ives - piano sonata no2 'concord

8/2/2019 Ives - Piano Sonata No2 'Concord'

1/67

I. "Emerson" 1r .n .Slowly

v v v

v

Emerson 19 Copyright 1947by Associated Music Publishers, Inc., New York

All rights reserved. including the right of public performance for profit.Printed in U. S. A.


2/67

a little fasterbut ft"rtnl!/

I'l 1 ~ I.b:.n >- ~~ I ~~ l~ I: b~ -6 ~.~H .~.lI.J. . ..t: __ f#~ >-: ~.,.. t t 1 - ' ' ' - cresco - _ 11 ~ r ~ r ...__-r'__Jtj ~~

- l.k.l.k.-~ I h >-:::: >- .1 ------r--...

'It '-' ii . . - ~~ itt- 1 ' 1 ' - # ~~~!#t- , , - - ~~cresco _ _ . / ,jJ, - ~~ l' l~aster ~ ~ t ? ; ;

f

8--'ktl II~ '~ 11.t;. j1". Ir. ,l ~,J . lI'tg !/ II ower. . . . ., to < . . ~#~~J~hJ~~- - ~ 'TJ I .1 J r l 11'1 r I I f r 8" p" . I I I I I~i I , V r ~i- "ff - = = - = = fJ - J J I I . . . .- -"..f: ft- c.. -e- ~ # w # r - "~4" . ..._ . .e-Emerson 19


3/67

3

II ,~. ~ . . L ~ - . . . . . . .~ ~ ~ . . . . , ~~ :! ~.~:.r;:) t-"'" ~ -J t.h_L . ~ I 1 \'-1 / riA~ ~j~..t. I I " 1 , . . . . . . _ n i f v L Y r fV ~,Jh . - - - -1 r - - - D 1 -u: - - - : - : - - . . ~n PJ-. -'I!!1f 1 l L .l r--I II P = D - - - : . .. ~.h .sli htl slower ('

p r.h

mf g y

,,/faster / a little faster and hroadly

A

~ I "-------:---"1 I--"""'t 1"--" ~ IIJ . ~I m~~ Jt. ~C"./ V ~1" 11 T " l P " 1 1 (~..-'' ' (~~ r mp::> ::> ::> ~ : : : > - : : : : : : . . ~ ::> ::> . . . . 'l v-- l 'l.. . ., ~",-"~q". = i~ " . ' * :~"1""~ . ~?: ~.~. L 1 6 ..

Emerson 19


4/67

- - - - ~-t ~ Lb.' . ~ ------RI.~": . , - 1 ~ . . J J ,#= = 2 - b ~ : ~ . . ~. .11 r ~ ~ . . . r ""-'Ii ( 11 P~ ~ l.h.,,- l L L l tl!') ~; f #

~ tJ

"if:~,I ( f t ~ r 'f!" " . . ., . .

r : r - - : : : : : : : : : L L 1alig""!! faster ~~

- , ~rJ . _ . . r - t r '1 _ ~ . . . b ~ ~Ii Lb. i l .~'j ,....--;- ~~ . . . . L~~ ~ L b .. . .- r I ~1I V i' ,., 11 ft - . ) 1. . . . - _: : : : : : - pp ~ - : : : : : : : : - - j ) l J . . . . b ~ ~n Ifj~ /'i:~.J r - ~ '~ r r r-r r v - r . r " ~ ~~11: : : : : : : : : - r

I I,.---. . . . . . .

r r


5/67

r,i i J. 4 : : : : .L li

- - - - - - - . .

- - - - - - - - - .-~..It I I [ --= mf . . . ! " I LJ D " r I r T I _j

- J [ ; J. ""I~~~lfj I I . . , ~tH J;J ~~.,-. :~ b~ ~ - =~Io; . "I- I I rpOCO accel.< J~ b ~-ill L bill ~ !: . . ~~~.

somewnat faster

- , I i - - - , _ _ ~l A A faBler andfirmly~ - q # - ~ . ~ ~ , ~ ~ : : : ~ Ih ~ b i J . b , . . .\ 0 ; V ~4 1 1 _ _ffj jJ, u F'7:~_ ~. c- - L . b. ~.,

1 1 ' '1 I I '~ II ~ ~bi i~ ~-.

A

A AEmerson 19


6/67

v V A

r s 8........_-_.' '1 m o I 1 ' l' . . ;m.~ ~ ~i

-f ---===========-f-===

fasterfJ A A moderately slowly (almost as a recitativethrough here)

.pp 810';;: I

--=-tJf. fr.-.- moderately but decisively ~ : - - : # J ~ -~r;b-, ~ lW ,J: : : h . . r.~--::;.. . . - -~-6~ ..r::~ :-I " ' " . . . f 9 - -~l- ~Il.h';-"'r.!!1. .- I.h.t- -j r.A.- . . . - . - ._ ~. . . . ...I.h_+t~ :11'pl t . . . 1 1 1 1 ,..~ . . . . . . . H - ' . q ' ' ' ' ~ . . . . . . . ~ .11 -II:\pJ 'aster l. _j:- '; . h . . . b .c. l. r-' ""-- ~J.I. II ~. . ..-~ ":: ". .~~ ~ qll_"~1I... . q ~ ,-,.- : ,19


7/67

7

qut"te fast

II

r 6

very fast#H A

I

T 'I ' I 1 '\1 j1'-1

" ~ A lo_ A A 1._ ':' A, e . . it . . . ~II' f f r T I I ~ ~rr17 18 J< II

I I

'I~ . - - - - - - - - - - - - - . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . I.A.: : : = >#;

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ~Emerson 19


8/67

(, LCj - - - - - r~ ~ J~~ j ~ I.J..l JJ I f' I I" r y~ lIIP quite fast but slower titan precerJing passage

. j_~~ l :9 - r _~" . [ r--- rptj --~ I)- I V V= 6 x-: --~-:j.' f~ .s ~ ~ = :~ - - . . . ; ; ; : : : - - - -- - - - - - . . . . -r: J~~I ~j . J ~ - I i ~ ~rJ- -

.. I~ .. ,. P~ 1 J \/~ / .,.r r - r - " ' - .\I " I I I

-:: s-> ~'- ~.-r *; ~ ~. J ~ !: ~~ z ~ .~ r- t: I r o - .. . nffv V . . . -~ a little slower A. .. 1 I rp;- .J ~I ~~t~- t~. J b J ' J II V /'r- I / I VJ' " ' " - 1 I .

~ ~ > - = ~ ~~V V) ~ ~~~ ~. !: ~ _ . . . . L J !:- A >-.

. . ~r I v r -.J V 4~. -t..J r~~ J V I r r r r '\- = - - - - - - - _ I I V / I V I

-:: ~ r ~ -19


9/67

9

- - - - - -A

~#~ h~~ ~~ ql ~ 8-~ ~ Iq _ :~ .If .~t'l "t. . ,. ~ 1 '" j ''''1 I r ~

_9~/J - /J ./ /J -J .-...!II 11 I.~ ::---- qr~

Emerson 19


10/67

,--... #~~ I , . . _ h Jl ~ L ___ I ~ r t \P -. . . . . . .J V -

IIt) ( ~t!JI J.!!r~t_/ ~t!i _ 1 + r ~ ..!tJIftj i f 1 1 '1 ' I ' I I 11 I 'I

JT r" L 1 1 F T ' " 'L r ., ~ . . J b . . J L L i f f T 1 f 1 f rfaster hut hrightly andfreelyfl~ L J 3 # _ . . . . - . . . . _ #~~\, I\, I\, --. ~J -T-"t ~ -. - _JLJ"d ' - - - - ~.~ _ . . . .fl

(_!t:[ '~ ~ #L7 rtfti tt~#i ~ 'U!i~t..-( r 1It q.~ " r . : 1 III ' 7 ' T / L L r:1 L L

i f r ' 1 r "r- 1 f [erson 19


11/67

11

f.1t.

v------- . . . _ _ . . . .

- - - - +-; ifJ q J = = - - -~JJJ ~J ~ . . t ~. ,:: x ff II cresco e accet,, . ,:~ / r " 1 ' 1 i i\~ . J v J.v l/~ ~

v~

r 1_:_:YII I..~ I

r t : fff I I -:retard,~It rr rr , , 1 f"t'l_ -8- r /I -, ~I j_ I r"'" I I V J ~ 6 J L . r I 1 ~~~V v -+. -:= , - .s.> r~_ - V : : : ; ; ;. . . -

Emerson 19


12/67

12 I"'1

(qu,ite slowly anti as a 8_(}ng)but not too evenly---p (prose)

.~

fl f = ' t 1 ! = ' . . ~ 1 . = r . . F : f ! : ,~ . . . . . . .t:J ___~J - = : : : : : : : - . . . . .t J . 1-- I . ., f I- - - . - .~ r ' 1 - ~ r1 rr Ib . J c r1"- r-, .. .

I II - i L I

~.

~ .~ - - -. . .-4J f' laster and w itlt m ore anim atz 'on 1 b 9 ::---1:_ ~~ , . ~ .. . . , ; ~ ; . k . . l L J -1 ~

I ~- - 11 q1~tlI1 ' l 1 f r ~ , . ,II' --..f~' b ~IOJ7 '1 . 11 ___ l o b . '- . , r it r ~ rEmerson 19


13/67

13

con moto v

=

H, 3J:.p. .. .


14/67

somewhat slower

l.h. r.n.

- - - - - -

*:> decisively and freely- 7'3

Emerson 19


15/67

r.ALAo Poco ten. ad lib.a7~ f. . . . - . . . . : . m .-------!::..A . r.A'__L_k M~L ~ . I ~__ A..-... :~ ; t o , . . -. . , . . - - . , W I : . .:I ~.... q q mp I ~ ~~ 5

r.k{~~Jl ..,5 I

r.AJ .)bJJ ~Ji-, I'j ..~~ J I,JJJ:: . . . . .f tIAgUandaJ b ~ " b A_ o . . b.--'" .

tt I"'" t f ~- Jt'- ~ P-41V . . . .f Vr 3 , A - - - - 0f L 1"---"""" ti~ A~~ k J ~. . b . . . . ,tt .. ~. . l f lJ


16/67

16

, "= = = = aced.

~r. ~ s~); ~ ~ - = h ~ ;s I ~

~ r 1 .~....l ~ A A .~ i- , . . I ~ ~ .. " ff_ ~v s- I I~ -ite~ I . .fa..

V'~. . . .I ~~ 1;: ~~ . , . f = ~~ :- b : eje-. q I W ~.~

poco rite pp

Emerson 19


17/67

1'77

gradually faster with more and more actionf . f ~

Poco ten. (ad lib,)r;;--;.slightly slower -iiI

9

t\ t\ aeoet. e cresco

(climbing up witli. rush and action)

Emerson 19


18/67

18 Paster and decisively. . . . - - - . . . . .J ~J;J...

v .......--.._.. . (sUgntly simoer)rb~r .n. l.1t.:>:> I (I I

>-

: : : ; .> 0I~ I~~.J~ ~ ~.~~:--.... ~~I- ,./:Ir~q~J: ' Jd~~ I ,~"'~~b,.J I.. -1 ~ I . , I poco de~:esc. ~ . . . . . , . r~!fq J J . ~~J ~J...~'~., f i e . ~c . . q-e-:>:>:>ftG. ~G. ~ p.t;; ~ j t f ~F:: r ; - ~rfb"oadly, sustained and a little slower-Emerson 19


19/67

19

'1J~~. P.

## 1 ; < ' ; ; " Vlpla part (adIt'b)PP-if played-but bringing out accent.

cL.1.",;'''_ ,~t5 " C ,

~

~~~~P.P ~

, f\

accet . e rit.

\!lslowly (almost as a recitative)

_--- - -......___-T-r ~r-----pp l.h~)....-- PPPlh.*) PPP l.h~) .P1!PP- - - "...--...._ - - . . . . . . - . . . . Scarcely /audiblef " : \ . ; . '

pppp

1).' To be heard as a kind of an overtoneEmerson 19


20/67

21

II. "Haw thorne"

Very fast

Hawthorne 31


21/67


22/67

23

'~.

if----- >- ~

-11~ - ~ ~~ --.. ~ ~.J --.. ~ ~ .J . . . . - - . . . . . J . ~.J , . . . . . . . . _ : ! ! ~ ~ r" ~~J , . - - . . . . . : ! l ~ J . . . . .. . . . .\ 1 0 ) ~ . . . ~~. ~ ftppp # t ~ .,. ~r) "ff e dim.

t .v,

Hawthorne 31


23/67

vet'y fast - heavily, or in akind of reckless way I.k.

ffu:::>

I.Ii.

- - ~ - - ~ ~~)~FJ # J Jbb)J ~ # J ~ b J !: ~~ -- - ~ ~::> ~. ! I I " '" I '" I '" I '" I'" I

'L~ l ' " .~ ,~ - u...~ ~ I I ' " . . I I ' "

I # J - R - ~ Slower- .~ -: - . . . . . - --. .._..~ b P:: ! if


24/67

25

ppsempre

r-- r--

I~.--

# . # ~~ # ~I It = . , - ~ =...__ J..". ~.\.: - .

I r- p~. . .--~ r

I - I r-p # . # ~l>i -...__

~.-r-- ========~ _

fJ :: # . # ~

~ .~p \ P .Psomewhat faster

-

IHawthorne 81

I r


25/67

6 -,~~ =. . -

r--~~. .=

L....-P t. Jfasterr-:'j j.~ .b ~ .~.b I~~ Il. i ~. . , -

ff Of

sliglltlY slower

81


26/67

27

Hawthorne 81


27/67

28

. .~ ~ . . . . . . . . '-:. . I ! ! ! S I I. . . -t V" . . V" .. V" '~" 11- V . .

- I ::::::---.~, I I I I 1t. . , - r.h,

faster - I I 1 - = _/ ......__.. ~~V. .~ ~ =>: ~,~ ~-.. -: - -'- . .-- - p.. . . . Mt ~r' 1 'I

.---!!II .ff #~.L I I 1 J j~-.. J 1 - '-/ --- ~~ ~) ...._.._.. ~~ ~) ff-: ~~ ~L ~II ~ -~, /" < : ~

t . . . ~r' I ~i I i I I i I " ! I ; . . - . - - . . ." - A A A . . . . .q t j~ b'---' ~~ # :> # :> ~... ..---.~._,.J b J . . , j 1 . . 1 J b J J J .I l . . , j~ . . h - . - - . j~ f~ . .r.ha little slower ~

:>---r~ ~ ~

- - - - - . . . . . . . ..l .~ ---.Iv r 11 11..

Hawthorne 31


28/67

29

-=====~; ; ; o ; o ? " ' " " " ; ; ; ; ; 0 0 0 0 : 0 :

Aif

Aif AifHawthorne 81


29/67

80

J""'"' .l # _ # =. ~ , J I q ~ ~~JI: : : : ; ~ I -t! 11 I~ A~

" " " t : ~ r r ~ r r _ 'i r 'i r'\ A __ - - . . . . . . . . . . . . .J I I I J I I I~."JJ ._- - " . . _ _ _ _ _ _ ,. ~ . l . r. . . - . . . . . . . , L l JJ..~ I.I T T l .' r; ; r

~ A:x * ~~r'i r~ AJ ri.J I I I iJ I I 1 1. , . . . . . . .

'.,-",Hawthorne 31


30/67

31

f

shght!y slower- - ., 4t.! f f -

--------------------------------------------------------~ -j : : : : : > - qb f &~~ q # rt. - .._I

III

v v

, . ."I

v vII II II

v vHlIlhorne 31


31/67

tJ~ ~ ~ . . . r ~

~

~ ~ , , ~ 1 " ft - ~ Y~ + !' ~-#-~v y v

~ . . ..t. " II 'iI . . . . . . .

1 1 1 -I- Y ____ T 1 f! ' ~ - # - ft- f! ' .i-> y~ " 1 " ft~ #~v v

ster

vy v

very fastt J . .. .- -. .. I ~.

@ . # 1 I # ~ # l ~ ~ I....... J I " r3 6 5 fff"'--- " f! ' it - # ft- f! ' V T3- - - - ~ . . . . . . . . . . . . . . . . . ~ . . . . . . . . . . . . . . . . . . . . .

awthorne 31


32/67

33

t. I 1\ I _...- ""'i' - - - L".t., ,--. p r r ~ :J '1 I ' 1 r I r J, .Iff - h L JI very fa.~t ~ I. 'I " ~ fJ .~.._ -~- - - - - -[_L~ ~I.. -:.. ~ k_~ q ~ - - b J .- -! . . . - _'1 r . _ . _ . . 'fi I I r I I~ , ,U~ ::::> I.A. r.A.~ ~. c .. P ' . . f j ~b q j I J "

I. - . . J 1 I I I I I I I,I , t., r I I r I r r - -~I L- _ _ h >_ >. J ~ I

. . " ~ r q i f f~~E._thorne 31


33/67

34 -~~. ~.J .j ] A I !) If ' I I A. . . , T~ 1* I ~ r '-- ~.

. . J . ~~ ~.. I I~ . - - - - - - - - - - - - - - - - - - . . . . . . . . . . . . . . . . . . . . . . . . . . . . . - . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . _ _ _ . _ - .. . _ - - - _ . _ . _ _ ._ . _ - - - - _ ._ very slowlyf.'

f.fffv ~ #...._ .. - _ ....._ _ . . . . . _ ...._ - - - - - - - - - - - - - - - - - . _ - - - - - - - - _ . _ - - - - - - _ .. _ . _ ..._ - _ . _ _ ..._ - - _ :

Hawthorne 31


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35

a fastfmarc" timeq

fj :> :> :>:>

t tJ -6 ,. -4 '. -6 i q Y ~ ~'-~ . . . . . 1 1"""': . . . - . :.'. L .q~ : ~ h . h . .

: : >L , a; L_ a; ~ I . . - h h, . . . .. ., D - 6 ~ r ~0rZr p6- ~- -61 - I;: 'I ~ r;~r ' - r q ~f:\ 1 " ~ ~ q ~ ~ : p j

------... . .

~' Ir rrr:>~ ~I I r

f. .-...__ - - - - - - ~>~ I I I I .IJ I rrI11 . . I ~ J~ . . ~ q i ell - L .. I- - . . . .. - -: : > r - 6 I~ ~~ ~ ~ ~ . . . . . , !oj

I p r T i I P i I i 'I T I::::>--

B~orne 31


35/67

36

~ ~ >- - .~J J ~Jf J L-...~ 1----.~ I_F' 1 , .0 ] . .. . .I ~~ ~ - - - I ..I___.t::..-I A>- >-L \ , q I ~&8, >-L~~ . . b l - >- I . ~~ >- ~~ b . . L. ill >- ,>-. . . . . -

fasterff

I[as the drum-corps]Hawthorne 31


36/67

87loco

f8ga louier A A A"""sf aeain -................. AI _ - -- .

19; J~j.~~c=0MI ! ! W ~ ~tj1 9 : : m . i . ~ & ~ L JJ & 9 ~ ~ i j l ~ : U J . . ~ ; j~ - e g ~ ~ H z P __ __ _m A r t =.. . _ _ .

j.~ .

?I~ ~t~-I ~) I , r -( ~

Hawthorne 31


37/67

8

>- >-

Il I . . . . . . . . . . . . . . - - - - A - >U

> . . . . . . .T' ~ r - ' r '1 q =~ ~1~.___....f ..___... . ~. : : > - :>-ff i1Jbj~J

0L Jb] L I I L I

00 .I .~ - - - - ._., I I I

~ L ,.~,.. - > -' " ...---. . . . . . . . . , ~ . . . . . . . . . . . .._~1::: - I . . . . . l . . . ! , . ~ r - . . _ _ _ . . . IiiI'"""I -_bl--

000

I I 1 1..:.: ..: - I , tT Il ---_ r--1 Ii I - _ ~ b , . ., _ ,__r-- - A, 0tJ r . r .~ . ._., - . . . . . . _ . / ' 11 if ~ . _ _ _ . . ._""",.-- .1 .1> 1 I-0 . . . . - - . . .. ..

. , . ~'!' )

>

"I A A A A # : ,. _ .~ i ~~ ~ i ~ V .......____... V -I ~ . ~ ~ q v ,. . _ _ _ . . .~00 .I __ ._.,

I.k.}

awthorne 31


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39

illI " " " " ' "

ill

~ . .-ill

1---- Ir. fJ ~.. >- - :> :>~~J IiJ dJ ~~i:==:~~ ~ J. _____ ., I j~ " - -: ~

;; f..., I .: : : : . . :: : : . I 1 j ' - - - " ' . - , -....__.... ~"~" . . . ~ ~ !II' i V". : : : : . >~ ~ . J bJ >- l.h., -. 1 . - - - - - . . ... . = - - - ' >- v

u:

ILnrthorne 31


39/67

40

_ ( j !I - t\ t\ -- - . . .~ ~.. . "'i - .,.


40/67

41

~'I ~~~~~~~~....-......~:

8va, .

2st ~

1 t,.; ..f.Ij (holdfpedal down to 1 ' : \ ) *

Faster and faster


41/67

42

I fl ~ ~\ u I ~ ..- . . . . . r r -[ rI ~ ~'" I " " " " " " " ~. .~ .u 11 . .\ . . . . '_ j ~ = i: - - 8va :

loco

'} ~ .J ~ ~ ~ ~~ t~ ~~ . b # q L . 1 Pquite slowly I~ I - - - - - - - ~ ~ - r ~~~I 5 I L 5 ..J I.h.fJ4)

~ . . . . . .p u: l"~"

#~;J b ~ )qJ ~)- ~_~J~b .. t h . . ! . . I f , q L . - - -4~* ~ - - - - - - - . . . . . .__.. . .I 5 I I 5 I I 5 IfJ

~ ft ~ q ~ l l~ . . . . ..'_ b

_-, ,#19 - .'. L . - .1 .'.'. .. .

'I T ft'"

Hawthorne 31


42/67

43

;:------. ~ ~. 4~~~= R ~ q ; ~r . - - - - - - - - : - - r ~ J f = = = f= ~ . a . I~mp~ .~ ~ n!f 1 ' 1 ' r 1 '1 1--. . . . . . . .r.

'~ V I q ~ ~ ;.f -.>:L .Jt. . _h_. LL.. . .~t"'- ~=i ~. 1 ' 1 ' -6 1 ' 1 ' - = - "" i ,- l' I~ tiA J---~~~~ L~ )f. J~ ~ ~ q F ~ F f: q , a ~ ~ f = ~ L - - - . . . . . .

~ 1 ' 1 ' [ 1 '1 f q q ., ( 4 . - - - - - - - -'.~ r ~. ?. .,....-..;. l' ~. ( 1 ~.,I l ~ h . . LL .L L. .. .. , - l' I

~ r =~/ Y"'c : ,"""-l~ f " '(

t .ff ;uite/ast aga'in) vif

JUw-.home 31


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44

tl It ! : r ' \ _ --c 1 r~ _ _ - / r q T I - ~.~. 1 .1 11 I -. [ I 1l -..L 1 -- - - 1'~ 1 1 " 1 1- 'f . i f F : ~v - - - " r - - - -~. v~. . vp_' -

I I II .~_ --- [ Il - 11 - r 1 -l ' r - ' - - - - - -V '1 r ~_ _ -V -1' r-

- - - - - - - - - - -~1 . ~) ~ 1 ~ JV

~---~Ar---------~A-----

>-Hawthorne 31


44/67

~ - . - . . . :> - - - - I I - - - - - - -t I I J ~ J ~ i~ i~: - - i ::?:->, - - - --. - - - - - - - - - -t I I T I.';J i v-L I i v-""-l J I vi If "!I

~ J J' r

I~1 2

~. ;. jf'. ~ ~ ~ J "r.h.l rbl-. J. J h J ~..r:1 -l - - :> -

e..; . . . " f I I r _ " i i r J n . r r*~t I /I \ ~~ I- ~ Itll~ . . . . . . . T " I.IV V . , - " 1 1 1

I n i1. J . )1 1 J ~~ 1Qr. ~ - - -- - :::>- --. -. e . . . r r -r=r:': 'f _ ! r cresco 'f : . . ! r " -. r J~ v 3 ..... '---.f!.-/-- T oJ . I po- I J -.....l-/ .......j """".~J. . . . v ~4 v ~4 v I . v


45/67

_ 1 1fast

-I I It ' ! f _a little slower I i I.r-;I I

r

, >------.>-------- # JJ ~J~ _ J _ ~ ~ q , = J .LJI ~J ~;. . ~_I -J( ~I .11 ~.~ ~II" T, I U ' ,_ _ ) ' ~ . ~ ~ ~ ~ .-!I. A > , . . . . . . . .L ~ v---. l. L h~..I . .. :.::--\ L..._ = - " : 1 i 1 r ~ " l I 1 1 ' -- --

Prom here on asfast aspossible

Hawthorne 31


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47: : : > -- - - - = = = = - - - >----._ >-----. >----... >_____

~ ~ . ; _ . 1 # J # AJ q J # ) q _ # J q _ q Jf ~ . . . - _ _ _ - -t.. ! " . , 11 11 . , q t _ .~ r r - -(U ,i ::>i > Ji t t J . I , . ~ -.> - 11 - I I- ::-----..._

, ! # J q : ! ~8va ......................................................................................................#~ ~ J f J . b . ~ _ _L b J >~ >.-__, . . . J . I , = J . I , _l ..L

t.. - J " r U- '1 >- ~!~ "~h r *It l. . . . l.n. loco.1 ~ ~~ p q ~ l ~ ' ' ' . . . . . . _ . . . . . ' ' q ~.~ . . . . . - . . . . u L.- - - - -

8r:a..... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . > >>~>-- : ~ J r o > >f. >~ J L ' 1 - ~t.. p~U' Vl!.J",_5b$ I~ 2 . d ' - ' "-" 1 ~ V I-' . '- 'r. . . . .r-- > - - -I I ! !l~ - = . r J 1- ~. ~ b ~...--..~t--- - - - - . . . . . . . . . - . . . . . -j >--. >I ' . . I JL..JII JIF~ >-__ J J ~ 1>- >-----.. .t.. i 11 ~ ~ ~~ ~, . . ~.~ -' I . n .u ~ I-. ~ L o _

II ". ,


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4:8

>- >-_ >-_ ~ >------....==--- q J t ~ ~---==. _ h q ~ q . J I #i~J I #~ #.J q . . t 1l q . . t- b . ._l _C 1 JL.t b.~ --~ ...__..- 'J L.....J~. . . . _ _ . . - [ J l.n. ". - . . . _ . . . . - .~ ~ L .I b#. j i q ~. . . - - . . . - -\ -

l . 1 t . ~ >-___ >-~ ~ . >-----.fJ ~ h - . 1 ~ .J l " ' . . . . . I . I~

. .u t!. ~Q" 'q .~: 11 ~ f t .. q ~J ~. . . ~~- r ~1l ~ y~-~~ ~ ~ >-__ >- >-_ - : : : : : : = - - - . . . . >-______tJ ~ " " - J o I ~-~ ...- II ~~ fI" .,[ j i j - 11 H , . . . .'-"" . . . . . . . . . .

...-......~ b . . ~-:. . . ' ~ .; JL.:. r-...~ ~q't ~ q 1. . _ . . .

~ I: = : ~ J=~~ >- IJ1#_' _b_ q : ~J ~ .J -::"1 ~...Jl >- t- - 1.>-I j. I -* ~ V . . . . . .-~ ~~~I _~J r::i.Jtt..l 1 _ _ b _ _ J 1 b..l L . J b.lIt. - P T ~ ' D P II -

- ' '!I' _ h _ ~o t 11 " I-Hawthorne 31


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49

" *.ff

ff

lLI.. thorne 31


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50 , A A~ I q~ I 1 J ] I T T

t ....__" . . . , - - - -)

_::.- ~. . " ~ - . . . . : : . . . : . . _>- >- ::> ::> L.~~ l > 1 ._

IA A

/ ~ I J-"

h . .~ - - . . . . : : : : : : : . , . - - ' I I ! ! - ") .n- - - -..~---~ . . . , - v : -f L . . . J k . . l OL>L > 1.- _ .~ . . --~ . .I ~ -@ J TO ---... . . . . . . _ _ ~ .fft'_~ . . . . . . .

,-----J.th. ~/.h. ~ j: " J I.h.. , . . . b : - - - . . . , L ~ : = . _ . : : = : > ?;.i, .: .. .

! ii i i i i i i i i i i i i . .

Ih Ihr.h.F-

~ J 3 : ~ - . . . . . . . . . - . . : : : - : : 0 : : _ . . - . . . . . . . . . . . - - - - - - - - - - - . . : . : : = : > _ , -. . . = : . . . . ~ "l ::>- + t. ~.. II , . . . . . . . . 1 o f . . !- "'ill. - - ~ 1 -I I C 1 .~~ ~ ~q ~.~ i 5 ' - - - - ~ ~. ~ t~Il_1 IJfr. . . . . . . . . . . . . . . ~ fff . : : = : >.s. r.h. Ih ::>,: .. ~ lI. .- . : : = : >

very fast

vHawthorne 31


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53

III. "Th e A lcot ts", . . . - - . . . . . .. . . ...----.: : : > - ten~ 'r -; . , . . . . . ~i1 II I ~ I r-1 I I/\ 1 " . ,,- - - r ~ I ' :J I "...., ' 1 r L.:.r) Pmoderatelg pp.6 . , r - - , . . . . . . . . - - . . . ._.- - - ~ . .- . .

~.


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f

I n a g radua ll y>-

it:~J. . . . _ _ . . . . . . . .

fff

The Alcotts 5


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~fff ...._:__".rit,

sloweru: - - - - : - - - .

hold back a little

.'-----"The Alcotts 5

55

Slower and quietly . . . . - - - : - - - . . .


54/67

56A little faster

hold back a little~

'i I .-----:--;--..._ faster - I~ - ~I .\ r - - : f " r [~ 1 1 r~rW P l 1 i ) .J~n~ A Al ..b.J~~I._l_ .~I.nl. . . f:.. . - .r I I----~ I - I I I

- ~.I r - --gradually moreanimated

The Alcotts 5


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57

r>-

p: slowerpp

The Alcotts 5


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IV . "Thoreau"

ppp

~.

poco accel, a tempopoco rit.'-=-.h.l.u. J r. .,....

A rit. accei,_ _ l e n . ~ .~ ~ ~~. -fl

T!lOreau 10

~Jr: !f f: l'....._ ...... 1-----====--p~.: . ..


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more broadly but still quietly

and sustained - 1 - > b J ~,.---.. _ . . . , . . . - -I J -- 0 lr-1lowerto


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61

~~l~ ~ ~~ ~I __.,....__\ ,. '-.. L I i ~.~ t-...l Jr- ~ ~~ "l_l_ V ~L . 1 ~f" # i . _ " l' --- - - - - -f - - ~Slower ~p pp

L.~~: ~. . . ~~: ti~: # _ T i 1 \:... . . .. . . . . .." P ! - I If ~~.

more action

slowerThoreau to

(echo)- - - - - -A

g";.adually with more and


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slowly, and broadly

as an ecno=_ , . . - - . . . .. .

I. . . . . - - - . . . ..

t. It.* a Uttle slower. . - - - - : - . . ;---:---.

I.h. mp.~a tempoJ~~-~ . .

f=-phold pedal down 1

Thoreau to


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sustained and quietly again- I

~- - -. . . . . " I !! !! !! !! !! !I l.h. roh.tfj 1&~~~~QE : 1 - -


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64faster>

l.h.

piu rit.sNghtly faster>7.h. >

i----->(a little faster) A A(evenly andperversely)

Amore _ - and - more_ _ active

r.h.f~~~~]~ ~n ,.-..,_ ~l J~- I ] I ~ - . . ~ . -\ . .4) l.h. ! ~ T T r. t ~~ .G ' s- 1.~ j 11W~ . . . . . ~ T T _ _ !f T . ,. . . . q ' , . ."a : mpI .:>1. ,~Y; ; L I.", I. i #0.- I. . ..f . f : j 1 broadly and slowly l P P ~ mW !l.h. k . . d :. ef.'p sustaining pedal OWD-------.-:Thoreau 10


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65

ppp

. . _b~~\ - - - - - - - , . \,~c o L _ ; r - _ q r ~ r p V : . , r I ,~=-zr> f~ ~I aced.~ - loco-.~ . . . . . ~ = i t;: 'i r-. - : ~ ~a IOJOer________________________________________________________________________________________________________________

-===::::::=::::= ff~

e accel.

Thorea1 l to

gradually siower

loco P .P

a tempo~-r

ppOct. tOJOer ' __

f


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66

:faster r i~::>

;; N1 J ..1 - = : : : : : : - . . U~ J ! I I - . ; ; ; J 1 . J J l\ " faster II' ~ , .1 1 1 ' f wo rk up - Ll -~. . . It ~. . !t.. ~.= = r ~ \' ~~ ~ ~faster but b1'oadl1l

\' v

.ff

Thoreau 10


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67SlowerFlute .~.

or Pianoalone)

Flute ::::::::=--.... accel. - - - - /3"'-' " ---.....4) . . " ~ . . ~ ~. . , 11f* - . ~ J \ . . , ~ - - ;. . . - - - - : : : : : : : ~_h.~ - - - - - a J, . . . . I ti_j_,) j i r : ~ J ~: ft -.- . r " I : l'J I :u -- - -- - Jaster - ~b~' I:1.- J. 1.- . . J 1 . -- - . . . I ! I. . .~"at Aurried - - - _ slowly ago/in~ Small notes inpiano to be played only if flute is not used.Tborea1l to

"


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68 -rr--, .~1l.f} ~1-' r. t f ~+ - ~ b , . _ ~ ~ ~. ~. P P t ~ ~,) rtt.==-.----:----, .e -j)n ~~lb , 1 , l J nl b . . . . . . . .-- _ iii _ . ,- , , 'PP- - -ten,'U ~ I ~ ~


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I. EMERSON p 1. Throughout this movement, and to some extent in theothers, there are many passages not to be too evenly playedand in which the tempo is not precise or static; it varies usu-ally with the mood of the day, as well as that of Emerson, theother Concord bards, and the player. A metronome cannotmeasure Emerson's mind and oversoul, any more than the oldConcord Steeple Bell could. The tempo at starting may bearound 72-80 = a quarter note. But even on the first page,during the 4th brace and the first part of the 5th, the quarternote may have climbed up to over a 100, though the tempineed not be precisely the same, each time played. The sameessay or poem of Emerson may bring a slightly different feel-ing when read at sunrise than when read at sunset. p 3 - (3rd braceJ. The melody part marked Solo, in thelower line of the treble clef was originally a horn theme, andshould be heard distinctly. It stops at the C# at the end of thebrace and then becomes more a part of the counterpoint. p 6 - (2nd braceJ This fff chord may ring out just a littlelonger than a half note. p 8 - (top brace). Here begins a section which may reflectsome of Emerson's poetry rather than the prose. Also someof the other passages may lean more towards the poetrythan the prose.o p 9 - (4th brace). The melodychords in R.H. are but to sug-gest some of the outdoor sounds over the Concord Hills andthe right-foot-pedal beginning here can be guided by thephrase marks in the upper clef. p 14 - (5th brace). This is but one of Emerson's suddencalls for a Transcendental Journey, which may be more widelyreflected on p. 17. Chord in R.H. O(3rd brace, page 17),three lowest notes A, Band C hit with thumb. In the chord atthe end of the first measure, 5th brace, on this page, thelower D (l.H.) may be left out, the middle finger (l.H.) hittingthe Bq and C, first finger the D, and the thumb striking the Eand F in as strong and hard a way as possible, almost asthough the Mountains of the Universe were shouting as all ofHumanity rises to behold the "Massive Eternities" and the"Spiritual Immensities."p J 9 - (3rd brace). The four small notes in lower clef, Bflat,A, F# and G, if played, may be struck lightly by the left handas quickly after the bass octaves are played as possible.

(last braceJ. The upper C#'s and E's in treble clef butplayed by l.H. are but to reflect the overtones of the soul ofhumanity and as they rise away almost inaudibly to the Ulti-mate Destiny.II. HAWTHORNE p 2 J. For the most part, this movement is supposed to beplayed as fast as possible and not too literally. Marks oftempo, expression, etc. are used as little as possible. If thescore itself, the preface or an interest in Hawthorne suggestnothing, marks may only make things worse.

It is not intended that the relation 2 ; 1 between the 32ndand 16th notes here be held to always literally.

The use of the sustaining pedal is almost constantly re-quired.

o P 25. The group chords in upper clefs, played by using astrip of board 143,4 inches long and heavy enough to pressthe keys down without striking.o p 26 (fop brace). These chords and others, somewhat simi-lar, are more as Qrpeggios "from hand to hand" rather thanfrom "finger to finger." p 30 (fowest brace). The smaller notes here if played, in-stead of the usual sized notes in same l.H. part, will notslow up the speed as some of the wider jumps would. p 33 (top brace). The first chord in the Hymn, (ppp), isto be played before the ffff chord held with right foot pedalis stopped - as a Hymn is sometimes heard over a distanthill just after a heavy storm. The above also applies to the 's in the 1st and 2nd braces p. 34. p 34 - (3rd and 4th braces). Here the Hymn for a momentis slightly held up by a Friendly Ghost in the Church Yard. p 34 - (bottom brace - last measure). The D#'s in thetreble clef - also bass clef in first two measures, p. 35 - arehit hard by the l.H. as a trombone would sometimes call theOld Cornet Band to march.p 36 - (bottom brace). A Drum Corps gets the best of theBand - for a moment. p 37. Playing the smaller notes in l.H. will help to keep thespeed. p 4 J - (3rd brace). The l.H. hits hard the lower B flatCGAB natural.

(5th brace). These group-chords in R.H. may, if the playerfeels like it, be hit with the clenched fist, and in the last meas-ure of this brace the l.H. run-ups may be played as suggestedin the first two measures in same staff. p 42 - (4th braceJ. After the first chord the G (eighth note)in R.H. is played slightly after the chord, so that the phraseof the distant hymn may be heard as such. p 45 - (4th and 5th braces). Small notes ad lib, instead ofthe others on same beat in L.H. which may tend to slow upthe speed. p 47 - (2nd brace). The small B natural (L.H.) may be leftout.o P 48 - 4th braceJ. Here again small notes are ad lib. P 49 - (2nd brace). In several places from here to the endof this movement the accents in both hands, as they are oftenon different beats, should be hit as hard as possible.o p 50 - (3rd brace). As it is very difficult to play this "callof the cloud breakers" as fast as it wants to go, the lowestnote in the. R.H. chords may be omitted (ad lib).III. THE ALCOnSp 55. The high small notes, F# and C#, in R.H., 1st brace, 3rdbrace F#, and p. 56, 2nd brace, may be held a little longerbefore the next chord is played. They are but a kind of over-tone echoes over the "Orchard House" elms.IV . THOREAUo p 59. This Thoreau movement is supposed to be played ina lower dynamic ratio than usual; - i.e., the "f" here is ;tboutthe "mf" of the preceding movements. Both pedals are usedalmost constantly.


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* P 60 - (4th brace). Small notes in treble clef ad lib but ppif played, while the other noteson somebeat are mf.p 62 - *(2nd brace). As a distant echo over Walden.p 62 - *(3rd brace). Small notes hereppp but better playedthan omitted.* p 67. A flute may play throughout this page but stops atend of 1 st brace on next page (68). If no flute, the bracebelow the first (p ~7) is for piano alone, and the small notesin these two lower braces and in the 1 st brace on lost pageare to be played - but Thoreau much prefers to hear theflute over Walden.* P 68 - (2nd brace). The last two chords (treble clef) arebut distant echoes over the lake, the one in small notes ifplayed is to be scarcely audible.

*(4th brace). This echo may be played as the one above.*(5th brace). If the last chord (treble clef) is not sounding

when the last noteC# (L.H.)is played, it may be played againwith thequtpppp.Sometimes,as on pages 62-65-68, an old ElmTree may

feel like humming a phrase from "Down in the Corn Field,"but usually very slowly; perhaps a quarter note goes downto 50, even lower, or thereabouts - as the weather vane onthe old RedBarnmay direct.As there have been many requests for copies of critical

and descriptive articles about this Sonata, the following maybe of someinterest. But it is also included as a kind of "mem-orial" to four sincereand gifted critics of musicand literature- now gone to the next world:"Any effect which goes deeper into somemode or thought

or manner of living essentially and exclusively American mustinterest as a movement in the direction of artistic integrity.It would not be the 'national' characteristics which wouldhave value, save as they grew flower-like from bole andbranch, it would be the value of some unique phase of ourNorth American life brought to artistic expression ... Theinterest becomesastonishmentwhen the printed score of oneof the larger works reveals music unlike anything one hasseen before - a broad, strong and original style with norecognizable derivations from Debussy,Straussor Stravinsky.... Turning to the book, we find a scorewithout time or keysignature and no measure divisions. Certain rhythmical divi-sions.supply guidance. The music is broad and stately, therhythmic arches are very wide.... It sways as freely as atree top in the wind. Indeed there is no unity of idea in thesensethat one part grows out of another. One feels only apsychic kind of connection that might, in this case, reason-ably be called a musical logic. The Emersonmovement is as

humor, simplicity, homeliness. It has imaginative and spiritualvastness.It has wisdom, beauty and profundity, and a senseof the encompassing terror and splendor of human life andhuman destiny - a sense of those mysteries that are bothhumananddivine...."The Hawthorne movement is a Scherzo of unearthly

power and intensity, transcending its subject. In the Thoreaumovement, there is musicof a poetic fervor and exaltation inwhich the essence of Thoreau's imagination is magicallycaptured and conveyed. The third movement, The Alcotts,evokes for us Concord Village itself, 'which reminds one ofthat common virtue lying at the height and root of all theConcord divinities.' ..."But it is the thought of Emersonthat thas drawn from Mr.

Ives a quality of musical utterance which is altogether ex-traordinary and unique ... pages in which the expressionalpower of musical speech is mysteriously extended and re-leased. This is wonderful writing, alembicated and other-worldly; music worthy of the great and mystical sayings ofEmersonhimself..." ... Charles Ives is as unchallengeably American as the

Yale Fence..."It remains to be added that to Mr. John Kirkpatrick, who

made this music known to us in its entirety, an immeasurabledebt of gratitude is due. His own achievementas an artist wassomething not soon to be forgotten - a prodigious feat ofmemory and execution. The Sonata is almost unplayable. Itsdifficulties are appalling. Mr. Kirkpatrick conquered themasthough they did not exist. His performance was that of a poetand a master, an unobstrusiveminister of genius."*(LAWRENCEGILMAN-" A Masterpiece of AmericanMusic,"

New York Herald Tribune-January 21, 1939)"That is lves, the American as an artist, as a composer,

and the foremost of the Americans who have expressed theirfeelings of life in musical forms.... The Concord Sonata in-deed remains the solidest piece of piano musiccomposed byan American. Its beauty and its significance still surprise us;they still are one of the wonders of the last years, which haverevealed them."

*(PAULROSENFELD-"Discoveries of a Music Critic"Harcourt, Braceand Company, New York, 1936)

"ESSAYSBEFOREA SONATA"-by Charles E. Ives, Knick-erbocker Press,New York."Charles Ives is a graduate of the Classof 1898, and is a

son-in-law of the Yale Corporation. He is a musician, and hasfor once changed from notation into type. This is a brilliantand provocative book, full of challenging ideas, and marked

ives - piano sonata no2 'concord

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