- Title Pages
- 1 The Story of the <i>Concord</i> Sonata, 1911–1947
- 2 The Programmatic Argument and Henry Sturt
- 3 The Human Faith Theme and the Whole-Tone Hypothesis
- 4 “Emerson” <i>The Essay</i>
- 5 “Emerson” <i>The Music</i>
- 6 The “Emerson” Concerto and Its Offshoots
- 7 Hawthorne and <i>The Celestial Railroad</i>
- 8 “Hawthorne”
- 9 “The Alcotts”
- 10 “Thoreau” <i>The Essay</i>
- 11 “Thoreau”<i>The Music</i>
- 12 A Harmony of Imperfections<i>The Epilogue</i>
- 13 The First Piano Sonata
- 14 Editions (1920 versus 1947) and Performance Questions
- Appendix A Correction of Misattributed Quotations in <i>Essays before a Sonata</i>
- Appendix B Variants in Available Recordings of the <i>Concord</i> Sonata
- Appendix C Must a Song Always Be a Song?
- Production Credits
- (p.157) 8 “Hawthorne”
- Charles Ives's Concord
- University of Illinois Press
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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