Re: Happy New Year!
- View SourceHappy New Year Johnny
and Happy New Year to all of the members of the Charlesives'group
I know Ives as Composer and as insurance businessman,but the financial
and artistic supporter of the American Avant-garde (i don't know the
english word for "Mecene" )seems less studied by the historians
(except by Frank R.Rossiter in his 1975 monumental study on Ives ).To
me Ives was, for American Avant-garde as important as Caillebotte for
the Impressionists .
--- In firstname.lastname@example.org, Afmmjr@a... wrote:
> It has indeed been a wonderful year from the perspective of findnig
> in Ives. And I sincerely thank you all for listening and responding.
> I wanted to share something I just learned from listenng to a Nicholas
> Slonimsky interview that I found on the web. He announced, 40 years
after the fact,
> that Ives financially supported Edgard Varese in his concerts, even
> Varese's death. This includes performances of "Ionization" which
> to Slonimsky.
> How amazing that the great philanthropist Ives could support music
> disparate styles, and anonymously. He even gave support to John
> to Cage, himself. What other things are there to unearth about Ives's
> Indeed, American music could not exist as we know it without his secret
> gifts. Alas, he died and now music is floundering. Are there no
others out there
> with Ives's strength of conviction...and money?
> [Non-text portions of this message have been removed]
- View SourceAt 08:32 PM 12/31/2005, Patrick wrote:
>I know Ives as Composer and as insurance businessman,but the financialMy Harrap shows:
>and artistic supporter of the American Avant-garde (i don't know the
>english word for "Mecene" )seems less studied by the historians
>(except by Frank R.Rossiter in his 1975 monumental study on Ives ).
"Mécène" 1. Pr. n. m. Maecenas. 2. s.m. Patron (of arts, letters)
- View SourceYes, Nicholas Slonimsky told a wonderful story.
The New York Philarmonic had two rehearsals with Ionization before Mr.
Slonimsky realized this group of "cavemen," not to be confused with the excellent
skills and intentions of today's New York Philharmonic, could not play the
As a result, all the important voices of new music in NYC created an
orchestra of unpitched percussionists. Henry Cowell played piano while Slonimsky
conducted. Wallingford Riegger played, as did Paul Creston, William Schumann, and
The press called them the Wild Anarchists of Music. The players performed
for free and the audience was admitted at no cost. It was in a hall once
adjacent to Carnegie seating 100-200 persons. Aaron Copland was in the audience: A
Romantic Era in Modern Music had begun.
The New York Philharmonic would insist on being paid, even though they didn't
play and a new orchestra had volunteered to perform it. Charles Ives paid
these expenses, as well presumably, the cost of the hall, and any other sundry
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