Hawthorne Ives "CONCORD" SONATA Trythall скачать в хорошем качестве

Hawthorne Ives "CONCORD" SONATA Trythall

Charles Ives' footnote to the score of the “Concord” Sonata’s second movement, "Hawthorne", discusses his manner of notation in the following way: "marks of tempo, expression, etc. are used as little as possible. If the score itself, the preface or an interest in Hawthorne suggest nothing, marks may only make things worse." In fact, the score, in such cases, is a bit like a theatrical script, the words and actions are determined, but the performer determines how they are spoken and acted. It is for this reason that in his lengthy preface published concurrently with the “Concord" Sonata, "Essays before a Sonata", Ives rarely touches on technical issues related to the performance of the sonata. Rather, as a true Romantic, Ives takes this opportunity to convey his ideas concerning the tone poem's subject for each movement - the moral grandeur and eloquence of Emerson, the surreal, fantastic (and haunted) imagination of Hawthorne, the homely yet noble faith of the Alcott family, and the tranquility of Thoreau's contemplation of nature. Ives is, evidently, convinced that, once the performer understands the programmatic intention, the questions raised by performance details will resolve themselves. In this light, the proper measure for the success of a performance of the “Concord" Sonata is, clearly, the degree to which it suggests the program envisioned by Ives, the degree to which it approximates the spirit behind the music. (Excerpted from “The Piano Music of Charles Ives,” liner notes by Richard Trythall, Centaur Records, CRC 2285, 1996; http://www.richardtrythall.com/12.html) For two reviews see: http://richardtrythall.com/8.html