描述

Carter-Eight Pieces for Four Timpani

艾略特·卡特的<給定音鼓的八首作品>毫無疑問是定音鼓這個歷史性的樂器有史以來最知名的作品。八首之中的任一首作品都是寫給一個特定的表演者，並且包含了在這之前從在定音鼓上未被創造出的技巧以及風格。

I. Saeta (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 (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 (1966) – Jan Williams: Uses pedal tuned timpani to produce vibratos, harmonics and glissandos in dramatic outburst.

IV. Recitative (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 (1949/1966) – Paul Price: The opening phrase furnishes materials for numerous variations with constant changes of speed.

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

VII. Canaries (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 (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.

艾略特·卡特

於1908年12月11日出生於紐約市，艾略特·卡特於高中時開始專注於音樂，並且受到Charles Ives所鼓勵。他曾就讀哈佛大學並向Walter Piston學習，並於稍後前往巴黎向Nadia Boulanger學習。隨後他回到紐約市並奉獻他的時間於創作及教學。