"...The formal laxity covers the quartet's inconsistency in mounting a convincing musical argument into an integrated form, a shortcoming in their performance of Charles Ives' String Quartet No. 1, "From the Salvation Army" a conventionally tonal student work that took to heart Dvorak's advice about using music from our national experience..."
"...Sigh, America – what can our country's artists tell us about ourselves? Spectrum Dance Theater, based in Seattle and headed by revered contemporary choreographer Donald Byrd, joined the top-notch New York-based Aeolus Quartet at the University of Texas for two performances of Byrd's dances to music by American composers. The dances were as varied as the music by Charles Ives, Aaron Copland, Vincent Persichetti, Charles Wuorinen, and Yevgeniy Sharlat..."
"...Maurice Ravel (1875-1937) lives in two shadows. The first is that his own composition, Bolero, which is simultaneously his most famous composition and one of his least representative..."
"..."The Light" could well have been another serving of the American concert comfort food cooked up every Fourth of July (a dash of Sousa, a pinch of Gershwin, a liberal sprinkling of Copland, topped with a cannonade from the 1812 Overture), but while the Miró did favor some older works by known composers (Antonín Dvorák, Charles Ives), the program pushed beyond the familiar urban jazz and open chords evoking the heartland to some less-traveled musical byways of our national character...."
"...He cites the "nurturing," "Death," "Ecstatic," and "Stone" mothers before noting, "Traces of these women seem to be in this film as well." In his anthology Back to a Shadow in the Night, the New York-based Cott – author of over 15 books, writer for The New Yorker and The New York Times, contributor to Rolling Stone since its inception – takes music criticism into deep territories, a lost art in a pop culture that expects its commentary to be short, uncomplicated, and produced on demand. His wide range of literary and musical knowledge comes into focus best when interviewing composers Harry Partch and John Adams, conductor Pierre Boulez and pianist Glenn Gould, or discussing the work of Edgard Varèse, Charles Ives, and Kurt Weill..."
"...For the current phase of the project, which launched in 2011 with "Dvorák and America," ASO and UT received funding as part of a consortium that includes the Pacific Symphony, Buffalo Philharmonic, North Carolina Symphony, South Dakota Symphony, and Louisville Orchestra. "Copland and Mexico" will be followed by "Charles Ives' America," which will spread over multiple weeks and involve orchestra, chorus, wind ensemble, and scholars of music and history...."
"...And now he's giving it a chance to win you over – for you to hear the rousing spirit of Billings' "Chester," which the Continental Army adopted for its anthem and which some feel should be our national anthem; the daring dissonance that Billings employs, more than a century before Charles Ives; the disarming simplicity of Hopkinson's early art song and the full-throated optimism of his oratorio; the hymns and folk songs that lifted spirits as a new nation was born out of war...."
"...Still, setting yourself up for a one-on-one encounter with one of the top players on the planet could be just setting yourself up for a fall if you don't bring your "A" game, or if your style doesn't mesh with his. Schumann describes the video interview she's recently conducted with Stoltzman for the ACMC website (she chats up all the fest guest artists on Skype and posts the 12- to 25-minute Q&As at www.austinchambermusic.org/festival-focus-interviews) and how they talk about the various works they'll be performing together: Johannes Brahms' Sonata for Clarinet and Piano, George Gershwin's Three Preludes, Robert Schumann's Fantasiestücke, Charles Ives' "Serenity" and "In the Mornin'," Steve Reich's "New York Counterpoint," and Johann Sebastian Bach's Sonata in D Major for Viola da Gamba..."
"...And he would have done so during one of the most remarkable years of his notable seven-decade career, one that saw not only more theatres across the nation dedicating entire seasons and festivals to his work and a new national award for playwrights established in his name (with one of the largest purses given for such a prize) (see "The Horton Foote Prize," Jan. 15) but, most importantly, the culmination of his life's work, The Orphans' Home Cycle – nine linked plays that jointly form the story of his parents' lives – reach the stage in an epic production that has earned widespread acclaim and seems likely for a run on Broadway..."
"...And that he was nominated for a Grammy last year for his choral/orchestral work The Here and Now. And that he's received the International Masterprize, the Rome Prize, a Guggenheim Fellowship, a Fulbright Fellowship, and the American Academy of Arts and Letters' Charles Ives Fellowship..."
"...July 2: Charles Ives..."
"...As an assistant professor of violin at UT, Lewis has become one of the youngest people in the country to hold such a position. Look for Lewis throughout the summer series at Round Top and as a featured soloist in the Charles Ives memorial concert...."
"...Last year's pairing of Charles Ives and Gustav Mahler, for instance in one concert seemed quirky and deliberately eclectic. For Noe, the choice was one of congruence and historical perspective since he found common ground in their compositional goals and achievements..."
"...A hundred years from now, Monroe's name is likely to be mentioned in the same breath as Stephen Foster, John Phillip Sousa, Charles Ives, and Scott Joplin as one of the great American composers, and Smith's exhaustively researched, meticulously footnoted work certainly makes a compelling case. Even if this tortured, taciturn genius thought he picked those sublime melodies out of the air, Can't You Hear Me Callin' shows why they could have issued from Bill Monroe alone...."
"...This exquisite 2-CD set with bassist Anders Jormin and drummer Jan Christensen demonstrates not only his, but the trio's consummate artistry. There's some free playing and covers of works by Alban Berg, Charles Ives, Hanns Eisler, Wayne Shorter, Cuban Silvio Rodriguez, and legendary 19th-century Swedish folk musician Lorens Brolin..."
"...If you were to ride along with Medeski, Martin & Wood during their travels, you would hear a mix of road tapes as diverse as they venues they play: from De La Soul to John Coltrane to African and Brazilian music to neo-classicist Charles Ives to James Brown and Parliament-Funkadelic to Sun Ra. Wood feels that such musical openness harkens back to the spirit of the last great era of American jazz, the be-bop movement of the Fifties...."
"...The local church, where members of the community have gathered to discuss the impending menace, is bloodied by Bogue’s men and then set ablaze as a further warning. Next, Chisholm (Washington), a warrant officer from Kansas, arrives and plays coy with the town bartender before turning the tables on the wanted scoundrel..."
"...D: Richard Brooks; with Elizabeth Taylor, Paul Newman, Judith Anderson, Burl Ives, Madeleine Sherwood, Jack Carson...."
"...Turetsky: Reflections on Whittier and Ives, P. Kellach Waddle, Christopher Flores, Jessica Valls, Pat Harris..."
"...Later, she will dance, but now, as we visit over pimiento cheese and root beer, we hear, from the other room, "Brown-Eyed Girl," the Van Morrison classic important to the plot of the novel since it's the featured number in a go-go dancing competition. Also prominent in the soundtrack are Peggy Lee purring "Fever," Burl Ives harrumphing "The Donut Song," Gene Autry advancing the argument that he's an old cowhand, Dean Martin crooning "Besame Mucho," and Bobby Goldsboro's truly awful "Honey." Laid onto all this are the British Invasion nuggets "Needles and Pins" by the Searchers and "She's Not There" by the Zombies, and a couple of radio hits we'd just as soon forget from the same years: "Up, Up and Away" and "Cherish."..."