Symphony No. 3 (Ives)

The Symphony No. 3 by the American composer Charles Ives (1874 - 1954), subtitled " The Camp Meeting" was largely 1901-1904 Their first performance was, however, until 1946 instead, and the following year Ives was interested in the work with the Pulitzer Prize. for Music Award.

Genesis and first performance

Charles Ives worked from 1899 to 1902 as organist at the Central Presbyterian Church in New York. To 1901, he designed his 3rd Symphony, the musical material is fed by its own liturgical hymns and organ pieces. The subtitle of the work " The Camp Meeting" refers to musical memories Ives ' to evangelical camp meetings in his childhood in Danbury. The score was compiled in 1904 and revised in 1908-1911 again. Charles Ives later reported that Gustav Mahler saw the score in the charge of the production of copies of Office and a copy was requested.

Charles Ives ' 3rd Symphony was first performed on 5 April 1946 in New York's Carnegie Hall with the New York Chamber Symphony under the direction of Little Lou Harrison. In 1947 the plant was awarded the Pulitzer Prize for Music. However, at the time of the award ceremony 73 - year-old composer expressed to a visitor who wanted to congratulate him on, prices are "the badge of mediocrity " ( the indicator for mediocrity ) and gave away the prize money, half of which went to Lou Harrison.

Scoring and structure

The score calls for a chamber orchestra with the following instrumentation: flute, oboe, clarinet, bassoon, 2 horns, trumpet, tubular bells and strings.

The Running time is about 20 to 25 minutes. The three movements of the symphony are overwritten as follows:

The symphony uses predominantly tonal and formal elements of European tradition that will be merged with quotations American Anthems ( partly modified) (especially Azmon, Erie, Cleansing Fountain, Happyland and Woodworth ). To be heard at a regular joint in the first sentence. Only in the third set occur that are characteristic of the later Ives chromatic progressions, dissonant layers and complex time signatures revealed stronger. In the first and third movements ( both use partly the same basic material ) are first melodic fragments presented, complete themes resound until the end of the block.

Versions

As with a number of works by Ives, the definition of a " definitive " version proves to be in his 3rd Symphony as problematic. After a first edition of Lou Harrison a new score version by Henry Cowell created in 1964, In 1990, Kenneth Singleton one of them significantly different version before. This takes into account initially envisaged, later painted, from Ives as " shadow lines" represent ( shadow lines ) designated passages, some of which strongly dissonant, solo and continuous quietly playing accompaniments to the main melodic progressions. All three versions published by Associated Music Publishers, New York.

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