A fresh take on the rarely heard music of Charles Ives
Charles Ives — that brilliant, visionary, utterly original and perfectly down-to-earth composer — may have written some of the most astonishing American music of the 20th century, but with a reputation for being “difficult,” he still shows up far too rarely on concert programs.
Fortunately, Ives has the formidable Angel Gil-Ordóñez and Joseph Horowitz of the PostClassical Ensemble as his champions, and on Sunday evening, they teamed up with the Georgetown University Orchestra to present two of the composer’s most iconic works: the Piano Sonata No. 2, “Concord, Massachusetts 1840-1860” and the Symphony No. 2.
The PostClassical Ensemble is known for its contextual performances — enhancing music with contemporary writings and art — and for Sunday’s concert, baritone William Sharp joined pianist Steven Mayer for a performance of the “Concord” sonata that alternated writings from Ralph Waldo Emerson, Henry David Thoreau and Ives himself with the four movements of the work.
It is an interesting approach, but Mayer’s playing was so riveting that you found yourself wishing that Sharp would maybe just stay quiet for a bit and let the music speak for itself. Steeped in the transcendental philosophy of 19th-century Concord, it is a work of immense scale and a kind of roaring, ecstatic spirituality — qualities Mayer brought out in a searching and extraordinarily powerful performance.
You have to hand it to Georgetown University; despite a minuscule music department, the school can field a presentable orchestra (made up entirely of students who are not music majors) and bring off works as ambitious as Ives’s Symphony No. 2 from 1909.
Under Gil-Ordóñez’s baton, the orchestra turned in a colorful and often spirited performance, with a luminous “Adagio cantabile” movement and an explosive close — a performance that, in its direct and unvarnished sincerity, Ives would surely have enjoyed.