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Scott: RCA Ormandy TPINE

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  • quartodeciman
    RCA ARL1-1682 stereo red seal A-side: Charles Ives First recording of Original Full Orchestration Three Places in New England B-side: Roy Harris Symphony no.
    Message 1 of 1 , Nov 14, 2003
      RCA ARL1-1682 stereo red seal

      Charles Ives
      "First recording of Original Full Orchestration"
      Three Places in New England

      Roy Harris
      Symphony no. 3

      Eugene Ormandy
      The Philadephia Orchestra

      copyright date 1976

      from the jacket notes by Harvey E. Phillips:

      "Working from the full-orchestra manuscripts, which are in Yale's
      Ives Collection - that of the first movement given by Goddard
      Lieberson of Columbia Records - James Sinclair prepared a critical
      edition, which is heard in this recording."

      embedded remarks of Sinclair:

      The misfortune of the 1929 project was that Ives had to scuttle his
      full orchestration, tearing down many perfectly conceived fine
      shadings and "con blasto" tuttis into an often makeshift mispairing
      of available instruments. On the other hand, the good fortune was
      that he launched (probably unintentionally) into a vast revision of
      the musical texture of the work, and occasionally a fundamental
      reworking of sections.

      In the lightly scored sections the orchestration required hardly any
      reworking: in full tuttis the process became a drastic crushing of
      string and wind parts into the middle of the score (the piano part
      being mid-page). The result of this transfer to piano reminds one
      of the sound of a junior high school orchestra with its second-chair
      double reeds and French horns so frequently missing, but with a
      pianist valiantly filling in the missing parts. Only sheer genius
      on Ives' part prevents the chamber scoring from sounding comical;
      since Ives himself was a superb pianist, he knew well how to make a
      new piano part that would at once cover missing lines and also be
      integrated as a necessary member of the ensemble. In doing so, he
      frequently added new musical material for the piano.

      The process, then, of restoring the original full orchestration was
      not one of revising the original 1914 manuscripts themselves (in
      fact impossible, since so little of the second movement survived),
      but rather of restoring the original orchestrational ideas together
      with the magnificent compositional revisions of 1929. in this way
      the advantages of both scores were combined.
      {italics omitted}

      For me, the strings really glow in the dark, especially St. Gaudens
      and Housatonic. I like my two favorite points in Putnam's Camp, the
      approach to and start of the "1776 Overture", and, of course, the
      countermarches. But the brass tutti roar and scream a bit too much
      for my lousy equipment.

      The truth is, I decided on this version in my list because I feared
      the version on the Sony/Sinclair orchestral works album might be too
      nonstandard, as much as I like it. This just happens to be the only
      other recording of TPINE that I own. The versions of works on my
      list are those I own or remember from the past.
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