- 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.242) 11 “Thoreau”The Music
- Charles Ives's Concord
- University of Illinois Press
Ives’s “Thoreau” music takes its cue from several passages in Thoreau’s Walden, including a musical depiction of three walking tours that basically circumnavigate Walden Pond from Thoreau’s cabin. Quotations from the Stephen Foster song “Massa’s in de Cold, Cold Ground” create a political quandary, but the music devolves into a calm ostinato that reflects nature’s unhurried pace. A flute that enters at the end refers to Thoreau’s habit of playing the flute from his boat in Walden Pond.
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