Score and parts were originally published by C. Subsequently Carl Fischer acquired the rights to administer the copyright, and in , published the familiar study score. There were known to be many errata and discrepancies between Hanson's original manuscript on deposit in the Sibley Music Library at the Eastman School of Music and the existing materials in the Fischer rental library. As a result of Maestro Sawallisch's interest in performing the symphony, Clinton Nieweg and his staff of librarians at the Philadelphia Orchestra prepared this critical edition of the score of the piece.
New parts were also produced and are available from the Carl Fischer Rental Library. Orchestra: 3 trombe, timpani, archi violini I - First performance: 11 May Moscow, Conservatory Great Hall, V.
There is also a startlingly interventionist producer, who seems to be acting as a persistent critic dedicated to the detection of the slightest error or pitch or rhythm. Among its many qualities is a marvellous understanding and control of the orchestra. Choose where you want to share: Link to this page Embed on your site. He even calls for a marching machine in the first movement. As a result of the success of this work Andrew Downes was awarded a commemorative gold medal for his "outstanding contribution" to the anniversary celebrations of the Institution of Mechanical Engineers.
Tupikin clarinet , Moscow Chamber Orchestra. Conductor R. Transcription for clarinet and piano. Moderato non troppo. Orchestra: 3 flute, 3 trombe, 3 trombone, percussioni timpani, legno, silofono, campanelli, vibrafono , arpa, archi violini I - 14, violini II - 12, viole - 10, violoncelli — 8, contrabassi - 6. Duration 36 min. First performance: 31 March Moscow, Conservatory Great Hall, M. Rostropovich cello , Moscow Philharmonic Orchestra. First performance abroad - December Paris. Piano Score: Moscow, "Muzyka"; Pikaizen violin and B. Tchaikovsky piano. First performance with orchestra - 25 April Pikaizen violin , Moscow Philharmonic Orchestra.
Author's Transcription for violin and piano. Score for violin by V. Moscow, "Muzyka", published together in Russian and English. Duration 35 min. Tchaikovsky piano , Moscow Chamber Orchestra. Author's transcription for two piano s. Moscow, "Muzyka", Chamber works for different ensembles:. First performance: November Moscow, Gnessins Musical College. Adagio Andante. Moderat o non troppo. First performance: 23 October Performers: V. Pikaizen violin , E.
Altman cello and B. Full Score and Parts: Introduction by G. Moscow, "Muzgiz", published together in Russian and English. Duration 14 min.
First performance: Moscow, "Sovetskij Kompozitor", Allegro non troppo. Duration 24 min. First performance: 2 March Moscow, Moscow Conservatory Small Hall. Rostropovich cello and B. In two movements. First performance: 26 December Performers V. Adagio cello. Con moto piano. Duration 5 min. Full Score and Parts. Introduction by G.
Moscow, "Muzyka", published in Russian and English. In 11 movements. Suite based on the music to the film 19 65 1. First Dream - "General" 4. Second Dream - "Tsar" 5.
Small Horns 6. The Matchmaker's Dance 7.
Song "Green Meadow" 8. Conclusion Ensemble: 3 flauti III - piccolo , 3 oboi, 2 clarinetti, clarinetto basso, tromba, percussioni legno, tamburino, tamburo, piatti, cassa, tam-tam, campanelli, silofono , balalaika prima , celesta, arpa, piano a 4 mani ; mezzo -soprano. Twelve Keys 2. Toccata No. Canon 4. Ensemble : Percussion - two performers campanelli, silofono, vibrafono, timpani, piatti , Electric Guitar , cembalo, piano. First performance: 10 January Voice of the fields.
Allegro moderate. First performance: 10 December Performers I. Anastasieva and V. Pianist's Concert repertoire. Allegro 2. Andante sostenuto 3. Allegro 4. Largo Percussioni : fl a ut o , oboe, clarinet, fagotto, corno, arpa. First performance: Krasnoyarsk, 19 May In Moscow 17 November Performers: L. Lebedev , O. Tomilova , V. Permyakov , V. Podkopaev , V. Galkin and E. Joke 2. Landscape These pieces were comissioned by Viktor Ivanovich Melnikov balalaika-player.
Performers - Olga Solovieva piano and Kyrill Ershov balalaika. First performance: 9 February The Comitas Quartet. Piu moderate. First performance: 3 February The Borodin Quartet. Andante marcato. Duration 23 min. First performance: 21 October The Prokofiev Quartet. First performance: 14 February First performance: 28 November First performance: 18 October In five movem ents.
Intermezzo and coda. Duration 15 min.
First performance: 2 February Mstislav Rostropovich. Score: Moscow, "Muzyka", Moderate tranquillo. Andantino con moto. Tempo di Valse. Allegro Moderato. Duration 4 min. Published in: B. Children Music for piano. Moscow, " Classica-XXI ", Published in: For small musicians. New pino pieces of Sovitet composers. Editor Yu. Published in: Pieces for piano.
Compilation and pedagogic editing by T. Sovitet composers - for children. Milddle Forms of children musical schools. Con moto. Moderate gis-moll. Allegro b - moll. Moderate As-Dur.
Con moto 5. Tranquillo, cantabile A-Dur. First performance: 24 April Performer - author. Piano music for children musical schools. Senior Forms. Fairy tale. Story Final. Sale Explain this Full Score. Charles Ives Symphony No. That statement sounds like one of those little truisms that fill music histories, but in this case it has a very literal sense.
All of this music can be found in his own, not simply quoted and certainly not plagiarized, but transmuted into something peculiarly Ivesian. For to Charles Ives, the various categories of music were not pigeonholes whose purpose was to separate one kind of music from another. Rather, the world itself could be heard as music. Ives recalled his father's attempts to notate the chords he heard in thunderclaps, and he wrote once, "Thoreau was a great musician, not because he played the flute, but because he did not have to go to Boston to hear 'the Symphony'.
This did not necessarily result in what Ives witheringly called "nice" music, the music composed by and for "old ladies of both sexes.
Fugues with each voice entering in a different key only earned an indulgent chuckle from Parker, and a crack about "not hogging all the keys at once. Ives, whose independent mind and musical curiosity were legendary. George Ives led the town band, but his curiousity ranged far beyond the normal musical experience of one in such a position.
Father had a kind of natural interest in sounds of every kind, everywhere, known or unknown, measured "as such" or not, and this led him into positions or situations…that made some of the townspeople call him a crank whenever he appeared in public with some of his contraptions. This extraordinary father, who encouraged young Charles to open his ears and his mind, to listen to everything in the world around him, made possible the kind of music that Charles Ives eventually composed, music that came from him like entries in dairy, reactions to everything that happened in his world.
Ives realized early on that there was no market for the kind of music he wanted to write, yet he refused to compromise his artistic goals for financial success. In order to make a living, he decided to be a businessman, keeping the musical side of himself entirely separate from the everyday side. In fact, Ives was one of the great innovators in the felid of life insurance and made his mark in that line surely as he did in music. He began with the Mutual Life Insurance Company and by had met his business partner and lifelong friend Julian S.
At the same time, Ives held down a job as organist-choirmaster at the Central Presbyterian church, went to night school to learn some law, and pitched on his agency's baseball team. Somehow he found time to compose during those hectic years.
Virtually all of his creative work was completed by the time he suffered a crippling heart attack in October Much of the rest of his long life was spent quietly in West Redding, Connecticut, publishing some of his music at his own expense and giving copies to anymore who expressed an interest in it. Like so many of Ives's works, the Fourth Symphony was composed over a number of years, and every time Ives went over it, he changed some details here and there.
Much of the symphony grew from reworkings of older compositions, some of them going back to his boyhood. The first movement is derived from the First Violin Sonata ca. The third movement grows largely out of his First String Quartet , and the finale makes use of a lost "Memorial Slow March" that he had composed for the organ in In fact, all told, the symphony contains parts of some fourteen other Ives compositions, all integrated into a grand synthesis of Ives's artistic and philosophical ideas.
He summarized the symphony this way: The aesthetic program of this work is that of the searching questions of "What? This is particularly the sense of the Prelude.
The three succeeding movements are the diverse answers in which existence replies. The first comprises the main part of the orchestra, plus piano and voices; the distant choir is an ethereal ensemble of strings and harp, playing mostly slow and sustained music. The chorus intones a familiar hymn: Watchman, tell us of the night, What the signs of promise are; Traveler, o'er yon mountain's height, See that Glory-beaming star!
Watchman, aught of joy or hope? Traveler, yes; it brings the day, Promised day of Israel. Dost thou see its beauteous ray? This sets the "questions" of which Ives wrote; the following three movements are three very different responses. The first Allegretto is completely worldly. The pilgrim's hymns are jostled, crowded, and drowned out by a welter of competing turns, in many tempos and keys. The inspiration for this scenario was Nathaniel Hawthorne's story The Celestial Train , a savagely satirical updating of Bunyan's Pilgrim's Progress castigating easy Christianity of the wealthy and comfortable.
Like Ives's second movement Hawthorne's story ends with the narrator suddenly awaking from his dream. The music is so complex that no single hearing can begin to sort out all the layers of all the different tunes that appear in this energetic confusion. The second "answer" was, according to Ives, "an expression of the reaction of life into formalism and ritualism. The fugal texture evokes the formalism of traditional religious answers.
The movement is as straightforward and diatonic as the preceding one was complex and incomprehensible.