Tag: Charles Ives

  • Academic Music on WPRB Radio

    Academic Music on WPRB Radio

    Okay, BMOC. How much do you really know about “academic” music? Time to hit the books on WPRB.

    We’ll have selections to put you in the mindset of school and study this morning, including symphonies inspired by Cambridge (Sir Charles Hubert Hastings Parry), Texas Christian University (Don Gillis), Charterhouse (Ralph Vaughan Williams), and a finger-wagging schoolmaster (Franz Joseph Haydn). There will also be a march for the Yale-Princeton Football Game by Charles Ives and episodes of inappropriate hard drinking at graduation with Johannes Brahms and Hugo Alfven.

    For extra credit, tune in for test pieces written for student musicians, music performed by university ensembles, and possibly even a few etudes (literally “studies”).

    Remember, there will be plenty of time to sleep in class, so join me this Thursday morning from 6 to 11 EDT, on WPRB 103.3 FM and wprb.com. It’s a perpetual school of hard knocks, on Classic Ross Amico.

  • Childhood Nostalgia in Classical Music

    Childhood Nostalgia in Classical Music

    The limpid air and lambent, silvery light of late August imbue one with a sense of nostalgia swaddled in the gentle melancholy of another summer winding down. How I feel for the young ‘uns straining against the inescapable vortex of another school year.

    This Sunday night on “The Lost Chord,” we listen to music by four composers who engage in musical reminiscences of childhood.

    The American symphonist William Schuman based his “American Festival Overture” (1939) on a three-note call-to-play from his boyhood in New York City that was shouted on the syllables “Wee-Awk-Eee!”

    Haskell Small’s “Visions of Childhood” (2011) is a cycle of piano pieces in the Robert Schumann “Kinderszenen” mode, a grown artist looking back to his boyhood. The work falls into ten brief movements: “A Long Time Ago;” “Playing Rough;” “A Little Story;” “Feeling Lonely;” “School’s Out;” “Haunted House;” “Frolicking;” “Look at Me!;” “Roller Coaster;” and “Lullaby.”

    Charles Ives may have been a radical innovator, but his subject matter frequently looked back in nostalgia to the New England of his childhood. His Violin Sonata No. 4 (1906-1915, revised in 1942) bears the subtitle, “Children’s Day at the Camp Meeting,” a programmatic work that balances hymn tunes and rowdy boyhood high jinks.

    As he entered his 70s, George Crumb embarked on a remarkably productive Indian Summer, which resulted in no less than seven volumes of “American Songbooks,” the last completed in 2011, when the composer was 82 years-old. Each volume consists of deeply personal treatments of songs Crumb recollected from growing up in West Virginia. We’ll hear selections from “American Songbook III: The River of Life” (2008). By employing his characteristic shades and cross-hatchings through an assortment of ear-tickling percussion effects, the composer provides his own commentary on the time-worn source material, lending it both unsuspected depth and an aura of timelessness.

    It’s a far cry from “Kinderszenen.” Join me for “Nostalgia Isn’t What It Used to Be” – 20th and 21st century composers look back to childhood – this Sunday night at 10:00 EDT, on WWFM – The Classical Network and wwfm.org.

  • Charles Ives Fourth of July Patriotic Music

    Charles Ives Fourth of July Patriotic Music

    Happy Fourth, everyone!

    Charles Ives’ “The Fourth of July:”

    His program note:

    “It’s a boy’s ‘4th—no historical orations—no patriotic grandiloquences by ‘grown-ups’—no program in his yard! But he knows what he’s celebrating—better than most of the county politicians. And he goes at it in his own way, with a patriotism nearer kin to nature than jingoism. His festivities start in quiet of the midnight before, and grow raucous with the sun. Everybody knows what it’s like—if everybody doesn’t—Cannon on the Green, Village Band on Main Street, fire crackers, shanks mixed on cornets, strings around big toes, torpedoes, Church bells, lost finger, fifes, clam-chowder, a prize-fight, drum-corps, burnt shins, parades (in and out of step), saloons all closed (more drunks than usual), baseball game (Danbury All-Stars vs Beaver Brook Boys), pistols, mobbed umpire, Red, White, and Blue runaway horse,—and the day ends with the sky-rocket over the Church-steeple, just after the annual explosion sets the Town-Hall on fire. All this is not in the music,—not now.”

    More about it:

    http://www.npr.org/templates/story/story.php?storyId=92196531

    Be careful out there!

  • Remembering Soldiers Sacrifice and Bravery

    Remembering Soldiers Sacrifice and Bravery

    The bravery and sacrifice of the soldier at war is unfathomable. I think especially of those souls who were called up in the days of the draft or who volunteered. What horrors were thrust upon them, and how well they acquitted themselves. I am thankful to those, like my grandfather, who did the heavy lifting so that the rest of us wouldn’t have to.


    In Flanders fields the poppies blow
    Between the crosses, row on row,
    That mark our place; and in the sky
    The larks, still bravely singing, fly
    Scarce heard amid the guns below.

    We are the Dead. Short days ago
    We lived, felt dawn, saw sunset glow,
    Loved and were loved, and now we lie
    In Flanders fields.

    Take up our quarrel with the foe:
    To you from failing hands we throw
    The torch; be yours to hold it high.
    If ye break faith with us who die
    We shall not sleep, though poppies grow
    In Flanders fields.


    “In Flanders Fields” remembered:
    http://www.greatwar.co.uk/poems/john-mccrae-in-flanders-fields.htm

    Charles Ives’ setting:

    Ives’ “Tom Sails Away”

    Ives’ “He Is There!”

    Germany’s perception of the American soldier in World War I:
    http://mentalfloss.com/article/57121/42-quotes-germans-about-american-troops-after-world-war-i

  • Ives’ Symphony No. 4: Stokowski’s 1965 Premiere

    Ives’ Symphony No. 4: Stokowski’s 1965 Premiere

    It was on this date in 1965 that Leopold Stokowski gave the world premiere of Charles Ives’ Symphony No. 4. The performance took place at Carnegie Hall with the American Symphony Orchestra and the Schola Cantorum of New York. At the time, the work’s complex, kaleidoscopic tempos and layered, shifting meters required multiple conductors, and Stokowski enlisted the aid of David Katz and a young Jose Serebrier (pictured).

    The piece was composed between 1910 and the mid-1920s. Given the source, it’s hardly surprising that the music was decades ahead of its time. The first two movements had been performed by members of the New York Philharmonic under the direction of Eugene Goossens in 1927. This was the only occasion on which Ives would hear any of the music from the Fourth Symphony performed live by an orchestra. The composer died in 1954.

    Bernard Herrmann conducted an arrangement of the lovely third movement, the simplest and most conservative of the four (why, then, the need for an arrangement?), in 1933. The music as Ives wrote it was not heard until the complete performance in 1965.

    The composer’s biographer, Jan Swafford, describes the work as “Ives’ climactic masterpiece.”

    Stokowski recorded the symphony a few days after the premiere and led a televised studio performance, which can be seen here:

    Stokey kicks off twenty minutes of spoken introductory material (including commentary from producer John McClure) at the 4:30 mark. The symphony proper begins 25 minutes in.

    When’s the last time you saw anything like this on television?

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