- 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.210) 9 “The Alcotts”
- Charles Ives's Concord
- University of Illinois Press
Ives’s “Alcotts” movement is based on two figures, the popular novelist Louisa May Alcott and her grandiloquent but feckless philosopher father, Bronson Alcott. The music, ranging from idyllic to tempestuous, leaves ambiguities as to which figure is being referred to. The middle section refers to 19th-century American parlor-style music, and the ending is the most complete and triumphant statement of the “Human Faith” theme.
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