Chicago Contemporary Chamber Players Program 3, part four
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On the second half of tonight's program we will hear the first and forth of five
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senators for Violin and Piano. The program notes for the fourth
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Sonata are somewhat lengthy but they are quite good and we would like to read them now since there
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probably will not be time later. The words are Ives own and he
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says of the fourth Sonata. It is shorter than the other violin sonata has and a
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few of its parts and suggested themes were used in organ and other earlier pieces.
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The subject matter is a kind of reflection remembrance expression etc..
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Of the children services at the outdoor summer camp meetings held around Dan Barry in the 70s
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80s and 90s. There was usually only one Children's Day in the summer
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meetings. And the children made the most of it. Often the best of it.
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The first movement which was sometimes played last and the last first
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was suggested by an actual happening at one of these services. The children especially
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the boys like to get up and join in the marching kind of hymns. One day lower
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Masons work for the night is coming. Got the boys going and keeping on between
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services. When the boy who played the melodeon was practicing his organics of
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Canon IX fugue attics are Mannix and melodic. In this movement.
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The postlude organ practice real and improvised sometimes both and
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the boys fast march got the going together. Even joining in each other's sounds and the
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loudest singers and also those with the best voices. As is often the case I would sing
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most of the wrong notes. They started this tune on me so the boy
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organists father made him play so hard. Even if sometimes it had to be a key
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that the postlude was not in just then. Sometimes the organ would be
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uncovering covered fifths breaking good resolutions faster and faster
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and the boys march reaching almost to Main Street quickstep. When Pastor Hubbell would beat the gong on the
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oak tree for the next service to begin. The second
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movement is quieter and more serious. Except when Deacon stone mason bell and Farmer
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John Wood get up and get the boys excited. But most of the movement moves around a rather
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quiet but old favorite hymn of the children while mostly in the accompaniment is heard
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something trying to reflect out-of-doors sounds of nature on those summer days.
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But as usual. Even in the quiet services some of the Deacon enthusiastic would get up and
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sing roar pray and shout but always fervently. Seriously
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reverently perhaps not artistically and perhaps the better for it.
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Where many of the fields and rocks not artists Farmer John would say. At these times
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these con furore and would give the boys a chance to run out and throw stones down on the rocks
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in the brook. But this was only
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momentary and as this movement ends sometimes a distant Amen is heard.
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Yet often during the sermon and a man would ring out as a trumpet call from a pew.
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The third movement is more of the nature of the first. As the boys get marching again.
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Some of the old men would join in and march as fast sometimes as the boys
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and sing what they felt regardless and thanks to Robert Lowery gather at
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the river.
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The first work on this half of the program will be the first sonata
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the first Sonata is the most traditionally oriented but once again has that characteristic improv as a
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Tory feel. Fragments of well-known songs and hymns abound
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especially in the touching slow movement. There are several sections in the finale where
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the violin and piano seem to go their own way without regard for each other. But actually
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everything is precisely written out and must be carefully coordinated. In many
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places the wrong notes deliberately written into the piano part seem to be satirical of bad
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playing.
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Here once again. Is a blackboard. Yanno. Yesterday is over and then. For
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the first. Sonata.
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For Violin and Piano By Charles I. The three movements are marked
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first and Dante Allegro Vivace and Dante second
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Largo and finally Allegro.
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Why.
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Do
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you
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do.
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Yes.
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This program has been transcribed using automated software tools, made possible through a collaboration between the American Archive of Public Broadcasting and Pop Up Archive. Please note that no automated transcription is perfect nor is it intended to replace human transcription labor. If you would like to contribute corrections to this transcript, please contact MITH at mith@umd.edu.