Surely, these are gentle, easy-going works, especially compared to spiky chamber works like the Second String Quartet.
But even though the violin sonatas are more conventional and more conventionally beautiful than many of Ives' other works, they are also strong, honest compositions. In his Memos , Ives seems to be intent on characterizing himself as an unrepentant modernist, who only occasionally stooped to gentle, old-fashioned tonality. But even Ives' most "advanced" compositions contain extremely traditional elements. Here's a case where the artist is not his best critic.
Faure | Violin Sonata No. 1 in A Major, Op. 13 for violin and piano
Remember also that Ives had composed the sonata works more than twenty years before he began collecting his thoughts in the Memos. Listen to the music.
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Rather than any comments in the Memos , I think you'll find Ives' program, which he wrote on the First Violin Sonata score, much more insightful:. This sonata is in part a general impression, of kind of reflection and remembrance of the peoples' outdoor gatherings in which men got up and said what they thought, regardless of the consequences-of holiday celebrations and camp meetings in the 80's and 90's--suggesting some of the songs, tunes, and hymns, together with some of the sounds of nature joining in from the mountains in some of the old Connecticut farm towns.
The first movement may, in a way, suggest something that nature and human nature would sing out to each other-sometimes.
And the third movement, the hymns and the actions at the farmers' camp meeting inciting them to "work for the night is coming. Ives assembled and recomposed the Violin Sonata No. Don't show me this message again.
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Violin Sonata No 1 in A major composer. Studio Master:.
Serge Prokofieff - Violin Sonata 1 Op80
View whole album. In the G major sonata's first movement Tiberghien stabs while Ibragimova soars, the contrast between them deliberately underlined, the better to generate extra power whenever they intertwine.
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Rarely have the sleek lines and textures of Ravel's two sonatas sounded so alluring, nor the manic drive of the Tzigane so deliriously intoxicating.