Charles Ives: The Three Orchestral Sets
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Composer: IvesConductor: Sinclair
Orchestra: Malmo Symphony Orchestra
Performer: Malmo Chamber Chrous
Edition: Music CD
Audio: English (Unknown); English (Original Language)
CD Release Date: 2008-05-27
Music Label: Naxos American Classics
Soundtracks:
- First Orchestral Set 'Three Places in New England': no 1, The 'St. Gaudens' in Boston Common
- First Orchestral Set 'Three Places in New England': no 2, Putnam's Camp
- First Orchestral Set 'Three Places in New England': no 3, The Housatonic at Stockbridge
- Second Orchestral Set: no 1, An Elegy to our Forefathers
- Second Orchestral Set: no 2, The Rockstrewn Hills
- Second Orchestral Set: no 3, From Hanover Square North
- Third Orchestral Set: no 1, Andante moderato
- Third Orchestral Set: no 2, During Camp Meetin' Week 'One Secular Afternoon in Bethel'
- Third Orchestral Set: no 3, Andante
Music reviews of Charles Ives: The Three Orchestral Sets
Music Review: From Personal Experience
Rating: 5 Stars
I was privileged to hear the first performance in 1993 of the original versions of "St. Gaudens" and "Housatonic." While they may lack some of the added complexities of the revised 1929 version, they are still impressive. I have edited the original 1910 piano solo version of "St. Gaudens" (recorded by Don Berman on the "Unknown Ives No. 2" CD) and this first draft for orchestra (the manuscript of which I have studied) follows it almost exactly. The opening measure and the Coda of the later version of "St. Gaudens" did not in fact exist until 1929, and if this first version had indeed been performed in 1912, it would probably be the only one we would know today. The original draft of "Housatonic" follows the song version very closely, ending on the big B-flat major chord and not the tone-cluster of the later version. I am very happy to finally hear the orignal draft of "Putnam's Camp, as I had the opportunity to study the manuscript of this version back in 1998. Ives was initially unsure about retaining the opening measures found in the later version of "Putnam's Campp" (iniotialy written for the "Country Band March" of 1903) and he eventually decided to omit them i this 1912 draft, ony to reinstate them in 1929.
Regarding the Third Orchestral Set, some have asked me how much of these pieces are by Ives and how much are by myself and Nors Josephson. I began my study of these manuscripts in 1976 when I was working on my MA thesis, and Nors was a member of my committee. The first movement was beguin in 1909 when Ives was planning a fourth movement to his Third Symphony. When he began writing the piece in earnest in 1919, he completed his draft up to the ending section, where he stopped working on the piece for another 7 years. Every section is more or less all there, and my only real work was to write out his background ostinati aganist the completed main lines. The final section is written hastily and it is not clear at first which of the parts is the main line (hence my confusion in realizing my first draft of the score in 1978), but it is compositionally complete and did not need any of my intervention (no "reconstruction," just plain editing). The second movement was trickier: Ives writes the background parts out in different places in the sketches than the foreground parts, linking them cryptically (when linked a all) with signs and memoranda. The weakness of this movement stems (in my mind) directly fro his use of both the 1904 version of the Trio from the "1776 Overture" and the later version from the first draft of "The Fourth of July" (which lacked many of the details of the final draft frm the 1920s). Yet this is what Ives explicitly calls for, first as the band rehearses and then as it marches home from the train station. The crazy quodlibet in the town center that makes up the center of the piece is fully worked out, but again, in two separate sketches of separate leaves. My only "reconstruction" or editorial invention occurred in completing the opening from what Ives began (a completion of the apreggiating chord) and linking the end of the first Trio march to the beginnig of the quodlibet (where the piccolo plays Reveille), but here again I have simply continued what Ives began, working from each end of the gap to its center. Nors's work on the third movement is remarkable. It may be to the initial reviewer that he has merely strung the sketches together, but after some 30 years of working with this manuscript, I was deeply impressed with what he did. Nors's additions are very few -- a bass note under the tutti glissando following the movement's climax, for example -- but his vision of how the piece would have been put together in a final draft by Ives is a true vision. There were a few sketch materials that he chose not to use, but not many -- most of these were sketched variations of the harp figure that winds through most of the piece. I take strong issue with the idea of "picking over Ives's bones" in the completion of these pieces -- the comment is reminiscent of a certain music critic's objections to the "finishing up" of Ives's "Emerson" Piano Concerto and the 2nd through 5th movements of Mahler's Tenth Symphony (I have also studied the sketches of Mahler's Tenth), and is not warranted when one knows the materials. -- David Gray Porter, Editorial Coordinator for The Charles Ives Society
Description of Charles Ives: The Three Orchestral Sets
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