Brief biography of Charles Ives. Short biography of the American composer Charles Ives (Ives)

Ives' work was heavily 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 harmonies, sound imaging techniques. He developed an original serial writing technique, using the means of the quarter-tone system.

Compositions

• 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 the dark "(Central park in the dark, 1898-1907), Three villages in New England (Three places in New England, 1903-14) and other program pieces, overtures (1901-12), pieces for a large symphony and chamber orchestras, Ragtime dances (1900-11) for the theater orchestra.
• String Quartet (1896) and other chamber-instrumental ensembles, including The Unanswered Question (1906, later orchestral version)
• 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" - "Children's day at the camp meeting", 1915).
• Compositions for organ.
• Pieces for various instruments (including "Three quartertone pieces" - "Three quartertone piano pieces" for two pianos, 1903-24).
• Works for the choir, cycles of songs on poems by American poets (114 songs, 1884-1921).
• Articles on quartertone music (including "Some quartertone impressions", 1925).

Texts

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

Memory

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He received his primary musical education under the guidance of his father, a military conductor. In 1894-98 he studied at Yale University, where he studied composition with X. Parker and playing the organ with D. Buck. Since 1899 church organist in New York and other cities.

The patriarchal environment of his childhood and adolescence played an important role in shaping Ives' 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' early compositions 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. Ives' work is characterized by lyricism and humor, a penchant for philosophical content along with the rationalism of the musical language.

In a number of writings, Ives sought to reflect the life of his homeland. Thus, in episodes from the 2nd sonata for violin and piano, sharp collisions of diverse intonation-rhythmic elements reproduce pictures of noisy village festivities.

Ives began writing music in the 90s. 19th century, but until the end of the 30s. In the 20th century, his writings were not known. (Only in 1947, he was awarded the Pulitzer Prize for the 3rd symphony, written in 1911.) Ives received real recognition posthumously, when American musicians discovered in his artistic heritage the features of an original creative personality of a brightly national warehouse and proclaimed Ives the founder of a new American school.

Ives' most famous works - the 2nd piano sonata ("Concord", 1909-15), the 3rd and 4th symphonies, overture No 2 - are replete with sharp techniques of dissonant atonal and polytonal writing. Sound imaging techniques are typical for the style of the 4th sonata for violin and piano "Children's day at the camp meeting", 1915.

In some of his compositions, Ives used the peculiar technique of serial writing that he found, as well as the means of the quarter-tone system (“Three quartertone pieces” - “Three quartertone piano pieces” for two pianos, 1903-24). Ives owns essays and articles on quartertone music (Some quartertone impressions, 1925, etc.).

Works: cantata Celestial country (Celestial country, 1899); for orc. - 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 (Central park in the dark, 1898-1907), Three villages in New England (Three places in New England, 1903-14) and other program pieces, overtures (1901-12), pieces for a large symphony. and chamber. orc., Dancing ragtime (Ragtime dances, 1900-11) for theater. orc.; strings. quartet (1896) and other chamber instruments. ensembles; 2 fp. sonatas; 5 skr. sonatas; op. for an organ; plays for various instr.; op. for choir, cycles of songs on poems by Amer. poets (114 songs, 1884-1921).

Literature: Rakhmanova M., Charles Ives, "SM", 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 heavily 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 harmonies, sound imaging techniques. He developed an original serial writing technique, using the means of the quarter-tone system.

Compositions

• 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 the dark "(Central park in the dark, 1898-1907), Three villages in New England (Three places in New England, 1903-14) and other program pieces, overtures (1901-12), pieces for a large symphony and chamber orchestras, Ragtime dances (1900-11) for the theater orchestra.
• String Quartet (1896) and other chamber-instrumental ensembles, including The Unanswered Question (1906, later orchestral version)
• 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" - "Children's day at the camp meeting", 1915).
• Compositions for organ.
• Pieces for various instruments (including "Three quartertone pieces" - "Three quartertone piano pieces" for two pianos, 1903-24).
• Works for the choir, cycles of songs on poems by American poets (114 songs, 1884-1921).
• Articles on quartertone 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 the Music of the Twentieth Century. Moscow: Soviet Composer, 1991.
• Schneerson G. M. Ives Charles Edward // Musical Encyclopedia in 6 volumes, TSB, M., 1973-1982, Vol. 1, p. 74-75.
• 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/ 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.
• Coland 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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See what "Ives, Charles" is in other dictionaries:

Ives (1874-1954), American composer. One of the founders of the modern American composing school. 5 symphonies (1898 1915), chamber instrumental works, songs. * * * IVES Charles IVZ (Ives) Charles (1874 1954),… … encyclopedic Dictionary

Ives, Charles- IVZ (Ives) Charles (1874 1954), American composer. One of the first to use aleatoric, serial technique, quarter-tone system. 5 symphonic, chamber-instrumental works, 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 Ch. Ives lives in America and heard his works, they would treat them as ... ... Music dictionary

- (Ives, Charles) CHARLES IVES with his wife. (1874 1954), American composer innovator, the most distinctive figure in the history of American music. Ives passionately loved dissonance and tried out a lot of new expressive means in his work ... ... Encyclopedia Collier - (18741954), one of the founders of the modern American school of composition. Created an original synthesis of popular and professional composer music. Five symphonies (18981915), chamber instrumental works, songs… Big Encyclopedic Dictionary

- (Ives) Charles (1874-1954), American composer. One of the first to use aleatoric, serial technique, quarter-tone system. 5 symphonic, chamber-instrumental works that combine the philosophical treatment of the theme with subtle lyricism... Modern Encyclopedia

Plan:

Introduction

• 1 Biography
• 2 Creativity
• 3 Compositions
• 4 Lyrics
• 5 Literature about the composer

Introduction

Charles Edward Ives, 1913

Charles Edward Ives(English) Charles Edward Ives; October 20, 1874, Danbury, Connecticut - May 19, 1954, New York) was an American composer.

1. Biography

Ives circa 1899

The son of a military bandmaster, who introduced his son to music early. From the age of 13, Ives was the organist in the church for many years. He graduated from Yale University (1894-1898) with a degree in composition, studied composition with X. Parker and playing the organ with D. Buck. Since 1899 he has been 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 success in business, which allowed him to support his family without making music professionally. After 1907, he began to experience heart failure, 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 US composers (including Carl Ruggles).

2. Creativity

The patriarchal environment of his childhood and adolescence played an important role in shaping Ives' 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' early compositions 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. Ives' work is characterized by lyricism and humor, a penchant for philosophical content along with the rationalism of the musical language. In a number of writings, Ives sought to reflect the life of his homeland. Thus, in episodes from the 2nd sonata for violin and piano, sharp collisions of diverse intonation-rhythmic elements reproduce pictures of noisy village festivities.

Ives began to write music from the 90s of the 19th century, but until the end of the 30s of the 20th century his compositions were not known. Ives' music, which developed American folklore, religious and popular motifs, but at the same time was prone to experimentation, was rarely performed during his lifetime. The situation began to change only in the 1940s, when Ives was highly praised by 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 an original creative personality of a brightly national warehouse and proclaimed Ives the founder of a new American school. In 1951, the premiere of Ives' Second Symphony (1907-1909) was conducted by Leonard Bernstein. Ives is now recognized as one of the most important composers in the United States.

Ives' most famous works - the 2nd piano sonata ("Concord", 1909-15), the 3rd and 4th symphonies, overture No. 2 - are replete with sharp techniques of dissonant atonal and polytonal writing. The techniques of sound representation are characteristic of the style of the 4th sonata for violin and piano "Children's day at the camp meeting", 1915. In some compositions, Ives used the peculiar technique of serial writing he found, as well as the means of a quarter-tone systems ("Three quartertone pieces" - "Three quartertone piano pieces" for two piano pieces, 1903-24). Ives owns essays and articles on quartertone music ("Some quartertone impressions", 1925, etc.).

Ives is the author of six symphonies (the sixth, "World", 1915-1928, was not completed), the cantata "Heavenly Country", two string quartets, five sonatas for violin and piano, many chamber compositions 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 - 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 villages in New England (Three places in New England, 1903-14) and other program pieces, overtures (1901-12), pieces for large symphony and chamber orchestras , Dancing Ragtime (Ragtime dances, 1900-11) for the theater orchestra.
• String Quartet (1896) and other chamber-instrumental ensembles.
• 2 piano sonatas.
• 5 violin sonatas.
• Compositions for organ.
• Pieces for various instruments.
• Works for the choir, cycles of songs on poems 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 the Music of the Twentieth Century. Moscow: Soviet Composer, 1991.
• Schneerson G. M. Ives Charles Edward / / Musical Encyclopedia in 6 volumes, TSB, M., 1973 - 1982, Vol. 1, p. 74-75.
• 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/ 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.
• Coland 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.

Ives is the son of a military bandmaster who became his first music teacher. Since 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 he has been a church organist in New York and other cities. He worked in various insurance companies, opened his 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, playing music as a hobby. After 1907, heart problems began, diabetes and other diseases were added to this over time. Since 1926, he practically stopped composing, in the 1930s he left the service.

Until the early 1940s, his compositions were rarely performed and practically unknown. Ives was truly recognized only after his death, when he was declared one of the most significant American composers. The first recognition came in the 1940s, when Ives' work was praised by Arnold Schoenberg. Ives was awarded the Pulitzer Prize (1947) for his 3rd Symphony (1911). In 1951 Leonard Bernstein conducted the premiere of Ives' Second Symphony (1907-1909).

Since 1970, the American Academy of Arts and Letters has given young composers the annual Charles Ives Award. A crater on Mercury is named after Ives.

Style

Ives' work was heavily 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 harmonies, sound imaging techniques. He developed an original serial writing technique, using the means of the quarter-tone system.

Compositions

• Cantata 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 the dark (Central park in the dark, 1898-1907), Three villages in New England (Three places in New England, 1903-14) and other program pieces, overtures (1901-12), pieces for large symphony and chamber orchestras , Dancing Ragtime (Ragtime dances, 1900-11) for the theater orchestra.
• String Quartet (1896) and other chamber-instrumental ensembles.
• 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" - "Children's day at the camp meeting", 1915).
• Compositions for organ.
• Pieces for various instruments (including "Three quartertone pieces" - "Three quartertone piano pieces" for two pianos, 1903-24).
• Works for the choir, cycles of songs on poems by American poets (114 songs, 1884-1921).
• Articles on quartertone music (including "Some quartertone impressions", 1925).

Texts

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

Literature about the composer

• Ivashkin A. Charles Ives and the Music of the 20th Century. Moscow: Soviet Composer, 1991.
• Schneerson G. M. Ives Charles Edward / / Musical Encyclopedia in 6 volumes, TSB, M., 1973 - 1982, Vol. 1, p. 74-75.
• 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/ 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.