Charles Ives interesting facts. A short biography of the American composer Charles Ives (Ives). See what "Ives, Charles" is in other dictionaries

Style

Ives's work was greatly influenced by folk music, which he listened to in his rural provincial childhood - folk songs, spiritual and religious hymns. Unique musical style Ives combines elements of folklore, traditional everyday music with complex, sharp, dissonant atonal and polytonal harmony, and sound imaging techniques. He developed original equipment serial writing, used the quarter-tone system.

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Literature about the composer

• Ivashkin A. Charles Ives and music of the twentieth century. Moscow: Soviet composer, 1991.
• Shneerson G. M. Ives Charles Edward // Music Encyclopedia in 6 volumes, TSB, M., 1973-1982, T. 1, p. 74-75.
• Akopyan L. O. Music of the 20th century: encyclopedic Dictionary/ Scientific editor Dvoskina E. M. - M.: “Practice”, 2010. - P. 21-23. - 855 s. - 2500 copies.
• - ISBN 978-5-89816-092-0. Rakhmanova M.
• Charles Ives, SM, 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 the book: Slonimsky N., Music since 1900, N. Y., 1971, p. 1318-48.

• Links

(link unavailable since 09/05/2013 (2140 days))

When Natasha left the living room and ran, she only reached the flower shop. She stopped in this room, 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 about to cry because he was not walking now, when she heard the quiet, not fast, decent steps of a young man.
Natasha quickly rushed between the flower pots and hid.
Boris stopped in the middle of the room, looked around, brushed specks from his uniform sleeve with his hand and walked up to the mirror, examining his Beautiful face. Natasha, having become quiet, looked out from her ambush, waiting for what he would do. He stood in front of the mirror for a while, smiled and went to the exit door. Natasha wanted to call out to him, but then changed her mind. “Let him search,” she told herself. Boris had just left when a flushed Sonya emerged from another door, whispering something angrily through her tears. Natasha restrained herself from her first move to run out to her and remained in her ambush, as if under an invisible cap, looking out for what was happening in the world. She experienced a special new pleasure. Sonya whispered something and looked back at the living room door. Nikolai came out of the door.
- Sonya! What happened to you? Is this possible? - Nikolai said, running up to her.
- Nothing, nothing, leave me! – Sonya began to sob.
- No, I know what.
- Well, you know, that’s great, and go to her.
- Sooo! One word! Is it possible to torture me and yourself like this because of a fantasy? - Nikolai said, taking her hand.
Sonya did not pull his hands away and stopped crying.
Natasha, without moving or breathing, looked out from her ambush with shining heads. "What will happen now"? she thought.
- Sonya! I don't need the whole world! “You alone are everything to me,” Nikolai said. - I'll prove it to you.
“I don’t like it when you talk like that.”
- Well, I won’t, I’m sorry, Sonya! “He pulled her towards 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 cunning look. – I need to tell you one thing. Here, here,” she said and led him into the flower shop 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 abandoned on the tub, took it in her hands.
“Kiss the doll,” she said.
Boris looked into her lively face with an attentive, affectionate gaze 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 solemnity and fear were visible in her reddened face.
- Do you want to kiss me? – she whispered barely audibly, 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.

Ives's work was heavily influenced by the folk music he listened to in his rural provincial childhood - folk songs, spiritual and religious hymns. Ives's unique musical style combines elements of folklore, traditional everyday music with complex, sharp, dissonant atonal and polytonal harmony, and sound imaging techniques. He developed an original technique of serial writing and used the quarter-tone system.

Essays

• Cantata “Celestial country” (Celestial country, 1899).
• For orchestra - 5 symphonies (1898-98, 1897-1902, 1901-04, 1910-16, 5th, Holidays- Holidays, 1904-13), Universe (Universe symphony - fragments of a symphony, 1911-16), “Central park in darkness” the dark, 1898-1907), Three places in New England (1903-14) and other program plays, overtures (1901-12), pieces for a large symphony and chamber orchestras, Ragtime dances (Ragtime dances, 1900-11) for theater orchestra.
• String Quartet(1896) and other chamber instrumental ensembles, including “The Unanswered Question” (1906, an orchestral version was later created)
• 2 piano sonatas (including the second piano sonata - “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).
• Works for choir, song cycles based on poems by American poets (114 songs, 1884-1921).
• Articles on quarter-tone music (including “Some quartertone impressions”, 1925).

Lyrics

• Memos/ John Kirkpatrick, ed. New York: W. W. Norton, 1972

Memory

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Founder of the new American composer school 20th century.

Biography

Charles Ives is the son of military bandmaster George Ives (1845-1894), who became his first music teacher. From 1887 (from the age of 13) he worked as an organist in the church. He graduated from Yale University (1894-1898), where he studied composition (class of X. Parker) and playing the organ (class of D. Buck). He began composing music in the 90s of the 19th century. Since 1899 - church organist in New York and other cities. Worked in various insurance companies, opened own business, introduced a number of innovations in real estate insurance. He achieved significant success in the insurance business, which allowed him to support his family while pursuing music as a hobby. After 1907, heart problems began, and diabetes and other diseases were added over time. At the beginning of 1927 he stopped composing and soon left the business.

Until the early 1940s, his works were rarely performed and were practically unknown. Ives was truly recognized only after his death, when he was declared one of the most important American composers. The first recognition came in the 1940s, when Ives's work was highly praised by Arnold Schoenberg. Ives was awarded the Pulitzer Prize for his 3rd Symphony (1911). In 1951, the premiere of Ives's Second Symphony (-) was conducted by Leonard Bernstein.

Style

Ives's work was heavily influenced by the folk music he listened to in his rural provincial childhood - folk songs, spiritual and religious hymns. Ives's unique musical style combines elements of folklore, traditional everyday music with complex, sharp, dissonant atonal and polytonal harmony, and sound imaging techniques. He developed an original technique of serial writing and used the quarter-tone system.

Along with Wallingford Rigger, Henry Cowell, Carl Ruggles and John Becker, he was one of the "American Five" of avant-garde composers.

Selected Works

For orchestra

• Symphony No. 2 (1902)
• Symphony No. 3 (1904)
• Symphony No. 4 (1916)
• Symphony No. 5 "Holidays in New England" (1913)
• Unanswered question ()
• Central park at night (Central park in the dark, 1907)
• Three places in New England (1903-14)
• "Robert Browning" and other overtures (1901-12)
• Ragtimes (Ragtime dances, 1900-11) for theater orchestra

For piano

• Three-page sonata (1905)
• Sonata No. 1 (1909)
• Three quartertone piano pieces for two pianos (1924)
• 19 studies for piano (various years)

For other compounds

• Cantata "Celestial country"
• String quartet () and other chamber instrumental ensembles
• 5 violin sonatas (including the fourth sonata for violin and piano - “Children’s day at the camp meeting”,

Style

Ives's work was heavily influenced by the folk music he listened to in his rural provincial childhood - folk songs, spiritual and religious hymns. Ives's unique musical style combines elements of folklore, traditional everyday music with complex, sharp, dissonant atonal and polytonal harmony, and sound imaging techniques. He developed an original technique of serial writing and used the quarter-tone system.

Write a review of the article "Ives, Charles"

Literature about the composer

• Ivashkin A. Charles Ives and the music of the twentieth century. Moscow: Soviet Composer, 1991.
• Shneerson G. M. Ives Charles Edward // Musical encyclopedia in 6 volumes, TSB, M., 1973-1982, Vol. 1, p. 74-75.
• Akopyan L. O. Music of the 20th century: an encyclopedic dictionary / Scientific editor Dvoskina E. M. - M.: “Praktika”, 2010. - P. 21-23. - 855 s. - 2500 copies.
• - ISBN 978-5-89816-092-0. Rakhmanova M.
• Charles Ives, SM, 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.- ISBN 978-5-89816-092-0.
• 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 the book: Slonimsky N., Music since 1900, N. Y., 1971, p. 1318-48.

• Links

All Made of Tunes: Charles Ives and the Uses of Musical Borrowing. New Haven: Yale UP, 1995.

(link unavailable since 09/05/2013 (2140 days))

Probably, if the musicians of the early 20th century. and on the eve of the First World War they learned that the composer Charles Ives lived in America and heard his works, they would have treated them as a kind of experiment, a curiosity, or even would not have noticed at all: so original was he himself and the soil on which which he grew up. But no one knew Ives then - very for a long time he did nothing at all to promote his music. Ives's "discovery" occurred only in the late 30s, when it turned out that many (and, moreover, very different) methods of the latest musical writing were already tested by the original American composer in the era of A. Scriabin, C. Debussy and G. Mahler. By the time Ives became famous, he had not composed music for many years and, seriously ill, cut off ties with outside world. One of his contemporaries called Ives’s fate an “American tragedy.” Ives was born into the family of a military conductor.

When “imagining” music, I usually imagine some kind of brass band with wings in the back of my mind.

Ives Charles

His father was a tireless experimenter - this trait passed on to his son (For example, he instructed two orchestras going towards each other to play various works.) From children's and teenage years, spent in a patriarchal atmosphere, originates from Ives’s “hearing” of America, the “openness” of his work, which probably absorbed everything that sounded around him. Many of his compositions contain echoes of Puritan religious hymns, jazz, and minstrel theater. As a child, Charles was brought up on the music of two composers - J. S. Bach and S. Foster (a friend of Ives's father, the American "bard", author popular songs and ballads). With his serious attitude to music, alien to any vanity, and sublime structure of thoughts and feelings, Ives would later resemble Bach.

The fabric of existence weaves itself into a whole.

Ives Charles

Ives wrote his first works for a military band (he played the percussion instruments), at the age of 14 he became a church organist in his hometown. But besides this, he played the piano in the theater, improvising ragtime and other plays. After graduating from Yale University (1894-1898), where he studied with H. Parker (composition) and D. Buck (organ), Ives works as a church organist in New York. He then served as a clerk for an insurance company for many years and did so with great enthusiasm. Subsequently, in the 20s, moving away from music, Ives became a successful businessman and a prominent insurance specialist (author of popular works). Most of Ives's works belong to the genres of orchestral and chamber music. He is the author of five symphonies, overtures, program works for orchestra (Three Villages in New England, Central Park in the Dark), two string quartets, five sonatas for violin, two for piano, pieces for organ, choruses and more than 100 songs. Most of their major works Ives wrote for a long time, over several years. In the Second Piano Sonata (1911-15), the composer paid tribute to his spiritual predecessors. Each of its parts depicts a portrait of one of the American philosophers: R. Emerson, N. Hawthorne, G. Topo; the entire sonata bears the name of the place where these philosophers lived (Concord, Massachusetts, 1840-1860). Their ideas formed the basis of Ives' worldview (for example, the idea of ​​merging human life with the life of nature). Ives's art is characterized by a high ethical spirit; his discoveries were never of a purely formal nature, but were a serious attempt to identify the hidden possibilities inherent in the very nature of sound.

Uncertainty is sometimes an indication of proximity to perfect truth.

Ives Charles

Before other composers, Ives came to many of the modern expressive means. From his father's experiments with different orchestras goes straight the path to polytonality (the simultaneous sound of several keys), volumetric, “stereoscopic” sound and aleatorics (when the musical text is not rigidly fixed, but arises from a set of elements each time anew, as if by chance). Ives's last major project (the unfinished "World" Symphony) envisaged the placement of orchestras and choirs in the open air, in the mountains, in different points space. Two parts of the symphony (Music of the Earth and Music of the Sky) were supposed to sound... simultaneously, but twice, so that listeners could alternately fix their attention on each. In some works, Ives, before A. Schoenberg, came almost close to the serial organization of atonal music.