Ives: Concord Sonata; Songs
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CD Details
Brand: Warner BrothersEdition: Music CD
CD Release Date: 2004-05-11
Music Label: Warner Classics
Soundtracks:
- The Things Our Fathers Loved, song for voice & piano, S. 372 (K. 6B58)
- The Housatonic at Stockbridge, song for voice & piano, S. 266 (K. 6B64d)
- Swimmers, song for voice & piano, S. 366 (K. 6B53)
- Memories, song for voice & piano, S. 297 (K. 6B26a)
- Ann Street, song for voice & piano, S. 211 (K. 6B67)
- Serenity, song for voice & piano, S. 347 (K. 6B60d)
- 1, 2, 3, song for voice & piano, S. 321 (K. 6B66a)
- Songs My Mother Taught Me, song for voice and piano, S. 361 (K. 6B21c)
- The Circus Band, song for voice & piano, S. 229 (K. 6B20)
- The Cage, song for voice & piano, S. 221 (K. 6B42)
- The Indians, song for voice & piano, S. 283 (K. 6B63)
- Like a Sick Eagle, song for voice & piano, S. 288 (K. 6B45a)
- Remembrance, for voice & piano, S. 332 (K. 6B62a)
- September, song for voice & piano, S. 346 (K. 6B61b)
- Soliloquy, song for voice & piano, S. 352 (K. 6B43a)
- A Farewell to Land, song for voice & piano, S. 248 (K. 6B46)
- Thoreau, song for voice & piano, S. 373 (K. 6B52)
- Sonata No. 2: Concord, Mass., 1840-60, for piano (& optional viola, flute), S. 88 (K. 3A2): I. "Emerson"
- Sonata No. 2: Concord, Mass., 1840-60, for piano (& optional viola, flute), S. 88 (K. 3A2): II. "Hawthorne"
- Sonata No. 2: Concord, Mass., 1840-60, for piano (& optional viola, flute), S. 88 (K. 3A2): III. "The Alcotts"
- Sonata No. 2: Concord, Mass., 1840-60, for piano (& optional viola, flute), S. 88 (K. 3A2): IV. "Thoreau"
Music reviews of Ives: Concord Sonata; Songs
Music Review: A European modernist embraces Ives
Rating: 5 Stars
Chalres Ives was 46 when he published his "Concord"Sonata, and as the liner notes tell us, its sprawling shape and diverse styles are the result of gathering a lot of music previously composed (none of it for solo piano) and needing a single dwelling. Ives always had his own ideas about how music is held together or flies apart. He wasn't afraid to have it fly apart, and often his notion of coherence was so private, rooted in personal memories, that an outside listener can't be expected to penetrate the associations.
Aimard goes a long way in erasing the ecdentricity, privacy, and quirkiness of Ives's idiom bydrawing the sonata into the mainstream of European modernism, giving it the same clean, detailed, accurate, and impressionistic style that he might give to other individualists like Ligeti and Messiaen. (It's also nice to have the viola addition to the first movement and the flute in the fourth.) The "Concord" Sonata becomes a virtuosic event in his hands, no longer a purely "American" sport. I do find that listening to this vast work is better in concert, where its appearance is always a special occasion. But one has to be grateful for Aimard's quantum leap in execution compared to earlier recordings.
Ives gathered his huge output of 114 songs into a collection two years after the sonata. Susan Graham picks 15 of them, adding two more that folowed after 1922. These songs ask for a vocal chameleon who can shift instantly from Victorian parlor style to patriotic exuberance, folk song, whimsy, rapt nostaliga, and more. No one to date has been able to encompass this enormous range of expression, but Susan Graham comes as close as any. I would rank her with Jan De Gaetani, Thomas Hampson, and William Sharp among the singers I know who excel in Ives, and above the too-classical, somewhat congested renditions by Marilyn Horne and Jennifer Lamore. Aimard's accompaniment misses the Yankee flavor of the marches and patriotic snatches, but in its modernist way his style is as effective as in the sonata. Highly recommended for lovers of this music.
Description of Ives: Concord Sonata; Songs
Ives' Second Sonata is one of the toughest, but it holds no fears for Aimard, a noted interpreter of Messiaen, Ligetti, and other moderns who require virtuoso technique and idiomatic expertise. Each of its four movements is titled for New England luminaries: Emerson, Hawthorne, the Alcotts, and Thoreau. The longest, "Emerson," is knotty and energetic, bristling with a minefield of cluster chords. "Hawthorne" is a genial scherzo exhibiting a wider palette, while "The Alcotts" is a lyrical paean to domestic tranquility. "Thoreau" embraces the mysteries of nature, played with intensity by Aimard. There's an abundance of power in his playing, but also ravishing effects like the startling diminuendo in "Thoreau" and the array of marches, hymns, and parlor songs Ives threw into the mix. His terrific "Concord" Sonata is matched by the survey of Ives' inventive songs, 17 of them superbly sung by Susan Graham with Aimard superb as her piano partner. Graham captures every nuance of a mind-boggling variety of idioms, from nostalgia, tenderness, and hilarious miniatures like "Ann Street" and the sendup of opera in "Memories - A," among many other highlights. This one's a must for Ivesians, fans of musical eccentricity, modern music enthusiasts, and anyone in search of musical surprises, which abound on almost every track. --Dan DavisGeneral CDs
- Styles > Classical
- Featured Composers, A-Z > ( I ) > Ives, Charles
- Forms & Genres > Sonatas > General
- Historical Periods > Classical (c.1770-1830) > Forms & Genres > Chamber Music
- Modern, 20th, & 21st Century > Composers > Ives, Charles
- Forms & Genres > Chamber Music
- Sonatas
- Vocal & Song
- Pop > Vocal Pop > General
- Classical - Historical Periods - Modern, 20th, & 21st Century - Composers - Ives, Charles - General
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