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Piano Sonata No. 2 (Ives)

November 27, 2023

The Piano Sonata No. 2, Concord, Mass., 1840–60 (commonly known as the Concord Sonata) is a piano sonata by Charles Ives. It is one of the composer's best-known and most highly regarded pieces. A typical performance of the piece lasts around 45 minutes.

Charles Ives c. 1913

History edit

Some material in the Concord Sonata dates back as far as 1904, but Ives did not begin substantial work on it until around 1909 and largely completed the sonata by 1915.[1] The Concord Sonata was first published in 1920[1] with a second, revised, edition appearing in 1947.[2] It is this version which is usually performed today. In 2012, a reprint of the original, uncorrected 1920 edition was published, including Essays before a Sonata and with an added introductory essay by the New England Conservatory's Stephen Drury.[3]

Ives recalled performing parts of the (then incomplete) sonata as early as 1912.[4] However, the earliest known public performances of the sonata following its publication date back to October 1920, when author Henry Bellamann, who had been writing and lecturing about new music, persuaded a pianist named Lenore Purcell to tackle the work. According to Henry and Sidney Cowell, "she gave performances of it, usually one movement at a time, in conjunction with Bellamann's lectures, across the southern states from New Orleans to Spartanburg, South Carolina."[5]

During the late 1920s, a number of pianists including Katherine Heyman, Clifton Furness, E. Robert Schmitz, Oscar Ziegler, Anton Rovinsky, and Arthur Hardcastle performed various movements of the sonata.[6] In the spring of 1927, John Kirkpatrick saw the score of the sonata on Heyman's piano in her Paris studio and was intrigued.[7] He borrowed Heyman's copy and soon contacted Ives to request his own copy, which he promptly received. Kirkpatrick began learning and performing individual movements of the piece and engaged in regular correspondence with Ives, and in 1934, he decided to learn the entire piece.[7] Kirkpatrick met Ives in person for the first time in 1937,[8] and by 1938, Kirkpatrick was playing the entire sonata, performing it for the first time at a private concert in Stamford, Connecticut.[4] (In a letter to Ives dated June 22, 1938, Kirkpatrick wrote: "Last night, in our little series here, we got to the American impressionists, and I trotted out the whole Concord Sonata — not yet from memory — but it was nice to feel its unity."[9])

On November 28 of that year, Kirkpatrick performed the sonata in its entirety at a public concert in Cos Cob, Connecticut,[4] and on January 20, 1939, he gave the sonata its New York premiere at Town Hall in New York City.[6] Among those present was Elliott Carter, who reviewed the piece in the March–April 1939 edition of the journal Modern Music.[10][11] The Cowells wrote that the premiere generated "a riot of enthusiasm,"[6] and stated that "the audience responded so warmly that one movement had to be repeated, and on 24 February, at a second Town Hall program that was devoted entirely to Ives, Mr. Kirkpatrick repeated the whole Sonata by popular request."[6] Kirkpatrick proceeded to play the sonata in major cities around the United States.[12]

Music edit

 
The beginning of the Concord Sonata, first edition

The sonata's four movements represent figures associated with transcendentalism. In the introduction to his Essays Before a Sonata[13][14] (published immediately before the Concord Sonata, and serving as what Henry and Sidney Cowell called "an elaborate kind of program note (124 pages long)"[15]), Ives said the work was his "impression of the spirit of transcendentalism that is associated in the minds of many with Concord, Massachusetts of over a half century ago. This is undertaken in impressionistic pictures of Emerson and Thoreau, a sketch of the Alcotts, and a scherzo supposed to reflect a lighter quality which is often found in the fantastic side of Hawthorne."[1]

The four movements are:

  1. "Emerson" (after Ralph Waldo Emerson)
  2. "Hawthorne" (after Nathaniel Hawthorne)
  3. "The Alcotts" (after Bronson Alcott and Louisa May Alcott)
  4. "Thoreau" (after Henry David Thoreau)

The piece demonstrates Ives' experimental tendencies: much of it is written without barlines, the harmonies are advanced, and in the second movement, there are cluster chords created by depressing the piano's keys with a 14+3⁄4-inch (37 cm) piece of wood, as well as clusters marked "Better played by using the palm of the hand or the clenched fist." The piece also amply demonstrates Ives' fondness for musical quotation: the opening bars of Beethoven's Symphony No. 5 are quoted in each movement. James B. Sinclair's catalogue of Ives's works also notes less obvious quotations of Beethoven's Hammerklavier Sonata as well as quotations from Debussy and Wagner.[4] Unusually for a piano sonata, there are optional parts for other instruments: near the end of the first movement there is an optional part for viola, and in the last movement a flute (an instrument which Thoreau played) briefly appears.

In a conversation with Ives, Elliott Carter wrote:

[Carter] asked why the notation of the Concord Sonata was so vague, why every time he played it, he did something different, sometimes changing the harmonies, the dynamic scheme, the degree of dissonance, the pace... He said that he intended to give only a general indication to the pianist, who should, in his turn, recreate the work for himself... This improvisational attitude toward music... affects all of Ives's more mature works... In his compositions, the notation of a work is only the basis for further improvisation, and the notation itself... is a kind of snapshot of the way he played it at a certain period in his life.[16]

Tom C. Owens, the editor of Selected Correspondence of Charles Ives, noted that, for Ives, the sonata was "elusive and ephemeral", and wrote:

Although he was very much interested in producing a sound and error-free edition that would best represent his understanding of the piece, he was reluctant ever to say that any one version had achieved that goal. Ives's performance of the work reflected an ideal that could exist only within his mind. And this ideal form changed with time and context as a landscape changes with the position of the sun and the time of year or as one's interpretation of an essay changes with one's mood and experience.[17]

Regarding the "Emerson" movement, Ives wrote: "I find that I do not play or feel like playing this music even now in the same way each time... Some of the passages now played have not been written out, and I do not know as I ever shall write them out as it may take away the daily pleasure of playing this music and seeing it grow and feeling that it is not finished and the hope that it never will be – I may always have the pleasure of not finishing it."[18] In a letter to John Kirkpatrick, Harmony Ives wrote the following on behalf of her husband: "it depends sometimes, on the time of day it is played heard — at sunrise that wide chord — and at sunset maybe with an overtone, towards a star. He has felt that some music, like a landscape, though fundamentally the same, may have changing colors during a cosmic horizon, and as you know the oak tree in May doesn't always play the same tune way that it plays (shouts out) in October."[19]

Commenting on the sections without barlines, Henry and Sidney Cowell wrote:

This is a prose concept of rhythm; it is also related to the idea that different stresses may be given by different performers, all of them right... [U]sually one feels that Ives hopes to induce the performer not to be too bound by any one way of organizing strong and weak beats, playing the passages now one way, now another. Ives's whole approach to his complex rhythms should be understood as an attempt to persuade players away from the strait-jacket of regular beats, with which complete exactness is impossible anyhow, and to induce them to play with rubato in the involved places, with a freedom that creates the impression of a sidewalk crowded with individuals who move forward with a variety of rhythmic tensions and muscular stresses that make constant slight changes of pace. In fact, Ives has often expressed regret at having to write out a piece at all, since its rhythms will then be hopelessly crystallized.[20]

John Kirkpatrick compared aspects of Ives's sonata, particularly "Emerson", to Ives's own prose writing, noting "the way his sentences spin out and are a little bit reluctant to close. They qualify the thoughts and even counterqualify them. The ideas tumble in on one another, and they make a kind of magnificent soaring ascent."[21] The "prose" sections of music described by the Cowells caused difficulties for Kirkpatrick, who stated that he didn't have "the kind of musical intelligence that could swim around in this kind of prose rhythm with no bar lines at all. I had to explain to myself very clearly just where all the main first beats were... so that I could act freely in respect to them."[22] Nevertheless, Kirkpatrick maintained a certain degree of interpretational flexibility and openness in relation to Ives's music, specifically with regard to Ives's numerous revisions, stating "In playing it I use some of the old and some of the new in varying degrees. Practically every time I take it up again, I see some of these choices in different lights, and everything changes slightly."[22]

Recordings and other uses edit

The piece has been recorded on a number of occasions, first by John Kirkpatrick in 1945 (released on Columbia Records in 1948, and a best-seller for several months[12]). Ives himself made a complete recording of "The Alcotts" and excerpts of the first two movements. (These and other recordings of Ives playing his own compositions were released by CRI in 1999 on a CD titled Ives Plays Ives.[23]) Other exponents of the work include Nina Deutsch, Gilbert Kalish, Easley Blackwood, Pierre-Laurent Aimard, Stephen Drury, Marc-André Hamelin, Heather O'Donnell, Herbert Henck, Alan Feinberg, Richard Aaker Trythall, Phillip Bush, Roberto Szidon and most recently Jeremy Denk, Alan Mandel, James Drury, and Melinda Smashey Jones.[clarification needed which recorded?] Martin Perry plays the final edition made by John Kirkpatrick in the 1980s.

In 1986, Bruce Hornsby borrowed the opening phrase of "The Alcotts" movement as the introduction to his hit "Every Little Kiss" (as heard on the album The Way It Is). In an interview, Hornsby stated: "Charles Ives was a huge favorite of mine and still is. In fact, I almost got sued: one of my first singles, 'Every Little Kiss,' had an intro that was sort of an homage to Ives. I was basically paraphrasing the third movement of his Concord Sonata..."[24]

In 1996 the work, retitled A Concord Symphony, was transcribed for orchestra by Henry Brant.[25]

Merlin Patterson transcribed the sonata for large symphonic wind ensemble.[26]

Notes edit

  1. ^ a b c Ives, Charles (1970). Boatwright, Howard (ed.). Essays Before a Sonata, The Majority, and Other Writings. Norton. pp. xxv.
  2. ^ Ives, Charles (1970). Boatwright, Howard (ed.). Essays Before a Sonata, The Majority, and Other Writings. Norton. pp. xvii.
  3. ^ Ives Charles Piano Sonata No.2 Concord with Essays Before a Sonata 2015-07-09 at the Wayback Machine ed. Stephen Drury. Dover Music for Piano, 2012. ISBN 9780486488639
  4. ^ a b c d Sinclair, James B. (1999). A Descriptive Catalogue of the Music of Charles Ives. Yale University Press. p. 227. hdl:10079/fa/music.mss.0014.1.
  5. ^ Cowell, Henry; Cowell, Sidney (1975). Charles Ives and his Music. Oxford University Press. p. 99.
  6. ^ a b c d Cowell, Henry; Cowell, Sidney (1975). Charles Ives and his Music. Oxford University Press. p. 112.
  7. ^ a b Perlis, Vivian (1974). Charles Ives Remembered: An Oral History. Norton. p. 214.
  8. ^ Ives, Charles (2007). Owens, Tom C. (ed.). Selected Correspondence of Charles Ives. University of California Press. p. 256.
  9. ^ Ives, Charles (2007). Owens, Tom C. (ed.). Selected Correspondence of Charles Ives. University of California Press. p. 263.
  10. ^ Carter, Elliott (March 1939). "The Case of Mr. Ives". Modern Music. 16 (3).
  11. ^ Carter, Elliott (1977). The Writings of Elliott Carter. Indiana University Press. pp. 48–54.
  12. ^ a b Cowell, Henry; Cowell, Sidney (1975). Charles Ives and his Music. Oxford University Press. p. 113.
  13. ^ Essays Before a Sonata by Charles Ives.
  14. ^ "Essays Before a Sonata (Ives, Charles) - IMSLP/Petrucci Music Library: Free Public Domain Sheet Music". imslp.org. Retrieved 2017-04-11.
  15. ^ Cowell, Henry; Cowell, Sidney (1975). Charles Ives and his Music. Oxford University Press. p. 81.
  16. ^ Carter, Elliott (1977). The Writings of Elliott Carter. Indiana University Press. pp. 49–50.
  17. ^ Ives, Charles (2007). Owens, Tom C. (ed.). Selected Correspondence of Charles Ives. University of California Press. p. 316.
  18. ^ Cowell, Henry; Cowell, Sidney (1975). Charles Ives and his Music. Oxford University Press. p. 13.
  19. ^ Ives, Charles (2007). Owens, Tom C. (ed.). Selected Correspondence of Charles Ives. University of California Press. pp. 316–317.
  20. ^ Cowell, Henry; Cowell, Sidney (1975). Charles Ives and his Music. Oxford University Press. pp. 172–173.
  21. ^ Perlis, Vivian (1974). Charles Ives Remembered: An Oral History. Norton. p. 219.
  22. ^ a b Perlis, Vivian (1974). Charles Ives Remembered: An Oral History. Norton. p. 215.
  23. ^ "Ives Plays Ives". discogs.com. 1999. Retrieved August 31, 2020.
  24. ^ "Bruce Hornsby's Modern Classical Moment". npr.org. August 23, 2014. Retrieved August 31, 2020.
  25. ^ Gann, Kyle (September 12, 2007). "The Greatest Symphony Ever (Re-)Written". artsjournal.com. Retrieved August 31, 2020.
  26. ^ "Merlin Patterson Music - Symphonic Transcriptions and Arrangements for Concert Band-Wind Ensemble". www.merlinpatterson.com. Retrieved 2017-04-11.

External links edit

November 27, 2023
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The Piano Sonata No 2 Concord Mass 1840 60 commonly known as the Concord Sonata is a piano sonata by Charles Ives It is one of the composer s best known and most highly regarded pieces A typical performance of the piece lasts around 45 minutes Charles Ives c 1913 Contents 1 History 2 Music 3 Recordings and other uses 4 Notes 5 External linksHistory editSome material in the Concord Sonata dates back as far as 1904 but Ives did not begin substantial work on it until around 1909 and largely completed the sonata by 1915 1 The Concord Sonata was first published in 1920 1 with a second revised edition appearing in 1947 2 It is this version which is usually performed today In 2012 a reprint of the original uncorrected 1920 edition was published including Essays before a Sonata and with an added introductory essay by the New England Conservatory s Stephen Drury 3 Ives recalled performing parts of the then incomplete sonata as early as 1912 4 However the earliest known public performances of the sonata following its publication date back to October 1920 when author Henry Bellamann who had been writing and lecturing about new music persuaded a pianist named Lenore Purcell to tackle the work According to Henry and Sidney Cowell she gave performances of it usually one movement at a time in conjunction with Bellamann s lectures across the southern states from New Orleans to Spartanburg South Carolina 5 During the late 1920s a number of pianists including Katherine Heyman Clifton Furness E Robert Schmitz Oscar Ziegler Anton Rovinsky and Arthur Hardcastle performed various movements of the sonata 6 In the spring of 1927 John Kirkpatrick saw the score of the sonata on Heyman s piano in her Paris studio and was intrigued 7 He borrowed Heyman s copy and soon contacted Ives to request his own copy which he promptly received Kirkpatrick began learning and performing individual movements of the piece and engaged in regular correspondence with Ives and in 1934 he decided to learn the entire piece 7 Kirkpatrick met Ives in person for the first time in 1937 8 and by 1938 Kirkpatrick was playing the entire sonata performing it for the first time at a private concert in Stamford Connecticut 4 In a letter to Ives dated June 22 1938 Kirkpatrick wrote Last night in our little series here we got to the American impressionists and I trotted out the whole Concord Sonata not yet from memory but it was nice to feel its unity 9 On November 28 of that year Kirkpatrick performed the sonata in its entirety at a public concert in Cos Cob Connecticut 4 and on January 20 1939 he gave the sonata its New York premiere at Town Hall in New York City 6 Among those present was Elliott Carter who reviewed the piece in the March April 1939 edition of the journal Modern Music 10 11 The Cowells wrote that the premiere generated a riot of enthusiasm 6 and stated that the audience responded so warmly that one movement had to be repeated and on 24 February at a second Town Hall program that was devoted entirely to Ives Mr Kirkpatrick repeated the whole Sonata by popular request 6 Kirkpatrick proceeded to play the sonata in major cities around the United States 12 Music edit nbsp The beginning of the Concord Sonata first editionThe sonata s four movements represent figures associated with transcendentalism In the introduction to his Essays Before a Sonata 13 14 published immediately before the Concord Sonata and serving as what Henry and Sidney Cowell called an elaborate kind of program note 124 pages long 15 Ives said the work was his impression of the spirit of transcendentalism that is associated in the minds of many with Concord Massachusetts of over a half century ago This is undertaken in impressionistic pictures of Emerson and Thoreau a sketch of the Alcotts and a scherzo supposed to reflect a lighter quality which is often found in the fantastic side of Hawthorne 1 The four movements are Emerson after Ralph Waldo Emerson Hawthorne after Nathaniel Hawthorne The Alcotts after Bronson Alcott and Louisa May Alcott Thoreau after Henry David Thoreau The piece demonstrates Ives experimental tendencies much of it is written without barlines the harmonies are advanced and in the second movement there are cluster chords created by depressing the piano s keys with a 14 3 4 inch 37 cm piece of wood as well as clusters marked Better played by using the palm of the hand or the clenched fist The piece also amply demonstrates Ives fondness for musical quotation the opening bars of Beethoven s Symphony No 5 are quoted in each movement James B Sinclair s catalogue of Ives s works also notes less obvious quotations of Beethoven s Hammerklavier Sonata as well as quotations from Debussy and Wagner 4 Unusually for a piano sonata there are optional parts for other instruments near the end of the first movement there is an optional part for viola and in the last movement a flute an instrument which Thoreau played briefly appears In a conversation with Ives Elliott Carter wrote Carter asked why the notation of the Concord Sonata was so vague why every time he played it he did something different sometimes changing the harmonies the dynamic scheme the degree of dissonance the pace He said that he intended to give only a general indication to the pianist who should in his turn recreate the work for himself This improvisational attitude toward music affects all of Ives s more mature works In his compositions the notation of a work is only the basis for further improvisation and the notation itself is a kind of snapshot of the way he played it at a certain period in his life 16 Tom C Owens the editor of Selected Correspondence of Charles Ives noted that for Ives the sonata was elusive and ephemeral and wrote Although he was very much interested in producing a sound and error free edition that would best represent his understanding of the piece he was reluctant ever to say that any one version had achieved that goal Ives s performance of the work reflected an ideal that could exist only within his mind And this ideal form changed with time and context as a landscape changes with the position of the sun and the time of year or as one s interpretation of an essay changes with one s mood and experience 17 Regarding the Emerson movement Ives wrote I find that I do not play or feel like playing this music even now in the same way each time Some of the passages now played have not been written out and I do not know as I ever shall write them out as it may take away the daily pleasure of playing this music and seeing it grow and feeling that it is not finished and the hope that it never will be I may always have the pleasure of not finishing it 18 In a letter to John Kirkpatrick Harmony Ives wrote the following on behalf of her husband it depends sometimes on the time of day it is played heard at sunrise that wide chord and at sunset maybe with an overtone towards a star He has felt that some music like a landscape though fundamentally the same may have changing colors during a cosmic horizon and as you know the oak tree in May doesn t always play the same tune way that it plays shouts out in October 19 Commenting on the sections without barlines Henry and Sidney Cowell wrote This is a prose concept of rhythm it is also related to the idea that different stresses may be given by different performers all of them right U sually one feels that Ives hopes to induce the performer not to be too bound by any one way of organizing strong and weak beats playing the passages now one way now another Ives s whole approach to his complex rhythms should be understood as an attempt to persuade players away from the strait jacket of regular beats with which complete exactness is impossible anyhow and to induce them to play with rubato in the involved places with a freedom that creates the impression of a sidewalk crowded with individuals who move forward with a variety of rhythmic tensions and muscular stresses that make constant slight changes of pace In fact Ives has often expressed regret at having to write out a piece at all since its rhythms will then be hopelessly crystallized 20 John Kirkpatrick compared aspects of Ives s sonata particularly Emerson to Ives s own prose writing noting the way his sentences spin out and are a little bit reluctant to close They qualify the thoughts and even counterqualify them The ideas tumble in on one another and they make a kind of magnificent soaring ascent 21 The prose sections of music described by the Cowells caused difficulties for Kirkpatrick who stated that he didn t have the kind of musical intelligence that could swim around in this kind of prose rhythm with no bar lines at all I had to explain to myself very clearly just where all the main first beats were so that I could act freely in respect to them 22 Nevertheless Kirkpatrick maintained a certain degree of interpretational flexibility and openness in relation to Ives s music specifically with regard to Ives s numerous revisions stating In playing it I use some of the old and some of the new in varying degrees Practically every time I take it up again I see some of these choices in different lights and everything changes slightly 22 Recordings and other uses editThe piece has been recorded on a number of occasions first by John Kirkpatrick in 1945 released on Columbia Records in 1948 and a best seller for several months 12 Ives himself made a complete recording of The Alcotts and excerpts of the first two movements These and other recordings of Ives playing his own compositions were released by CRI in 1999 on a CD titled Ives Plays Ives 23 Other exponents of the work include Nina Deutsch Gilbert Kalish Easley Blackwood Pierre Laurent Aimard Stephen Drury Marc Andre Hamelin Heather O Donnell Herbert Henck Alan Feinberg Richard Aaker Trythall Phillip Bush Roberto Szidon and most recently Jeremy Denk Alan Mandel James Drury and Melinda Smashey Jones clarification needed which recorded Martin Perry plays the final edition made by John Kirkpatrick in the 1980s In 1986 Bruce Hornsby borrowed the opening phrase of The Alcotts movement as the introduction to his hit Every Little Kiss as heard on the album The Way It Is In an interview Hornsby stated Charles Ives was a huge favorite of mine and still is In fact I almost got sued one of my first singles Every Little Kiss had an intro that was sort of an homage to Ives I was basically paraphrasing the third movement of his Concord Sonata 24 In 1996 the work retitled A Concord Symphony was transcribed for orchestra by Henry Brant 25 Merlin Patterson transcribed the sonata for large symphonic wind ensemble 26 Notes edit a b c Ives Charles 1970 Boatwright Howard ed Essays Before a Sonata The Majority and Other Writings Norton pp xxv Ives Charles 1970 Boatwright Howard ed Essays Before a Sonata The Majority and Other Writings Norton pp xvii Ives Charles Piano Sonata No 2 Concord with Essays Before a Sonata Archived 2015 07 09 at the Wayback Machine ed Stephen Drury Dover Music for Piano 2012 ISBN 9780486488639 a b c d Sinclair James B 1999 A Descriptive Catalogue of the Music of Charles Ives Yale University Press p 227 hdl 10079 fa music mss 0014 1 Cowell Henry Cowell Sidney 1975 Charles Ives and his Music Oxford University Press p 99 a b c d Cowell Henry Cowell Sidney 1975 Charles Ives and his Music Oxford University Press p 112 a b Perlis Vivian 1974 Charles Ives Remembered An Oral History Norton p 214 Ives Charles 2007 Owens Tom C ed Selected Correspondence of Charles Ives University of California Press p 256 Ives Charles 2007 Owens Tom C ed Selected Correspondence of Charles Ives University of California Press p 263 Carter Elliott March 1939 The Case of Mr Ives Modern Music 16 3 Carter Elliott 1977 The Writings of Elliott Carter Indiana University Press pp 48 54 a b Cowell Henry Cowell Sidney 1975 Charles Ives and his Music Oxford University Press p 113 Essays Before a Sonata by Charles Ives Essays Before a Sonata Ives Charles IMSLP Petrucci Music Library Free Public Domain Sheet Music imslp org Retrieved 2017 04 11 Cowell Henry Cowell Sidney 1975 Charles Ives and his Music Oxford University Press p 81 Carter Elliott 1977 The Writings of Elliott Carter Indiana University Press pp 49 50 Ives Charles 2007 Owens Tom C ed Selected Correspondence of Charles Ives University of California Press p 316 Cowell Henry Cowell Sidney 1975 Charles Ives and his Music Oxford University Press p 13 Ives Charles 2007 Owens Tom C ed Selected Correspondence of Charles Ives University of California Press pp 316 317 Cowell Henry Cowell Sidney 1975 Charles Ives and his Music Oxford University Press pp 172 173 Perlis Vivian 1974 Charles Ives Remembered An Oral History Norton p 219 a b Perlis Vivian 1974 Charles Ives Remembered An Oral History Norton p 215 Ives Plays Ives discogs com 1999 Retrieved August 31 2020 Bruce Hornsby s Modern Classical Moment npr org August 23 2014 Retrieved August 31 2020 Gann Kyle September 12 2007 The Greatest Symphony Ever Re Written artsjournal com Retrieved August 31 2020 Merlin Patterson Music Symphonic Transcriptions and Arrangements for Concert Band Wind Ensemble www merlinpatterson com Retrieved 2017 04 11 External links editPiano Sonata No 2 Scores at the International Music Score Library Project Project Gutenberg e text of Charles Ives Essays Before a Sonata Performance of Piano Sonata No 2 by Jeremy Denk from the Isabella Stewart Gardner Museum in MP3 format Portal nbsp Classical Music Retrieved from https en wikipedia org w index php title Piano Sonata No 2 Ives amp oldid 1175293632, wikipedia, wiki, book, books, library,

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