Ives: Concord Sonata; Songs

Ives: Concord Sonata; Songs

Ives: Concord Sonata; Songs
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CD Details

Edition: Music CD
CD Release Date: 2004-05-11
Music Label: Teldec
Soundtracks:
  1. The Things Our Fathers Loved, song for voice & piano, S. 372 (K. 6B58)
  2. The Housatonic at Stockbridge, song for voice & piano, S. 266 (K. 6B64d)
  3. Swimmers, song for voice & piano, S. 366 (K. 6B53)
  4. Memories, song for voice & piano, S. 297 (K. 6B26a)
  5. Ann Street, song for voice & piano, S. 211 (K. 6B67)
  6. Serenity, song for voice & piano, S. 347 (K. 6B60d)
  7. 1, 2, 3, song for voice & piano, S. 321 (K. 6B66a)
  8. Songs My Mother Taught Me, song for voice and piano, S. 361 (K. 6B21c)
  9. The Circus Band, song for voice & piano, S. 229 (K. 6B20)
  10. The Cage, song for voice & piano, S. 221 (K. 6B42)
  11. The Indians, song for voice & piano, S. 283 (K. 6B63)
  12. Like a Sick Eagle, song for voice & piano, S. 288 (K. 6B45a)
  13. Remembrance, for voice & piano, S. 332 (K. 6B62a)
  14. September, song for voice & piano, S. 346 (K. 6B61b)
  15. Soliloquy, song for voice & piano, S. 352 (K. 6B43a)
  16. A Farewell to Land, song for voice & piano, S. 248 (K. 6B46)
  17. Thoreau, song for voice & piano, S. 373 (K. 6B52)
  18. Sonata No. 2: Concord, Mass., 1840-60, for piano (& optional viola, flute), S. 88 (K. 3A2): I. 'Emerson'
  19. Sonata No. 2: Concord, Mass., 1840-60, for piano (& optional viola, flute), S. 88 (K. 3A2): II. 'Hawthorne'
  20. Sonata No. 2: Concord, Mass., 1840-60, for piano (& optional viola, flute), S. 88 (K. 3A2): III. 'The Alcotts'
  21. 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: works grow and transform themselves
Rating: 5 Stars

First off this is an Ives cornocopia of songs, all sung here with the reserve that is needed, I've heard too many American art Songs, Copland, Rorem and Ives with that wrongheaded "sing-songin" delivery, it is arrogant if nothing else, and the "cutsy-ness" of it does reach the audience,unless you simply want to be entertained and you checked your brain with your cash at the box office. Straightforward Ives is I think to most effective way of playing his music,that's why I still prefer the Kalish, he brings a gritti-ness to the Concord. Aimard (and all of us) has had time since the Seventies to think and re-think this piece, and there something should be said for the way music grows, transforms itself for different time periods, isn't that why music develops itself it is striongly constituted in the first place, it is well thought through, et cetra, construction all the obvious, Copland's "Piano Variations" is a similar example, the music simply changes with time, well we change, the music is fixed.So I guess there are simply different readings.

Aimard does bring some nice clarity,like to "Hawthorne", the blazing quickness searching until the "forearm" clusters stop the flow, the onward rush of the imagination, words can change the meaning of themselves this quickly which I think is what Ives saw in Hawthorne the writer.

For the "Alcotts" any kind of nostalgia is OK with me,the simple Bb triad timbres capturing the informed naivtivitee of the little home with Bronson Alcott the speaker public man of speaking (there is a difference between public speaking and lecturer,someone who teaches as opposed to simply speaking something Bush II knows quite well.Better simply to speak without saying anything.) This is not here however for Ives loved the Utopian aspect of Danbury existential renderings, the reflections back and forth of the lifeworld, the richness of culture of the complexity of the word,place, song, timbre,all in forms of strength all mixed blending together. Aimard simply brings things out I;ve never heard before, but then that is his approach always to clarify,and that is not always the best approach in Ives where his music does ask questions, his music we have learned should be opaque, and unexplanable,terse yet convoluted; it should not lead you by the nose at each and every moment.And Aimard I;m afraid does want to lead here. I think he thinks the opaqueness will happen by itself, its already in the music, he lets this occur in the fast sections,making it a pure texture,like Debussy, I guess Ives was an existential impressionist with transcendental content.
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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 Davis

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