Symphony No.2 - Charles Ives

Nashville Symphony Orchestra conducted by Kenneth Schermerhorn.

I - Andante moderato - (attacca): 0:00
II - Allegro - Meno allegro - Tempo primo - Meno allegro - Tempo primo: 6:18
III - Adagio cantabile - Andante - Adagio cantabile: 20:19
IV - Lento maestoso - Più andante - (attacca): 28:53
V - Allegro molto vivace - Meno allegro - Allegro vivace - Meno allegro - Gradually faster: 31:16

Ives' Symphony No.2 was composed mostly between 1897-1902, using previous material and assembling them together. However and as with most of Ives' music, he continued to tweak and modify the work from time to time for the rest of his life up to 1942. It wasn't premiered until February 22 of 1951, performed by the New York Philharmonic Orchestra conducted by Leonard Bernstein. This concert finally brought Ives to the public view after so much time in obscurity.

The first symphony was in the vein of the European tradition, the second greatly deviates from it while not completely breaking away. Ives abandoned the four-movement structure as well as incorporated a wide array of materials inspired by American popular music. Ives also quotes past composers like Bach, Brahms and Wagner. Elements that recalled the vernacular music-making of his New England upbringing. Thus this symphony predates, by almost 30 years, the work of American nationalist composers such as Roy Harris, Aaron Copland and Virgil Thomson.

The first movement was based on two pieces: the Organ Sonata and the Down East Overture, both lost. It opens with the bass strings with a theme similar to Foster's "Massa's in de Cold Ground" in a exposed through a flowing fugato. A more light and playful second theme references the fiddle tune "Pig Town Fling". Follows a development in which these materials are combined with a motive from the popular song "Columbia, the Gem of the Ocean". Other, more subtle references are the song "Nettleton", the Sinfonia in F Minor (BWV 795) by J.S. Bach and Brahm's Symphony No.1. The main theme is then recapitulated. A solo from the English horn leads us directly to the next movement

The second movement was based on music from a lost set of overtures "In These United States". It opens with a near quote of Work’s song "Wake Nicodemus" by the woodwinds. It is followed by a more solemn second theme based on the gospel hymn "Bringing In The Sheaves". A third, more lyrical and gentle theme is presented by the clarinet, which is also a quote of the song "Where, O Where Are the Pea-green Freshmen?". These materials are developed, then richly reexposed in varied ways before leading us to a more standard recapitulation. A powerful coda based on "Wake Nicodemus" ends the movement along with the hymn "Hamburg" on the brass.

The third movement originally was part of Symphony No.1, though it was removed at his teacher Horatio Parker's insistence. It begins with a wide and lyrical main theme exposed by the strings, which is a blend of John Sweney’s gospel hymn "Beulah Land" and Samuel Ward’s hymn tune "Materna" (now known as "America the Beautiful"), with hints of the second movement of Brahm's Symphony No.1. The middle section begins with a more active second theme, built on the hymns "Missionary Chant" and "Nettleton". The main theme is then recapitulated, leading us to a peaceful coda.

The fourth movement is based on the lost overture "Town, Gown, and State". It begins with the reappareance of the three main themes of the first movement but interpreted in different ways ("Massa's in de Cold Ground", "Pig Town Fling" and "Columbia, the Gem of the Ocean"). The main theme, with a dramatic tone, is particularly preminent. This is a short introduction that quickly leads us to the next movement.

The fifth movement originated as the overture "The American Woods", also now lost. It opens with a lively and rhythmic main theme, partially derived from the scherzo of Tchaikovsky's Symphony No.4. It is soon enriched with references of Stephen Foster's song "Camptown Races" in the horns, followed by a military march from the American civil war. "Camptown Races" reappears on basses and trombones. "Turkey in the Straw" appears on the woodwinds. The "Pig Town Fling" from the first movement reappears here as a lyrical second theme on strings, combined with the song "Old Black Joe" on the horn and "Where, O Where Are the Pea-green Freshmen?". The flute briefly references Thomas Bayly's "Long, long ago". The development begins with a reference to "Antioch", which is soon contrapuntally combined with the previous material. The main themes are then recapitulated. "Antioch" begins a more lively passage that practically combines all the material of the symphony in addition of "Reveille", with "Columbia" on the front. However, this brilliant coda, and thus the whole work, ends with a tremendously dissonant cadence.

Picture: "Spring in Town" (1941) by the American painter Grant Wood.

Sources: https://bit.ly/3rPGN7Z, https://bit.ly/3v9X35L, https://bit.ly/36NpYTY.