{"id":8355,"date":"2013-04-02T00:00:00","date_gmt":"2013-04-01T23:00:00","guid":{"rendered":"https:\/\/www.musikzeitung.ch\/allgemein\/8355\/"},"modified":"2024-10-07T10:38:50","modified_gmt":"2024-10-07T08:38:50","slug":"8355","status":"publish","type":"post","link":"https:\/\/www.musikzeitung.ch\/en\/rezensionen\/tontraeger-rezensionen\/2013\/04\/8355","title":{"rendered":"Resourceful edits"},"content":{"rendered":"<figure id=\"attachment_59170\" aria-describedby=\"caption-attachment-59170\" style=\"width: 1006px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-59170 size-full\" src=\"https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2013\/04\/Charles_Edward_Ives.jpeg\" alt=\"\" width=\"1006\" height=\"768\" srcset=\"https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2013\/04\/Charles_Edward_Ives.jpeg 1006w, https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2013\/04\/Charles_Edward_Ives-300x229.jpeg 300w, https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2013\/04\/Charles_Edward_Ives-768x586.jpeg 768w, https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2013\/04\/Charles_Edward_Ives-16x12.jpeg 16w, https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2013\/04\/Charles_Edward_Ives-229x175.jpeg 229w, https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2013\/04\/Charles_Edward_Ives-458x350.jpeg 458w, https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2013\/04\/Charles_Edward_Ives-920x702.jpeg 920w\" sizes=\"auto, (max-width: 1006px) 100vw, 1006px\" \/><figcaption id=\"caption-attachment-59170\" class=\"wp-caption-text\">Charles Edward Ives around 1947, photo: Clara Sipprell, <a href=\"https:\/\/npg.si.edu\/object\/npg_NPG.82.185\" target=\"_blank\" rel=\"noopener\">National Portrait Gallery Washington<\/a><\/figcaption><\/figure>\n<p>It is a little known fact that Charles Ives' catalog of works is dominated by over 200 songs. After all, the father of the American avant-garde has gone down in history as the creator of groundbreaking orchestral works. The entire cosmos of Ives' aesthetic between down-to-earth folklore and bold experimentation, romantic eclecticism and visionary progressiveness, this unique blend of invention, parody and quotation is also reflected in concentrated form in his impressive oeuvre of songs.<\/p>\n<p>The cleverly put together <em>Songbook<\/em> speaks volumes in this respect. Its special feature: these are instrumentations for ensemble. This makes particular sense in Ives' case: firstly, the composer has interwoven his material in an almost labyrinthine way in a wide variety of works and instrumentations; secondly, his songs, with their extremely suggestive piano part, which often refers to very specific everyday music (even from the text), virtually cry out for instrumental \"coloring\".<\/p>\n<p>But as an arranger, Sebastian Gottschick does not organize a musical \"painting by numbers\". His wonderful orchestrations not only take account of Ives' spectacular polystylistics, when intermezzi such as <em>All the way around and back<\/em> or <em>Gyp the Blood<\/em> become polyrhythmic chaos. Unfortunately, we can only hint here at how sensitively and imaginatively Gottschick (himself also a composer) not only does justice to the different, sometimes abruptly changing tonalities within a song, but also productively carries them forward in the ensemble. He has refined the tonal extravagances just as resourcefully as the ironic refractions and parodistic exaggerations.<\/p>\n<p>The same goes for the singers. Jeannine Hirzel and Omar Ebrahim find a multitude of nuances in this kaleidoscope of American turn-of-the-century music, cleverly breaking up the kitsch factor in the very first song and doing credit to Ives' ideal of a non-academically straightened interpretation.<\/p>\n<div class=\"text-section\">\n<div class=\"text-section\">\n<dl class=\"picture media photo\">\n<dt><img decoding=\"async\" class=\"media photo aligncenter\" src=\"https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2023\/01\/Ives.jpg\" alt=\"Image \" \/><\/dt>\n<\/dl>\n<\/div>\n<p><em>Charles Ives: A Songbook; arranged for voices and chamber ensemble by Sebastian Gottschick. Jeannine Hirzel, mezzo-soprano; Omar Ebrahim, baritone; ensemble f\u00fcr neue musik z\u00fcrich. Has nowART 183 <\/em><\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"<p><strong>The songs of Charles Ives are little known. Here you can discover them arranged for ensemble.<\/strong><\/p>","protected":false},"author":1,"featured_media":59170,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","pgc_sgb_lightbox_settings":"","footnotes":""},"categories":[29,1420],"tags":[],"class_list":["post-8355","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-rezensionen","category-tontraeger-rezensionen"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Findige Bearbeitungen - Schweizer Musikzeitung<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.musikzeitung.ch\/en\/rezensionen\/tontraeger-rezensionen\/2013\/04\/8355\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Findige Bearbeitungen - Schweizer Musikzeitung\" \/>\n<meta property=\"og:description\" content=\"Die Lieder von Charles Ives sind wenig bekannt. 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