Charles Ives: Trio per pianoforte, violino e violoncello (1904)
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- Опубликовано: 23 май 2011
- Charles Ives (1874-1954): Trio per pianoforte, violino e violoncello (1904) -- Nieuw Amsterdam Trio --
I. Andante moderato
II. Tsiaj - Presto
III. Moderato con moto.
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I never tire of this particular work. I’ve read music for string trio and quartet demonstrates Ives’s most important contribution to art music. My unbounded enthusiasm for this piece vouches for that assessment.
Listening to this "little piece of Americana" it is almost unfathomable to consider it was composed in 1904. It is wildly exotic in temperament, clearly verges on atonality, and he had no predecessors! How in the world did he get here? I have listened to a handful of pieces by Ives, and revisiting his works for the first time in a long time. He is a staggering genius. G-d bless.
well, part of it was that modern scholarship has shown he fudged a little on his composition dates :-)
@@brianhammer5107 really? That's funny. By how much did he fudge? Iotw, what percentage (using this loosely in context) of my astonishment is warranted?
@@stueystuey1962 the best thing to do is do some searches on the web - there's some controversy now
He learned a lot from his father.
Please see the Charles Ives Society in Danbury, CT for ANY accurate info regarding ANYTHING about Charles Ives.
what a fabulous work...
Quotes in mvt. II
- A Band of Brothers in DKE
- Marching Through Georgia
- Few Days
- Jingle Bells
- The Worms Crawl In/Freshmen in the Park
- My Old Kentucky Home
- That Old Cabin Upon the Hill
- In the Sweet By and By
- Second Regiment Connecticut National Band March
- Sailor's Hornpipe/College Hornpipe
- Turkey in the Straw
- Pig Town Fling
- The Campbells Are Coming
- Long, Long Ago
- Happy Day/How Dry I Am
- Ta-Ra-Ra Boom De-Ay
- Dixie
- Hold the Fort
- Saint Patrick's Day
- Reuben and Rachel
- The Gods of Egypt Bid Us Hail
- Fountain
una obra maravillosa
This examples Ivesian affect on contemporary musics. I hear here what always attracted me to pop or jazz or rock in the last half of the 20th century. Gotta luv Ives.
Whew! You butchered that first sentence. Anyway, IVES has absolutely nothing to do with Rock or Pop or Jazz music. Do some research on the man and the music.
@@brianhammer5107 Thanks on the edit suggestion, I think, and thanks definitely for the arrogant display of ignorance. For example a 60s pop hit used a bit more than a minute of an IVES work in its outro.
I imagine you know where IVES prepped for college, the significance of SYMPHONY 1 at that college, that his father-in-law was a good friend of MARK TWAIN...but hey my imagination is no match for your own..
@@ethanhill9460 don't be an ass! if you don't know the difference then God help you!
@@brianhammer5107 The Devil has you, my friend. You're the gift returned the next day.
@@ethanhill9460 Moron.
@Robert Weisberger
The second movement is a scherzo, which is Italian for joke or play. Tsiaj stands for: This Scherzo Is A Joke. I don't know the score well enough to give a definite answer, but Im almost positive Ive's put that in the music!
my old kentucky home around 7:30
TSIAJ !!!!
Holy Schoenberg, Batman!
10:00 - 11:00 Anyone recognize that one?
Marc...what is quoted there? I heard that a few years back and was taken aback. It appears as a ragtime and then a blues and then a rhythm and blues and then proto avant garde jazz. Help me here and thanks in advance.
According to The Charles Ives Tunebook, it's "The Gods of Egypt Bid Us Hail", a forgotten college song from the 'Wolf's Head' secret society.
It's so dark and (for a lack of a more appropriate wording) brutal and also kind of slamming. Maybe that's immature but if any form of Classical (and not just Progressive Rock) lead directly into Metal (and not just progressive rock) I think the early 21st Century Modernist Era might actually be the best contender.
I'm not usually a troll, but the TSIAJ was a total clusterf&$%. Great use of what sounded like dramatic pause, but was really everyone lining up at the end of a phrase to make sure they started the next one together. Happened a few times. Anyone who knows the piece well could here the voilinist taking off at a speed that was going to screw them over in certain areas.
Seriously, how did they get away with such a butchering of the movement? Hoping nobody would notice? It's kind of insulting...
Still fun to hear this movement and you aren't wrong.
actually I like the glissando and stops better here on this 1971 recording than, say, the Beaux Arts Trio's rendition ...