Ives’s “Hawthorne” movement is a complicated essay in moment form – a kind of collage of discontinuous and fairly static musical moments. Being inspired by a story about a train, it runs on ostinatos (repeating bass figures). For decades Kirkpatrick’s analysis of the movement in seven parts has prevailed, but a more detailed approach recognizes ten distinct sections: one imitating a brass band, another evoking the pilgrim’s in Hawthorne’s story, and others showing Ives’s idiosyncratic conception of ragtime.
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