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Charles Ives and Horatio Parker
This week we’ll examine the styles of a teacher and his student. Horatio Parker was traditionally schooled in 19th century Germany. A true Romantic. His devilishly talented upstart student Charles Ives, on the other hand, thought nothing of having a choir sing a hymn in one key while he accompanied in another. Despite their differences, American music would not be what it is today without both of them. Parker created lovely works of fine craftmanship while Ives chartered new territory.
Tradition becomes transition at the turn of the 19th century. Hear the contrasts between the old guard and one very enterprising student who brought a uniquely individual voice to 20th century American music. This week, it’s Parker and Ives.
HORATIO PARKER: Festival Prelude, Op. 66, no. 1 (1910)-Albert Ahlstrom (1895 Müller & Abel/Saint Joseph’s Church, New York, NY) Raven OAR-340
CHARLES IVES: Variations on America (1891) -Antonio Frigé; (1978 Mascioni/Church of Saint Alessandro, Barzio, Italy) Nuovo Era CD-7042
PARKER: 3 Pieces (Fugue, Op. 36, no. 3; Arietta, Op. 8, no. 4; Postlude, Op. 66, no. 4) –Albert Ahlstrom (1895 Müller & Abel/Saint Joseph’s Church, New York, NY) Raven OAR-340
IVES: Adeste fidelis In an Organ Prelude (1897) -Hans-0la Ericsson (1987 Grönlund/Luelå Cathedral, Sweden) Bis CD-510
IVES: Cantata, The Celestial Country (1899) –Martha Hart, ms; Dan Dressen, tenor; Michael Jorgenson, baritone; Saint Olaf Choir and Ensemble, Anton Armstrong, conductor; John Ferguson (1990 Visser-Rowland/Wooddale Church, Eden Prairie, MN) Lin CD-203
PARKER: Allegretto, from Sonata in e-flat, Op. 65 (1908) -James Welch (1965 Flentrop organ/Saint Mark’s Cathedral, Seattle, WA) Wilson CD-8314
PARKER: Fugue, from Sonata in e-flat, Op. 65 (1908) –Karl Moyer (1859 Hook/Holy Trinity Lutheran Church, North Easton, MA) Raven OAR-290