Its third movement depicts a "home under the elms" where "Beth played the old Scotch airs" on a piano given to her by Sophia Thoreau.
The second movement of this work contains an instruction to use a fourteen and three-quarter inch piece of wood to create a massive cluster chord. That second movement was partially derived from its composer's now-lost pieces The Slaves' Shuffle and Demons' Dance Around the Pipe, while this piece's final movement sees the entrance of a solo flute playing the hymn "Martyn". This piece constantly quotes Beethoven's Hammerklavier Sonata and Fifth Symphony, and its composer used a section of its second movement as the basis for his later work The Celestial Railroad.  Its third movement depicts a "home under the elms" where "Beth played the old Scotch airs" on a piano given to her by Sophia Thoreau. This composition was the subject of its author's Essays before a Sonata, which describes its final movement's use of the "[tone] scale of a Walden morning." For 10 points, identify this piece consisting of the movements "Emerson", "Hawthorne", "The Alcotts", and "Thoreau", a work depicting "the spirit of transcendentalism" in the title location, by Charles Ives.
The second movement of this work contains an instruction to use a fourteen and three-quarter inch piece of wood to create a massive cluster chord.
the {Concord} Sonata [accept {Ives's Piano Sonata No. 2}: {Concord}, {Mass.}, {1840}-{1860} or equivalents; “{Ives}” is not {necessary} after his name is {said}]