Detailinformationen

  • Künstler: Malmö Symphony Orchestra, James Sinclair
  • Label: Naxos, DDD, 2006
  • Bestellnummer: 2841434
  • Erscheinungstermin: 2.5.2008
  1. 1 Orchestral Set No. 1, "3 Places in New England" (arr. J.B. Sinclair): I. The St Gaudens in Boston Common (Col. Shaw and Start
  2. 2 Orchestral Set No. 1, "3 Places in New England" (arr. J.B. Sinclair): II. Putnam's Camp, Redding, Connecticut Start
  3. 3 Orchestral Set No. 1, "3 Places In New England" (Arr. J.B. Sinclair): Iii. The Housatonic At Stockbridge Start
  4. 4 Orchestral Set No. 2: I. An Elegy to Our Forefathers Start
  5. 5 Orchestral Set No. 2: II. The Rockstrewn Hills Join in the People's Outdoor Meeting Start
  6. 6 Orchestral Set No. 2: Iii. From Hanover Square North, At The End Of A Tragic Day, The Voice Of The People Again Arose Start
  7. 7 Orchestral Set No. 3: I. #: Andante moderato (ed. D.G. Porter) Start
  8. 8 Orchestral Set No. 3: II. An Afternoon, or During Camp Meetin' Week - One Secular Afternoon (in Bethel) (ed. D.G. Porter Start
  9. 9 Orchestral Set No. 3: Iii. #: Andante (Realised By N. Josephson) Start

Produktinfo

The works on this recording focus on a singular genre created by a singular composer. The kind of piece Charles Ives called a 'set' is usually a larger work made by putting together independently-written smaller pieces. The First Orchestral Set, variously titled Three Places in New England and A New England Symphony, is one of Ives's great tributes to his roots. Put together around 1913-14 from material going back years, it is typically Ivesian in that each movement has an underlying program. Like the other sets, the Second has a slow-fast-slow pattern and a visionary hymn-based finale. The unfinished Third Orchestral Set was the only set Ives planned as a whole from the beginning. It may stand as the most profound discovery of the many and ongoing efforts to reconstruct Ives's incomplete works. This is its first complete performance and recording.

Pressestimmen

FonoForum 09 / 08: "Hier klingt vieles opulenter und weicher als in der späteren Version für Kammerorchester, auch harmonisch konventioneller. Erstmals eingespielt wurde auch der von Ives unvollendet hinterlassene "Orchestral Set Nr. 3". Wenn der Wert solcher postumer Komplettierungen auch infrage gestellt werden kann, fasziniert doch die Bekanntschaft mit dem Werk, das den Komponisten beim Übergang in eine für ihn neue Tonsprache zeigt."

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