This volume shows Charles Ives in the context of his world in a
number of revealing ways. Five new essays examine Ives's
relationships to European music and to American music, politics,
business, and landscape. J. Peter Burkholder shows Ives as a
composer well versed in four distinctive musical traditions who
blended them in his mature music. Leon Botstein explores the
paradox of how, in the works of Ives and Mahler, musical modernism
emerges from profoundly antimodern sensibilities. David Michael
Hertz reveals unsuspected parallels between one of Ives's most
famous pieces, the Concord Piano Sonata, and the piano sonatas of
Liszt and Scriabin. Michael Broyles sheds new light on Ives's
political orientation and on his career in the insurance business,
and Mark Tucker shows the importance for Ives of his vacations in
the Adirondacks and the representation of that landscape in his
music.
The remainder of the book presents documents that illuminate
Ives's personal life. A selection of some sixty letters to and from
Ives and his family, edited and annotated by Tom C. Owens, is the
first substantial collection of Ives correspondence to be
published. Two sections of reviews and longer profiles published
during his lifetime highlight the important stages in the reception
of Ives's music, from his early works through the premieres of his
most important compositions to his elevation as an almost mythic
figure with a reputation among some critics as America's greatest
composer.
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