Charles Ives' Symphony No. 4 is a remarkable piece of music that stands out for its complexity and innovative orchestration. Composed between 1910 and the mid-1920s, this symphony is a testament to Ives' unique approach to composition, requiring a large orchestra and often two conductors to perform. The symphony is divided into four movements, each contributing to its reputation as one of Ives' most definitive works.
The Prelude: Maestoso
The first movement of Symphony
No. 4, titled "Prelude: Maestoso," sets the stage with a strong, fortissimo bassline followed by a trumpet fanfare. This movement is an orchestral expansion of a student fugue exercise Ives composed during his time at Yale University. It ends with a brief quotation of "Joy to the World," adding a familiar touch to the complex orchestration. The movement was first performed in 1927, but Ives' complete version was not heard until the symphony's full premiere in 1965.
The Prelude is notable for its use of a chorus singing John Bowring's Epiphany hymn "Watchman, Tell Us of the Night." This element, combined with the movement's dynamic range, creates a powerful opening that contrasts with the quieter, more meditative beginnings of Ives' other orchestral works. The movement's complexity is further enhanced by irregular bar lengths, polyrhythms, and dissonances, making it a challenging piece for performers.
The Comedy: Allegretto
The second movement, "Comedy: Allegretto," is based on Nathaniel Hawthorne's story "The Celestial Railroad," itself a trope on John Bunyan's "Pilgrim's Progress." This movement is an orchestral expansion of Ives' piano solo "The Celestial Railroad," composed around 1924. It represents one of Ives' last orchestral endeavors and is his most extreme essay in overlapping thematic material.
The "Comedy" movement is characterized by its use of multimetrics and temporal dysynchronies, requiring at least one additional conductor. It includes quotations from various tunes such as "In the Sweet By-and-By" and "Nearer, My God, to Thee." The movement builds to several climaxes before ebbing away, showcasing Ives' ability to weave complex musical narratives.
The Finale: Very Slowly – Largo Maestoso
The symphony concludes with the "Finale: Very Slowly – Largo Maestoso," which Ives described as an "apotheosis of the preceding content." This movement employs a separate percussion ensemble that plays in a different tempo from the main orchestra, creating a tightly controlled temporal relationship that challenges conductors and performers.
The Finale was first performed as part of the symphony's complete premiere in 1965, conducted by Leopold Stokowski. Ives considered this movement to be one of his best works, reflecting his exploration of the reality of existence and its religious experience. The use of quarter tones and a dedicated quarter-tone piano further distinguishes this movement, highlighting Ives' innovative approach to composition.
