter
Studies edited by Marguerite Boland & John Link published by Cambridge University Press. Elliott Carter's What Next?: Communication, Cooperation, and Separation by Guy Capuzzo published by the University of Rochester Press. Elliott Carter
Elliott Carter
at G. Schirmer/AMP Elliott Carter
Elliott Carter
at Boosey and Hawkes The String Quartets of Elliott Carter
Elliott Carter
Booklet note for recording by the Arditti Quartet of Quartets 1–4 and Elegy (1988 ETCETERA KTC 1065/1066), by David Harvey CompositionToday – Elliot Carter article and review of works Elliott Carter
Elliott Carter
Centenary 2008 at the Wayback Machine
Wayback Machine
(archived February 1, 2008) John Link's Analysis of Night Fantasies Joshua B. Mailman's "Imagined Drama of Competitive Opposition in Carter's Scrivo in Vento (with Notes on Narrative, Symmetry, Quantitative Flux and Heraclitus)" " Elliott Carter
Elliott Carter
biography" (in French). IRCAM.  Lifetime Honors – National Medal of Arts Elliott Carter
Elliott Carter
papers, 1945–1995 Music Division, The New York Public Library.

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Elliott Carter


What Next? (1997/98)

String quartet

String Quartet No. 1 (1950/51) String Quartet No. 2 (1959) String Quartet No. 3 (1971) String Quartet No. 4 (1986) String Quartet No. 5 (1995)


Symphony No. 1 (1942) A Symphony of Three Orchestras (1976) Symphonia: sum fluxae pretium spei (1993/94/95)


Double Concerto for Harpsichord and Piano with Two Chamber Orchestras (1961) Piano Concerto (1965) Concerto for Orchestra
(1969) Oboe Concerto (1987) Violin Concerto (1990) Clarinet Concerto (1996) Asko Concerto (2000) Cello Concerto (2000) Boston Concerto (2002) Horn Concerto (2006) Flute Concerto (2008)

Other compositions

Holiday Overture (1944) Eight Pieces for Four Timpani (1950/66) Variations for Orchestra
(1955) Night Fantasies (1980) Three Occasions for Orchestra
(1989) Three Illusions for Orchestra
(2002/04) Dialogues (2003) Soundings (2005) Interventions (2007) Two Controversies and a Conversation (2011) Dialogues II (2012)

Related articles

Process music

List of compositions by Elliott Carter
List of compositions by Elliott Carter
Category:Compositions by Elliott Carter

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Musical modernism

Genres and techniques

Abstractionism Athematicism Atonality Dissonant counterpoint Dada Experimental music Expressionism Futurism Impressionism Microtonal music Modality Modes of limited transposition Neoclassicism Neotonality New Objectivity Noise music Pandiatonicism Polyrhythm Polytonality Process music Quartal and quintal harmony Serialism Surrealism Sound collage Sound mass Tone cluster Tropes Twelve-tone technique

Related topics

Postmodern music

See also: Modernist composers

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Ernst von Siemens Music Prize

Benjamin Britten
Benjamin Britten
(1974) Olivier Messiaen
Olivier Messiaen
(1975) Mstislav Rostropovich
Mstislav Rostropovich
(1976) Herbert von Karajan
Herbert von Karajan
(1977) Rudolf Serkin
Rudolf Serkin
(1978) Pierre Boulez
Pierre Boulez
(1979) Dietrich Fischer-Dieskau
Dietrich Fischer-Dieskau
(1980) Elliott Carter
Elliott Carter
(1981) Gidon Kremer
Gidon Kremer
(1982) Witold Lutosławski
Witold Lutosławski
(1983) Yehudi Menuhin
Yehudi Menuhin
(1984) Andrés Segovia
Andrés Segovia
(1985) Karlheinz Stockhausen
Karlheinz Stockhausen
(1986) Leonard Bernstein
Leonard Bernstein
(1987) Peter Schreier
Peter Schreier
(1988) Luciano Berio
Luciano Berio
(1989) Hans Werner Henze
Hans Werner Henze
(1990) Heinz Holliger (1991) H. C. Robbins Landon
H. C. Robbins Landon
(1992) György Ligeti
György Ligeti
(1993) Claudio Abbado
Claudio Abbado
(1994) Harrison Birtwistle
Harrison Birtwistle
(1995) Maurizio Pollini
Maurizio Pollini
(1996) Helmut Lachenmann (1997) György Kurtág
György Kurtág
(1998) Arditti Quartet (1999) Mauricio Kagel
Mauricio Kagel
(2000) Reinhold Brinkmann (2001) Nikolaus Harnoncourt
Nikolaus Harnoncourt
(2002) Wolfgang Rihm
Wolfgang Rihm
(2002) Alfred Brendel
Alfred Brendel
(2004) Henri Dutilleux
Henri Dutilleux
(2004) Daniel Barenboim
Daniel Barenboim
(2005) Brian Ferneyhough (2007) Anne-Sophie Mutter
Anne-Sophie Mutter
(2008) Klaus Huber
Klaus Huber
(2009) Michael Gielen (2010) Aribert Reimann
Aribert Reimann
(2011) Friedrich Cerha
Friedrich Cerha
(2012) Mariss Jansons
Mariss Jansons
(2013) Peter Gülke (2014) Christoph Eschenbach
Christoph Eschenbach
(2015) Per Nørgård
Per Nørgård
(2016) Pierre-Laurent Aimard
Pierre-Laurent Aimard
(2017) Beat Furrer (2018)

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Pulitzer Prize for Music
Pulitzer Prize for Music

Douglas Moore ('51): Giants in the Earth Gail Kubik
Gail Kubik
('52): Symphony Concertante n.a. ('53) Quincy Porter
Quincy Porter
('54): Concerto Concertante Gian Carlo Menotti
Gian Carlo Menotti
('55): The Saint of Bleecker Street Ernst Toch
Ernst Toch
('56): Symphony No. 3 Norman Dello Joio
Norman Dello Joio
('57): Meditations on Ecclesiastes Samuel Barber
Samuel Barber
('58): Vanessa John La Montaine ('59): Piano Concerto No. 1 Elliott Carter
Elliott Carter
('60): String Quartet No. 2

Complete list (1943–1950) (1951–1960) (1961–1970) (1971–1980) (1981–1990) (1991–2000) (2001–2010) (2011–2020) (Citations)

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Pulitzer Prize for Music
Pulitzer Prize for Music

Mario Davidovsky ('71): Synchronisms No. 6 Jacob Druckman
Jacob Druckman
('72): Windows Elliott Carter
Elliott Carter
('73): String Quartet No. 3 Donald Martino
Donald Martino
('74): Notturno Dominick Argento ('75): From the Diary of Virginia Woolf Ned Rorem ('76): Air Music Richard Wernick ('77): Visions of Terror and Wonder Michael Colgrass ('78): Deja Vu Joseph Schwantner ('79): Aftertones of Infinity David Del Tredici ('80): In Memory of a Summer Day

Complete list (1943–1950) (1951–1960) (1961–1970) (1971–1980) (1981–1990) (1991–2000) (2001–2010) (2011–2020) (Citations)

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Finalists: Pulitzer Prize for Music
Pulitzer Prize for Music

Bright Sheng ('91): Four Movements for Piano Charles Fussell ('91): Wilde Ralph Shapey ('92): Concerto Fantastique Leon Kirchner
Leon Kirchner
('93): Music for Cello and Orchestra Joan Tower ('93): Violin Concerto Aaron Jay Kernis ('94): Still Movement with Hymn Charles Wuorinen
Charles Wuorinen
('94): Microsymphony Donald Erb ('95): Evensong Andrew Imbrie
Andrew Imbrie
('95): Adam Peter Lieberson ('96): Variations for Violin and Piano Elliott Carter
Elliott Carter
('96): Adagio tenebroso John Musto ('97): Dove Sta Amore Stanisław Skrowaczewski
Stanisław Skrowaczewski
('97): Passacaglia Immaginaria John Adams ('98): Century Rolls Yehudi Wyner ('98): Horntrio David Rakowski ('99): Persistent Memory Stanisław Skrowaczewski
Stanisław Skrowaczewski
('99): Concerto for Orchestra Donald Martino
Donald Martino
('00): Serenata Concertante John Zorn
John Zorn
('00): contes de fees

(Winners) (Citations) (Finalists: '80s '90s '00s '10s)

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Finalists: Pulitzer Prize for Music
Pulitzer Prize for Music

Stephen Hartke ('01): Tituli Fred Lerdahl ('01): Time After Time Peter Lieberson ('02): Rilke Songs David Rakowski ('02): Ten of a Kind Steve Reich
Steve Reich
('03): Three Tales Paul Schoenfield ('03): Camp Songs Steve Reich
Steve Reich
('04): Cello Counterpoint Peter Lieberson ('04): Piano Concerto No. 3 Steve Reich
Steve Reich
('05): You Are (Variations) Elliott Carter
Elliott Carter
('05): Dialogues Peter Lieberson ('06): Neruda Songs Chen Yi ('06): Si Ji (Four Seasons) Elliot Goldenthal
Elliot Goldenthal
('07): Grendel Augusta Read Thomas ('07): Astral Canticle Stephen Hartke ('08): Meanwhile Roberto Sierra ('08): Concerto for Viola Don Byron
Don Byron
('09): 7 Etudes for Solo Piano Harold Meltzer ('09): Brion Fred Lerdahl ('10): String Quartet No. 3 Julia Wolfe
Julia Wolfe
('10): Steel Hammer

(Winners) (Citations) (Finalists: '80s '90s '00s '10s)

Authority control

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