Brief biography of the American composer Charles Ives (Ives). Charles Ives biography Ives biography summary and most important
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Ives' work was strongly influenced by the folk music he listened to in his rural provincial childhood - folk songs, spiritual and religious hymns. Ives' unique musical style combines elements of folklore, traditional everyday music with complex, sharp, dissonant atonal and polytonal harmony, and methods of sound visualization. He developed an original technique of serial writing, using the means of a quarter-tone system.
Essays
- Cantata "Heavenly country" (Celestial country, 1899).
- For orchestra - 5 symphonies (1898-98, 1897-1902, 1901-04, 1910-16, 5th, Holidays, 1904-13), Universe (Universe symphony - symphony fragments, 1911-16), “ Central park in the dark "(Central park in the dark, 1898-1907), Three places in New England (Three places in New England, 1903-14) and other program pieces, overtures (1901-12), pieces for a large symphonic and chamber orchestras, Ragtime dances (1900-11) for theater orchestra.
- String Quartet (1896) and other chamber instrumental ensembles, including The Unanswered Question (1906, later created an orchestral version)
- 2 piano sonatas (including the second sonata for piano - "Concord", 1909-15).
- 5 violin sonatas (including the fourth sonata for violin and piano - "Children’s day at the camp meeting", 1915).
- Works for Organ.
- Pieces for various instruments (including "Three quartertone piano pieces" for two pianos, 1903-24).
- Compositions for choir, song cycles based on verses by American poets (114 songs, 1884-1921).
- Articles on quarter-tone music (including "Some quartertone impressions", 1925).
Texts
- Memos / John Kirkpatrick, ed. New York: W. W. Norton, 1972
Memory
Literature about the composer
- Ivashkin A. Charles Ives and Twentieth Century Music. Moscow: Soviet composer, 1991.
- Schneerson G. M. Ives Charles Edward // Encyclopedia of Music in 6 volumes, TSB, M., 1973-1982, T. 1, p. 74-75.
- Rakhmanova M. Charles Ives, CM, 1971, no. 6, p. 97-108.
- Cowell H. Cowell S. R. Charles Ives and His Music. New York: Oxford UP, 1955.
- Rossiter F. R. Charles Ives and his America. New York: Liveright, 1975.
- Block G. Charles Ives: a bio-bibliography. New York: Greenwood Press, 1988.
- Burkholder J. P. All Made of Tunes: Charles Ives and the Uses of Musical Borrowing. New Haven: Yale UP, 1995.
- Charles Ives and His World / J. Peter Burkholder, ed. Princeton: Princeton UP, 1996.
- Swafford J. Charles Ives: A Life with Music. New York: W. W. Norton, 1996.
- Sherwood G. Charles Ives: a guide to research. New York: Routledge, 2002.
- Copland A. The Ives case in our new music, N. Y., 1941.
- Letters from Ch. Ives to N. Slonimsky, in: Slonimsky N., Music since 1900, N. Y., 1971, p. 1318-48.
Links
Categories:
- Personalities alphabetically
- Musicians alphabetically
- Born on October 20
- Born in 1874
- Danbury births
- Deceased May 19
- Dead in 1954
- Dead in New York
- Composers alphabetically
- Composers USA
- 20th century composers
- Yale graduates
- Organists of the USA
- Academic Musicians USA
- Pulitzer Prize Winners
- Grammy Award Winners
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See what "Ives, Charles" is in other dictionaries:
Ives Charles- Ives (1874 1954), American composer. One of the founders of the modern American school of composition. 5 symphonies (1898 1915), chamber instrumental pieces, songs. * * * Ives Charles Ives Charles (1874 1954), ... ... encyclopedic Dictionary
Ives, Charles- Ives Charles (1874 1954), American composer. He was one of the first to use aleatorics, a serial technique, and a quarter-tone system. 5 symphonic, chamber instrumental pieces, combining a philosophical interpretation of the theme with a subtle ... ... Illustrated Encyclopedic Dictionary
Ives Charles- (20 X 1874, Danbury, Connecticut 19 V 1954, New York) Probably, if the musicians of the early XX century. and on the eve of the First World War, they learned that the composer Charles Ives lives in America and if they heard his works, they would have treated them like ... ... Music Dictionary
Ives Charles- (Ives, Charles) CHARLES Ives with his wife. (1874 1954), an innovative American composer, the most distinctive figure in the history of American music. Ives was passionately in love with dissonances and tried out a lot of new expressive means in his work ... ... Collier's Encyclopedia - (1874-1954), one of the founders of the modern American school of composition. Created an original synthesis of popular and professional composer music. Five symphonies (1898-1915), chamber instrumental pieces, songs ... Big Encyclopedic Dictionary
IVES- (Ives) Charles (1874 1954), American composer. He was one of the first to use aleatorics, a serial technique, and a quarter-tone system. 5 symphonic, chamber instrumental pieces, combining a philosophical interpretation of the theme with subtle lyricism ... Modern encyclopedia
He received his primary musical education under the guidance of his father, a military bandmaster. In 1894-98 he studied at Yale University, where he studied composition with H. Parker and organ playing with D. Buck. Since 1899 he has been a church organist in New York and other cities.
The patriarchal environment of his childhood and adolescence played an important role in the formation of Ives's work; in the provinces, he constantly heard folk music, was a participant in rural musical festivals. The roots of his work are in folk songs and religious hymns, in brass music performed by village musicians (Ives's early works were written for a brass band, in which he played percussion instruments).
Ives developed his own musical style, combining elements of traditional everyday music with unusual, sharp harmonies, original instrumentation. Lyricism and humor, a tendency towards philosophical content along with the rationalism of musical language are characteristic of Ives' work.
In a number of works, Ives sought to reflect the life of his homeland. Thus, in the episodes from the 2nd Sonata for Violin and Piano, sharp collisions of different intonational and rhythmic elements reproduce the pictures of noisy village festivities.
Ives began writing music in the 90s. 19th century, but until the end of the 30s. His works were not known in the 20th century. (It was only in 1947 that he was awarded the Pulitzer Prize for his Third Symphony, written in 1911.) Ives received real recognition posthumously when American musicians discovered in his artistic heritage the features of a distinctive creative personality of a brightly national warehouse and proclaimed Ives the founder of a new American school.
Ives' most famous works - Sonata 2 for Piano (Concord, 1909-15), Symphonies 3 and 4, Overture No. 2 - are replete with sharp techniques of dissonant atonal and polytonal writing. Methods of sound visualization are characteristic of the style of the 4th sonata for violin and piano "Children 's day at the camp meeting" (1915).
In some of his works, Ives used the peculiar technique of serial writing he found, as well as the means of the quarter-tone system (“Three quarter-tone piano pieces” for two pianos, 1903-24). Ives owns essays and articles on quarter-tone music ("Some quartertone impressions", 1925, and others).
Compositions: cantata Celestial country (1899); for orc. - 5 symphonies (1898-98, 1897-1902, 1901-04, 1910-16, 5th, Holidays, 1904-13), Universe (Universe symphony - fragments of a symphony, 1911-16), Central Park in darkness (Central park in the dark, 1898-1907), Three places in New England (1903-14) and other program pieces, overtures (1901-12), pieces for a large symphony. and chamber. orc., Ragtime dances (1900-11) for theater. orc.; strings. quartet (1896) and other chamber instruments. ensembles; 2 pp. sonatas; 5 skr. sonatas; op. for the organ; pieces for decomp. instr .; op. for choir, cycles of songs to verses by Amer. poets (114 songs, 1884-1921).
Literature: Rakhmanova M., Charles Ives, "CM", 1971, No 6, p. 97-108; Copland A., The Ives case in our new music, N. Y., 1941; Cowell H. and S., Charles Ives and his music, N. Y. 1955; Letters from Ch. Ives to N. Slonimsky, in: Slonimsky N., Music since 1900, N. Y., 1971, p. 1318-48.
G. M. Schneerson
Style
Ives' work was strongly influenced by the folk music he listened to in his rural provincial childhood - folk songs, spiritual and religious hymns. Ives' unique musical style combines elements of folklore, traditional everyday music with complex, sharp, dissonant atonal and polytonal harmony, and methods of sound visualization. He developed an original technique of serial writing, using the means of a quarter-tone system.
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Literature about the composer
- Ivashkin A. Charles Ives and Twentieth Century Music. Moscow: Soviet composer, 1991.
- Schneerson G. M. Ives Charles Edward // Encyclopedia of Music in 6 volumes, TSB, M., 1973-1982, T. 1, p. 74-75.
- Akopyan L.O. Music of the XX century: an encyclopedic dictionary / Scientific editor Dvoskina E. M .. - M .: "Practice", 2010. - pp. 21-23. - 855 p. - 2500 copies - ISBN 978-5-89816-092-0.
- Rakhmanova M. Charles Ives, CM, 1971, no. 6, p. 97-108.
- Cowell H. Cowell S. R. Charles Ives and His Music. New York: Oxford UP, 1955.
- Rossiter F. R. Charles Ives and his America. New York: Liveright, 1975.
- Block G. Charles Ives: a bio-bibliography. New York: Greenwood Press, 1988.
- Burkholder J. P. All Made of Tunes: Charles Ives and the Uses of Musical Borrowing. New Haven: Yale UP, 1995.
- Charles Ives and his world, ed. by J. Peter Burkholder. Princeton (NJ): Princeton University Press, 1996 (collection of articles).
- Swafford J. Charles Ives: A Life with Music. New York: W. W. Norton, 1996.
- Sherwood G. Charles Ives: a guide to research. New York: Routledge, 2002.
- Copland A. The Ives case in our new music, N. Y., 1941.
- Letters from Ch. Ives to N. Slonimsky, in: Slonimsky N., Music since 1900, N. Y., 1971, p. 1318-48.
Links
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Excerpt from Charles Ives
“Everything depends on upbringing,” said the guest.“Yes, your truth,” continued the Countess. “Until now, thank God, I have been a friend of my children and enjoy their full confidence,” said the countess, repeating the delusion of many parents who believe that their children have no secrets from them. - I know that I will always be the first confidente [attorney] of my daughters, and that Nikolenka, by her ardent character, if she is naughty (the boy cannot do without it), then everything is not like these Petersburg gentlemen.
- Yes, nice, nice guys, - confirmed the count, who always solved the confused questions for him by the fact that he found everything glorious. - Come on, I wanted to be a hussar! Yes, that's what you want, ma chere!
“What a lovely creature your little one is,” said the guest. - Gunpowder!
“Yes, gunpowder,” said the count. - She went to me! And what a voice: even though she is my daughter, and I will tell the truth, the singer will be, Salomoni is different. We took an Italian to teach her.
- Is not it too early? They say it is harmful for the voice to study at this time.
- Oh no, how early! - said the count. - How did our mothers get married at twelve thirteen?
- She's already in love with Boris! What is it? - said the countess, smiling softly, looking at Boris's mother, and, apparently answering the thought that always occupied her, continued. - Well, you see, I kept her strictly, I forbid her ... God knows what they would do on the sly (the Countess understood: they would kiss), but now I know every word of her. She herself will come running in the evening and tell me everything. Maybe I spoil her; but, really, it seems to be better. I kept the older one strictly.
“Yes, I was brought up quite differently,” said the eldest, beautiful Countess Vera, smiling.
But the smile did not adorn Vera's face, as is usually the case; on the contrary, her face became unnatural and therefore unpleasant.
The eldest, Vera, was good, was not stupid, she studied well, was well educated, her voice was pleasant, what she said was fair and appropriate; but, strange to say, everyone, both the guest and the countess, looked back at her, as if they were surprised why she had said this, and felt awkward.
“They are always wise with older children, they want to do something extraordinary,” said the guest.
- What a sin to conceal, ma chere! The Countess was wise with Vera, ”said the Count. - Well, what of it! all the same she came out glorious, '' he added, winking at Vera approvingly.
The guests got up and left, promising to come for dinner.
- What a manner! We were already sitting, sitting! - said the countess, seeing off the guests.
When Natasha left the living room and ran, she only ran to the flower room. In this room she stopped, listening to the conversation in the living room and waiting for Boris to come out. She was already beginning to get impatient and, stamping her foot, was on the point of crying because he was not walking now, when she heard the not quiet, not fast, decent steps of a young man.
Natasha quickly rushed between the flowerpots and hid.
Boris stopped in the middle of the room, looked around, brushed the specks off the sleeve of his uniform with his hand, and walked over to the mirror, examining his handsome face. Natasha, quieted down, peered out of her ambush, expecting what he would do. He stood for some time in front of the mirror, smiled and went to the exit door. Natasha wanted to call out to him, but then changed her mind. Let him look, she told herself. Boris had just left when a flushed Sonya came out of the other door, whispering evilly through her tears. Natasha resisted her first movement to run out to her and remained in her ambush, as if under an invisible hat, looking out for what was happening in the world. She experienced a special new pleasure. Sonya whispered something and looked back at the drawing-room door. Nikolai came out of the door.
- Sonya! What's the matter? Is it possible? - said Nikolay, running up to her.
- Nothing, nothing, leave me! - Sonya burst into tears.
- No, I know what.
- Well, you know, and fine, and go to her.
- Soooh! One word! Is it possible to torture me and myself like that because of fantasy? - Nikolay said, taking her hand.
Sonya did not pull her hands away from him and stopped crying.
Natasha, without moving or breathing, gazed with shining heads from her ambush. "What will happen now"? she thought.
- Sonya! I don't need the whole world! You are everything for me, - said Nikolai. - I'll prove it to you.
“I don’t like it when you say that.”
- Well, I won't, well, forgive me, Sonya! He pulled her to him and kissed her.
"Oh, how good!" thought Natasha, and when Sonya and Nikolai left the room, she followed them and called Boris to her.
“Boris, come here,” she said with a significant and sly look. - I need to tell you one thing. Here, here, - she said, and led him to the flower room to the place between the tubs where she was hidden. Boris, smiling, followed her.
- What is this one thing? - he asked.
She was embarrassed, looked around her and, seeing her doll thrown on the barrel, took it in her hands.
“Kiss the doll,” she said.
Boris looked attentively, affectionately into her lively face and did not answer.
- You do not want? Well, come here, ”she said, and went deeper into the flowers and threw the doll. - Closer, closer! She whispered. She caught the officer's cuffs with her hands, and her reddened face showed solemnity and fear.
- Do you want to kiss me? She whispered, barely audible, looking at him from under her brows, smiling and almost crying with excitement.
Boris blushed.
- How funny you are! - he said, bending over to her, blushing even more, but doing nothing and waiting.
Style
Ives' work was strongly influenced by the folk music he listened to in his rural provincial childhood - folk songs, spiritual and religious hymns. Ives' unique musical style combines elements of folklore, traditional everyday music with complex, sharp, dissonant atonal and polytonal harmony, and methods of sound visualization. He developed an original technique of serial writing, using the means of a quarter-tone system.
Essays
- Cantata "Heavenly country" (Celestial country, 1899).
- For orchestra - 5 symphonies (1898-98, 1897-1902, 1901-04, 1910-16, 5th, Holidays, 1904-13), Universe (Universe symphony - symphony fragments, 1911-16), “ Central park in the dark "(Central park in the dark, 1898-1907), Three places in New England (Three places in New England, 1903-14) and other program pieces, overtures (1901-12), pieces for a large symphonic and chamber orchestras, Ragtime dances (1900-11) for theater orchestra.
- String Quartet (1896) and other chamber instrumental ensembles, including The Unanswered Question (1906, later created an orchestral version)
- 2 piano sonatas (including the second sonata for piano - "Concord", 1909-15).
- 5 violin sonatas (including the fourth sonata for violin and piano - "Children’s day at the camp meeting", 1915).
- Works for Organ.
- Pieces for various instruments (including "Three quartertone piano pieces" for two pianos, 1903-24).
- Compositions for choir, song cycles based on verses by American poets (114 songs, 1884-1921).
- Articles on quarter-tone music (including "Some quartertone impressions", 1925).
Texts
- Memos / John Kirkpatrick, ed. New York: W. W. Norton, 1972
Memory
Literature about the composer
- Ivashkin A. Charles Ives and Twentieth Century Music. Moscow: Soviet composer, 1991.
- Schneerson G. M. Ives Charles Edward // Encyclopedia of Music in 6 volumes, TSB, M., 1973-1982, T. 1, p. 74-75.
- Rakhmanova M. Charles Ives, CM, 1971, no. 6, p. 97-108.
- Cowell H. Cowell S. R. Charles Ives and His Music. New York: Oxford UP, 1955.
- Rossiter F. R. Charles Ives and his America. New York: Liveright, 1975.
- Block G. Charles Ives: a bio-bibliography. New York: Greenwood Press, 1988.
- Burkholder J. P. All Made of Tunes: Charles Ives and the Uses of Musical Borrowing. New Haven: Yale UP, 1995.
- Charles Ives and His World / J. Peter Burkholder, ed. Princeton: Princeton UP, 1996.
- Swafford J. Charles Ives: A Life with Music. New York: W. W. Norton, 1996.
- Sherwood G. Charles Ives: a guide to research. New York: Routledge, 2002.
- Copland A. The Ives case in our new music, N. Y., 1941.
- Letters from Ch. Ives to N. Slonimsky, in: Slonimsky N., Music since 1900, N. Y., 1971, p. 1318-48.
Links
Categories:
- Personalities alphabetically
- Musicians alphabetically
- Born on October 20
- Born in 1874
- Danbury births
- Deceased May 19
- Dead in 1954
- Dead in New York
- Composers alphabetically
- Composers USA
- 20th century composers
- Yale graduates
- Organists of the USA
- Academic Musicians USA
- Pulitzer Prize Winners
- Grammy Award Winners
Wikimedia Foundation. 2010.
See what "Ives, Charles" is in other dictionaries:
Ives (1874 1954), American composer. One of the founders of the modern American school of composition. 5 symphonies (1898 1915), chamber instrumental pieces, songs. * * * Ives Charles Ives Charles (1874 1954), ... ... encyclopedic Dictionary
Ives, Charles- Ives Charles (1874 1954), American composer. He was one of the first to use aleatorics, a serial technique, and a quarter-tone system. 5 symphonic, chamber instrumental pieces, combining a philosophical interpretation of the theme with a subtle ... ... Illustrated Encyclopedic Dictionary
- (20 X 1874, Danbury, Connecticut 19 V 1954, New York) Probably, if the musicians of the early XX century. and on the eve of the First World War, they learned that the composer Charles Ives lives in America and if they heard his works, they would have treated them like ... ... Music Dictionary
- (Ives, Charles) CHARLES Ives with his wife. (1874 1954), an innovative American composer, the most distinctive figure in the history of American music. Ives was passionately in love with dissonances and tried out a lot of new expressive means in his work ... ... Collier's Encyclopedia - (1874-1954), one of the founders of the modern American school of composition. Created an original synthesis of popular and professional composer music. Five symphonies (1898-1915), chamber instrumental pieces, songs ... Big Encyclopedic Dictionary
- (Ives) Charles (1874 1954), American composer. He was one of the first to use aleatorics, a serial technique, and a quarter-tone system. 5 symphonic, chamber instrumental pieces, combining a philosophical interpretation of the theme with subtle lyricism ... Modern encyclopedia
Plan:
- Introduction
- 1 Biography
- 2 Creativity
- 3 Writings
- 4 Texts
- 5 Literature about the composer
Introduction
Charles Edward Ives, 1913
Charles Edward Ives(eng. Charles Edward Ives; October 20, 1874, Danbury, Connecticut - May 19, 1954, New York) - American composer.
1. Biography
Ives circa 1899
The son of a military bandmaster, who early introduced his son to music. Beginning at the age of 13, Ives was the organist in the church for many years. Graduated from Yale University (1894-1898) with a degree in composition, studied composition with H. Parker and organ playing with D. Buck. Since 1899 he was a church organist in New York and other cities. Later he served in various insurance companies, organized his own company, made a number of innovations in the field of real estate insurance. He achieved significant business success, which allowed him to support his family without making music professionally. After 1907, he began to experience heart disease, to which diabetes and other ailments were added over the years. Since 1926, he practically stopped composing, in the 1930s he left the service. He was friends with many famous composers in the United States (including Karl Ruggles).
2. Creativity
The patriarchal environment of his childhood and adolescence played an important role in the formation of Ives's work; in the provinces, he constantly heard folk music, was a participant in rural musical festivals. The roots of his work are in folk songs and religious hymns, in brass music performed by village musicians (Ives's early works were written for a brass band, in which he played percussion instruments). Ives developed his own musical style, combining elements of traditional everyday music with unusual, sharp harmonies, original instrumentation. Lyricism and humor, a tendency towards philosophical content along with the rationalism of musical language are characteristic of Ives' work. In a number of works, Ives sought to reflect the life of his homeland. Thus, in the episodes from the 2nd Sonata for Violin and Piano, sharp collisions of different intonational and rhythmic elements reproduce the pictures of noisy village festivities.
Ives began writing music in the 90s of the 19th century, but his compositions were not known until the late 30s of the 20th century. The music of Ives, who developed American folklore, religious and popular motives, but at the same time inclined to experiment, was rarely performed during his lifetime. The situation began to change only in the 1940s, when Ives received high praise from Arnold Schoenberg, became the winner of the Pulitzer Prize (1947) for the 3rd symphony, written in 1911. Ives received real recognition posthumously when American musicians discovered in his artistic heritage the features of the original creative individuality of a brightly national warehouse and proclaimed Ives the founder of a new American school. In 1951, Leonard Bernstein conducted the premiere of Ives' Second Symphony (1907-1909). Ives is currently recognized as one of the most significant composers in the United States.
Ives' most famous works - Sonata No. 2 for Piano ("Concord", 1909-15), Symphonies 3 and 4, Overture No. 2 - are replete with sharp techniques of dissonant atonal and polytonal writing. Acoustic techniques are characteristic of the style of the 4th sonata for violin and piano "Children 's day at the camp meeting" (1915). systems ("Three quartertone piano pieces" - "Three quartertone piano pieces" for two fp., 1903-24). Ives owns essays and articles on quarter-tone music ("Some quartertone impressions", 1925, etc.).
Ives is the author of six symphonies (the sixth, "World", 1915-1928, was not completed), the cantata "Heavenly Land", two string quartets, five sonatas for violin and piano, many chamber works for different compositions, a collection of "114 songs" (1922) and others.
A crater on Mercury is named after Ives.
3. Compositions
- Cantata Celestial country (1899).
- For orchestra - 5 symphonies (1898-98, 1897-1902, 1901-04, 1910-16, 5th, Holidays, 1904-13), Universe (Universe symphony - fragments of a symphony, 1911-16), Central park in the dark (Central park in the dark, 1898-1907), Three places in New England (1903-14) and other program pieces, overtures (1901-12), pieces for large symphony and chamber orchestras , Ragtime dances (1900-11) for theater orchestra.
- String quartet (1896) and other chamber instrumental ensembles.
- 2 piano sonatas.
- 5 violin sonatas.
- Works for Organ.
- Pieces for various instruments.
- Compositions for choir, song cycles based on verses by American poets (114 songs, 1884-1921).
4. Texts
- Memos / John Kirkpatrick, ed. New York: W. W. Norton, 1972
5. Literature about the composer
- Ivashkin A. Charles Ives and Twentieth Century Music. Moscow: Soviet composer, 1991.
- Schneerson G. M. Ives Charles Edward // Musical Encyclopedia in 6 volumes, TSB, M., 1973 - 1982, T. 1, p. 74-75.
- Rakhmanova M. Charles Ives, "CM", 1971, no. 6, p. 97-108.
- Cowell H. Cowell S. R. Charles Ives and His Music. New York: Oxford UP, 1955.
- Rossiter F. R. Charles Ives and his America. New York: Liveright, 1975.
- Block G. Charles Ives: a bio-bibliography. New York: Greenwood Press, 1988.
- Burkholder J. P. All Made of Tunes: Charles Ives and the Uses of Musical Borrowing. New Haven: Yale UP, 1995.
- Charles Ives and His World / J. Peter Burkholder, ed. Princeton: Princeton UP, 1996.
- Swafford J. Charles Ives: A Life with Music. New York: W. W. Norton, 1996.
- Sherwood G. Charles Ives: a guide to research. New York: Routledge, 2002.
- Copland A. The Ives case in our new music, N. Y., 1941.
- Letters from Ch. Ives to N. Slonimsky, in: Slonimsky N., Music since 1900, N. Y., 1971, p. 1318-48.