Essential Ives
Like his bandmaster father, Charles Ives (1874–1954) was a musical experimenter who relished unusual and unexpected sonic combinations. Indeed, many of his works have a collage-like quality, mixing together snippets of hymns, marches, folk tunes, patriotic songs, and popular dance tunes. In this, Ives often seems to be looking longingly back to his New England childhood – and yet his music simultaneously displays a fierce disdain for tradition.
Read more…- Ives • Orchestral Set No. 1: Three Places in New England S 7 (1903-1914) • 1. The 'St. Gaudens' in Boston Common (Col. Shaw and his Colored Regiment)Orchestral Set No. 1: Three Places in New England S 7 (1903-1914)
1. The 'St. Gaudens' in Boston Common (Col. Shaw and his Colored Regiment)Michael Tilson Thomas, Boston Symphony Orchestra℗ 1970 - Ives • Orchestral Set No. 1: Three Places in New England S 7 (1903-1914) • 2. Putnam's Camp, Redding, ConnecticutOrchestral Set No. 1: Three Places in New England S 7 (1903-1914)
2. Putnam's Camp, Redding, ConnecticutMichael Tilson Thomas, Boston Symphony Orchestra℗ 1970 - Ives • Orchestral Set No. 1: Three Places in New England S 7 (1903-1914) • 3. The Housatonic at StockbridgeOrchestral Set No. 1: Three Places in New England S 7 (1903-1914)
3. The Housatonic at StockbridgeMichael Tilson Thomas, Boston Symphony Orchestra℗ 1970 - Ives • Sonata for Violin and Piano No. 4 S 63 (1900-1916) “Children's Day at the Camp Meeting” • I. AllegroSonata for Violin and Piano No. 4 S 63 (1900-1916)
I. AllegroPekka Kuusisto (Violin), Joonas Ahonen (Piano)2016, Espoo, Sellosali, Espoo - Ives • Sonata for Violin and Piano No. 4 S 63 (1900-1916) “Children's Day at the Camp Meeting” • II. LargoSonata for Violin and Piano No. 4 S 63 (1900-1916)
II. LargoPekka Kuusisto (Violin), Joonas Ahonen (Piano)2016, Espoo, Sellosali, Espoo - Ives • Sonata for Violin and Piano No. 4 S 63 (1900-1916) “Children's Day at the Camp Meeting” • III. AllegroSonata for Violin and Piano No. 4 S 63 (1900-1916)
III. AllegroPekka Kuusisto (Violin), Joonas Ahonen (Piano)2016, Espoo, Sellosali, Espoo - Ives • The Things Our Fathers Loved S 372 (1917) • I think there must be a place in the soulThe Things Our Fathers Loved S 372 (1917)
I think there must be a place in the soulJan DeGaetani (Mezzo-soprano), Gilbert Kalish (Piano)℗ 1988 - Ives • Serenity S 347 (1909-1919) • O, Sabbath rest of GalileeSerenity S 347 (1909-1919)
O, Sabbath rest of GalileeJan DeGaetani (Mezzo-soprano), Gilbert Kalish (Piano)℗ 1988 - Ives • At the River S 214 (1914-1916) • 'Shall we gather at the river'At the River S 214 (1914-1916)
'Shall we gather at the river'Jan DeGaetani (Mezzo-soprano), Gilbert Kalish (Piano)℗ 1988 - Ives • Like a Sick Eagle S 288 (1920) • 'My spirit is too weak'Like a Sick Eagle S 288 (1920)
'My spirit is too weak'Jan DeGaetani (Mezzo-soprano), Gilbert Kalish (Piano)℗ 1988 - Ives • Symphony No. 2 S 2 (1897-1902) • I. Andante moderatoSymphony No. 2 S 2 (1897-1902)
I. Andante moderatoLeonard Bernstein, New York PhilharmonicRemastered℗ 1960 - Ives • Symphony No. 2 S 2 (1897-1902) • II. Allegro
- Ives • Symphony No. 2 S 2 (1897-1902) • III. Adagio cantabileSymphony No. 2 S 2 (1897-1902)
III. Adagio cantabileLeonard Bernstein, New York PhilharmonicRemastered℗ 1960 - Ives • Symphony No. 2 S 2 (1897-1902) • IV. Lento maestosoSymphony No. 2 S 2 (1897-1902)
IV. Lento maestosoLeonard Bernstein, New York PhilharmonicRemastered℗ 1960 - Ives • Symphony No. 2 S 2 (1897-1902) • V. Allegro molto vivaceSymphony No. 2 S 2 (1897-1902)
V. Allegro molto vivaceLeonard Bernstein, New York PhilharmonicRemastered℗ 1960 - Ives • Sonata for Piano No. 2 'Concord, Mass., 1840-1860' S 88 (1909-1915) • I. Emerson. SlowlySonata for Piano No. 2 'Concord, Mass., 1840-1860' S 88 (1909-1915)
I. Emerson. SlowlyJohn Kirkpatrick (Piano)℗ 1968 - Ives • Sonata for Piano No. 2 'Concord, Mass., 1840-1860' S 88 (1909-1915) • II. Hawthorne. Very fastSonata for Piano No. 2 'Concord, Mass., 1840-1860' S 88 (1909-1915)
II. Hawthorne. Very fastJohn Kirkpatrick (Piano)℗ 1968 - Ives • Sonata for Piano No. 2 'Concord, Mass., 1840-1860' S 88 (1909-1915) • III. The Alcotts. ModeratelySonata for Piano No. 2 'Concord, Mass., 1840-1860' S 88 (1909-1915)
III. The Alcotts. ModeratelyJohn Kirkpatrick (Piano)℗ 1968 - Ives • Sonata for Piano No. 2 'Concord, Mass., 1840-1860' S 88 (1909-1915) • IV. Thoreau. Starting slowly and quietlySonata for Piano No. 2 'Concord, Mass., 1840-1860' S 88 (1909-1915)
IV. Thoreau. Starting slowly and quietlyJohn Kirkpatrick (Piano)℗ 1968 - Ives • Psalm 90 S 152 (1923-1924) • 'Lord, thou has been our dwelling place'Psalm 90 S 152 (1923-1924)
'Lord, thou has been our dwelling place'Dale Warland, Dale Warland Singers℗ 2010 - Ives • A Symphony: New England Holidays S 5 (1897-1913) • I. Washington's BirthdayA Symphony: New England Holidays S 5 (1897-1913)
I. Washington's BirthdayWolf-Dieter Hauschild, MDR Sinfonieorchester, MDR Rundfunkchor℗ 1982 - Ives • A Symphony: New England Holidays S 5 (1897-1913) • II. Decoration DayA Symphony: New England Holidays S 5 (1897-1913)
II. Decoration DayWolf-Dieter Hauschild, MDR Sinfonieorchester, MDR Rundfunkchor℗ 1982 - Ives • A Symphony: New England Holidays S 5 (1897-1913) • III. The Fourth of JulyA Symphony: New England Holidays S 5 (1897-1913)
III. The Fourth of JulyWolf-Dieter Hauschild, MDR Sinfonieorchester, MDR Rundfunkchor℗ 1982 - Ives • A Symphony: New England Holidays S 5 (1897-1913) • IV. Thanksgiving and Forefathers' DayA Symphony: New England Holidays S 5 (1897-1913)
IV. Thanksgiving and Forefathers' DayWolf-Dieter Hauschild, MDR Sinfonieorchester, MDR Rundfunkchor℗ 1982 - Ives • General William Booth Enters into Heaven S 255 (1914-1933) • 'Booth led boldly with his big bass drum'General William Booth Enters into Heaven S 255 (1914-1933)
'Booth led boldly with his big bass drum'Thomas Hampson (Baritone), Michael Tilson Thomas
San Francisco Symphony, San Francisco Symphony Chorus, San Francisco Girls Chorus℗ 2002 - Ives • Symphony No. 4 S 4 (1910-1925) • I. Prelude. MaestosoSymphony No. 4 S 4 (1910-1925)
I. Prelude. MaestosoMary Sauer (Piano), Richard Webster (Organ), Michael Tilson Thomas
Chicago Symphony Orchestra, Chorus℗ 1991 - Ives • Symphony No. 4 S 4 (1910-1925) • II. Comedy. AllegrettoSymphony No. 4 S 4 (1910-1925)
II. Comedy. AllegrettoMary Sauer (Piano), Richard Webster (Organ), Michael Tilson Thomas
Chicago Symphony Orchestra, Chorus℗ 1991 - Ives • Symphony No. 4 S 4 (1910-1925) • III. Fugue. Andante moderato con motoSymphony No. 4 S 4 (1910-1925)
III. Fugue. Andante moderato con motoMary Sauer (Piano), Richard Webster (Organ), Michael Tilson Thomas
Chicago Symphony Orchestra, Chorus℗ 1991 - Ives • Symphony No. 4 S 4 (1910-1925) • IV. Finale. Very slowly – Largo maestosoSymphony No. 4 S 4 (1910-1925)
IV. Finale. Very slowly – Largo maestosoMary Sauer (Piano), Richard Webster (Organ), Michael Tilson Thomas
Chicago Symphony Orchestra, Chorus℗ 1991 - Ives • The Unanswered Question S 50 (1908, rev. 1930-1935) • Largo molto sempre – Allegretto – Molto agitandoThe Unanswered Question S 50 (1908, rev. 1930-1935)
Largo molto sempre – Allegretto – Molto agitandoGlenn Fischthal (Trumpet), Michael Tilson Thomas
San Francisco Symphony℗ 2002
As a student at Yale University, Ives struggled against the musical conservatism of his teachers, and a few years after graduating found work with an insurance company. He quickly made a fortune in the business, and this financial independence allowed him the freedom to write the music he wanted to write. Because Ives was ahead of his time in his use of dissonance, and so boldly blurred the line between vernacular and "serious" music, he was almost completely ignored for many years. It wasn't until 1939, with a New York performance of his 'Concord' Sonata (completed back in 1915), that he had any serious recognition from the musical establishment.
While the surface of Ives's music is often craggy and complex, a powerful current of tenderness flows underneath. And in his greatest works – like the Concord Sonata, Three Places in New England, the Fourth Symphony, and An Unanswered Question – one finds an ecstatic, transcendental element that reflects his resolute belief in music's power to reflect and speak to our spiritual lives.