Scott: RCA Ormandy TPINE
- RCA ARL1-1682 stereo red seal
"First recording of Original Full Orchestration"
Three Places in New England
Symphony no. 3
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.
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.