CARTER: Mosaic; Scrivo in Vento; Gra; Enchanted Preludes; Steep Steps; Figments I & II; Riconoscenza per Goffredo Petrassi; Rhapsodic Musings; Dialogues. New Music Concerts Ensemble/Robert Aitken. NAXOS 8.559614. CD 65 minutes; DVD 50 minutes.
In addition to an increase in performances marking Elliott Carter’s 100th birthday last December, there were a few new recordings of a substantial amount of the peripatetic centenarian’s recent music.
This Naxos set (already ably reviewed by Jay Batzner) is a valuable addition to the Carter discography, for at least a couple of reasons. It provides high-quality second (and in some cases more) recordings of several works, it’s a very good introduction to Carter’s music of the last 20 years or so, and not least, it includes the first recording of Mosaic (2005, harp and mixed ensemble), one of Carter’s most colorful and directly approachable scores.
The composer’s late style is characterized by a stronger emphasis on instrumental color for its own expressive value and relative textural clarity (which in many pieces goes hand-in-hand with the emphasis on color). These traits are presented in a new (for Carter) structural looseness that is often manifest in collage-like forms made up of short, overlapping episodes of contrasting music.
“Gorgeous” is not a word one often associates with Carter, but it applies to Mosaic. The solo harp part, played here with great style and flair by Erica Goodman, swoops and dances voluptuously over the range of the instrument. The accompanying ensemble sings and rasps its support and commentary.
The bulk of the program consists of new performances of a handful of the character pieces that are a staple of Carter’s recent career. These are the second (and sometimes third or fourth) recordings of these pieces, which are becoming standard repertoire for their instruments, at least amongst a certain type of performer.
The disc closes with a bright and lively reading of Dialogues (2004, piano and chamber orchestra) another exemplar of the composer’s late approach. David Swan gives a deft and expressive performance of the daunting solo part, and Robert Aitken leads a strong reading by the New Music Concerts Ensemble.
The bonus DVD includes film versions of the performances of Mosaic and Dialogues, as well as a post-concert interview of the composer conducted by Mr. Aitken. The films included some very amateurish effects shots and are unimaginatively shot, but they are valuable in that they show the under-commented-on physicality of Carter performance. The interview includes some of Carter’s more familiar ideas, and is valuable for the newbie in that respect.
 Jay also reviewed Ursula Oppens’ recent traversal of Carter’s then-complete piano music, and we pretty much had the same reaction to it.