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In 1921, insurance executive Charles Ives sent out copies of a piano sonata to two hundred strangers. Laden with dissonant chords, complex rhythm, and a seemingly chaotic structure, the so-called Concord Sonata confounded the recipients, as did the accompanying book, Essays before a Sonata . Kyle Gann merges exhaustive research with his own experience as a composer to reveal the Concord Sonata and the essays in full. Diffracting the twinned works into their essential aspects, Gann lays out the historical context that produced Ives's masterpiece and illuminates the arguments Ives himself explored in the Essays . Gann also provides a movement-by-movement analysis of the work's harmonic structure and compositional technique; connects the sonata to Ives works that share parts of its material; and compares the 1921 version of the Concord with its 1947 revision to reveal important aspects of Ives's creative process. A tour de force of critical, theoretical, and historical thought, Charles Ives's Concord provides nothing less than the first comprehensive consideration of a work at the heart of twentieth century American music.
Charles Ives's massive Concord Sonata, his second sonata for piano, named after the town of Concord in Massachusetts, is central to his output and clearly reflects his aesthetic perspective. Geoffrey Block's wide-ranging 1996 account of the work thus provides an ideal introduction to this fascinating composer. As well as a discussion of the Sonata's reception history from 1920 to the time of publication, and a chapter on its compositional genesis, this handbook includes a detailed narrative of the motivic content as well as a historical and analytical survey of the work's borrowings, both certifiable and newly proposed. The programmatic element of the Sonata is explored in the context of Ives's personal vision of four literary subjects associated with the town of Concord between 1840 and 1860: Emerson, Thoreau, Hawthorne, and the Alcotts.
Charles Ives' massive Concord Sonata, his second sonata for piano, named after the town of Concord in Massachusetts, is central to his output and clearly reflects his aesthetic perspective. Geoffrey Block's wide-ranging account of the work thus provides an ideal introduction to this fascinating composer. This handbook discusses the Sonata's reception history and its compositional genesis, as well as providing a detailed account of the work's thematic content, its use of borrowed material, and the degree to which the program is influenced by the Concord Transcendentalists.
"Essays Before a Sonata" is a one-of-a-type and groundbreaking piece of artwork by means of American composer Charles Ives, who recognized for making critical additions to twentieth-century music. This set of writings is going with Ives "Concord Sonata," a piece of music that turned into stimulated by means of the transcendentalist writers and thinkers who lived in Concord, Massachusetts. Ives writes approximately music, philosophy, and life in these writings, which provide you a way to understand the intellectual and creative historical past of the "Concord Sonata." The identify itself suggests that Ives thought the listener have to think cautiously approximately the piece of track before they virtually listen it. Ives writes approximately a number of various things, along with the connection among song and transcendentalist theory, the idea of invention, and the place of dissonance in track. Like Ralph Waldo Emerson, Henry David Thoreau, and Nathaniel Hawthorne, he sees links among what he is studying and the philosophical thoughts of these great minds. "Essays Before a Sonata" indicates how avant-garde and innovative Ives was with all of his songs and high-degree writing. As a hyperlink among tune and notion, it helps listeners apprehend how complicated the "Concord Sonata" is and gives them a better know-how of Ives's specific musical imagination and foresight.
Ives's second piano sonata, Concord, Mass., 1845, stands among the masterpieces of American music.
This volume shows Charles Ives in the context of his world in a number of revealing ways. Five new essays examine Ives's relationships to European music and to American music, politics, business, and landscape. J. Peter Burkholder shows Ives as a composer well versed in four distinctive musical traditions who blended them in his mature music. Leon Botstein explores the paradox of how, in the works of Ives and Mahler, musical modernism emerges from profoundly antimodern sensibilities. David Michael Hertz reveals unsuspected parallels between one of Ives's most famous pieces, the Concord Piano Sonata, and the piano sonatas of Liszt and Scriabin. Michael Broyles sheds new light on Ives's political orientation and on his career in the insurance business, and Mark Tucker shows the importance for Ives of his vacations in the Adirondacks and the representation of that landscape in his music. The remainder of the book presents documents that illuminate Ives's personal life. A selection of some sixty letters to and from Ives and his family, edited and annotated by Tom C. Owens, is the first substantial collection of Ives correspondence to be published. Two sections of reviews and longer profiles published during his lifetime highlight the important stages in the reception of Ives's music, from his early works through the premieres of his most important compositions to his elevation as an almost mythic figure with a reputation among some critics as America's greatest composer.
This research guide provides detailed information on over one thousand publications and websites concerning the American composer Charles Ives. With informative annotations and nearly two hundred new entries, this greatly expanded, updated, and revised guide offers a key survey of the field for interested readers and experienced researchers alike.
Charles Ives' greatest music teacher was his father. His father was Danbury's musical leader, teaching any musical instrument needed. He was the Civil War band leader and carried out experiments in sound (for example, sounds made when three or four bands played together in different keys). His son, Charles Edward, tried to do those sounds in multiple keys, no one could play the music. It was terribly hard. Those who tried it, gave up. They called him a "crackpot," or an untrained musician and made fun of him. At Yale, he was told to follow the rules. His instructor disapproved of his music, so Ives performed one way in school and followed his own muse at home. When he finished at Yale, he had decided that he could not make a living with his music. He got a job at an insurance company for five dollars a week. Soon, he and a friend went into partnership and made a good living in the insurance business. He kept writing at night and storing it in his barn. Ives' dual life as a composer and business man led to a physical breakdown in 1918, which left him with permanent cardiac damage. During his long convalescence, he went through his music and had it published and sent to anyone he thought might be interested. It was not to be copyrighted and anyone who wanted a copy was to have one. Slowly, a few people learned to play parts of it. In 1939, John Kirkpatrick learned and played the Concord Sonata. People liked it and he repeated it. Ives' music began to be heard and liked so much so that by the time of his death in 1954, he had become an almost legendary figure. Ives way of musical notation resulted in his being called the first American to write 20th Century music.