As the excerpts quoted from Virgil Thomson's review have already shown, Carter's quartet enjoyed a remarkable succès d'estime, or “reputation success.” It taught him a lesson, as he has put it, “about my relationship with performers and audiences.” For
as I wrote, an increasing number of musical difficulties arose for prospective performers and listeners, which the musical conception seemed to demand. I often wondered whether the quartet would ever have any performers or listeners. Yet within a few years of its composition it won an important prize and was played (always with a great deal of rehearsal) more than any work I had written up to that time. It even received praise from admired colleagues.28
- Citation (MLA):
- Richard Taruskin. "Chapter 6 Standoff (II)." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 1 Oct. 2016. <http://www.oxfordwesternmusic.com/view/Volume5/actrade-9780195384857-div1-006005.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 6 Standoff (II). In Oxford University Press, Music in the Late Twentieth Century. New York, USA. Retrieved 1 Oct. 2016, from http://www.oxfordwesternmusic.com/view/Volume5/actrade-9780195384857-div1-006005.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 6 Standoff (II)." In Music in the Late Twentieth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 1 Oct. 2016, from http://www.oxfordwesternmusic.com/view/Volume5/actrade-9780195384857-div1-006005.xml