Ives

Gen X-ers will instantly recognize Burl Ives's voice from his appearance as a rotund snowman in the animated TV classic Rudolph the Red Nosed Reindeer. But more mature listeners should remember that Ives was a key figure in the folk explosion of the '50s. His pop handling of traditional tunes brought him great success, and this CD collects some of his best. A few tracks, like a swinging "Blue Tail Fly," complete with Andrews Sisters-style background singing, may seem anathema to the folk aesthetic, but that's splitting hairs. If nothing else, this is exceedingly friendly music, and there's nothing wrong with that.

Charles Ives composed his first two symphonies between 1897 and 1902, but they weren't performed until a half-century later, when Leonard Bernstein premiered the Symphony No. 2 in 1951, and Richard Bales conducted the Symphony No. 1 in 1953. The contrasts between the two symphonies are striking, since the First was a student work, composed in emulation of the European tradition, while the Second was more idiosyncratic in the use of hymn tunes, folk songs, and other Americana, all developed in a freewheeling manner that reflected Ives' eclectic musical upbringing. This 2015 hybrid SACD by Andrew Davis and the Melbourne Symphony Orchestra is a straightforward presentation of both works, side-by-side, and their differences are highlighted in the styles of playing.

Older Ives enthusiasts may recall the First Piano Sonata in performances by William Masselos who played the work for the first time in 1954, the year the composer died. Odd, but familiar in Ives, for such a masterpiece to have to wait 45 years to be heard! Masselos made two recordings (nla) which established the character of this richly inventive work. The one by Noel Lee (on a Nonesuch LP—only available in the USA) made in the late 1960s is almost as impressive. Joanna MacGregor's recording is now a landmark since there is effectively no competition in the British catalogue: DJF found little to recommend in John Jensen's performance on Music and Arts (9/90) so it is best to compare MacGregor, who is certainly busy in the recording studios these days, with these earlier Americans.

Whereas most musicians seem to emphasize the music's reflective, nostalgic elements, Schneeberger and Cholette are more attuned to the abstract qualities in the music. On balance, I find that I still prefer the traditional approach, exemplified by Shannon and Fulkerson. To my ears, these artists manage to capture something wonderfully magical and mysterious that just eludes Schneeberger and Cholette. However, I should note that some critics have given high praise to this ECM disc. For example, it was awarded five stars in a BBC Music Magazine review. Another bonus: The ECM recording squeezes all four sonatas on a single disc.