Charles Ives


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Ives, Charles

(īvz), 1874–1954, American composer and organist, b. Danbury, Conn., grad. Yale, 1898; pupil of Dudley Buck and Horatio Parker. He was an organist (1893–1904) in churches in Connecticut, New Jersey, and New York. In the insurance business from 1898 to 1930, Ives was concurrently composing music that was extremely original, iconoclastic, and advanced in style, anticipating some of the innovations of Schoenberg and Stravinsky, but not influencing musical trends because most of his works were not published as they were written. They were little known until 1939, when performance of his second piano sonata, Concord (1911–15), won him wide recognition. In 1947 his Third Symphony was awarded the Pulitzer Prize. Ives's compositions include four numbered symphonies, orchestral suites, sonatas, organ pieces, choral works, a great deal of chamber music, and about 150 songs. His works are frequently dissonant, harmonically dense, and lushly scored with complexly layered themes, textures, and rhythms. In addition, he often uses vernacular American music, e.g., folk music, hymns and spirituals, marches, dances, rags, blues, and parlor songs, in his compositions, evoking the spirit of such aspects of American life as revival meetings and brass-band parades.

Bibliography

See his Essays before a Sonata (new ed. 1962) and his Memos, ed. by J. E. Kirkpatrick (1972); biographies by H. and S. Cowell (rev. ed. 1969) and S. Budiansky (2014); V. Perlis, Charles Ives Remembered (1974); R. S. Perry, Charles Ives and the American Mind (1974); H. W. Hitchcock, Ives (1977).

Ives, Charles (Edward)

(1874–1954) composer; born in Danbury, Conn. An organ prodigy, he was first trained by his bandmaster father, who also instilled a penchant for musical experiment. At Yale (1894–98) he learned much from the conservative Horatio Parker, but in view of his advanced musical ideas he decided not to pursue a career in music. After college he entered the insurance business in New York and over the next three decades he would rise nearly to the top of that profession. At the same time, after leaving his last church-organist job in 1902, he began a perhaps unprecedented period of creative isolation for a major composer; for twenty years, in his spare time, he composed prolifically and with growing confidence and maturity, although during those years his music was rarely heard in public. His important works, all marked by a unique blend of prophetic experiment and familiar American material, include the Concord Sonata, Three Places in New England, the Holidays Symphony, and the Fourth Symphony. Following a serious heart attack in 1918, his health and productivity declined; his last new pieces date from the mid-1920s. He lived his last decades as an invalid in New York City and West Redding, Conn., promoting his music as best he could and revising pieces; meanwhile, various enthusiasts gradually spread his music into the world.
References in periodicals archive ?
Her dissertation, "Charles Ives and Democracy: Association, Borrowing, and Treatment of Dissonance in His Music," was supervised by Dr.
Paul's Charles Ives in the Mirror: American Histories of an Iconic Composer offers a sweeping view of Ives's reception in relation to US intellectual history.
Since Leonard Bernstein declared him "our first really great composer," Charles Ives (1874-1954) has been portrayed variously as "an American pioneer of musical modernism," "a symbol of American freedom," "a victim of the sociosexual mores of Gilded Age American culture, "the patriarch of a line of maverick composers," and even "the perpetrator of one of the greatest musical hoaxes of all times." All of these images of Ives and more are the subject of this book by Paul (musicology and theory, U.
The range of his career is truly impressive, illustrated by a recording catalogue that includes discs of songs by Charles Ives, Maurice Ravel, Samuel Barber.
The Orchestra of the Welsh National Opera - St David's Hall THE evening began with a gripping performance of Charles Ives' haunting work, The Unanswered Question.
On tap are two works that premiered at Tanglewood last year: AoVisitationAo, set to Beethoven, and AoEmpire GardenAo, to Charles Ives. Of course, at Tanglewood, Morris had his pals Ma and Ax in the pit.
Composers such as William Henry Fry and Louis Moreau Gottschalk fought in vain to get their colleagues to declare their artistic independence from Europe; only in the twentieth century would composers such as Charles Ives decisively free themselves from the burden of foreign precedents.
It also features the Empire Garden, including 15 dancers from the troupe and set to a score by Charles Ives for strings and piano.
Summary: <p>During Monday night's concert at Pierre Abou Khater Amphi theater, German composer Oliver Schneller introduced his audience to the work of Charles Ives. Widely regarded as one of the first American composers of international significance, Ives worked as an insurance salesman for his entire career.Aa"His interesting identity meant that he was free.
This time the choreographer and the Mark Morris Dance Group probe two radically different masterpieces: Charles Ives' eccentric, visionary Trio (Empire Garden) and Beethoven's soaring Cello Sonata in C Major (Visitation).
Charles Ives" or the "a pretty blonde housewife and mother." In a newspaper report in 1967 Ives told the story about how as a woman she could not buy cigars.
John Adams - The Dharma at Big Sur/My Father Knew Charles Ives.