Lee C. Carter
Professor of Music
Emily Lowe Hall 201
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Degrees: PHD, 1995, CUNY Gr Sch & Univ Cnt; MM, 1986, Boston Univ; BA, 1984, Univ North Carolina Chapel Hil
Ph. D. in Music Composition
City university of New York Graduate School
American Conservatory at Fontainebleu, France
Master of Music Composition & Vocal Performance
Bachelor of Arts
University of North Carolina at Chapel Hill
Hofstra University: 1996-Present
Harmony (all levels), Rudiments & Species Counterpoint, Aural Skills (all levels), Twentieth-Century Music Analysis; Twentieth-Century Music History; Orchestration; Opera History; Private Composition.
Mannes College of Music: 1990-Present
20th-Century Music; Stravinsky Analysis; Opera History; The Life and Works of Beethoven; Musicianship skills and Theory
Honors and Awards
Strange Fruit featured in New York City Opera's Vox 2003: Showcasing American Composers series (2003)
Recipient $98,000 grant from The Riverside Church Special Initiatives Fund to produce No Easy Walk to Freedom at the Riverside Church in Oct., 2001.
Fellow at the Paul Sacher Foundation, Basel Switzerland (2000)
Stessin Prize from Hofstra University for best scholarly article by a junior faculty in 1998
Grants from the National Endowment for the Arts in 1995 and 1994
Winner of the 1995 Barry Brook Dissertation Award for best music dissertation, CUNY Graduate School
Winner of the 1994 National Opera Association Scholarly Paper Competition: "Progress and Timelessness in The Rake's Progress."
Winner of the 1990 Cambridge Singers (Los Angeles) Composition Contest: Mass.
Winner of 1990 Holzbläser Composition Award: Symphony for Winds.
Winning Entry, 1985 Bucks County (PA) Symphony Orchestra Composer's Project: From the Prophecy of Isaiah for tenor and orchestra.
Recipient of ASCAP Composer Awards (1992-2002)
Founding Member of the Neue Bach Band (since 1998)
American Society for Authors, Publishers and Composers (since 1990)
Long Island Composers Alliance (since 1999)
Founding Member of The Composers Circle, a cooperative of composers and performers dedicated to the performance of new music (1990-93)
Society of Music Theory (since 1994)
Music Theory Society of New York State (since 1991)
Americam Musicological Society (since 1997)
Phi Beta Kappa (1983)
"The Case for Stravinskian Modernism," an essay-review of The Stravinsky Legacy by Jonathan Cross, Theory and Practice 25 (2000): 105-123.
"Spiritual Descents and Ascents: Religious Implications in Pronounced Motion to the Subdominant and Beyond", in Voicing the Ineffable: Musical Representations of Religious Experience, ed. Siglind Bruhn (Pendragon Press, 2002).
"Stravinsky‚s Truth and Mozart‚s Lies: Composers‚ Use of Musical Signs to Manipulate Theatrical Distance in European Journal for Semiotic Studies, Vol. 13 (3-4), 2001 (Conference proceedings for "Music, Signs, Society - A Transdisciplinary Colloquium" organized by the Institut für Sozio-Semiotische Studien, Vienna, Austria, March 12-14, 1999).
"The Rake's (and Stravinsky's) Progress", The American Journal of Semiotics, Fall 1998.
"Theatrical Distance in the Operas of Mozart and Stravinsky", Hofstra Horizons, Fall 1998.
"Stravinsky's 'Special Sense': The Rhetorical Use of Tonality in The Rake's Progress", Music Theory Spectrum 19/1 (Spring) 1997.
"Progress and Timelessness in The Rake's Progress", The Opera Journal, March, 1995. (refereed journal)
Recent Compositions, Performances and Reviews
Strange Fruit (in progress), an opera based on the novel by Lillian Smith. Two scenes performed on New York City Opera's Vox 2003: Showcasing American Composers series, May 8, 2003 at Church of St. Paul and St. Andrew, New York City.
No Easy Walk to Freedom (1992-5), an opera based on the life of Nelson Mandela.
Fully-staged premiere October 12 & 14, 2001 at The Riverside Church, NYC; Helen Cha-Pyo, conductor. Concert premiere Nov. 17, 2000 as part the Hofstra Cultural Center conference "Contemporary Opera at the Millenium" - John Cranford Adams Playhouse, Hofstra University. George Faison, director.
"A chronicle of Mandela's life, from his 27 years in an isolated prison cell to his political victory in the election of April, 1994, the opera appears to be direct, even simplistic. Yet although the events follow a general chronological order, the work operates on different levels to reveal Carter's true genius and courage." Marie Yereniuk, Columbia Spectator, October 17, 2001Three Hymns for Evening Prayer (1995) for chorus, alto and baritone soloists, strings, organ and timpani. Song of Mary premiered 12/17/2000 by The Riverside Cboir, Helen Cha-Pyo conductor, The Riverside Church, New York City.
"Composer/librettist Chandler Carter has grasped the characters of both Mandelas and devised an effective vehicle for their story." William Maddison, Opera News, January, 2001
"'No Easy Walk to Freedom,' a promising new opera by Chandler Carter based on the life of Nelson Mandela. . . is a compelling musical recounting of a story with its own inherent dramatic power. . . Carter has a clear talent for embroidering vocal melodies with obbligato accompaniment from the orchestra." - Jeremy Eichler, Newsday, November 20, 2000
My Shepherd will Supply My Need (2000) hymn setting for baritone and piano. Commissioned and premiered 11/5/2000 by David Orcutt - The Riverside Church, NYC.
Four Whitman Settings (1996-97) for baritone and piano (version for tenor), Premiered 11/5/2000 by David Orcutt - The Riverside Church, NYC.
Suite of South African Folk Tunes from No Easy Walk to Freedom, for string quartet (1996) Premiered 10/15/2000 by the Hofstra String Quartet - Monroe Hall, Hofstra University.
They Feed They Lion (2000) for soprano and piano to a text by Philip Levine. Commissioned and premiered 2/13/2000 by Diana Solomon-Glover - The Riverside Church, NYC.
Glory to God in the Highest (1996) for mixed chorus and soloists. Premiered 12/11/99 by the Hofstra University Chorale, Jerry Ulrich, conductor - Monroe Hall, Hofstra University.
Stuck at Grand Central (1998) for two flutes and two guitars. Premiered 5/10/99 by the Hofstra New Music Ensemble - Hofstra University.
On the Cross (1996) for soprano soloist and mixed chorus. Premiered 4/8/97 by the Riverside Chamber Singers, Helen Cha-Pyo, conductor - The Riverside Church, NYC.
Song of the Bachman's Warbler (1995) for cello and piano. Premiered 2/24/96 by Dana Winograd and Patrice Newman - Weill Concert Hall, NYC.
Shouts, Faces, Cities and Lonely Roads (1990) - a cycle of four songs for baritone and orchestra. Texts by Lou Lipsitz. Premiered 2/25/94 by the Denver Chamber Orchestra, Paul Dunkel, conductor.
Performed 1/20-22/95 by the Westchester Philharmonic Orchestra in Purchase, NY, Paul Dunkel, conductor.
Version for baritone and piano premiered 12/13/90 by André Solomon-Glover and Warren Jones - Merkin Recital Hall, NYC.
"With their fervent resonance and skillful writing, these songs were sung with great eloquence."- Allen Young, Rocky Mountain News, February 27, 1994Symphony for Winds (1988-9) for double wind quintet. Performed 11/6/93 by the Quintet of the Americas and the Latin American Wind Quintet - Weill Recital Hall.
You Are Here (1991) - a cycle of five songs for high soprano and piano. Texts by Arnold Adoff. Commissioned and premiered 2/12/92 by Leigh Adoff - Greenwich House, NYC.
Ricercar based on the office chant "Quasi modo geniti infantes," (1989) for organ.
Premiered 4/7/91 by Quentin Lane - St. Thomas Church, NYC.
Mass (1987) for chorus and organ. Premiered 3/10/91 in Pasadena, CA by the Cambridge Singers.
Performances (as Baritone soloist)
Neue Bach Band, an ensemble dedicated to the performance of vocal and instrumental chamber by and in the tradition of J. S. Bach - 1998-present
Bach Aria Festival, SUNY-Stony Brook - 1997, artist fellow
Riverside Church Choir, New York City - 1995 to present, Timothy Smith, Music Director and organist
Featured Soloist: Bach Cantata no. 185, Fauré Requiem and Handel Messiah. Chant Soloist in recording Biebl's Ave Maria by the Riverside Choir (1998)
Chant Soloist in recording of Charpentier's Messe de Minuit pour Noël by The Virgin Consort (1993).
Numerous opera, oratorio, concert and recital performances in New York City, Boston and North Carolina.
Operatic roles include the Count and Figaro in Le Nozze di Figaro; and Papageno and the Speaker in Die Zauberflöte.