Parker and Ives #0326
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, Opus 66, number 1 [1910]-Albert Ahlstrom (1895 Müller & Abel/St. Joseph - Yorkville, 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
HORATIO PARKER: 3 Pieces: Fugue, Opus 36, number 3; Arietta, Opus 8, number 4; Postlude, Opus 66, number 4 –Albert Ahlstrom (1895 Müller & Abel/St. Joseph - Yorkville, New York, NY) Raven OAR-340
CHARLES IVES: Adeste fidelis In an Organ Prelude [1897] –Hans-Ola Ericsson (1987 Grönlunds/Luelå Cathedral, Sweden) BIS-CD-510
CHARLES IVES: Cantata, The Celestial Country [1899] –Martha Hart, mezzo soprano; Dan Dressen, tenor; Michael Jorgenson, baritone; Saint Olaf Choir and Ensemble, Anton Armstrong, conductor; John Ferguson (1990 Visser-Rowland/Wooddale Church, Eden Prairie, MN) Linn CKD-203
HORATIO PARKER: Allegretto, from Sonata in e-flat, Opus 65 [1908] –James Welch (1965 Flentrop/Episcopal Cathedral of St. Mark, Seattle, WA) Wilson CD-8314
HORATIO PARKER: Fugue, from Sonata in e-flat, Opus 65 [1908] –Karl Moyer (1859 E. & G.G. Hook; 1982 Andover Organ Company/Holy Trinity Lutheran, North Easton, MA) Raven OAR-290
