Ives: Violin Sonatas Nos. 1-4

Ives: Violin Sonatas Nos. 1-4

Ives: Violin Sonatas Nos. 1-4
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CD Details

Composer: Charles Ives
Performer: Rodney Waters
Edition: Music CD
CD Release Date: 2003-06-17
Music Label: Naxos American
Soundtracks:
  1. Andante - Allegro Vivace
  2. Largo Cantabile
  3. Allegro
  4. Autumn
  5. In The Barn
  6. The Revival
  7. Verse 1 (Adagio) - Verse 2 (Andante) - Verse 3 (Allegretto) - Refrain (Adagio)
  8. Allegro
  9. Adagio
  10. Allegro
  11. Largo
  12. Allegro

Music reviews of Ives: Violin Sonatas Nos. 1-4

Music Review: My 2004 New Year's resolution was to review this CD...
Rating: 5 Stars

...and make it my first review of the new year.

This superb Naxos CD of the four Violin Sonatas by Charles Ives might well have been reviewed months ago by me, had it not been for one small matter. Every time I'd set out to listen to the CD, I'd get as far as the Largo cantabile (2nd) movement of the 1st Violin Sonata, only to stop and play it again. And again.

Then, a few times, I actually got as far as the 3rd movement of this work, only to hear the strains of "Watchman, Tell Us of the Night," the Lowell Mason hymn, little known these days but used to such superb effect by Ives, years later, in the opening "Prelude: Maestoso" movement of his culminating masterpiece, the 4th Symphony. There I was, stuck with the same problem: Couldn't go further; simply had to listen again. And again.

Needless to say, I finally managed to solve the problem. But it took both a conscious effort to listen to the sonatas in reverse order AND a New Year's resolution as well.

There is little that I can add to the two excellent previous reviews. Scott Morrison and Robin Friedman pretty much touched all the bases: Ives's use of "cumulative form" (a developmental "working toward a summing up" of each movement, by introducing thematic fragments which, only by the end of the movement, come together to present the full theme), his inveterate borrowing of vernacular and hymnic materials, and the total parity between the two instrumentalists. (Probably never before, and never since, have such sonatas been written where the piano part is so equally matched, both thematically and technically, to the violin part. Calling these works "violin sonatas" does an injustice to the violinist's equal partner!)

Ives was not, himself, a violinist, although his father, George Edward Ives, had been a pretty good fiddler, and I'm sure that there's more than a fair bit of sentimental tribute by Charlie to George in these works. What Ives certainly did, in these sonatas, was to "introduce a distinctly American style of violin playing [...], namely paraphrases of fiddle music" and [he] "associated the violin with spiritual exaltation and with hymn singing." (These quotations are the words of Nancy Mandel, violinist and wife and co-collaborator with Alan Mandel in performing Ives's chamber works, written nearly three decades ago for an Ives centennial symposium, "On Performing the Violin Sonatas." They're certainly better than any words I could think up for this review occasion.)

Every bit of this stylistic description by Nancy Mandel comes through in these works: Scattered throughout the total of twelve movements spread over the four sonatas, one will in fact hear idiomatic fiddling - including ragtime and country and barn dances - and spiritually exalted hymnic phrasing. And, though the four works cover more than a decade of Ives's composing career, there is not an expected sense that the later works are in any way more complex than the earlier ones; almost the exact opposite occurs, in which the later two sonatas are considerably more accessible than the two earlier ones: Ives, in his "Memos," describes the later two works as "...a kind of slump backward."

While I'm not necessarily buying into Ives's self-criticism, his observation perhaps in part explains why it is that the 1st Sonata grabs me in the gut the way that it does. The work looks back to the classical tradition, with its Lisztian piano writing in the Largo cantabile movement, at the same time that it looks forward in this movement, with some eerily gorgeous violin double-stop writing that sounds to these ears as if Ives is writing in true quarter tones. This Largo cantabile movement is simply magic. And then comes the cumulative-form thematic development toward "Watchman..." in the concluding movement: spiritual exaltation indeed! Is it any wonder that I had difficulty moving past this sonata, and on to the others?

Like Scott Morrison, I remember the much earlier Rafael Druian/John Simms LPs. Unfortunately, unlike Scott, I just barely remember them. And I'm unfamiliar with the Gregory Fulkerson/Robert Shannon CDs. So, at the same time that I am rediscovering (and loving) the sonatas, I am hearing Curt Thompson and Rodney Waters for the first time.

These young instrumentalists are simply superb. Thompson gets into the dance-like episodes with true "fiddling" style, and simply soars in the hymnic passages. Waters handles the very difficult piano part with aplomb, and is every bit the equal partner to Thompson (as he needs to be, given how Ives wrote the virtuosic piano parts). I may or may not be missing anything by not having either the Druian/Simms LPs or the Fulkerson/Shannon CDs. But Naxos - once again, as it has demonstrated in the past with its Ives contributions to its "American Classics" series - need not apologize to anyone for these performances. Moreover, unlike Fulkerson/Shannon on the full-price Bridge label, where the sonatas are spread too generously over two CDs, here they fit without a problem onto a single budget CD.

I have a collection of scores in my library, admittedly small and mostly orchestral, covering those works near and dear to me. My SECOND resolution of the New Year is to track down the score for at least the 1st Violin Sonata (if only to see how Ives wrote the violin part for the Largo cantabile movement, particularly for the quarter-tone double stops), and preferably the scores for all four. This is not only "canonical Ives"; these sonatas are among the finest 20th century works in the genre.

And, looking back over all of 2003, I think that the single classical work that received the most playing time by me was this Ives 1st Violin Sonata. What a supremely sublime piece of music it is! It's strange to find myself using this as an "excuse" for such a long delay in writing this review. But there you have it.

Bob Zeidler
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