Abstract
A discussion of three of Carter’s final works: The American Sublime, his last song cycle (to poetry of Wallace Stevens), Instances, his last orchestral work, and Epigrams, his last chamber work. These works would not be performed until after his death, and thus never were fully polished, but they sum up his musical aesthetic. Particularly in returning to Stevens for a second vocal cycle, Carter affirmed his affiliation with a poet who celebrated the metaphysical aspects of everyday existence.
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