wimpel69
02-06-2016, 12:54 PM
You will find the FLAC links below. These are my rips. Front covers and booklets included.
Please add to my reputation if you download these albums and would like to have more. ;)
The symphonies of Charles Ives trace an immense creative journey, from the brilliant apprentice work the First Symphony,
through the quietly revolutionary Americana voice of the Second and Third Symphonies, to the spiritual epic of the Fourth Symphony.
Together, these works belong to the first blooming of American symphonic music in the late nineteenth and early twentieth centuries.
In many ways, however, by the time of the Fourth Symphony Ives was writing a visionary music whose innovations and implications
prophesy the twenty-first century and beyond. That kind of prophecy, in any case, is what he had in mind.
The story of Ives’s singular musical education remains essential to understanding him. His last mentor in composition, Professor
Horatio Parker at Yale, had studied in Germany and there imbibed a relentlessly conservative view of music. When the young
Ives arrived at his first lesson and showed Parker a ‘Fugue in Four Keys’, the keys being simultaneous, Ives was curtly directed
not to bring in anything else like that again. Dutifully if resentfully, Ives settled into four years of Germanic musical discipline,
writing fugues in the style of Bach and his First String Quartet and First Symphony, both of them vital and precocious works in
a safely late-Romantic style.
At Yale, in other words, Ives had to keep largely under wraps an experimental streak that in his teens already extended to
sounds never heard in music before: technical experiments to which a later time would attach terms like polytonality,
polyrhythm, and spatial music. These revolutionary concepts had come not from abstract speculation but from his father,
a town bandmaster given to imaginative tinkering with the elements of music.
Charles Ives’s father George Ives started his musical career in the Civil War, as the youngest bandmaster in the Union
Army. After the war he returned to his hometown of Danbury, Connecticut, founded a band, and took up music-teaching.
When he discovered in his young son Charles a tremendous talent, George began teaching him the rudiments and found
him the best keyboard teachers available. By the age of fourteen Charlie was a professional church organist.
Besides gaining a rigorous traditional training in music, the boy with the open ears and steel-trap mind absorbed his
father’s ideas. George Ives would march two contingents of his band around the town green in opposite directions
playing different tunes, to see what happened as they passed. He invented gadgets to play quarter-tone scales, taught
Charlie to sing a song in one key while being accompanied in another. He played his trumpet for his son from varying
distances and over a pond, so Charlie could gauge the effect of space on the timbre. To these inspirations George Ives
added something which was at that time unique in history: absolutely any combination of notes is acceptable, he told
Charlie, if you make sense out of them. No composer had ever been given such licence.
Along with that extraordinary gift of freedom, George Ives also bequeathed his son a love for the musical life of small
towns and everyday citizens, amateurs playing in bands and singing in camp meetings and fiddling at dances. To
George and Charlie it was all just humanity, people worshipping and rejoicing, praying and holidaying from their
hearts and souls, with music woven into and expressing it all. For Ives, physical, tangible music came to seem an
exterior symbol of a deeper human reality, and that unseen spirit was itself the real music. ‘Music’, Ives would
write, ‘is life.’
Music Composed by
Charles Edward Ives
Conducted by
Andrew Litton
Played by the
Dallas Symphony Orchestra
"Symphony No 1 is a work of youthful vigor … Litton opens the symphony in flowing style, he finds
optimism in it, vitality, the freshness of a spring day … the finale is a corking movement, full of
exuberance, energy, and invention. Wonderful! Litton and his splendid orchestra do it justice, not
least the marching band episode toward the close … Symphony No 4 is an amazing piece that is
here given a very assured performance".
Fanfare
"What a wonderful surprise it has been, seeing the release of the complete Ives symphonies on
Hyperion. I have no doubt that Andrew Litton's cycle will serve as the reference for many years to
come … you won't hear a more insouciant account of the finale anywhere, while the second movement
has a real spring to its step—its final bars are simply hilarious, less outrageous than the symphony's
ending, but no less surprising in their own way … the Third Symphony isn't as easy to play as it sounds,
and Litton not only captures the music's flow to perfection, he gives the small wind and brass complement
plenty of opportunity to shine, albeit sensitively … finally, the engineering is rich, clear and vibrant.
A major achievement, no doubt about it."
Classics Today
Source: Hyperion Records CDs (My rips)
Format: FLAC, DDD Stereo, RAR (no password)
File Sizes: 287 MB / 276 MB
Provider: MEGA
Symphonies Nos. 1 & 4, Central Park in the Dark - https://mega.nz/#!ChhmXL5K!YDZR0tdUlmT2jiXdhDSTIhlkLqb5DEX-nxt89YIUKc4
Symphonies Nos. 2 & 3, General Booth - https://mega.nz/#!uhpXzShL!VcPVi4dbIlo0UT1Y8peiUW3sbGl6ffg6qFkYWBElAig
You will find the FLAC links above. These are my rips. Front covers and booklets included.
Please add to my reputation if you download these albums and would like to have more. ;)
Please add to my reputation if you download these albums and would like to have more. ;)
The symphonies of Charles Ives trace an immense creative journey, from the brilliant apprentice work the First Symphony,
through the quietly revolutionary Americana voice of the Second and Third Symphonies, to the spiritual epic of the Fourth Symphony.
Together, these works belong to the first blooming of American symphonic music in the late nineteenth and early twentieth centuries.
In many ways, however, by the time of the Fourth Symphony Ives was writing a visionary music whose innovations and implications
prophesy the twenty-first century and beyond. That kind of prophecy, in any case, is what he had in mind.
The story of Ives’s singular musical education remains essential to understanding him. His last mentor in composition, Professor
Horatio Parker at Yale, had studied in Germany and there imbibed a relentlessly conservative view of music. When the young
Ives arrived at his first lesson and showed Parker a ‘Fugue in Four Keys’, the keys being simultaneous, Ives was curtly directed
not to bring in anything else like that again. Dutifully if resentfully, Ives settled into four years of Germanic musical discipline,
writing fugues in the style of Bach and his First String Quartet and First Symphony, both of them vital and precocious works in
a safely late-Romantic style.
At Yale, in other words, Ives had to keep largely under wraps an experimental streak that in his teens already extended to
sounds never heard in music before: technical experiments to which a later time would attach terms like polytonality,
polyrhythm, and spatial music. These revolutionary concepts had come not from abstract speculation but from his father,
a town bandmaster given to imaginative tinkering with the elements of music.
Charles Ives’s father George Ives started his musical career in the Civil War, as the youngest bandmaster in the Union
Army. After the war he returned to his hometown of Danbury, Connecticut, founded a band, and took up music-teaching.
When he discovered in his young son Charles a tremendous talent, George began teaching him the rudiments and found
him the best keyboard teachers available. By the age of fourteen Charlie was a professional church organist.
Besides gaining a rigorous traditional training in music, the boy with the open ears and steel-trap mind absorbed his
father’s ideas. George Ives would march two contingents of his band around the town green in opposite directions
playing different tunes, to see what happened as they passed. He invented gadgets to play quarter-tone scales, taught
Charlie to sing a song in one key while being accompanied in another. He played his trumpet for his son from varying
distances and over a pond, so Charlie could gauge the effect of space on the timbre. To these inspirations George Ives
added something which was at that time unique in history: absolutely any combination of notes is acceptable, he told
Charlie, if you make sense out of them. No composer had ever been given such licence.
Along with that extraordinary gift of freedom, George Ives also bequeathed his son a love for the musical life of small
towns and everyday citizens, amateurs playing in bands and singing in camp meetings and fiddling at dances. To
George and Charlie it was all just humanity, people worshipping and rejoicing, praying and holidaying from their
hearts and souls, with music woven into and expressing it all. For Ives, physical, tangible music came to seem an
exterior symbol of a deeper human reality, and that unseen spirit was itself the real music. ‘Music’, Ives would
write, ‘is life.’
Music Composed by
Charles Edward Ives
Conducted by
Andrew Litton
Played by the
Dallas Symphony Orchestra
"Symphony No 1 is a work of youthful vigor … Litton opens the symphony in flowing style, he finds
optimism in it, vitality, the freshness of a spring day … the finale is a corking movement, full of
exuberance, energy, and invention. Wonderful! Litton and his splendid orchestra do it justice, not
least the marching band episode toward the close … Symphony No 4 is an amazing piece that is
here given a very assured performance".
Fanfare
"What a wonderful surprise it has been, seeing the release of the complete Ives symphonies on
Hyperion. I have no doubt that Andrew Litton's cycle will serve as the reference for many years to
come … you won't hear a more insouciant account of the finale anywhere, while the second movement
has a real spring to its step—its final bars are simply hilarious, less outrageous than the symphony's
ending, but no less surprising in their own way … the Third Symphony isn't as easy to play as it sounds,
and Litton not only captures the music's flow to perfection, he gives the small wind and brass complement
plenty of opportunity to shine, albeit sensitively … finally, the engineering is rich, clear and vibrant.
A major achievement, no doubt about it."
Classics Today
Source: Hyperion Records CDs (My rips)
Format: FLAC, DDD Stereo, RAR (no password)
File Sizes: 287 MB / 276 MB
Provider: MEGA
Symphonies Nos. 1 & 4, Central Park in the Dark - https://mega.nz/#!ChhmXL5K!YDZR0tdUlmT2jiXdhDSTIhlkLqb5DEX-nxt89YIUKc4
Symphonies Nos. 2 & 3, General Booth - https://mega.nz/#!uhpXzShL!VcPVi4dbIlo0UT1Y8peiUW3sbGl6ffg6qFkYWBElAig
You will find the FLAC links above. These are my rips. Front covers and booklets included.
Please add to my reputation if you download these albums and would like to have more. ;)