I was first privileged to meet Elliott Carter during the late 80s during the Carnegie Hall/Rockefeller International American Music Competition. I was just out of college and Judith Arron, the Artistic and Executive Director of Carnegie requested that I call Mr. Carter directly to discuss repertoire choices for the competition. Nervous about speaking with such musical luminary, I mustered up all my courage and dialed his New York City apartment only to have Mrs. Carter answer the phone. After some youthful pluck and wrangling, she finally turned the call over to Mr. Carter. During that very first phone meeting, I immediately realized the extent to which his magnificent music catalog was a direct reflection of his intellect and wit. Later, also during my tenure at Carnegie Hall, we produced in concert his opera What Next? with the Chicago Symphony Orchestra and Daniel Barenboim conducting. I was astounded by the uniqueness of the opera, which clearly demonstrated his singular voice; albeit a voice that was always evolving. His musical sensibility remained brilliant and original, and his sound world had so many different colors. What Next? demonstrates that gift. I have had many fortunate occasions in the last six years to spend time with Elliott through my Vice Presidency with G. Schirmer/AMP, a company that represents 37 of his early works. Pieces such as his Holiday Overture (1944) continue to be robustly performed and celebrated worldwide by all levels of orchestras. However, it was his overflowing enthusiasm and passion for music that will remain with me as his legacy – equal to being an iconic American composer. I feel immensely privileged to have personally known the unforgettable, twinkling, Elliott Carter.