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Charles Ives - Memories

 
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(Very Pleasant)
We're sitting in the opera house;
We're waiting for the curtain to arise
With wonders for our eyes;
We're feeling pretty gay
And well we may
"O, Jimmy, look!" I say
"The band is tuning up
And soon will start to play."
We whistle and we hum
Beat time with the drum

We're sitting in the opera house;
We're waiting for the curtain to arise
With wonders for our eyes
A feeling of expectancy
A certain kind of ecstasy
Expectancy and ecstasy... Sh's's's

(Rather Sad)
From the street a strain on my ear doth fall
A tune as threadbare as that "old red shawl,"
It is tattered, it is torn
It shows signs of being worn
It's the tune my Uncle hummed from early morn
'Twas a common little thing and kind 'a sweet
But 'twas sad and seemed to slow up both his feet;
I can see him shuffling down
To the barn or to the town
A humming

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Charles Ives

Charles Ives

The meaning of the song

and a shuffling, sad and slow, yet sweet and familiar tune.(Very Pleasant)We're sitting in the opera house;We're waiting for the curtain to ariseWith wonders for our eyes;We're feeling pretty gayAnd well we may"O, Jimmy, look!" I say"The band is tuning upAnd soon will start to play."We whistle and we humBeat time with the drumThis song by Charles Ives captures the contrasting emotions of joy and sadness through the memories of sitting in the opera house, waiting for the show to begin. The lively and upbeat moments are juxtaposed with the somber and nostalgic recollection of a simple tune that brings back memories of a beloved uncle. The mix of emotions in the music reflects the complexity of human experience and the bittersweet nature of memories.

Biography

Arguably the first modernist composer, Charles Ives (1874-1954) was a solitary figure who composed in obscurity for most of his life. The son of a U.S. Army bandleader, Ives enjoyed a wildly successful career as an insurance executive. In his spare time, he composed music in a wide variety of genres that combined popular song, church hymns, military marches, and European art music in ways that used tone clusters, polytonality, and other techniques decades before they were adopted by European composers.

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