Charles Ives - A Set of Pieces for Theatre Orchestra (1906/1911)
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- Опубликовано: 26 май 2016
- Composer: Charles Edward Ives (October 20, 1874 - May 19, 1954)
Orchestra: Orpheus Chamber Orchestra led by Gilbert Kalish (Piano)
0:01 I - "In the Cage"
1:02 II - "In the Inn"
5:25 III - "In the Night"
Scores I engrave: github.com/CMajSeven
Program I develop for this channel: github.com/edwardx999/ScorePr...
Notes from last page:
The make-up of the average theatre orchestra of some years ago, in the towns and smaller cities, in this part of the country, was neither arbitrary nor a matter of machinery. It depended somewhat on what players and instruments happened to be around. Its size would run from four or five to fifteen or twenty, and the four or five often had to do the job of twenty without getting put out. Sometimes they would give as much support "during the rescue" as the whole town band. Its scores were subject to make-shifts, and were often written with that in mind. There were usually one or two treble Wood-Wind, a Trombone, a Cornet, sometimes a Saxophone, Strings, Piano and a Drum-often an octave of High Bells or a Xylophone. The pianist usually led-his head or any unemployed limb acting as a kind of Ictusorgan. However, a separate conductor, in these pieces, is a rather necessary member. The piano player might object to him; the other players quite probably would not, and the composer would vote for him.
In the first movement the Oboe and English Horn parts may be taken by a Flute or Clarinet and Cornet, and that of the Tympani by a small Bass Drum, a lighter stick playing the upper notes; or a long snare Drum-Corps Drum with snares muffled. The Strings (in this movement) play with little or no vibrato-a dilapidated kind of sound.
In the second movement a Trombone may play most of the Bassoon or Saxophone parts; he can get help on the low notes, if he will speak to the Piano. A Flute may play with the upper Violins from N (p. 17) on. Two Clarinets may occasionally be used. A dozen or fifteen Strings, in any event, will be enough in the first and second movements.
In the third movement the parts on Staff marked ⊗ were originally for Harps and Violins at a distance, but may be taken as a R. H. part for a second Piano and a Violin (consordino) especially if these may be placed away from the orchestra. If a second Piano is not available the two players at the first Piano may take these four parts in the order held in the score. But this way is less desirable, and the pedal-phrases are different. A Flute here ☒ (ad. lib.) may take the small notes. It is important that all the instruments playing in this part (⊗) should be very faintly heard. If Violins are playing in this part (⊗), one may stop at "C" (p. 22) and all at "D" (p. 23), letting the second Piano or Harps finish alone. The Bells at no time should be loud, and the middle (optional part) still less audible. It is as a church bell tolling in the distance, especially so after "D." This is best played by separate Bells and at a distance from the other Bells, which also should be somewhat away from the orchestra-or this may be taken by a second player on the second Piano-or, again, this middle part may be played by the High Bells to "C" and then by the Low Bells. The solo part ⨀ may be played by English Horn or Clarinet in A, if there be but few strings; French Horn or Trombone with larger orchestra. (The written notes in this part are actual pitch.) It is not essential that the time indicated in the tune by a [septuplet], as against the main 3/4 be kept too literally, if the phrases of this part sufficiently overlap the general time.* Six or eight Violins, three or four Violas and four Cellos will be enough in this movement, but the full number of Basses may be used six or eight will not be too many. If there is an Organ available with 16-foot stops in Swell Manual and Pedal it may begin at "C" (p. 22), playing with upper Cello on an 8-foot Great or Choir Manual, the Pedal 16-foot, with Basses (arco) and the L. H. taking the two upper notes in the lower Piano Staff (third from bottom) marked X. If there are but few Basses the Pedal may reinforce their part from the beginning. Also Tympani in D♭ and B♭ may play with the lower (arco) Basses. The Tympani player will play this quite readily without notes after looking over the score. A Roll on the first to the third beat in the ninth measure may be made. If Tympani play, they should be pianissimo throughout. Whatever the arrangement of players and instruments, the Solo part should be clearly heard.
* The words under the Solo Horn staff are not to be sung. They are from an old song (suggested in a general way in this part), which was often sung in the travelling "Minstrel Shows" popular in the '80's and '90's-a form of "theatricals" that unfortunately has almost disappeared. The source of this verse is unknown to the writer. 
Видеоклипы
0:01 I - "In the Cage"
1:02 II - "In the Inn"
5:25 III - "In the Night"
When all is said and done about Ives’ revolutionary technique and imagination, what still matters most to me is that this music has heart, in abundance.
As I get older and more experienced, I begin to understand Charles Ives a lot more. So revolutionary for the time! He was a precursor/way paver for so much...including ambient music/soundscapes (Central Park in the Dark, The Unanswered Question....)
Still modern after 110 years! The polymeters give us a whole different sense of musical time. He was the Tesla of music; all by himself, way out in left field.
WOAH WOAH WOAH WOAH!!!!!!!! Ives was incomparably innovative!
Not to mention inventing Gershwin in the 2nd movement . . .
MooPotPie Yes, that bit is a real ear worm!
is your girl Janiah your daughter the Hayes family Jay Sean dasean
John Appleseed, I have seen your name a lot this year. We must have very similar tastes in music!
Ives was insanely good at his craft.
The Rite Of Spring AND Rhapsody In Blue, then Messiaen in the last movement before any of them existed existed
The resemblance to Messiaen is really uncanny! I was always an Ives fan, but I've never heard this piece before!
I seriously think that In the night is one of the most haunting pieces ever
YEAH BOIIIII using 5/16 and 7/16 in 1911!
Really interesting to compare the first movement, In The Cage, to his song, The Cage, which it is basically an orchestration of, and also to compare the second movement, In The Inn, with the movement of the same name from his first piano sonata.
wow never heard this piece...always new weird stuff on ytube...thx for the upload!!!
You can tell how much this has influence jazz especially in the first section
Love the expansiveness of this. Genius.
This rocks!
I can never tell if Ives was being serious or if he was just pulling our chains. He music is effective either way.
Not really very musical.
"In the Comments"
phantastique
Capolavoro assoluto
Yes, there is some Gershwin here. Oh, my!
Totally! I heard it right off the bat.
completely agree!
No, there is Ives in Gershwin.
Zappa too.
A little bit of quarter tone pieces in the second movement
Yes!
There are saxophones in this? Where?
Well this is fucking difficult.