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Symphony No. 3 Douzaine De « Voix Fantômes » Au Sein De Son Œuvre

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Symphony No. 3 Douzaine De « Voix Fantômes » Au Sein De Son Œuvre Holidays – chaque mouvement décrivant une fête une guimbarde nasillarde, conçue pour réchauffer la américaine et s’achevant avec Thanksgiving. nuit hivernale. Washington’s Birthday décrit, dans un halo AMERICAN CLASSICS d’harmonies dissonantes, parfois mornes et songeuses, Jan Swafford l’hiver de la Nouvelle Angleterre. Le morceau se Version française : Pierre-Martin Juban termine par une danse enthousiaste, accompagnée par CHARLES IVES Notes du chef d’orchestre La version manuscrite de la partition de la Symphonie humains » cherchant des réponses aux questions n°3 d’Ives montre que le compositeur avait intégré une éternelles (incarnées par la trompette). Ici, j’ai choisi Symphony No. 3 douzaine de « voix fantômes » au sein de son œuvre. deux flûtes et deux clarinettes, ce qui permet de régler Etranges et souvent chromatiques, le compositeur au moins un important problème d’équilibre (au cours Washington’s Birthday and other works précise qu’elles doivent être interprétées moins fort que de la « réunione secrète » précédant le la musique qu’elles accompagnent. Par la suite, comme déchaînement final). Le présent enregistrement est l’indique la partition, il biffa ces voix. Cependant, celui de la seconde version de l’œuvre conçue par Ives Northern Sinfonia • James Sinclair lorsque Lou Harrison prépara l’œuvre pour sa création au début des années 1930. et sa publication (1946-47), Ives rédigea une liste de Dans Central Park in the Dark, j’ai choisi de voix fantômes qui devaient être réintégrées. (Il est confier le rôle du piano principal à un vieux piano droit possible qu’Ives n’ait jamais communiqué cette liste ; (comme ceux que l’on s’attend à entendre dans un l’édition Harrison – puis, plus tard, celle de Cowell – vieux saloon), en me fondant sur les commentaires n’en reprend aucune.) Il apparaît donc qu’Ives n’avait d’Ives où il expliquait que les deux pianos requis pas tranché cette question. Dans le présent étaient un “piano mécanique” et un “piano à queue”. Le enregistrement, j’ai adopté une solution intermédiaire piano principal désaccordé est conçu pour accentuer en incorporant les voix qui me paraissaient les plus cette ambiance de piano-bar. intéressantes et en omettant celles qui semblaient créer Enfin, en conclusion de “Country Band” March, une dissonance ou une texture qui ne correspondait pas Ives ajoute un peu de “piquant” grâce à un court accord au style d’Ives de cette époque. final. Mais Ives a entouré cet accord sur la partition Dans The Unanswered Question, Ives autorise les (généralement synonyme d’omission) et a ajouté un instruments à vents à s’organiser de manière homogène point d’interrogation. Ici, j’ai laissé de côté l’accord (quatre flûtes) ou hétérogène (deux flûtes, hautbois et final, estimant que les dernières notes du saxophoniste clarinette – dans un des catalogues de ses œuvres, Ives embarrassé étaient bien plus amusantes si elles parle plus généralement de cet ensemble comme celui restaient en suspend. des « vents aigus »). Tout en appréciant la pureté qui émane d’un regroupement homogène, j’ai toujours James Sinclair préféré l’idée d’un groupe mixte, symbole des « êtres Version française : Pierre-Martin Juban 8.559087 12 Charles Ives (1874-1954): Orchestral Music tout d’abord l’Old Folks Gatherin’ (Réunion des étudiant et un observateur enthousiaste du paysage We tend to think of composers as always themselves, at tumultuous events like fraternity initiations and football Anciens) où l’on trouve une fugue sur le chant de urbain qui l’entourait. Le parc à la nuit tombée est least after the juvenilia: Mozart always Mozart, Brahms games, and playing that scintillating new pop style called gospel O, for a Thousand Tongues ; le second décrit par une musique intense et douce, à l’harmonie et always Brahms, Ives always Ives. In reality, every ragtime. mouvement Children’s Day (Jour des Enfants) est plus au rythme changeants, interprétée par les cordes. Au significant artist begins with a distinctive temperament, By the first years of the century Ives had at his ludique ; le final est un mouvement intense et méditatif lointain, on entend une myriade d’évènements : de la but has to grow into whoever he or she is. For Charles command much of the later modernist musical surnommé Communion qui s’achève, comme tant musique sortant d’un bar (l’air populaire Hello, Ma Ives that process was bound to be lengthy, because he vocabulary: polytonality, free dissonance, complex d’œuvres d’Ives, par la simple énonciation d’un hymne Baby !), un cheval qui s’enfuit, un train, des pianolas began in a singular place and was headed in a singular rhythms and shifts of metre, collage-like juxtapositions religieux, ici Just As I Am, qui conclut encore de nos jouant du ragtime, jusqu’à ce que « la nuit se manifeste direction, a direction he himself only slowly came to of ideas that might have been called Cubist, if Cubism jours de nombreux offices religieux. de nouveau – par un écho au dessus du bassin du parc – understand. The works on this recording are fascinating had been invented yet, and if the public had ever heard En 1906, Ives esquissa deux œuvres visionnaires, avant de rentrer chez soi ». On y entend effectivement way-stations on that journey. the pieces. Ives was a private composer by 1902, when The Unanswered Question et Central Park in the Dark. la nuit, les arbres, une douce brise d’été. A sa façon, A good means of understanding the singularity of he resigned his last church-organist job, and for a long Pour chacune d’entre elles, il eut recours à une Ives était le plus grand impressionniste américain. Charles Ives is to recall how he began in music, in the time after. His living came from the insurance business, technique de collage qui superposait deux morceaux de Country Band March est une évocation ironique et small town of Danbury, Connecticut. His bandmaster a job that, unlike his compositions, paid the rent. musique de style différent, chaque élément prenant tapageuse des orchestres amateurs que connut Ives father George Ives came home one day to find four-year- In that period Ives was writing remarkable music, sens par opposition avec l’autre. Il fallut attendre un dans sa jeunesse à Danbury. Ainsi qu’il l’écrivit à l’un old Charlie pounding out drum rhythms on the piano but he had not yet reached his maturity. In essence he demi-siècle pour que d’autres compositeurs reprennent de ses copistes, ces orchestres « ne jouaient pas with his fists. Rather than saying, as would most parents, was composing in two streams, the experimental works, les idées développées dans ces deux pièces toujours juste ni ensemble, mais c’était aussi bien “That’s not how to play the piano!” George said, “That’s often with an American flavour, that had begun in his révolutionnaires de 1906 et, jusqu’à présent, peu de ces comme cela ». Pour Ives, la maladresse des amateurs, all right, Charles. But if you’re going to play drums, teens, and more traditional and European-related works compositeurs, voire aucun, n’ont écrit d’œuvres aussi leurs fausses notes et leur imprécision rythmique learn to do it right.” And he sent his son out for drum including the first three symphonies. His maturity would chaleureuses, intelligentes et drôles que celles de Ives. étaient la manifestation de leur enthousiasme, un lessons. Later there were lots of other lessons; by his come when he found ways of uniting those two streams. Pour Ives, l’innovation était moins importante que symbole d’humanité, qui n’en était pas moins drôle teens Ives was one of the finest young church organists The folksy and intimate Third Symphony, the last of l’histoire cachée derrière l’œuvre. Il qualifia The pour autant. Comme homme et comme compositeur, in the country. But he never did stop playing the piano, his symphonies to be laid out in more or less traditional Unanswered Question de « drame cosmique ». La Ives était extrêmement sérieux mais également plein now and then, with his fists. form and tonal language, was assembled around 1904 composition débute par un choral mystique et d’esprit. Ici, Ives ne se moque pas des musiciens sans Besides training from his father in the conventional from three hymn-based organ pieces (now lost) that he silencieux interprété par les cordes dont le cycle talent, il se joint à leur joie et insère des « quasi- fautes ways, Ives had the benefit of George Ives’s remarkable had written for his church jobs. A common thread continu représente, d’après Ives, « le silence des » pour découvrir des harmonies et des rythmes musical imagination. George would have his son sing in uniting most of Ives’s instrumental music, whatever its Druides ». Sur ce fond musical, une trompette solo se nouveaux. La lente marche 1776 devait constituer one key while accompanying in another; he would style, is story-telling: he was at heart a late-Romantic détache pour déclamer un thème énigmatique, l’ouverture d’un opéra révolutionnaire qu’Ives avait march two bands around the Danbury town-green composer of programme music. The Third Symphony is « l’éternelle question de l’existence ». A chaque fois, envisagé de composer. Plus tard, il associa les deux playing different tunes, to hear what it sounded like as subtitled The Camp Meeting and its movements follow cette question est traitée par des « répondeurs marches dans l’un de ses chefs-d’œuvre, Putnam’s they passed; he tinkered with quarter-tones. In the 1880s the progress of an old-time gospel meeting. First is Old combattants » : un quatuor à vent qui cherche une Camp.
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