Ives Plays Ives, by Charles Ives

Ives Plays Ives

by Charles Ives

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The Complete Recordings of Charles Ives at the Piano

Charles Ives, piano and voice

The invention of sound-recording devices late in the nineteenth century made possible the preservation of definitive performances played or led by some important composers of the first decades of the twentieth century. Elgar, Rachmaninoff, Richard Strauss, and Stravinsky, among others, left a significant legacy of recordings of their own works.

Charles Ives, however, did not approach recording in order to leave a legacy. At least at first, he simply wanted an opportunity to listen to some of his music with advantageous detachment (and possibly to shortcut supplying to Henry Cowell and others variants of his music). With virtually no performances of his important music occurring during the first two decades of the century, Ives certainly had a backlog of curiosity about the sound of his own compositional efforts, and the need to judge them as such.

By 1933 Ives had retired from his insurance business and had largely finished writing his autobiographical Memos. He had heard some performances of his instrumental works (mostly in very disappointing efforts), but none of his piano works. While on an extended European vacation, he introduced himself to recording, at the Columbia Graphophone Company in London.

Over the course of a decade that included four such sessions, Ives recorded seventeen different pieces, ranging from the early March No. 6 and rejected Largo for Symphony No. 1 to the "improvisations" that indeed may have been freshly created in front of the microphone in 1938. But most of the music recorded－the Four Transcriptions from "Emerson," the Studies Nos. 2, 9, 11, and 23, and the "Emerson" movement of Sonata No. 2 for Piano: Concord, Mass.－is related closely to Ives's early, unfinished Emerson Overture for Piano and Orchestra (circa 1910-11).

This meticulously re-mastered reissue restores this historic recording, originally issued by CRI, to the catalogue. The booklet includes complete tracking information and extensive historical notes and documentation.

Includes unlimited streaming of Ives Plays Ives via the free Bandcamp app, plus high-quality download in MP3, FLAC and more. ... more

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1.	Four Transcriptions from Emerson: No. 1 (beg.) 03:59	info	buy track
2.	Four Transcriptions from Emerson: No. 1 (end) 01:28	info	buy track
3.	Four Transcriptions from Emerson: No. 3 02:33	info	buy track
4.	Improvisation on a passage in Study No. 23, Four Transcriptions from Emerson No. 2 and Emerson Overture's Cadenza No. 4 00:46	info	buy track
5.	Four Transcriptions from Emerson: No. 1 - (beg.) 02:13	info	buy track
6.	Four Transcriptions from Emerson: No. 1 - (end) 02:25	info	buy track
7.	Study No. 11 (abandoned) 00:49	info	buy track
8.	Study No. 11 01:35	info	buy track
9.	Study No. 11 - 01:33	info	buy track
10.	Patch for Study No. 23 00:41	info	buy track
11.	Four Transcriptions from Emerson: No. 1 -- (beg.) 02:58	info	buy track
12.	Four Transcriptions from Emerson: No. 1 -- (end) 02:55	info	buy track
13.	Four Transcriptions from Emerson: No. 3 03:34	info	buy track
14.	Four Transcriptions from Emerson: No. 3 - 03:42	info	buy track
15.	Four Transcriptions from Emerson: No. 3 (beg.) 01:54	info	buy track
16.	Four Transcriptions from Emerson: No. 3 (end) 00:49	info	buy track
17.	Study No. 11 -- 01:04	info	buy track
18.	Study No. 9, The Anti-Abolitionist Riots 02:03	info	buy track
19.	Study No. 2 (with false start) 01:31	info	buy track
20.	Study No. 2 (beg.) 00:48	info	buy track
21.	Study No. 2 (end) 01:17	info	buy track
22.	Study No. 2 (partial) 01:01	info	buy track
23.	Four Transcriptions from Emerson: No. 1 (abandoned) 00:19	info	buy track
24.	Four Transcriptions from Emerson: No. 1 (middle) 01:06	info	buy track
25.	Study No. 23 - (partial) 01:09	info	buy track
26.	Three Improvisations, No. 1 00:51	info	buy track
27.	Sonata No. 2 for Piano: Concord, Mass., Hawthorne (excerpt) 00:16	info	buy track
28.	Symphony No. 1/rejected mvt. 2. Largo 01:57	info	buy track
29.	Unidentified 00:20	info	buy track
30.	Study No. 20 (partial) 00:31	info	buy track
31.	Three Improvisations: No. 3 00:44	info	buy track
32.	Sonata No. 2 for Piano, Concord, Mass.: Emerson (partial) 02:07	info	buy track
33.	Sonata No. 2 for Piano, Concord, Mass.: Emerson (partial) 01:25	info	buy track
34.	Sonata No. 2 for Piano, Concord, Mass.: Emerson - (partial) 04:05	info	buy track
35.	Study No. 2 and Study No. 23 (mixed) 02:26	info	buy track
36.	Four Transcriptions from Emerson: No. 1 - (abandoned) 00:59	info	buy track
37.	Study No. 9, The Anti-Abolitionist Riots - 02:15	info	buy track
38.	They Are There!, first take (abandoned) 01:59	info	buy track
39.	They Are There!, second take 03:31	info	buy track
40.	They Are There!, third take 02:46	info	buy track
41.	March No. 6 for Piano, with Here's to Good Old Yale 02:11	info	buy track
42.	Sonata No. 2 for Piano, Concord, Mass.: The Alcotts 04:59	info	buy track

about

The invention of sound-recording devices late in the nineteenth century made possible the preservation of definitive performances played or led by some important composers of the first decades of the twentieth century. Elgar, Rachmaninoff, Richard Strauss, and Stravinsky, among others, left a significant legacy of recordings of their own works.

Charles Ives, however, did not approach recording in order to leave a legacy. At least at first, he simply wanted an opportunity to listen to some of his music with advantageous detachment (and possibly to shortcut supplying to Henry Cowell and others variants of his music). With virtually no performances of his important music occurring during the first two decades of the century, Ives certainly had a backlog of curiosity about the sound of his own compositional efforts, and the need to judge them as such.

By 1933 Ives had retired from his insurance business and had largely finished writing his autobiographical Memos. He had heard some performances of his instrumental works (mostly in very disappointing efforts), but none of his piano works. While on an extended European vacation, he introduced himself to recording, at the Columbia Graphophone Company in London.

Over the course of a decade that included four such sessions, Ives recorded seventeen different pieces, ranging from the early March No. 6 and rejected Largo for Symphony No. 1 to the "improvisations" that indeed may have been freshly created in front of the microphone in 1938. But most of the music recorded－the Four Transcriptions from "Emerson," the Studies Nos. 2, 9, 11, and 23, and the "Emerson" movement of Sonata No. 2 for Piano: Concord, Mass.－is related closely to Ives's early, unfinished Emerson Overture for Piano and Orchestra (circa 1910-11).

This meticulously re-mastered reissue restores this historic recording, originally issued by CRI, to the catalogue. The booklet includes complete tracking information and extensive historical notes and documentation.

credits

released January 1, 2006

June 12, 1933: Columbia Graphophone Co. London
Mid-1930s: “Speak-O-Phone” session, probably New York City
May 11, 1938: Melotone Recording Co., New York City
April 24, 1943: Mary Howard Studio, New York City

Booklet includes complete tracking information and extensive historical notes and documentation.

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New World Records Brooklyn, New York

Anthology of Recorded Music, Inc., which records under the label New World Records, was founded in 1975.

We are dedicated to the documentation of American music that is largely ignored by the commercial recording companies.

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