10:50
CHARLES IVES - CENTRAL PARK IN THE DARK
BBC Symphony Orchestra. Lawrence Foster (conductor)...
published: 24 Mar 2011
Author: dmitrydreizin
CHARLES IVES - CENTRAL PARK IN THE DARK
BBC Symphony Orchestra. Lawrence Foster (conductor)
9:35
Charles Ives: Sonata No. 2 "Concord" - Thoreau
Sonata No. 2, "Concord, Mass., 1840-60" IV. Thoreau John Kirkpatrick, piano. &qu...;
published: 26 Aug 2009
Author: minirausch
Charles Ives: Sonata No. 2 "Concord" - Thoreau
Sonata No. 2, "Concord, Mass., 1840-60" IV. Thoreau John Kirkpatrick, piano. ". . .And if there shall be a program let it follow his thought on an autumn day of Indian summer at Walden -- a shadow of a thought at first, colored by the mist and haze over the pond: Low anchored cloud, Fountain head and Source of rivers. . . . Dew cloth, dream drapery -- Drifting meadow of the air. . . . but this is momentary; the beauty of the day moves him to a certain restlessness -- to aspirations more specific -- an eagerness for outward action, but through it all he is conscious that it is not in keeping with the mood for this 'Day.' ... His meditations are interrupted only by the faint sound of the Concord bell -- 'tis prayer-meeting night in the village -- 'a melody as it were, imported into the wilderness. . . .' 'At a distance over the woods the sound acquires a certain vibratory hum as if the pine needles in the horizon were the strings of a harp which it swept. . . . A vibration of the universal lyre. . . . Just as the intervening atmosphere makes a distant ridge of earth interesting to the eyes by the azure tint it imparts.' . . . Part of the echo may be 'the voice of the wood; the same trivial words and notes sung by the wood nymph.' It is darker, the poet's flute is heard out over the pond and Walden hears the swan song of that 'Day' and faintly echoes. . . . Is it a transcendental tune of Concord? 'Tis an evening when the 'whole body is one sense,' . . . and before ending his <b>...</b>
6:08
The Unanswered Question
The Unanswered Question van Charles Ives (1874-1954). Uitgevoerd door de New York Philharm...
published: 11 Nov 2007
Author: cappaert2406
The Unanswered Question
The Unanswered Question van Charles Ives (1874-1954). Uitgevoerd door de New York Philharmonic onder leiding van Leonard Bernstein.
3:34
Charles Ives: 3 Quarter-Tone Pieces (1924) - I. Largo
The piano on the left is tuned one-quarter tone down, providing notes in-between the notes...
published: 08 Mar 2007
Author: BofferBings
Charles Ives: 3 Quarter-Tone Pieces (1924) - I. Largo
The piano on the left is tuned one-quarter tone down, providing notes in-between the notes of the normally tuned piano. Performed by the Paratore brothers.
7:15
Ives: "The Unanswered Question"
Charles Ives: "The Unanswered Question" . This work was composed as a companion ...
published: 04 May 2009
Author: NewMusicXX
Ives: "The Unanswered Question"
Charles Ives: "The Unanswered Question" . This work was composed as a companion to "Central Park In The Dark" Both works were composed in 1906, and paired together by Ives as: I. "A Contemplation of a Serious Matter, or The Unanswered Question", II. "A Contemplation of Nothing Serious, or Central Park in the Dark in the Good Old Summertime". Prior to having The Unanswered Question professionally copied, sometime around 1930 - 1935, Ives revised the score, adding many details and changing the woodwind and trumpet parts. The revised version is presented here.
4:59
Charles Ives plays Charles Ives
UNIQUE historical recording of Charles Ives at the piano, playing the third movement "...;
published: 06 Jan 2008
Author: noahmushroom
Charles Ives plays Charles Ives
UNIQUE historical recording of Charles Ives at the piano, playing the third movement "The Alcotts" from his Piano Sonata No.2 (Concord Sonata).
3:50
Charles Ives: 3 Quarter-Tone Pieces (1924) - II. Allegro
The piano on the left is tuned one-quarter tone down, providing notes in-between the notes...
published: 08 Mar 2007
Author: BofferBings
Charles Ives: 3 Quarter-Tone Pieces (1924) - II. Allegro
The piano on the left is tuned one-quarter tone down, providing notes in-between the notes of the normally tuned piano. Performed by the Paratore brothers.
2:32
Charles Ives - Songs - Serenity (1919)
Charles Ives (1874-1954) Serenity (1919) Veronica Lenz-Kuhn, soprano Tan Crone, piano...
published: 05 Nov 2009
Author: Epogdous
Charles Ives - Songs - Serenity (1919)
Charles Ives (1874-1954) Serenity (1919) Veronica Lenz-Kuhn, soprano Tan Crone, piano
8:08
Charles Ives: Piano Sonata No. 1 (1909-16), I
I. Adagio con moto Ives' massive first sonata for piano, whose existence is largely du...
published: 25 Jan 2009
Author: minirausch
Charles Ives: Piano Sonata No. 1 (1909-16), I
I. Adagio con moto Ives' massive first sonata for piano, whose existence is largely due to the editorial efforts of composer Lou Harrison and pianist William Masselos, who premiered the piece. Joanna MacGregor, piano.
6:05
Charles Ives - 'The Unanswered Question'
Charles Ives - "The Unanswered Question" CCM Concert Orchestra Olivier Ochanine,...
published: 29 Dec 2009
Author: Olivier Ochanine
Charles Ives - 'The Unanswered Question'
Charles Ives - "The Unanswered Question" CCM Concert Orchestra Olivier Ochanine, conductor Nov. 24, 2009 College-Conservatory of Music, Cincinnati (pardon the sound, taken from camera behind orchestra)
10:06
Charles Ives: Universe Symphony {1/4}
Ives' remarkable and sadly unfinished universe symphony, realized by Michael Stern and...
published: 13 Mar 2010
Author: flammesombres
Charles Ives: Universe Symphony {1/4}
Ives' remarkable and sadly unfinished universe symphony, realized by Michael Stern and performed by the Rundfunk Sinfonieorchester Saarbrücken under his direction. The Universe Symphony is an unfinished work by American classical music composer Charles Ives. The date of composition is unknown, but he probably worked on it periodically between 1911 and 1928. Intended to be a "spatial" composition for two or more orchestras, it is in three sections: Part 1, "Past: Formation of the waters and mountains" Part 2, "Present: Earth, evolution in nature and humanity" Part 3, "Future: Heaven, the rise of all to the Spiritual". He conceived the idea during the autumn of 1915 while he was staying in the Adirondacks of New York State. He left it alone until 1923, when he returned to working on it. Although he spent many years on it, many of the sketches are missing. During the 1990s there were three separate performing versions assembled, including a version by David Gray Porter (1993, Section A plus the Coda and part of a first Prelude only), Larry Austin (1994), and J. Reinhard (1996). It is a complex work, using 20 independent musical lines; each moves in a separate meter, only coinciding on downbeats eight seconds apart. According to his notes on a sketch of the Universe Symphony, Ives was "striving to . paint the creation, the mysterious beginnings of all things known through God and man, to trace with tonal imprints the vastness, the evolution of all life, in nature, of humanity <b>...</b>
2:28
Tippett conducts Circus Band by Charles Ives 1970
The orchestral arrangement of Circus Band by Charles Ives. Sir Michael Tippett conducting ...
published: 23 Mar 2008
Author: bannan61
Tippett conducts Circus Band by Charles Ives 1970
The orchestral arrangement of Circus Band by Charles Ives. Sir Michael Tippett conducting the Leicestershire Schools Symphony Orchestra with the Schola Cantorum of Oxford at the 1970 Cheltenham Festival.
19:45
Charles Ives (1874 - 1954): Three Places in New England
1. The 'Saint-Gaudens' In Boston Common 2. Putnams' Camp, Redding, Connecticut...
published: 26 Nov 2011
Author: agir3
Charles Ives (1874 - 1954): Three Places in New England
1. The 'Saint-Gaudens' In Boston Common 2. Putnams' Camp, Redding, Connecticut 3. The Housatonic at Stockbridge Orpheus Chamber Orchestra
8:17
Variations on America by Charles Ives - Aaron Robinson, organist
Charles Ives was an eighteen-year-old organ virtuoso when he composed his celebrated varia...
published: 23 Jun 2010
Author: Music4ibc
Variations on America by Charles Ives - Aaron Robinson, organist
Charles Ives was an eighteen-year-old organ virtuoso when he composed his celebrated variations for organ on the patriotic hymn "America." He first performed the Variations on February 17, 1892, at the Methodist church in Brewster, New York. It has since become one of the nation's leading works for organ. American composer and orchestral organist, Aaron Robinson, performs this challenging work on the "Mighty Immanuel Organ" at Immanuel Baptist Church in Portland, Maine. The accompanying video is an impressive compilation of images that celebrate the history of America. Charles Ives was once quoted to say: "... playing the pedal passages (in the final variation) is almost as much fun as playing baseball."
Vimeo results:
4:50
PARKOUR Luxembourg
"Life isn't about finding yourself. Life is about creating yourself."
George Bernard Shaw
...
published: 13 May 2012
Author: Stephane B
PARKOUR Luxembourg
"Life isn't about finding yourself. Life is about creating yourself."
George Bernard Shaw
Parkour Luxembourg
Freerun , Art of Motion.
Produced, Directed & edited by Stephane B.
Assistant Camera msng
Machinist Joe & Olivier
Athletes
Simon Nogueira
Christophe Picot
https://www.facebook.com/FrenchFreerunFamily
http://element.iv.free.fr/
http://parkour-killer.skyrock.com/
http://www.msng.fr/
Thanks to
Diogo Vladimir Bastos
Didier Goossens www.philharmonie.lu
Domenico Gallo
Patrick Relecom
Mudam http://www.mudam.lu/
Maxime Solinas
Daniel De Oliveira http://www.scct.fr/
Charles Monteverdi http://www.blangblang.fr/
Dreamcar.com http://www.dreamcar.com/
Hélène Marchon
Gérald Vettori
Music
M83 Moonchild
http://ilovem83.com/
Shot in Luxembourg, February 2012.
Outtakes http://youtu.be/ek8mUClaQhc
Special thanks to all the athletes from Freerun, Parkour all around the world who inspire me for making this video, specially Claudiu Voicu and the Storm Freerun team for their amazing videos but also Jason Paul, Team Farang, Yohann Leroux and Ryan Doyle.
43:33
The "No-No" Word for 2010-Introducing the P413x Plan of "Can-Do" Christianity
JOURNEY 2010: LIVING IN THE WILL OF GOD
This year I am calling Journey 2010. This is the...
published: 04 Jan 2010
Author: Jim Tompkins
The "No-No" Word for 2010-Introducing the P413x Plan of "Can-Do" Christianity
JOURNEY 2010: LIVING IN THE WILL OF GOD
This year I am calling Journey 2010. This is the year we journey closer to God as a church, as families, and as His children.
In order to do this we must embrace God’s Truth, and allow His truth to change our want to’s into His want to’s. Our Journey 2010 is all about what John wrote in 2 John 1:4 – “living the life of truth, as the Father himself instructed us”. Walking in the truth, Living out the truth, following the way of truth, abiding in the truth.
In the movie City Slickers, Billy Crystal plays a radio advertising salesman going through a mid-life crisis. He and his friends deal with the humdrumness of life by participating in a cattle drive from New Mexico to Colorado—an experience that turns out to be a kind of epiphany for all of them. At the end of the movie as they prepare to return to New York and the familiar routine, Billy Crystal explains to one of those friends the concept of a “do-over.”
Crystal is addressing his pal who, nearing 40, feels he is at a dead-end. "I've wasted my life." Brunno Kirby's character laments:
I'm at a dead end. I'm almost
40 years old. I've wasted my life.
Yeah, but now you got
a chance to start over. You know?
Phil, remember when we were kids? And we'd be playing ball and the ball would get stuck up in a tree?
And we'd yell "Do over!" Huh?
Yeah. You got a clean slate..
Crystal tells him that he can start over again. His life can be a do-over.
Phil Berquist: You know you were right, Mitch. My life is a "do-over". It's time to get started.
Mitch Robbins: I hope I can help.
Ed Furillo: Now I'm gonna go home, and I'm gonna get Kim pregnant.
Mitch Robbins: I hope I can help.
Something like that happens every January 1. We all get a “do-over"—another chance to do it right. If 2009 was a tough year for you, cheer up. It’s a brand-new year!
There is a biblical perspective we need to remember at the beginning of a new year. It’s a perspective that’s wrapped up in one simple word. If you remember not to use this particular word this year, your chances of succeeding are going to go through the roof. In fact, I think you’ll be happier if you make a decision here and now to cut this word right out of your vocabulary.
Cutting this one word from your life will force you to open your eyes to God, to His greatness. That is what Journey 2010 is all about-discovering the greatness of our Creator God.
Perhaps you saw the recent news report of the Mom who had a heart attack while delivering her baby. The baby was delivered by emergency C Section (without anesthesia) and her newborn baby was delivered without a heartbeat as well.
Dr Martin said she did not have a "great explanation" for why Mrs Hermanstorfer's heartbeat returned.
"Somewhere between four and five minutes she had been without heart rate and had stopped breathing a minute or two prior to her heart stopping," she said.
The doctors were then able to resuscitate the baby.
Despite tests, she said doctors were still not sure about what had happened.
However Mrs Hermanstorfer and her husband Mike have said they believed it was down to a miracle.
She said: "I got a second chance in life."
Dr Martin said she would take help from wherever it came.
This world ignores God. Clearly God was at work here. Perhaps he has great plans for this baby. The world just looks the other way rather than give glory to God.
This year I want to Give Glory to God! I want this to be a Hallelujah Year. So by official Pastoral Proclamation I am banning one word from use at Pleasant Prairie. That word is “CAN’T”. If you catch anyone saying this word at church, it will be a $5 fine. If I use it in a sermon after today, fine me $5.
That’s right. The one word you shouldn’t say in 2010 is the little word can’t.
We use it all the time, don’t we?
We say, “I can’t lose weight.”
“I just can’t seem to save money.”
“I try and try but I can’t find the time to read the Bible.”
“After what she did, I can’t forgive her.”
“No matter how hard I try, I can’t change, I can’t quit smoking, quit ….”
If 2010 is to be a year of Journeying with our Mighty God, it will be a CAN DO year.
In order to understand and embrace this wonderful CAN DO God, we need to understand a few “CAN’T”S from God’s Word. These Can not’s help understand how we can live in God’s will.
So here are the foundational Truth’s for our Journey into the Will of God and seeing Him as our CAN DO GOD!
Amazingly Gained by the way God used cannot in the New Testament
God Limited:
Accept Yourself: Mt 5:36 And do not take an oath by your head, for you cannot make one hair white or black.
God is It!: Mt 6:24 “No one can serve two masters, for either he will hate the one and love the other, or he will be devoted to the one and despise the other. You cannot serve God and money. 1 Cor 10:21 You cannot drink the cup of the Lord and the
2:17
The Grain Terminal
On the far side of Red Hook Park’s soccer and baseball fields, locked-up behind a fence ma...
published: 17 Aug 2010
Author: Charles le Brigand
The Grain Terminal
On the far side of Red Hook Park’s soccer and baseball fields, locked-up behind a fence made of enormous concrete blocks, lays the last vestige of Red Hook's industrial grandeur: The New York Port Authority Grain Terminal.
This massive 429-foot long and 12-story high beige-colored fortress was built in 1922 for the purpose of washing, drying and storing grain from the Great Lakes, before the grain was loaded onto freight ships and delivered to breweries, distilleries and flour mills. Ultimately, the terminal was built to invigorate New York State’s Canal System and compete with railroad-owned stationary elevators.
Nevertheless, NYC’s uncompetitive labor costs and storage disputes forced the Port Authority to cease operations in 1965, after 40 years of under-use. Since then, the Grain Elevator has sat vacant and majestic on Gowanus Bay's waterfront, alongside the Erie Basin, dominating Red Hook's urban landscape.
City officials and engineers refer to the Grain Terminal as the Magnificent Mistake. However, Red Hook’s inhabitants affectionately term it one of two distinct names: “The Lady Finger,” due to its unique structure which consists of a series of 54 joined concrete semi-circular silos; or simply, the "Elevator.”
NYCitizen, my urban exploration accomplice, and I decided to pay the Lady a visit. That Sunday, the park was packed with baseball and futbol players, picnickers and street vendors. I asked a carnitas taco vendor if he knew how to get closer to the Grain Terminal. His first reaction was to tell me that the building was under government surveillance and that the coast guard was watching it as it was located right in front of an oil refinery on the other side of the Erie Canal. However, while heating up a stack of tortillas, he also told me that the easiest way to climb the concrete barricade was to scale a tree near the baseball field’s bleachers, and jump over the fence. Right...
A more realistic and less hazardous way seemed to be through the bus depot alongside the Grain Terminal. As we approached the main entrance, the security guy stopped us and asked for the reason of our visit. I said that we would like to take some pictures of the Elevator. He retorted that it was a private property but that we were welcome to do so…from the sidewalk.
As we walked along the concrete blocks desperately looking for an access point, we realized that the enormous barrier had suddenly transformed into a 3-foot high hurdle. The last and only obstacle left was a duo of State Park officers sitting on a bench, watching a baseball game in the shade. After waiting for them to leave for a couple of minutes, I realized that these two were here to stay. I decided to approach them and ask candidly if we could jump over the hurdle to snap a couple of images. Despite an obvious negative first response, my insistence won them over and the female officer told us grudgingly that they don’t want any problems. We could do so at own risks, but that they never had this conversation with us. As we dashed to the closed-off section of the Grain Terminal, the two officers decided to begin patrolling around the park.
At this point, we were only halfway there, as we still needed to get inside the actual Terminal. After running between cargo containers, we decided to stop in the transformer house and study our options. From there, the terminal looked completely hermetic. Concrete chunks blocked the doors, and windows were obstructed by metal bars and barbed wire. Graffiti on an oxidized beam gave us the gist of the challenge ahead: “How do we get in?”
Approaching one of the windows, I noticed more graffiti on the ground floor and thought, “If there’s graffiti, there must be a way to get in there.” After wandering around the building for a while and a round of seemingly impossible physical contortions, we were finally inside the Grain Terminal.
The ground floor, which seems to be the warehouse floor, looked like an old Greek temple, with immense concrete columns, long passages and adornments created by street writers. Loading railways were still fixed on the ground. Three dilapidated metal staircases were located on the Erie Canal side of the building. We climbed the middle one to access the following floor which happened to be the top-floor. A grain terminal is simply a large, empty box, where huge concrete silos separate the ground floor from the top-floor.
The penthouse was a huge open space; a massive loft filled with old machinery, boasting an unbeatable panoramic view of the surroundings. A bunch of no-smoking signs were still hanging here and there. I've read recently that grain elevators are actually explosion-proof, due to the highly flammable nature of the grain. As we investigated the top level, we zigzagged between large holes in the floor with just the right diameter to swallow a human body. These holes were actually located right on the top of the silos, and hence allowed the grain
3:58
Kid Cudi - Soundtrack 2 My Life
Lyrics:
[Kid Cudi]
I got 99 problems and they all b-tches,
Wish I was Jigga man,
Care fr...
published: 20 Sep 2009
Author: Ruben
Kid Cudi - Soundtrack 2 My Life
Lyrics:
[Kid Cudi]
I got 99 problems and they all b-tches,
Wish I was Jigga man,
Care free livin,
But I'm not shawn,
Or Martin Louis,
I'm that Cleveland n-gga,
Rollin with them Brooklyn boy,
You know how it be when you start living large,
I control my own life,
Charles was never in charge,
No sitcom could teach Scott,
About the dram
Or even explain the troubles that haunted my mom
On Christmas time
My moms Christmas grind
Got most of what I wanted how'd you do it mom?
Huh, she copped the toys I would play with in my room by myself
Why he by himself
He got 2 older brothers 1 hood 1 good
An independent older sister kept me fly when she could
But they all didn't see
The little bit of sadness in me
Scotty
[Chorus]
I've got some issues that nobody can see
And all of these emotions are pourin' outta me
I bring them to the light for you
It's only right
This is the soundtrack to my life
The soundtrack to my life ohhhh
[Verse 2]
I super paranoid like a sixth sense,
Since my father died I ain't been right since,
And I tried to piece the puzzle of the universe,
Split an eighth of shrooms just so I can see the universe,
I try to think about myself as a sacrifice,
Just to show the kids they ain't the only ones up tonite,
The moon will illuminate my room and soon I'm consumed by my doom,
Once upon a time nobody gave a f-ck,
It's all said and done and my cocks been sucked,
So now I'm in the cut, alcohol in the womb,
My hearts an open sword and hope it heals soon,
I live in a cocoon opposite of Cancun,
Where it is never sunny the dark side of the moon,
So it's moving right, I try to she'd some light on the man,
Not many people of this planet understand.
[Chorus]
I've got some issues that nobody can see
And all of these emotions are pourin' outta me
I bring them to the light for you
It's only right
This is the soundtrack to my life
The soundtrack to my life ohhhh
[Verse 3]
I was close to go an try some coke
And a happy ending would be slitting my throat,
Ignorance the coke man, ignorance is bliss,
Ignorance is love and I need that sh-t,
If I never did shows then I'll prol be a myth
And if I cared about the blogs I'd probably be a jackass,
Don't give a sh-t what people talk about fam,
Haters shake my hand but I keep the sanitizer on deck,
Hope I really get to see thirty,
Wanna settle down stop being so flirty,
Most of the clean faces be the most dirty,
I just need a thorough bread cook when I'm hungry,
Ass all chunky, brain is insanity,
Only things that calm me down p-ssy and some cali tree's,
And I get both, never truly satisfied,
I am HAPPY, that's just the saddest lie!
[Chorus]
I've got some issues that nobody can see
And all of these emotions are pourin' outta me
I bring them to the light for you
It's only right
This is the soundtrack to my life
The soundtrack to my life ohhhh
Uh huh yeah
Uh huh yeah
Uh huh yeah
Uh huh yeah
Youtube results:
7:21
Charles Ives - Piano Sonata No. 2, 3rd Mvt.
"The Alcotts" pf: Marc Peloquin...
published: 03 Apr 2008
Author: maffei90
Charles Ives - Piano Sonata No. 2, 3rd Mvt.
"The Alcotts" pf: Marc Peloquin
1:44
Charles Ives - Songs - Berceuse (1900)
Charles Ives (1874-1954) Berceuse (1900) Veronica Lenz-Kuhn, soprano Tan Crone, piano...
published: 03 Nov 2009
Author: Epogdous
Charles Ives - Songs - Berceuse (1900)
Charles Ives (1874-1954) Berceuse (1900) Veronica Lenz-Kuhn, soprano Tan Crone, piano
7:30
Charles Ives - Symphony n.4 - II. Comedy: Allegretto (first part)
Charles Ives - Symphony n.4 Michael Tilson-Thomas and Chicago Symphony Orchestra & Cho...
published: 06 Jul 2009
Author: Epogdous
Charles Ives - Symphony n.4 - II. Comedy: Allegretto (first part)
Charles Ives - Symphony n.4 Michael Tilson-Thomas and Chicago Symphony Orchestra & Chorus The Symphony No. 4, S. 4 (K. 1A4) by Charles Ives (1874 1954) was written between the years of 1910 and 1916. The symphony is notable for its multi-layered complexity - usually necessitating two conductors in performance - and for its over-sized orchestra. Combining elements and techniques of Ives's previous compositional work, this has been called "one of his most definitive works"; Ives' biographer, Jan Swafford has called it "Ives's climactic masterpiece." First movement This movement and the third movement were first performed in New York City on January 29, 1927. In contrast to Ives's other works for large orchestra, which begin in quiet and meditative moods, this symphony starts with a strong, maestoso, fortissimo bass line, immediately followed by a rising trumpet fanfare. A quiet passage follows. The movement ends with chorus singing the Epiphany hymn Watchman ("Watchman, tell us of the night.") Unlike the bold beginning, the movement dies away, quadruple-pianissimo, at the end. Second movement Ives bases this "Comedy" movement on Hawthorne's story The Celestial Railroad. It is possibly his most extreme essay in overlapping of multiple thematic material, found also in his Holidays Symphony. Tunes quoted include The Sweet By and By, Beulah Land, Marching Through Georgia, Ye Christian Heralds, Jesus, Lover of my Soul and Nearer, my God, to Thee. The complexity of this movement <b>...</b>
9:25
Charles Ives - Holidays Symphony - II. Decoration Day
Charles Ives (1874-1954) Holidays Symphony (or A Symphony: New England Holidays) I. Washin...
published: 30 Jan 2010
Author: Epogdous
Charles Ives - Holidays Symphony - II. Decoration Day
Charles Ives (1874-1954) Holidays Symphony (or A Symphony: New England Holidays) I. Washingtons Birthday II. Decoration Day III. The Fourth of July IV. Thanksgiving and Forefathers' Day San Francisco Symphony/Michael Tilson Thomas Charles Ives got the idea to write a holiday symphony during the summer of 1905. He wanted to write each movement as if it were based on a grown mans memory of his childhood holidays. Here are melodies like icons, resonating with memory and history, with war, childhood, community, and nation. Ives constructed these movements based on personal memories from his past, including his father, George Ives, and the town of Danbury. His father had a huge impact on Ivess compositions, especially after he died in November 1894. Ives lived in Danbury throughout his childhood, a town which holds many of the life experiences that inspired him to compose a Holdiday Symphony. New England Holidays exemplies multi-tonality in the reharmonization of borrowed musicand [mixing of] several keys. This work is notorious for its quotations, in particularly, its complex overlapping of multiple sources. Without the plethora of quotation, Holiday Symphony would lose its ability to call forth memories and emotions. The first three movements of Holiday Symphony were performed in the United States and Europe in 1931 and 1932 under the direction of Nicolas Slonimsky. The concerts created great excitement: laughter, protest, enthusiasm. Ivess music never occupied more than a <b>...</b>
