Over the ten years to 2004, Elliott Carter's reputation rose sharply.

True: evidence shows Elliott Carter's critical standing rose substantially from 1994 to 2004 (for example more performances and recordings, major prizes or tributes, and critics describing his growing acclaim). Mostly true: his standing rose clearly but more modestly than 'skyrocketed', or the rise falls only partly within the decade. Mixed: indicators conflict. Mostly false: his reputation was already high and stayed broadly stable, with only small gains. False: his reputation declined or did not change over the period.

Set before the research began.

1. E1 A Composer for the Century Los Angeles Times · 15 November 1998

   “This year, those detractors have been mostly in retreat, particularly in his hometown of New York City. His birthday tribute at Columbia University’s Miller Theatre was packed with appreciative ears”

2. E2 Violin Concerto (Carter) - Alchetron, the free social encyclopedia Alchetron · 18 January 2016

   “The piece won the 1994 Grammy Award for Best Classical Contemporary Composition.”

3. E3 Happy Birthday, Elliott Carter! | John Russell The New York Review of Books · 17 December 1998

   “In this matter, no one of his generation in the United States has worked harder than he, or been more widely acclaimed in Europe. Musicians in many countries love to play his music, and many audiences want to hear it.”

4. E4 A Composer for the Century Los Angeles Times · 15 November 1998

   “When the Second String Quartet won the Pulitzer Prize and the Juilliard Quartet had it in their repertory, people all around the country asked them to play it, and it elicited outright displays of anger from their audiences.”

Carter's Violin Concerto won the 1994 Grammy for Best Classical Contemporary Composition (E2). A 1998 Los Angeles Times piece reports his detractors 'mostly in retreat' and a packed birthday tribute (E1), in contrast with earlier hostile audience reactions to his music (E4). The New York Review of Books in 1998 describes wide acclaim and audience demand (E3). Together these show a clear rise in standing during the decade, but the evidence covers mainly 1994–1998 and does not fully establish a 'skyrocketing' rise across the whole period.