Ives: The Eye Is the First Circle

Simone Dinnerstein’s breakthrough recording was of the Bach Goldberg Variations, one of the most frequently recorded works in the keyboard repertoire. Her performance was distinguished by an exceptionally lyrical and thoughtful approach, making it stand out in a very crowded field. She brings similar attributes to this new release of a live performance of a 20th century classic, the Concord Sonata of Charles Ives, although the music could scarcely be in greater contrast, stylistically, to Bach. The Ives Sonata is something of a Frankenstein monster; it is huge in every sense, usually lasting for 45 minutes, alternately extremely dense and delicate, reflecting the New England transcendentalists who are named for the four movements; Emerson, Hawthorne, the Alcotts, and Thoreau. There is gentle, introspective poetry in the work, but the main impression is of tremendous energy, immense clusters of harmony, and a frequent disregard for barlines. The work is sometimes compared to the similarly audacious and powerful Hammerklavier Sonata of Beethoven, a claim that seems validated by the quotes from the older master’s sonata and iconic opening chords from Symphony No. 5. It’s a great ride, and Dinnerstein is a superb pilot.