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<\/a>Composer Charles Ives staring stoically off into the distance…<\/p><\/div>\n
The Selected Correspondence of Charles Ives<\/i> includes an exchange of letters between Ives and Henry H. Bellamann, a music critic who in April of 1921 receives a copy of Ives\u2019 second piano sonata (1). He conveys in a letter his enjoyment of the piece, his plans to include it in his lectures, and requests for more information on Ive\u2019s first piano sonata to relay it to audiences.<\/p>\n
In Ives\u2019 response to his letter, he gives Bellamann advice on possible ways to include Concord Sonata in his lecture and conveys his curiosity about how audiences react. He says \u201cThe first movements I find are severe tests for the listener as well as the player\u201d (2). This statement could not possibly be more descriptive of the 17-minute-long first movement of his second piano Sonata, titled \u201cEmerson\u201d<\/a> (3). His word choice, describing his music as a \u201ctest\u201d, irks me in every wrong way imaginable. With this, he implies that listening to the movement is a rite of passage that denotes a listener or musician\u2019s value.<\/p>\n Ives also appears to have the temperament or insecurity of a child (probably both). Ives receives a letter from colleague Percy Goetschius. While Goetschius makes clear his interest in Ives\u2019 work, he does not withhold his criticism. As Goetschius states that \u201cto my mind, these classic methods are correct ones [Ives adds between the lines \u2018for soft eared cissies and aural cowards…\u201d (4). While this does display a lack of impulse control and reveals deep insecurities about himself, this also suggests that Ives views his music as impervious to criticism, so much so he would rather write this intrusive thought down than keep it to himself.<\/p>\n We have talked a lot in class about the identity of American music. There is no denying the fact that Ives\u2019 music is American. He was a composer who lived and worked in the United States, attempting to pioneer his own brand of music, so debating this is irrelevant. The question that remains is whether Ive\u2019s music – and his contributions to atonal music – is something we want to perpetuate in the present day. If we answer this question from the perspective of the general public the answer is laid bare. The general public likely has no interest in performing his music, as seen with trends in popular music.<\/p>\n However, academic circles appear to be interested in continuing to engage with Ive\u2019s music, as seen in courses that equip students to analyze post-tonal music, and new composers building upon Ive\u2019s harmonic language in chamber and orchestral settings. If academic institutions choose to identify Ive\u2019s work as a vital contribution to American western-classical music and worthwhile building upon, they must acknowledge that doing so deepens (both consciously and subconsciously) notions of self-deserving elitism, and encourages others to be recalcitrant to criticism of their work.<\/p>\n (1) Owens, Tom C, and Tom C Owens. 2007. Selected Correspondence of Charles Ives. 1st ed. Berkeley: University of California Press. https:\/\/doi.org\/10.1525\/j.ctt1ppr8v<\/a>.<\/p>\n (2) Pg 84. Owens, Tom C, and Tom C Owens. 2007. Selected Correspondence of Charles Ives. 1st ed. Berkeley: University of California Press. https:\/\/doi.org\/10.1525\/j.ctt1ppr8v<\/a>.<\/p>\n (3) Ives, Charles. n.d. \u201cIVES: Piano Sonata No. 2 \u2018Concord, Mass\u2019 (Henck)\u201d. Hong Kong: Naxos Digital Services US Inc.<\/p>\n (4) pg 67. Ives, Charles. n.d. \u201cIVES: Piano Sonata No. 2 \u2018Concord, Mass\u2019 (Henck)\u201d. Hong Kong: Naxos Digital Services US Inc.<\/p>\n","protected":false},"excerpt":{"rendered":" Charles Ives is a difficult pill to swallow. As a student studying music composition, I have been confronted with Ives and the larger body of atonal music he contributed to on several occasions; its merits as a stylistic choice, its … Continue reading