Charles Ives - Robert Browning Overture (1912)
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- Опубликовано: 27 июл 2024
- 00:00 Adagio maestoso - Largo: eerie quiet strings over gently rumbling timpani
01:59 Woodwinds take over with a sorrowful melody, but moments of energy come out
03:10 Allegro con spirito: A vigorous march full of polyrhythms and polytonality (6:25), leading to a strident climax at 7:46
08:04 A sweet, tender chorale emerges, but which slowly becomes uncanny (11:09, 13:16, 15:10)
16:23 The furious march repeats
20:21 A heavy oppressive transition into...
21:25 A wild fugal finale
Composer: Charles Edward Ives (October 20, 1874 - May 19, 1954)
Orchestra: The Gulbenkian Orchestra conducted by Michel Swierczewski
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Been listening to this piece for 50 years, it’s so awesome good to see the score.
The orchestration is totally bizarre but yet so addicting and clever
Imagine if this premiered in Paris instead of Rite of spring........
Bar 1: "Timpani D, A, Bb"... start by playing an... E
yeah, the score has a lot of errors in it...
I wonder how the 4th timpani should be tuned... (Although I agree it's an odd choice to put the E in front of the staff)
Masterpiece of a masterpiecer
I get very excited when I see you have upoaded another great recording and score! Carry on, with my full appreciation and encouragement! I enjoy seeing what I am hearing, since I write quite a bit myself. Cheers from Upper East Tennessee!
God that chord in measure 9 😩
What bout it
The art work that describes my personality.
Well I for one did not know this piece of Ives' and I'm really glad to have discovered it. Great stuff, and in some ways quite unexpected given what he'd done some years before.
based
omg x2
Also, the finish! 👌🏽
Yeah its great! It reminds of the end of The Housatonic at Stockbridge from 3 Places in New England.
A wonderful addition to your channel! Charles Ives lived in Greenwich Village, NYC.
Big Mulholland Drive energy at 2:08 !
Badalamentian chords
Charles Lives!
Ives!!!
the granddaddy of modern American music--more so than Copeland, imo
I feel like listening to John Williams throughout my childhood prepared me for music like this.
I've been on a big Roger Sessions kick and this is sooo different, so much more primitive and elemental. This is just a homegrown dissonance / polytonal superimposition freak shaking the rafters to the point of collapse. If The Rite of Spring is Ur-technical death metal, this is Ur-noise rock.
That is Americana at its most savage... Wow...
If I'm guided by the score, I don't understand why the contrabassoon plays very little, only in tutti and then it doesn't play until the end... nothing changes that isn't there.
Yeah, it's Beethoven 5 all over again.
W o a h o
6:00 this tutti is doubtless unique. My only question is why it comes so soon
B-flats in the violins at the beginning
What is up with the extremely high F#’s in the piccolo bars 137-140 (And in the end)? That is literally impossible to play, piccolo player here.
Seems it’s written in concert pitch I guess🤷♂️
1:15
Don't think this is Ives best tbh. I know that this music is deliberately meant to be not cohesive in any sense of the word, other than containing a "march", but something about a piece of music that is consistently not consistent for large stretches at a time kind of bores me (I'll give an exception to the finale). His other works seem to convey imagery and musical thought much more concisely and effectively.
soundtracks without films sold as concert music, or concert music without any theme and well put form is charlatanism. What do you think?
@@LearnCompositionOnline are you saying this piece is without any theme or well-put form??
🤓
Why?
Pourquoi?
Because!!!
As Ives once said "take it like a man"