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Charles Ives and His World - Burkholder, J. Peter (Editor)
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Burkholder, J. Peter (Editor):

Charles Ives and His World - Erstausgabe

1996, ISBN: 9780691011639

[ED: kartoniert], [PU: Princeton University Press], Inhalt: Preface and Acknowledgments i PART I: ESSAYS Ives and the Four Musical Traditions 3 J. PETER BURKHOLDER Innovation and Nostalgia: Ives, Mahler, and the Origins of Modernism 35 LEON BOTSTEIN Ives's Concord Sonata and the Texture of Music 75 DAVID MICHAEL HERTZ Charles Ives and the American Democratic Tradition 118 MICHAEL BROYLES Of Men and Mountains: Ives in the Adirondacks 161 MARK TUCKER PART II: LETTERS Selected Correspondence 1881-1954 199 EDITED BY TOM G. OWENS PART III: REVIEWS Selected Reviews 1888-1951 273 COMPILED BY GEOFFREY BLOCK AND EDITED BY J. PETER BURKHOLDER PART IV: CONTEMPORARY VIEWS OF IVES AND HIS MUSIC: PROFILES 1932-1955 Charles E. Ives 363 PAUL ROSENFELD Charles E. Ives 368 HENRY COWELL Charles Ives: The Man and His Music (Excerpt) 373 HENKY BELLAMANN An American Innovator, Charles Ives 377 GODDARD LIEBERSON Ives Today: His Vision and Challenge 390 ELLIOTT CARTER Four Symphonies by Charles Ives 394 BERNARD HERRMANN Tardy Recognition: Emergence of Charles Ives as Strongly Individual Figure in American Music 403 OLIN DOWNES On Horseback to Heaven 408 PAUL MOOR Posterity Catches Up with Charles Ives 423 HOWARD TAUBMAN Charles Ives - America's Musical Prophet (Excerpt) 430 NICOLAS SLONIMSKY Charles E. Ives: 1874-1954 433 LEO SCHRADE Index 443 List of Contributors 454 Preface and Acknowledgments (Extract): Charles Ives had one of the most unusual careers of any of the great composers. After a thorough training in composition and fourteen years as a professional church organist, he "gave up music" to work in life insurance. He founded one of the most successful insurance agencies in the United States and developed new concepts that are now universal in the industry, such as training for agents and estate planning. He continued to compose, and in the early 1920s introduced himself to the musical world with his Second Piano Sonata (the Concord Sonata) and a book of songs, both of which met with more incomprehension than sympathy. Although he soon stopped composing, over the next three decades he gained a number of devoted advocates who praised, performed, or published his music. His major works were premiered in roughly reverse chronological order, culminating in the premieres of his romantic Second and First Symphonies shortly before his death in 1954. The first book on Ives, a biography and study of his music by his friends Henry and Sidney Cowell, appeared the next year, along with Gilbert Chase's America's Music, which devoted an entire chapter to Ives. The number of performances, recordings, and scholarly considerations of his music has continued to rise over the last four decades. Yet his name and his music have remained less familiar to the musical public than Copland's or Stravinsky's. That may be about to change. Ives has attracted more interest in recent years than ever before, even eclipsing the flurry of attention around his 1974 centennial. There are more recordings available of his major orchestral works than ever, from such major orchestras as Chicago, Cleveland, St. Louis, Detroit, and the New York Philharmonic, along with several competing recordings of his string quartets, violin sonatas, piano sonatas, and songs. The years since 1985 have seen the publication of more than twenty new books on Ives - more than half the total number ever published - including two biographies, two guides to research, several analytical surveys of his music, and multiple studies of his piano music, of his musical borrowings, of his aesthetics, and of his place in the American musical tradition. The same years have seen four music festivals focused on Ives: a year-long concert series in 1987-88, "Charles Ives and American Music", sponsored by the Westdeutschen Rundfunk and the city of Duisburg, Germany, and an associated symposium at the University of Cologne an Ives and Copland festival at the University of Northern Colorado in Greeley in October 1993 the BBC Music Festival in London in January 1996 and the Bard Music Festival, for which this book was commissioned, at Bard College in August and at Lincoln Center, New York, in November 1996. The essays in Part I explore Ives's connections to the musical traditions he knew, especially the European Romantic tradition, and to aspects of the culture and landscape of America that exercised a strong but little-noticed influence on his ideas and his music. My essay shows that Ives was a composer equally at home in four distinctive musical traditions: American popular music, Protestant church music, European art music, and experimental music. His mature art music uses elements drawn from the other three traditions, exploiting the familiarity of popular and church music and the unfamiliarity of his experimental techniques to convey specific extramusical meanings. Far from ignoring his audience, as some have argued, Ives sought to please a variety of different audiences at different times and in different works, creating in the process an oeuvre of unparalleled diversity. Leon Botstein explores the apparent paradox that Ives used modernist sounds and innovative procedures to celebrate a past remembered from pre-modern, nineteenth-century America. A comparison with Mahler shows that both composers believed that music had a moral role to play in society. Seeking to uphold the virtues of the past as a force to counteract the negative consequences of modern urban life, yet rejecting the routine conservativism of their musical contemporaries as lacking in moral force, they wrote music that used radical means to reclaim past values. Thus, in the works of both composers, musical modernism emerged from profoundly antimodern sensibilities. David Michael Hertz reveals unsuspected parallels between one of Ives's most famous pieces, the Second Piano Sonata, "Concord, Mass., 1840-1860", and piano works of his predecessors and contemporaries. Motives, textures, and procedures in Ives's sonata resemble and reinterpret passages from Beethoven's "Hammerklavier" Sonata, Liszt's Sonata in B Minor, works by Chopin and Debussy, and Scriabin's sonatas. These references show Ives's close relation to the European pianistic tradition, at the same time that his reworking of his models and his innovative approach to form demonstrate his originality. Michael Broyles reexamines Ives's political and social ideas, which inspired many of his compositions, and places them in the context of his times. Ives was neither a populist nor a progressive, as he has been characterized. Rather, he drew on myths about the American preindustrial past that were current in his time, notably the republican concept of personal responsibility and the belief that the New England town meeting was the cradle of American democracy, and absorbed as his own the ideals articulated by insurance industry leaders in the wake of a 1905 scandal that might have threatened Ives's career and reputation. Mark Tucker shows the importance for Ives of the Adirondack mountains of upstate New York. This was the favorite vacation area for the Twichell family, and Ives's visits there at the invitation of his college friend David Twichell led to Ives's falling in love both with the landscape and, eventually, with David's sister Harmony, whom he married in 1908. Ives frequently composed on these vacations, and images of hiking up a mountain, sound heard over water, and rugged scenery found their way into the Second String Quartet, the Robert Browning Overture, Mists, and the Universe Symphony, among other works. The letters in Part II show Ives in the contexts of his family, his courtship with his future wife Harmony, the search for performance and publication of his music, and his professional friendships. Among the most interesting letters are those that reflect on his music and its effect on the writer, such as the comments from Ives's brother-in-law Joseph H. Twichell about a concert in 1940 of Ives piano music and songs played by John Kirkpatrick: I don't know a single thing about music - not a single thing, except that I like it or don't like it except how it makes me feel. Well, and I'm trying to speak as thoughtfully and carefully as I know how, I enjoyed that afternoon's music more than any other music I remember ever hearing. It seemed to me the most honest music I ever listened to. I don't know what that means maybe you do. And it was so clean and wholesome. I came out of that place a better man than I went in. It is hard to imagine a response to his music that could have pleased Ives more. Through the reviews in Part III and the longer profiles and evaluations in Part IV, we can trace the way Ives's music was received during his lifetime. When his mature music began to appear in the 1920s, some reviewers were uncomprehending, mocking, or hostile. But from the start there were those who supported him, and major critics such as Paul Rosenfeld, Olin Downes of the New York Times, and Lawrence Gilman of the New York Herald Tribune praised his music. The reviews of John Kirkpatrick's premiere of the Concord Sonata in 1939 established Ives as a major figure, and reviews and several extended profiles from then until the end of his life often retell the story of his emergence from obscurity to become a candidate for the best composer in the classical tradition the United States has produced. The collection closes with a retrospective consideration of Ives published in the year after he died by the distinguished musicologist Leo Schrade, who finds in Ives America's Debussy, committed to the constant renewal of musical form in response to each new artistic intention. Earlier I compared him to Bartók and noted that Leon Botstein's essay compares him to Mahler and David Hertz's essay links him to Debussy and Scriabin another recent collection contains essays comparing him to Mahler, Schoenberg, Berg, and Stravinsky. The strong parallels between Ives and his European contemporaries, argued in these essays and audible in the programs of the Bard Music Festival, should lay to rest at last the once common idea that Ives was an American original, totally isolated from currents in the musical mainstream. He was a composer of his time as well as of his place, as much at home in the European musical tradition as in the American. Rediscovering his music in this context will shed new light not only on Ives but on the wider musical world of which he was a part. J. Peter Burkholder Impressum: Charles Ives and His World Edited by J. Peter Burkholder Princeton University Press Princeton, New Jersey Copyright 1996 by Princeton University Press. Published by Princeton University Press, 41 William Street, Princeton, New Jersey 08540. In the United Kingdom: Princeton University Press, Chichester, West Sussex. All Rights Reserved. Further copyright notices can be found on pp. xii-xiv of the Preface and Acknowledgements. This book has been composed in Baskerville by Juliet Meyers. This publication has been produced by the Bard College Publications Office: Ginger Shore, Director. Juliet Meyers, Assistant Director. Music typeset by Don Giller. Princeton University Press books are printed on acid-free paper and meet the guidelines for permanence and durability of the Committee on Production Guidelines for Book Longevity of the Council on Library Resources. Printed in the United States of America by Princeton Academic Press. (Pbk.) 13579108642. Designed by Juliet Meyers. ISBN 0-691-01163-X. Zustand: XIV + 452 Seiten, s/w-Abbildungen und Notenbeispiele, kartoniert etwa 23,5 cm hoch, 2,8 cm breit, 15,5 cm tief etwa 670 g schwer (sehr) guter, sauberer Zustand, [SC: 2.20], wie neu, privates Angebot, etwa 23,5 cm hoch, 2,8 cm breit, 15,5 cm tief, [GW: 670g], [PU: Princeton, New Jersey], Erstausgabe

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Charles Ives and His World: Paperback: Princeton University Press: 9780691011639: 05 Aug 1996: Shows Charles Ives in the context of his world in a number of ways. This volume features essays which examine Ives' relationships to European music and to American music, politics, business, and landscape. It also shows Ives as a composer well versed in four distinctive musical traditions who blended them in his mature music. 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. 20th Century & Contemporary Classical Music, , , , Charles Ives and His World, Peter J. Burkholder, 9780691011639, Princeton University Press, , , , ,, [PU: Princeton University Press]

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Charles Ives and His World - neues Buch

ISBN: 9780691011639

ID: 9780691011639

Charles Ives and His World: Paperback: Princeton University Press: 9780691011639: 05 Aug 1996: Shows Charles Ives in the context of his world in a number of ways. This volume features essays which examine Ives' relationships to European music and to American music, politics, business, and landscape. It also shows Ives as a composer well versed in four distinctive musical traditions who blended them in his mature music. 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. 20th Century & Contemporary Classical Music, , , , , , , , , , , ,, [PU: Princeton University Press]

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Princeton University Press. Paperback. New. Paperback. 464 pages. Dimensions: 9.0in. x 6.1in. x 1.1in.This volume shows Charles Ives in the context of his world in a number of revealing ways. Five new essays examine Ivess 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 Ivess most famous pieces, the Concord Piano Sonata, and the piano sonatas of Liszt and Scriabin. Michael Broyles sheds new light on Ivess 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 Ivess 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 Ivess 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 Americas greatest composer. This item ships from multiple locations. Your book may arrive from Roseburg,OR, La Vergne,TN., Princeton University Press

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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. Charles Ives and His World Burkholder, J. Peter / Burkholder, J., Princeton University Press

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Charles Ives and His World
Autor:

Burkholder, J. (ed.)

Titel:

Charles Ives and His World

ISBN-Nummer:

9780691011639

This volume shows Charles Ives in the context of his world in a number of ways. Five new essays examine Ives's relationship to European music and to American music, politics, business, and landscape. The book also presents documents that illuminate Ives's personal life and career.

Detailangaben zum Buch - Charles Ives and His World


EAN (ISBN-13): 9780691011639
ISBN (ISBN-10): 069101163X
Taschenbuch
Erscheinungsjahr: 1996
Herausgeber: PRINCETON UNIV PR
464 Seiten
Gewicht: 0,662 kg
Sprache: eng/Englisch

Buch in der Datenbank seit 23.03.2007 18:28:14
Buch zuletzt gefunden am 09.01.2017 13:48:42
ISBN/EAN: 9780691011639

ISBN - alternative Schreibweisen:
0-691-01163-X, 978-0-691-01163-9

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