30266. (Sax­o­phones) Songs of the Sax­o­phones
30267. (Jan Pieter­szoon Sweel­inck) Toc­ca­ta G1/a (23a) for Organ
30268. (Jan Pieter­szoon Sweel­inck) O God die onse Vad­er bist (61) for Organ
30269. (Jan Pieter­szoon Sweel­inck) Fan­ta­sia a2 (57) for Organ
30270. (Jan Pieter­szoon Sweel­inck) Erbarm dich Mein, O Herre Gott (36) for Organ
30271. (Jan Pieter­szoon Sweel­inck) Fan­ta­sia d1/a (3a) for Organ
30272. (Jan Pieter­szoon Sweel­inck) Wij geloven in eenen God alleen (43) for Organ
30273. (Beths) Future Me Hates Me
30274. (Bee Gees) 1st
30275. (Natal­ie Prass) The Future and the Past
30276. (George Shear­ing) George Shear­ing [Verve Jazz Mas­ters #57]
30277. (Alpha Cen­tau­ri) Alpha Cen­tau­ri
30278. (Lev­ko Kolo­dub) Sym­pho­ny #9 “Sen­silis Mod­er­no”
30279. (Maps & Dia­grams & Tim Jackiw) Glacia­rc EP
30280. (André Previn) Con­cer­to for Piano and Orches­tra
30281. (Múm) Loksins Erum Við Engin [Ice­landic ver­sion of Final­ly We Are No One]
30282. (Johann Sebas­t­ian Bach) Can­ta­ta #97 “In allen meinen Tat­en”, bwv.97
30283. (Johann Sebas­t­ian Bach) Can­ta­ta #98 “Was Gott tut, das ist wohlge­tan”, bwv.98
30284. (Johann Sebas­t­ian Bach) Can­ta­ta #99 “Was Gott tut, das ist wohlge­tan”, bwv.99
30285. (Dinosaur Jr.) You’re Liv­ing All Over Me
30286. (Clus­ter) Zuck­erzeit
30287. (Tier­ra Whack) Whack World
30288. (Sil­vius Leopold Weiss) Lute Sonata [Suite] #7 in D m
30289. (Sil­vius Leopold Weiss) Lute Sonata [Suite] #8 in A
30290. (Sil­vius Leopold Weiss) Lute Sonata [Suite] #9 in D m
30291. (Stornoway) Tales From Ter­ra Fir­ma
30292. (Bet­ter Obliv­ion Com­mu­ni­ty Cen­ter) Bet­ter Obliv­ion Com­mu­ni­ty Cen­ter
30293. (Christoph Willibald Gluck ) Orpheus and Euridice [Orfeo ed Euridice] [com­plete opera;
. . . . . d. Oza­wa; Ver­rett, Stel­la, Adani]

30255. (808 State) Out­post Trans­mis­sion
30256. (Con­vic­tions) Hope for the Bro­ken
30257. (Toshio Hosokawa) New Seeds of Con­tem­pla­tion, Man­dala for Shomyo and Gagaku
30258. (Guille­mots) Through the Win­dow­pane
30259. (Kris Dane) U.N.S.U.I.
30260. (Samuel Schei­dt) Can­zon Cor­net­to for Four Trum­pets
30261. (Ladytron) Ladytron
30262. (Yak) Pur­suit of Momen­tary Hap­pi­ness
30263. (Mazzy Star) Still EP
30264. (Atom­ic Roost­er) BBC Radio 1 Live in Con­cert
30265. (Gre­go­rio Alle­gri) Assump­ta est Maria for 2 Voic­es & Con­tin­uo

30215. (Eno Moe­bius Roedelius) After the Heat
30216. (Log­gins & Messi­na) Moth­er Lode
30217. (Jan Jelinek) Tier­beobach­tun­gen
30218. (G. Litin­sky) String Quar­tet #12 in G
30219. (UNKLE) Do Androids Dream of Elec­tric Beats
30220. (Amon Tobin) inFA­MOUS: Orig­i­nal Sound­track from the Video Game
30221. (Takashi Yoshi­mat­su) And Birds are Still… for String Orches­tra, Op.72
30222. (Under­world) The Anthol­o­gy 1992–2012
30223. (Maps & Atlases) Light­ness Is Noth­ing New
30224. (UNKLE) The Road Part 1
30225. (Guil­laume Dufay) Mis­sa Caput
30226. (UNKLE) The Road Part 2 Lost High­way
30227. (Christoph Willibald Gluck) Le Cine­si [com­plete opera with­out recita­tives; d. Jacobs;
. . . . . Poule­nard, von Otter, Ban­ditel­li, de Mey]
30228. (Mike Krol) I Hate Jazz
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30164. (Dude Mar­tin & His Roundup Gang) Atom Bomb Baby / Wishy Washy Woman [sin­gle]
30165. (Óla­fur Arnalds) Eulo­gy for Evo­lu­tion
30166. (Bob Mould) Sun­shine Rock
30167. (Jan Pieter­szoon Sweel­inck) Psalm 116 for Organ
30168. (Jan Pieter­szoon Sweel­inck) Psalm 140 for Organ
30169. (Jan Pieter­szoon Sweel­inck) Echo Fan­ta­sia #11 for Organ
30170. (Jan Pieter­szoon Sweel­inck) Toc­ca­ta #23 for Organ
30171. (Jan Pieter­szoon Sweel­inck) Ricer­car #7 for Organ
30172. (Jan Pieter­szoon Sweel­inck) Toc­ca­ta #22 for Organ
30173. (Jan Pieter­szoon Sweel­inck) Fan­ta­sia #4
30174. (Jan Pieter­szoon Sweel­inck) Allein zu Dir, Herr Jesu Christ for Organ
30175. (Jan Pieter­szoon Sweel­inck) Echo Fan­ta­sia #12 for Organ
30176. (Jan Pieter­szoon Sweel­inck) Allein Gott in der hoh’ sei her for Organ
30177. (Jan Pieter­szoon Sweel­inck) Pre­lude #27
30178. (Bom­bay Bicy­cle Club) Bom­bay Bicy­cle Club at Mai­da Vale, 2014
30205. (Wreck­less Eric) Great­est Stiffs
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30148. Has­saniya Music From The West­ern Sahara And Mau­ri­ta­nia
30149. (John Foxx) Meta­mat­ic
30150. (Queen­srÿche) The Warn­ing
30151. (Daniel Avery) Song for Alpha
30152. (Toshio Hosokawa) Voice­less in Hiroshi­ma, Ora­to­rio for Soloists, Nar­ra­tors, Cho­rus &
. . . . . Tape ad lib
30153. (Juliana Daugh­er­ty) Light
30154. (Child­ish Gam­bi­no) Poindex­ter [mix­tape]
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30088. (Nic­colò Pagani­ni) Sonata #2 in D for Vio­lin & Gui­tar “Cen­tone di Sonate”, Op.64a
. . . . . MS112 #2
30089. (Nic­colò Pagani­ni) Grande Sonata for Vio­lin & Gui­tar in A, Op.39 MS3
30090. (Nic­colò Pagani­ni) Sonata Con­cer­ta­ta for Gui­tar & Vio­lin in A, Op.61 MS2
30091. (Nic­colò Pagani­ni) Cantabile in D for Vio­lin and Gui­tar, Op.17 MS109
30092. (Waka Floc­ka Flame) Big Homie Floc­ka
30093. (Wreck­less Eric) The Won­der­ful World of Wreck­less Eric
30094. (Avril Lav­i­gne) Let Go
30095. (Guil­laume Dufay) Ave Maris Stel­la
30096. (Guil­laume Dufay) Ave Regi­na Coelo­rum à 4
30097. (Gruff Rhys) Babels­burg
30098. (Demi Lova­to) Don’t For­get
30099. (John Gay & Johann Pepusch) The Beggar’s Opera [com­plete opera; d. Sar­gent;
. . . . . Cameron, Mori­son, Sin­clair]
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Charles Ives

Antho­ny Hein­rich

Those of us who admire a wild and irrev­er­ent spir­it in music have long looked to Charles Ives (1874–1954) as our patron saint. With his mul­ti­met­ric chaos, his noisy brass bands, cheer­ful mix­ing of pop­u­lar and clas­si­cal themes, his tem­po­ral dys­syn­chronies and his star­tling flights into the infi­nite, he ful­filled every require­ment for an eccen­tric genius ahead of his time. And he was pro­found­ly, quin­tes­sen­tial­ly Amer­i­can. But he was lit­tle known in his life­time. The bulk of his com­po­si­tions were writ­ten then tucked away, unper­formed, in a New Eng­land barn while he pur­sued a more suc­cess­ful career as an insur­ance sales­man. He also pub­lished pam­phlets advo­cat­ing what we would now call “direct democ­ra­cy” and got into a heat­ed argu­ment with a young Franklin Roo­sevelt over his idea of pro­mot­ing gov­ern­ment bonds cheap enough for the ordi­nary cit­i­zen. But it was not until the 1960’s that his works were fre­quent­ly played, and his name became famil­iar to clas­si­cal musi­cians and lis­ten­ers. Much of this change came about through the ardent advo­ca­cy of con­duc­tor Leonard Bern­stein. It is pos­si­ble to lis­ten to a per­for­mance of Ives’ Sym­pho­ny #4 today and expe­ri­ence it as “mod­ern, avant-garde music” even though it was com­posed in the 1910s! (It wasn’t per­formed until 1965).

But fas­ci­nat­ing as Ives is, he is not alone in the sto­ry of Amer­i­can music. Anoth­er com­pos­er, liv­ing a full cen­tu­ry before him, shared many of Ives’ char­ac­ter­is­tics. Like Ives, he was self-taught, eccen­tric, exper­i­men­tal and ahead of his time. Like Ives, he wore his patri­o­tism on his sleeve, loved loud nois­es and order dis­guised as chaos, and was drawn to tran­scen­den­tal themes. He died 13 years before Ives was born, and Ives prob­a­bly nev­er heard of him. Unlike Ives, how­ev­er, he has found no high-pro­file cham­pi­on. His works are played only occa­sion­al­ly and few peo­ple have heard them. 

The man in ques­tion was Antho­ny Philip Hein­rich. He was born in 1781, in the north­ern­most vil­lage of Bohemia, in what was then a pre­dom­i­nant­ly Ger­man-speak­ing part of that land. Like Ives, he pur­sued a suc­cess­ful career as a busi­ness­man, rel­e­gat­ing music to a hob­by. But the Napoleon­ic wars ruined him, and he found him­self pen­ni­less in Boston in 1810. He plunged into a new life enthu­si­as­ti­cal­ly, deter­mined to be a wan­der­ing musi­cian on the open­ing fron­tier. He trav­eled most­ly on foot, liv­ing rough, through Penn­syl­va­nia, Ohio and Ken­tucky. This expe­ri­ence instilled in him a pro­found love of nature and an ide­al­is­tic patri­o­tism for his adopt­ed coun­try. Final­ly he set­tled in a log cab­in in Ken­tucky and began to com­pose. Amer­i­ca as yet had no real sym­pho­ny orches­tras and few trained musi­cians. His larg­er com­po­si­tions could only be played in Europe. Even­tu­al­ly, he par­tic­i­pat­ed in found­ing the New York Phil­har­mon­ic, and achieved some pub­lic suc­cess, but this quick­ly fad­ed, and he died, reduced again to pover­ty, in 1861.

His music not only drew on Amer­i­can folk music and on the melodies and rhythms of Native Amer­i­cans [Comanche Rev­el; Man­i­tou Mys­ter­ies; The Cherokee’s Lament; Sioux Gal­liarde], but it was sat­u­rat­ed with the sig­na­ture ele­ment of Amer­i­can music: impro­vi­sa­tion. Musi­col­o­gists would no doubt clas­si­fy him as his century’s most con­sis­tent prac­ti­tion­er of musi­cal inde­ter­mi­na­cy. Bird song filled his music, which often sport­ed spec­tac­u­lar­ly grand ornitho­log­i­cal titles: The Columbi­ad, or Migra­tion of Amer­i­can Wild Pas­sen­ger Pigeons and The Ornitho­log­i­cal Com­bat of Kings. Per­haps the piece that sums him up is the vocal/orchestral suite, The Dawn­ing of Music in Ken­tucky, or, the Plea­sures of Har­mo­ny in the Soli­tudes of Nature. Noth­ing he com­posed fol­lowed the musi­cal con­ven­tions of Europe. Alto­geth­er, I’ve heard 18 of his works, and all of them gave me plea­sure, while some of them seemed to me both rad­i­cal and pro­found. In oth­er words, the qual­i­ties that drew me to Ives were present in Hein­rich a cen­tu­ry before. 

It’s impor­tant, in this dark time for Amer­i­ca, to remem­ber that the nation that has sunk to the lev­el of elect­ing a scur­rilous con-man, crim­i­nal and trai­tor to its high­est office has in the past, over and over again, nur­tured cre­ative men and women imbued with the spir­it of lib­er­ty, and will no doubt do so again. At this moment, I’m lis­ten­ing nei­ther to Ives nor Hein­rich, but to a coun­try-rock album from 1968, The Wichi­ta Train Whis­tle Sings. It’s by Mike Nesmith, remem­bered most­ly as being one of television’s Mon­kees, but actu­al­ly a man of var­ied tal­ents. You can hear many ele­ments of Hein­rich and Ives bub­bling through this almost, but not quite for­got­ten album. And they are bub­bling in many works by singers, com­posers, garage bands, rap­pers, and elec­tron­ic artists today. To use anoth­er Mike Nesmith album title: And the Hits Just Keep On Comin’.

30001. (Johannes Ock­eghem) Requiem [Mis­sa pro defunc­tis]
30002. (Paul Oak­en­fold) A Live­ly Mind
30003. (Richard Strauss) Salome, Op.54 [com­plete opera; d. Sinop­o­li; Stud­er, Ter­fel,
. . . . . Hiester­mann]
30004. (Jon Hop­kins) Sin­gu­lar­i­ty
30005. (Aztec Cam­era) Walk Out to Win­ter: The Best of Aztec Cam­era
30006. (Arthur Sul­li­van [w. W. S. Gilbert]) H. M. S. Pinafore [com­plete opera; D’Oyly Carte]
30007. (Seun Kuti & The Egyp­tians) A Long Way To the Begin­ning
30008. (Albin Lee Mel­dau) About You
30009. (Takashi Yoshi­mat­su) Piano Con­cer­to Memo Flo­ra for Piano and Orches­tra
30010. (Hank Bal­lard & The Mid­nighters) Their Great­est Juke­box Hits
30011. (Earth, Wind & Fire) Earth, Wind & Fire
30012. (Johann Sebas­t­ian Bach) Can­ta­ta #91 “Gelo­bet seist du, Jesu Christ”, bwv.91
30013. (Johann Sebas­t­ian Bach) Can­ta­ta #92 “Ich hab in Gottes Herz und Sinn”, bwv.92
30014. (Johann Sebas­t­ian Bach) Can­ta­ta #93 “Wer nur den lieben Gott läßt wal­ten”, bwv.93
30015. (Alva Noto) Live in Copen­hagen
30016. (Jimi Hen­drix) Elec­tric Lady­land
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