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Holiday symphony

Holiday symphony

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The symphony that Charles Ives completed symphony "holiday (A Symphony: New England Holidays) of New England" in 1913. The title may be called "holiday symphony" "festival day symphony" "holiday symphony" (Holiday Symphony).

Table of contents

Summary

Each movement was written intermittently from 1897 through 1913. It is about summer of 1905 that I thought so that Ives writes "a holiday symphony". I wanted to write Ives as if one adult recollected the holiday in the days of the child in each movement. [1]"There is a melody like a symbol there and sounds when I virtually said with community, a nation in memory and the history, war, boyhood" [2].　Each movement is written based on personal memory of Ives, and the town of father George Ives and Connecticut Danbury (English version) is included in that, too. Father had a big influence on creation of Ives, and it was particularly remarkable after I died in November, 1894. In addition, Danbury provides much experience that became the basis of the idea of "the holiday symphony" in the town where Ives spent the childhood period.

In 1931 and 1932, the third movement is played from the first movement in the United States and Europe by conduct of Nicholas スロニムスキー. "Some critics who the concert sparked ridicule, protest, enthusiasm, and music of Ives did not get away from the positioning of one piece in the program to the last, and, however, were important put words of the serious praise" [3].

I extract it for a violin and a piano anything other than the third movement later and arrange Ives and may be played as [the violin sonata fifth].

Work

Various, unique dissonant uses bringing wide emotional display in a work of Ives emerge in "a holiday symphony". Another characteristic is "meta style"; "(movement) expresses special scene and feelings one by one……Mix a stylistic manner of writing; (use it). In addition, a pattern "putting introspection-like slow music and extrovert fast music together" is common to each movement [4].

In addition, I can see "use of 複調 when I make a harmony charge account in the music that I quoted and-like combination [5] that is, and is shoes". In addition, it is well known about the a large quantity of quotation and complicated stack alignment of plural material. Without excessive quotation, this work does not serve to recall four memory and feelings.

This work is titled "a symphony", but I regard each movement as an independent work and can play it separately. I write down Ives as follows in "memo" ("Memos").

"It is special does not have a musical relation with the movement of these four……Noticed in this, but a number many; because it is necessarily one thing, and (form) is not, and intended to gather up the big form (symphony, sonata, suite) that there is well, and there can be the thing that extract the one or two movement and is played, the organic combination is killed [6]

Instrumentation

I write it down by total formation, but the person of composition did not necessarily compose a performance on a premise, and there are many places that are arbitrary to the last, and are vague.

Piccolo 2 (ad lib), flute 2 (as for the third, arbitrary), oboe 2, English horn, small clarinet, clarinet 2 (B ♭ pipe, the part third option), bassoon 3 (as for the part third, arbitrary), contrabassoon, horn 4 (F pipe, the fifth option), trumpet 3 (as for the B ♭ pipe, the part third and the fourth, arbitrary), cornet (B ♭ pipe), trombone 3, tuba, timpani, side drum, tenor drum, laying upon cymbals, large drum with cymbals, high bells, メディアムベルズ, low bells, church bell, xylophone, jews'-harp

Battery unit (contrabassoon, horn 4, trombone)

Mixed chorus

Orchestra piano, celesta

Five copies of strings

I it at performance time

Approximately 40 minutes (for each movement, ten minutes for nine minutes for six minutes 15 minutes)

Musical piece constitution

Each movement expresses a holiday in the United States according to title and copes each for change (sequentially winter, spring, summer, autumn) of the four seasons.

I. Washington birthday (Washington's Birthday)

This movement is [7], an Impressionism-like work characterized by "the harmony which is written mainly on string music built finely, and is complicated". It is written by five copies of strings, horn, flute, bell, saved formation called the jews'-harp. It was finished writing in 1909 and was published after revision in 1913. Performance time is about 11-12 minutes.
Ives makes the lonely night when February was chilled with the first part and is going to put it up. "A chord based on the whole-note scale moves it in parallel and almost describes the snowy drift and hill" [8].
In the middle allegro part, the old music of the barn dance is used [9]. "The dissonant ostinato which was put on several folds expresses the noise of the crowd" [10]. The barn dance includes the image of the fiddle of the country and is the mourning to musician John star (John Starr) who died at 48 years old in 1890.
The last of the movement is over so that "a musician taken by sleepiness begins to play [holiday] ("Good Night, Ladies"), and music vanishes for feelings" [11]. "A solo violin continues resisting the recollection of the fiddle, but this is music of the dances that continues sounding in the heart of the young farmer toward the house" [10].
On [Washington birthday], recording was carried out in Ives work first, and it was recorded in new music quarterly recording (New Music Quarterly Recordings) in 1934 by スロニムスキー and bread United States orchestra (Pan-America Orchestra) [12].

II. A death in battle officers mourning memorial day (Decoration Day)

This movement was finished in 1912. An orchestra of the full formation is used; performance time is 9-10 minutes. It was published in 1989.
When Ives writes this movement, I obtain an idea because I heard the performance of the band of father on a death in battle officers mourning memorial day. Probably I went to the Worcester common burial ground (Wooster Cemetery) from the war memorial in the center of Danbury, and, in the marching band, boy Ives had lights-out (Taps) there. The band played [Connecticut Defence Force second regiment march] ("Second Regiment, Connecticut National Guard March") of the David Reeve's (David Reeves) composition and would often leave the graveyard [13].
As for "[death in battle officers mourning memorial day], it begins in the big meditation-like part of the scale mainly on the stringed instrument". This expresses a morning atmosphere and "memory to stand, and to happen". Ives separates one or two players from an orchestra here and locates it and calls it "line (Shadow Lines) of the shadow" [13]. In the weird mixture of a major key and the minor key, the music unfolds calmly. Ives incorporates memory of oneself in this work by letting song of sorrowful war-weariness [tent of the camping ground] ("Tenting on the Old Campground") transform [Georgia march] ("Marching through Georgia").
A sound of the lights-out is combined with working [I do not approach the side a master] of the string music and carries mediation with more sorrowful music and the cheerful music. "The music enters into the beat of the drum doing a crescendo with the last sound of the trumpet, and the beat continues until the midst of the march to come back to the town, a melody of prolonged [the second regiment] are cut off suddenly" [13]. After this merrymaking, I am completed in music same as the beginning of the movement.

III. Independence Day (The Fourth of July)

It was written for a full orchestra and was completed in 1912. Performance time is 6-7 minutes.
Ives was going to convey a feeling of freedom to feel on the excitement that a boy tasted with this work in public holidays and festival days of the Independence Day and this special day. It begins in string music introduced calmly, and the distinctness of a sound and the rhythm increases little by little. And I move to a parade-like sound of [Colombia, treasure of the ocean] and am followed by the sound of the skyrocket which Ives tried in sketching of [ジェネラル Slocum] ("General Slocum"). The vision of the spark coming off tells the end of the Independence Day, and the movement is over peacefully [14].
Because a large quantity of quotation was made to go at the same time and created high dissonances, I have been considered particularly defiant in a work of Ives. Other than the above, [Yankee-Doodle], [Dixieland jazz], [war cry of the freedom], [Georgia march], the quotation of the song such as [Republic hymn] are seen.

IV. Thanksgiving Day and a Forefather's Day (Thanksgiving and Forefathers' Day)

It is a written movement in this symphony first. It was written as two organ short pieces of music [an overture and postlude] to use by the worship of the Thanksgiving Day formerly in 1887, and, therefore, has other atmospheres that is more conservative than three movements [15]. The arrangement as the orchestral music work was finished in 1904.
Ives is going to adopt the temperament of the Puritan in music here. A short chord and long chords are repeated, and it "expresses hardness, strength, the severity of the will of the Puritan" to progress with being divided [16].
When "it is unusually idyllic simplicity in an orchestral music work of Ives, the intermediate part has elegance" [17]. Here, [shining bank] ("Shining Shore") almost comes up as the original form. When the motif of the movement beginning appears again and increases, a chorus is introduced on the top [as for God my power], and ("Duke Street") is sung loudly. The song gradually subsides and is over before the Heian era.

Explanatory note

  1. ^ Ives, Charles (1972). Memos. NY: W.W. It is pp. Norton & Company, Inc. 95. ISBN 0-393-30756-5. 
  2. ^ Swafford, Jan (1996). Charles Ives: A Life with Music. NY: W.W. It is pp. Norton & Company, Inc. 254. ISBN 0-393-03893-9. 
  3. ^ Cowell. Charles Ives and His Music. pp. 108. ISBN 0-306-76125-4. 
  4. ^ Swafford. Charles Ives: A Life with Music. pp. 229. ISBN 0-393-03893-9. 
  5. ^ Henderson, Clayton Wilson (1970). Quotation as a Style Element in the Music of Charles Ives. Michigan: University Microfilms, Inc. pp. 156. 
  6. ^ Ives. Memos. pp. 95. ISBN 0-393-30756-5. 
  7. ^ Swafford. Charles Ives: A Life with Music. pp. 229. ISBN 0-393-03893-9. 
  8. ^ Burkholder, Peter J. (1996). Charles Ives and His World. NJ: Princeton University Press. pp. 23. ISBN 0-691-01164-8. 
  9. ^ Ives. Memos. pp. 96–97. ISBN 0-393-30756-5. 
  10. ^ a b Burkholder. Charles Ives and His World. pp. 23. ISBN 0-691-01164-8. 
  11. ^ Swafford. Charles Ives: A Life with Music. pp. 230. ISBN 0-393-03893-9. 
  12. ^ Cowell. Charles Ives and His Music. pp. 110. ISBN 0-306-76125-4. 
  13. ^ a b c Swafford. Charles Ives: A Life with Music. pp. 252. ISBN 0-393-03893-9. 
  14. ^ Swafford. Charles Ives: A Life with Music. pp. 251. ISBN 0-393-03893-9. 
  15. ^ 1. Ives. Memos. pp. 130. ISBN 0-393-30756-5. 
  16. ^ Cowell (1955). Charles Ives and His Music. pp. 34. ISBN 0-306-76125-4. 
  17. ^ Swafford. Charles Ives: A Life with Music. pp. 168. ISBN 0-393-03893-9. 

References

  • Burkholder, Peter J. Charles Ives and His World. NJ: Princeton University Press, 1996.
  • Burkholder, Peter J. Charles Ives: The Ideas Behind the Music. London: Yale University Press, 1985.
  • Cowell, Henry, and Sidney Cowell. Charles Ives and His Music. NY: Oxford University Press, 1955.
  • Henderson, Clayton Wilson. Quotation as a Style Element in the Music of Charles Ives. Michigan: University Microfilms, Inc, 1970.
  • Ives, Charles. Memos. NY: W.W. Norton & Company, Inc., 1974.
  • Swafford, Jan. Charles Ives: A Life with Music. NY: W.W. Norton & Company, Inc., 1996.

Outside link

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