Folks,

I've just now got around to making some updates to my CEI site--after not
touching it for nearly a year.  (Time flies when you've got FOUR kids; my
life is ridiculously busy. Plus I've been focused on a jazz project lately.)

Most of the new content is CD & LP reviews.  If you'd like to take a look at
what's new, go to:
http://www.musicweb-international.com/Ives/12_Whats_New.htm

The biggest changes in the site: Hamelin's "Concord" (on Hyperion) is now my
top choice, as is Sinclair's Second Sym. with the Yale SO. And I've finally
written up my impressions of the "Emerson Concerto."  Definitely worth
hearing.

What are you listening to?

Scott


************************************
"The fabric of existence weaves itself whole..." -- Charles Ives
Visit a Charles Ives Website:
http://www.musicweb-international.com/Ives

Join a Charles Ives Discussion List:
http://groups.yahoo.com/group/charlesives/

London Symph Orchestra, American Composers
<http://www.albanyrecords.com/cgi-bin/miva?Merchant2/merchant.mv+Screen=PROD&Sto\
re_Code=AR&Product_Code=TROY235&Category_Code=a-BS>

Interesting to hear what Ives fellow composers were up
to. One work is "Festival Overture on the American
National Air, The Star-Spangled Banner" by Dudley
Buck, Ives' organ teacher. IIRC, Buck also composed a
set of variations on "The Star-Spangled Banner".

My favorite is the Arthur Foote "Suite in E for
Strings". John Alden Carpenters' "Skyscrapers" is very
interesting as well.

But what the disc really demonstrates is how far ahead
of his contemporaries CEI was...


John Knowles Paine
--- Scott Mortensen <Scottkmort@...> wrote:
> Folks,
>
> I've just now got around to making some updates to
> my CEI site--after not
> touching it for nearly a year.  (Time flies when
> you've got FOUR kids; my
> life is ridiculously busy. Plus I've been focused on
> a jazz project lately.)
>
> Most of the new content is CD & LP reviews.  If
> you'd like to take a look at
> what's new, go to:
>
http://www.musicweb-international.com/Ives/12_Whats_New.htm
>
> The biggest changes in the site: Hamelin's "Concord"
> (on Hyperion) is now my
> top choice, as is Sinclair's Second Sym. with the
> Yale SO. And I've finally
> written up my impressions of the "Emerson Concerto."
>  Definitely worth
> hearing.
>
> What are you listening to?
>
> Scott
>
>
> ************************************
> "The fabric of existence weaves itself whole..." --
> Charles Ives
> Visit a Charles Ives Website:
> http://www.musicweb-international.com/Ives
>
> Join a Charles Ives Discussion List:
> http://groups.yahoo.com/group/charlesives/
>
>
>
>
> ------------------------ Yahoo! Groups Sponsor
> --------------------~-->
> In low income neighborhoods, 84% do not own
> computers.
> At Network for Good, help bridge the Digital Divide!
>
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>
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>
>
>
> Yahoo! Groups Links
>
>
>     charlesives-unsubscribe@yahoogroups.com
>
>
>
>
>
>

From: "Scott Mortensen" <Scottkmort@...>

> Folks,
>
> I've just now got around to making some updates to my CEI site--after not
> touching it for nearly a year.  (Time flies when you've got FOUR kids; my
> life is ridiculously busy. Plus I've been focused on a jazz project
> lately.)

Egg-cellent!!

Thanks, Scott. I really enjoy perusing your site on a regular basis. I also
respect your knowledge and opinions of CEI and many of my purchases were
directly recommended on your site. I now know just how strongly you feel
regarding Hamelin's new reading of the Concord. You actually bumped the old
version out of your ten favorite recordings! Wow. I really need to pick up
that recording.

> What are you listening to?

Ives. For a few weeks now and basically nothing else. It was Debussy a few
weeks before that, but the Ives train is at full speed and I am riding it
hard. I plan on hearing every Ives CD I own (about 25 or so) *twice* through
before I move on, but I have cheated a bit like listening to MTT's 4th at
least 3 times this time around. That piece is a must on headphones with the
lights dimmed.

Frankie

Frankie wrote:
>
>I cheated a bit like listening to MTT's 4th at
>least 3 times this time around. That piece is a must on headphones with the
>lights dimmed.
>

Couldn't agree with you more about MTT's 4th.  Easily the best recorded
version, IMHO.

Have you ever heard this work live?  If not, you won't believe your ears
when you do.  There's SO MUCH detail that hasn't ever been captured in a
recording--so far, at least.  I hope James Sinclair will do his 4th with
Naxos in SACD surround. Maybe that will get us closer to what it sounds like
in a concert hall.

Scott

From: "Scott Mortensen" <Scottkmort@...>
> Have you ever heard this work live?  If not, you won't believe your ears
> when you do.  There's SO MUCH detail that hasn't ever been captured in a
> recording--so far, at least.

Yes I have. Last year I saw it performed twice (at the Juilliard Ives
Festival in january and at Avery Fisher with the NYP in May). It was
incredible, especially the NYP peformance. One of the musical pinnacles of
my entire *life*. I believe I wrote a review of it - probably in the
archives here somewhere. I actually snuck down to a seat in the dead center
at Avery Fisher for the piece and had undoubtedly one of the best seating
positions in the entire place. You are correct Scott, the recordings cannot
correctly replicate the spatial qualities of what Ives had intended. Another
example of just how far ahead of his time he was. I was surprised to hear
the string quartet (trio?) in the balcony way up on the right (if memory
serves me). DVD-A and/or SACD surround could rectify that somewhat, but
there will never be any substitution for the real deal.

> I hope James Sinclair will do his 4th with
> Naxos in SACD surround. Maybe that will get us closer to what it sounds
> like
> in a concert hall.

In a e-mail to James, he told me that the next project will be the
orchestral sets (possibly even the inclusion of the third?). David, can you
shed any light on this? So it looks like as though his 4th will have to wait
even longer than that. I cannot imagine what Sinclair will do with the
piece - almost everything Ivesian he touches turns to gold. He may create
the new "reference" (of recordings) of the 4th, who knows?

Frankie

--- In charlesives@yahoogroups.com, "Frank Camiola" <fcamiola@h...>
wrote:
> From: "Scott Mortensen" <Scottkmort@h...>

> > I hope James Sinclair will do his 4th with
> > Naxos in SACD surround. Maybe that will get us closer to what it
sounds
> > like
> > in a concert hall.
>
> In a e-mail to James, he told me that the next project will be the
> orchestral sets (possibly even the inclusion of the third?).
David, can you
> shed any light on this? So it looks like as though his 4th will
have to wait
> even longer than that. I cannot imagine what Sinclair will do with
the
> piece - almost everything Ivesian he touches turns to gold. He may
create
> the new "reference" (of recordings) of the 4th, who knows?
>
> Frankie

Jim does plan to do the Sets next, including two movements from the
3rd O. Set (Scott--do you think the revised version of mvt. i is an
improverment on the old Varese-Sarabande LP/CD?).  Jim has also said
that he'd like to do the "Comedy" from the 4th with the extra
players Ives wanted, placed at varying distances from the listeners
(so you can hear the difference between "up close at p" and "farther
away at f"--which is what Ives intended with those "prominence
indicators" for that movement ("A" up close, "B" a little more
removed, "C" farther away, etc.).

OFF-TOPIC: I've added a few more of my older miniatures to the
Sibelius website if anyone is interested.  Also, one of my newer
large-scale pieces was accepted for the ERMMedia project, so I'll be
working on a set of parts for that gargantuan monster over the next
few weeks.  Eventually, when I get all the bugs out of the engraved
full source-score I'll be adding that one there too.
--David

--- In charlesives@yahoogroups.com, "Scott Mortensen"
<Scottkmort@h...> wrote:
>  as is Sinclair's Second Sym. with the Yale SO.

Wasn't that CD a private issue?  I thought I had one of the ferw
copies.  I haven't seen it in stores.  It IS good.
--DGP

Scott, I dont recall if this review is a new addition, so pleae bear
with me.  First, didn't anyone else notice that "Allegretto
sombreoso" has to solo instrument playing in the wrong key?

Carole Baron approached me about using my edition of Set No. 1 (it
had just been recorded by Ensemble Modern but not released).  I sent
her a copy.  I also contacted Orpheus, which was a mistake because I
then received a very nasty call from Ms. Baron about my temerity in
contacting them, as she said this was "her" project.  As it was she
didn't use much or any of my materials, instead using the older
uncorrected Schuller scores of some, the published score
of "sombreoso" (the source of the transposition error in the solo
part, which she should have and could have checked and corrected),
and made up her own version of "Calcium Light Night" which to me is
a bad joke.  I like the rest of the disk (except for a howler of a
bad note in St. Gaudens), but I felt this had been a personal insult
to me as she had led me to believe she was going to present my
edition, and I haven't listened to this CD in years.  As it was, she
didn't steal enough from me to make a good score for the Set so
maybe I should just forget about it.  But it still pisses me off all
these years later that she did what she did--it's called fraud and
using people.
--David

>From: "davidgrayporter" <davidgrayporter@...>
>
>Jim does plan to do the Sets next, including two movements from the
>3rd O. Set (Scott--do you think the revised version of mvt. i is an
>improverment on the old Varese-Sarabande LP/CD?).

YES! Absolutely.  I'm looking forward to the new recording.  Do you know
which orchestra Sinclair is using for this recording?


>Jim has also said
>that he'd like to do the "Comedy" from the 4th with the extra
>players Ives wanted, placed at varying distances from the listeners
>(so you can hear the difference between "up close at p" and "farther
>away at f"--which is what Ives intended with those "prominence
>indicators" for that movement ("A" up close, "B" a little more
>removed, "C" farther away, etc.).

This would be tremendous!  Obviously, those spatial aspects were very
important to Ives--and it's one of the things that you definitely notice
MORE when you hear the Fourth live.


>OFF-TOPIC: I've added a few more of my older miniatures to the
>Sibelius website if anyone is interested.  Also, one of my newer
>large-scale pieces was accepted for the ERMMedia project, so I'll be
>working on a set of parts for that gargantuan monster over the next
>few weeks.  Eventually, when I get all the bugs out of the engraved
>full source-score I'll be adding that one there too.

Hey, that's great!  Congrats.

Scott

>From: "davidgrayporter" <davidgrayporter@...>
>
> >  as is Sinclair's Second Sym. with the Yale SO.
>
>Wasn't that CD a private issue?  I thought I had one of the ferw
>copies.  I haven't seen it in stores.  It IS good.
>--DGP
>
>
I'm not sure if it was available in stores or not.  Jim sent me a copy.  I
seem to recall that he said it was available at the Yale bookstore. (Not
exactly world-wide distribution ;-)

At first I wasn't going to review the CD on my site, because of it's limited
availability.  But it's just so darn good--easily my favorite version--that
I decided to include it.

I've occasionally seen copies floating around on ebay.  And a few months
back we burned some copies for folks on this list who wanted to hear it.
...A bit of piracy there.  Argh, matey. ;-)

Scott

>From: "davidgrayporter" <davidgrayporter@...>
>
>Scott, I dont recall if this review is a new addition, so pleae bear
>with me.  First, didn't anyone else notice that "Allegretto
>sombreoso" has to solo instrument playing in the wrong key?
>
I hadn't noticed.  But I'm not looking at a score, not enough of an expert
to catch that sort of thing.

I really like the Orpheus Third Sym and "Unanswered Q," but I definitely
prefer Bernas' recording of the sets for small orchestra.

Scott

Folks,

I've added a brief essay to my site titled "Perfectly Sensible Pandemonium."
   I may have posted the gist of it here on this discussion board before, so
it may look slightly familiar.  In any case, I'd be interested in hearing
what you think of it. If you'd like to give it a read, go to:

http://www.musicweb-international.com/Ives/13_Essays.htm

I hope everyone's having a good day.

Scott


************************************
"The fabric of existence weaves itself whole..." -- Charles Ives
Visit a Charles Ives Website:
http://www.musicweb-international.com/Ives

Join a Charles Ives Discussion List:
http://groups.yahoo.com/group/charlesives/

--- Scott Mortensen <Scottkmort@...> wrote:
> Folks,
>
> I've added a brief essay to my site titled
> "Perfectly Sensible Pandemonium."
>   I may have posted the gist of it here on this
> discussion board before, so
> it may look slightly familiar.  In any case, I'd be
> interested in hearing
> what you think of it. If you'd like to give it a
> read, go to:
>
>
http://www.musicweb-international.com/Ives/13_Essays.htm

Interesting stuff, thanks for sharing.

I don't think Ives was into chaos, rather he was into
complexity, the complexity of independant simultaneous
events. Instead of a single piece, he thought in terms
of several disparate musics ocurring at the same time.
Despite the connotations usually attached to it, chaos
is a rather nuetral state and Ives is never nuetral.

I prefer to think of it this way: that Ives was never
satisfied with only a musical thought. For him music
existed in context and he always strived to bring that
context to his music. So instead of encapsulating a
purely musical thought, Ives wanted to capture
something else, which traditionally would have been
considered ancillary, secondary and probably
irrelevant and undesirable by most composers but was
essential to Ives. When we listen to Ives we're
hearing a reconstruction of a hypothetical performance
or other experience, or multiple performances and
experiences as imagined by Ives complete with errors,
accidents, improvisations, diversions or whatever.

Anyway, that's my two cents.

I finally got around to listening to Piston's Second on the MTT/BSO disc with
Ives, Ruggles, and Piston. I have to admit that I was very pleasantly surprised
at what I heard. There are some very interesting musical ideas, themes, and
harmonies happening but what really impressed me was the orchestration. This guy
had complete mastery of textures within an orchestra. Also, I found that the
piece itself finds a nice balance of tonality with some dissonance in spots but
quite accessible overall. I have never really heard much praise for Piston's
gift as an orchestrator, although maybe I just missed out on the conversation!

I may have to investigate some more Piston down the road a piece. Anybody have
any recommendations?

Frankie
--------------------------------------------------------------------------------\
--------------------------------------------------------------------------------
"Beauty in music is too often confused with something that lets the ear lie back
in an easy chair." Charles Ives

[Non-text portions of this message have been removed]

> --- Scott Mortensen <Scottkmort@...> wrote:
>> Folks,
>>
>> I've added a brief essay to my site titled
>> "Perfectly Sensible Pandemonium."
>>   I may have posted the gist of it here on this
>> discussion board before, so
>> it may look slightly familiar.  In any case, I'd be
>> interested in hearing
>> what you think of it.

Nice work, Scott. I like your thoughts about CEI and I agree with a lot of
your feelings regarding his music.

> I don't think Ives was into chaos, rather he was into
> complexity, the complexity of independant simultaneous
> events. Instead of a single piece, he thought in terms
> of several disparate musics ocurring at the same time.
> Despite the connotations usually attached to it, chaos
> is a rather nuetral state and Ives is never nuetral.

Yes, I think that this a very vaild point as well, but there has to be
something said about pieces such as the Comedy (II) and The Fourth of July
creating a certain amount of musical mayhem. True, there are many
independant musical events occuring simultaneously *but* at what point did
CEI have the intention of having the listener trying to decipher each and
every event (i.e musical idea) or just letting all hell break loose (taken
on its own terms)? It seems to me that "chaos" may be the end result (at
certain points) of such sophisticated and complex musical
counterpoint/musical events.

In other words, do we really know what exactly Ives true intention was?

I may be wrong, but it would sem to me that Ives would want every listener
to decide for him/herself what the music means to them. And if it sounds
like chaos - fine. And if it sounds like the most complex singular events
occuring simultaneously - then also fine.

>When we listen to Ives we're
> hearing a reconstruction of a hypothetical performance
> or other experience, or multiple performances and
> experiences as imagined by Ives complete with errors,
> accidents, improvisations, diversions or whatever.

Agreed.

Frankie

Good essay, Scott.

--- In charlesives@yahoogroups.com, "Scott Mortensen"
<Scottkmort@h...> wrote:
> Folks,

Absolutely agree with you. Already more than 10 years ago I bought a
Deutsche Grammophon disk with Ruggles Sun-Treader, W. Schuman's violin
concerto and Pistons second symphony (also MTT/BSO), and ever since
this has been one of my favourite CDs. :)

--- In charlesives@yahoogroups.com, "Frank Camiola" <fcamiola@h...>
wrote:
> I finally got around to listening to Piston's Second on the MTT/BSO
disc with Ives, Ruggles, and Piston. I have to admit that I was very
pleasantly surprised at what I heard. There are some very interesting
musical ideas, themes, and harmonies happening but what really
impressed me was the orchestration. This guy had complete mastery of
textures within an orchestra. Also, I found that the piece itself
finds a nice balance of tonality with some dissonance in spots but
quite accessible overall. I have never really heard much praise for
Piston's gift as an orchestrator, although maybe I just missed out on
the conversation!
>
> I may have to investigate some more Piston down the road a piece.
Anybody have any recommendations?
>
> Frankie
>
--------------------------------------------------
--------------------------------------------------
------------------------------------------------------------
> "Beauty in music is too often confused with something that lets the
ear lie back in an easy chair." Charles Ives
>
> [Non-text portions of this message have been removed]

The relationship between Ives and religious is indeed very interesting.

One the one hand, Ives comes from a strong Christian tradition (since
he grew up in a Christian environment, and having worked as church
musician and all), but some of his music also seems to transport
Buddhist ideas.

Most well-known is "The Unanswered Question", which fits well into Zen
Buddhism. There are these flutes asking "the perennial question of
existence" and the reaction is what Ives himself calls "The Silence of
the Druids". This could well be a Zen master who does not answer
certain questions, exactly because they should not be answered.

Now I don't think I'm the first one pointing this out, it has
certainly been mentioned by other people before. Just want to say,
when we speak about Ives being a religious composer or not, we might
consider other religions as well.

Whether Buddhism is a religion or not is another debatable question,
and I don't want to open this can of worms. This post is anyway too
long for a first-time poster :D

Keep up the good work!

Christian

  <Scottkmort@h...> wrote:
> Folks,
>
> I've added a brief essay to my site titled "Perfectly Sensible
Pandemonium."
>   I may have posted the gist of it here on this discussion board
before, so
> it may look slightly familiar.  In any case, I'd be interested in
hearing
> what you think of it. If you'd like to give it a read, go to:
>
> http://www.musicweb-international.com/Ives/13_Essays.htm
>
> I hope everyone's having a good day.
>

Scott,

I just took a look at your great site.  I just wanted to make one comment. 
Regarding your notes on recordings of the First Piano Sonata, you mention that
William Masselos' stereo recording for RCA never made its way to CD.  That's
actually not true.  Musical Heritage Society issued it a few years ago in a
collection of all of Masselos' RCA recordings - including Schumann and Satie.  I
don't know if they are still publishing it, but a quick check of their website
will say.  I think it's worth a quickie membership to get it, if it is
available.



Dan Plante



---------------------------------
Discover Yahoo!
  Find restaurants, movies, travel & more fun for the weekend. Check it out!

[Non-text portions of this message have been removed]

Frank Camiola wrote:

>>I don't think Ives was into chaos, rather he was into
>>complexity, the complexity of independant simultaneous
>>events. Instead of a single piece, he thought in terms
>>of several disparate musics ocurring at the same time.
>>Despite the connotations usually attached to it, chaos
>>is a rather nuetral state and Ives is never nuetral.
>>
>>
>
>Yes, I think that this a very vaild point as well, but there has to be
>something said about pieces such as the Comedy (II) and The Fourth of July
>creating a certain amount of musical mayhem. True, there are many
>independant musical events occuring simultaneously *but* at what point did
>CEI have the intention of having the listener trying to decipher each and
>every event (i.e musical idea) or just letting all hell break loose (taken
>on its own terms)? It seems to me that "chaos" may be the end result (at
>certain points) of such sophisticated and complex musical
>counterpoint/musical events.
>
>
My answer would be that Ives had no particular expectations about how
many threads a listener decipher. IOW, some would get many, others wouldn't.

I guess at some point a cacophony becomes chaos and where that
distinction is differs among listeners. To me Ives is never chaotic,
only very busy. I've not heard Ives entire output, but when I listen to
Ives there's always something to grab onto, no matter how cacophonous.
Ives wants us to make associations, whereas chaos seeks to make
everything equal.

I guess the problem for me is that my perception of what chaos means in
music has been defined by the serialists; Boulez, Stockhausen etc, which
to my ear lacks warmth.


>In other words, do we really know what exactly Ives true intention was?
>
>
We can't. We can only know what we feel his intention was, an intention
which can change from listening to listening and is one of the many
reasons Ives is a great master.

>I may be wrong, but it would sem to me that Ives would want every listener
>to decide for him/herself what the music means to them. And if it sounds
>like chaos - fine. And if it sounds like the most complex singular events
>occuring simultaneously - then also fine.
>
>
Of course. Maybe I should have qualified my remarks as opinion; I
thought that was obvious. Didn't mean to be bombastic.

At 08:24 PM 5/7/2005, Dan Plante wrote:

>Regarding your notes on recordings of the First Piano Sonata, you mention
>that William Masselos' stereo recording for RCA never made its way to
>CD.  That's actually not true.  Musical Heritage Society issued it a few
>years ago in a collection of all of Masselos' RCA recordings - including
>Schumann and Satie.  I don't know if they are still publishing it, but a
>quick check of their website will say.  I think it's worth a quickie
>membership to get it, if it is available.

The MHS Web Site is at:

http://www.musicalheritage.com/cgi-bin/mhs

Am I missing something, or must one must become a Member in order to see
what is available in their catalog?
Before signing-up, one might wish to read the less-than-ideal (to put it
mildly) experience with MHS had by one member at:

http://home.pon.net/rhinoceroslodge/musical_heritage_society_a.htm

Caveat emptor?

-Gene Halaburt


--
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Anybody familiar with Ned Rorem's 4th string quartet? I just listened to this
for the first time in a LOOOOOONG time and I loved what I heard this time
around. This piece seems to be based on paintings by Picasso and it has around 9
or ten movements - a minature "Pictures at an Exhibition", if you will. The
moods run the gamut from quite aggressive playing to serenely tranquil
meditations. The scoring itself is very interesting and his use of cello really
stood out for me. This is the only work that I have ever heard by Rorem, but I
will investigate more. I know that he is infamous for his songs.

Frankie
--------------------------------------------------------------------------------\
--------------------------------------------------------------------------------
"Beauty in music is too often confused with something that lets the ear lie back
in an easy chair." Charles Ives

[Non-text portions of this message have been removed]

I'm in the mood to pick up a few (or more) Naxos American Classics on-line. I'm
thinking of the following:

Rorem - Three Symphonies
Piston - Incredible Flutist/Fantasy
Schuman - New England Triptych

Anybody have any other recommendations in this series? I don't have any
large-scale works by Barber. I do have both Cowells listed here as well as all
of the Ives (obviously). My tastes tend to run with a slight preference in the
more dissonant/atonal emphasis, but tonal works are fine as well, as long as
they are *good*!! Here is the link if you need to peak at the list:
http://www.naxos.com/mainsite/default.asp?pn=Series

Thanks for your help.

Frankie
--------------------------------------------------------------------------------\
--------------------------------------------------------------------------------
"Beauty in music is too often confused with something that lets the ear lie back
in an easy chair." Charles Ives

[Non-text portions of this message have been removed]

Dear Frankie,

Sounds like you might like Antheil's Ballet Mechanique which 80 years
later still sounds up to date !  This is to me one of the  seminal
American modernist pieces.  It's definitely on the Naxos series
although there are other recordings around.  It's beautiful to me
because it evokes that whole world of the early 1920's when modernism
was blossoming, in music, art, dance, theatre, literature.   My
goodness, the piece even used multi media !!!!   more than a dozen
mechanical pianos were used.  In 1924 !  Also, Antheil revised the
piece several times with different orchestration.  Never trust anyone
who says a composer must not amend his work once completed !   Suich
folk don't know beans about new music.

Thuus there are several versions around, and, if you get keen, they
are a good way of tracking how the composer's ideas developed over
time.  The music was so controversial and ahead of its time it that
Antheil was driven out of art music and some people don't even know
he's American.  There is a Naxos version, but also others too.
It's a far more revolutionary piece, and most visionary.  Its also
fascinating musically.  If modern music were seen as a world
phenomenom, not classified by nationality, Antheil would be up there
among the stars even with this one piece.  I'm not sure Piston or
Schuman would compete in an open market.  (grin)






> I'm in the mood to pick up a few (or more) Naxos American Classics
on-
> line. I'm thinking of the following:
>
> Rorem - Three Symphonies
> Piston - Incredible Flutist/Fantasy
> Schuman - New England Triptych
>
> Anybody have any other recommendations in this series? I don't have
> any large-scale works by Barber. I do have both Cowells listed here
> as well as all of the Ives (obviously). My tastes tend to run with a
> slight preference in the more dissonant/atonal emphasis, but tonal
> works are fine as well, as long as they are *good*!! Here is the link
> if you need to peak at the list:
> http://www.naxos.com/mainsite/default.asp?pn=Series
>
> Thanks for your help.
>
> Frankie
> ----------------------------------------------------------------------
> ----------------------------------------------------------------------
> --------------------
> "Beauty in music is too often confused with something that lets the
> ear lie back in an easy chair." Charles Ives
>
> [Non-text portions of this message have been removed]
>
>
>
> Yahoo! Groups Links
> *   To visit your group on the web, go to:
>     http://groups.yahoo.com/group/charlesives/
>
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>


Anne
anne.ozorio@...

Daniel,

Thanks for the "heads-up" on the Masselos First Sonata.  I didn't know about
that one! ;-)

As Gene noted, it looks like you've got to be a member to view MHS's CDs.
Would you mind sending me the catalog information and details of the
couplings, so I can update my site?  (You can send it to me directly at
scottkmort@..., if you'd prefer.)

Thanks!!!

Scott


************************************
"The fabric of existence weaves itself whole..." -- Charles Ives
Visit a Charles Ives Website:
http://www.musicweb-international.com/Ives

Join a Charles Ives Discussion List:
http://groups.yahoo.com/group/charlesives/





>From: Daniel Plante <dplante2002@...>
>Reply-To: charlesives@yahoogroups.com
>To: charlesives@yahoogroups.com
>Subject: [charlesives] Sonata No. 1
>Date: Sat, 7 May 2005 17:24:57 -0700 (PDT)
>
>
>Scott,
>
>I just took a look at your great site.  I just wanted to make one comment.
>Regarding your notes on recordings of the First Piano Sonata, you mention
>that William Masselos' stereo recording for RCA never made its way to CD.
>That's actually not true.  Musical Heritage Society issued it a few years
>ago in a collection of all of Masselos' RCA recordings - including Schumann
>and Satie.  I don't know if they are still publishing it, but a quick check
>of their website will say.  I think it's worth a quickie membership to get
>it, if it is available.
>
>
>
>Dan Plante
>
>
>
>---------------------------------
>Discover Yahoo!
>  Find restaurants, movies, travel & more fun for the weekend. Check it
>out!
>
>[Non-text portions of this message have been removed]
>

At 11:36 AM 5/9/2005, Scott wrote:


>As Gene noted, it looks like you've got to be a member to view MHS's CDs.


Just got off the phone with MHS and my earlier conclusion was correct, i.e. one
must be a member before being allowed access to their catalog.  No further
comment from here.

-Gene


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I just sent off a long note to Scott regarding the Ives First on MHS:

This is the information:  The catalogue number is 522732F and the 2-cd album is
entitled "Tribute to Ives, Satie, Brahms, and Schumann" William Masselos, Piano

It contains:

Ives First, Satie Various tidbits, Schumann Davidsbundlertaenze I and II, and
the Brahms Sonata in C Op. 1.  The sound of the Ives is pretty much as I
remember it off the RCA LP back in the early 70s, which was quite good.

I joined MHS just to get the Ives and then let my membership lapse after having
received one too many Vivaldi for Guitar recordings that I had not gotten around
to dealing with.  Still, it was worth it.  Note, however, that - assuming that
the disc is still in print - that when I called them up to ask them about it,
the didn't find it listed under Ives - only Masselos and the title.  We went
back and forth about this for sometime before they found it.  I can only imagine
that it wasn't a hot seller.

I also mentioned to Scott one other thing that I want to check up on with my
source at what I guess is now BMG/SONY.  In 1970 or 71 or so in either High
Fidelity or Stereo Review (I think it was the former) in their listing of the
coming year's releases was a listing of Masselos playing the Concord, which I
think was going to be out together with a reissued First.  That, of course,
never happened, but Masselos did have it in his repertoire at the time. I heard
him play it live at Town Hall NYC in the fall of 1971, along with the
Kreisleriana.  Rosina Lhevinne was even there, although I'm not sure she stuck
around for the Ives on the second half.

Anyone have any other information about this?

Also, does anyone know what happened to Masselos' estate after his death?

Hoping my old contact has not yet been let go at BMG.  I'm going to ask him to
look it up to see if there is any trace of it in their computer.

Dan Plante

Gene Halaburt <ghal@...> wrote:
At 11:36 AM 5/9/2005, Scott wrote:


>As Gene noted, it looks like you've got to be a member to view MHS's CDs.


Just got off the phone with MHS and my earlier conclusion was correct, i.e. one
must be a member before being allowed access to their catalog.  No further
comment from here.

-Gene


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[Non-text portions of this message have been removed]

I've never answered my own note before, but I just located the whereabouts of
Masselo's archives - The University of Maryland.

Dan

Daniel Plante <dplante2002@...> wrote:
I just sent off a long note to Scott regarding the Ives First on MHS:

This is the information:  The catalogue number is 522732F and the 2-cd album is
entitled "Tribute to Ives, Satie, Brahms, and Schumann" William Masselos, Piano

It contains:

Ives First, Satie Various tidbits, Schumann Davidsbundlertaenze I and II, and
the Brahms Sonata in C Op. 1.  The sound of the Ives is pretty much as I
remember it off the RCA LP back in the early 70s, which was quite good.

I joined MHS just to get the Ives and then let my membership lapse after having
received one too many Vivaldi for Guitar recordings that I had not gotten around
to dealing with.  Still, it was worth it.  Note, however, that - assuming that
the disc is still in print - that when I called them up to ask them about it,
the didn't find it listed under Ives - only Masselos and the title.  We went
back and forth about this for sometime before they found it.  I can only imagine
that it wasn't a hot seller.

I also mentioned to Scott one other thing that I want to check up on with my
source at what I guess is now BMG/SONY.  In 1970 or 71 or so in either High
Fidelity or Stereo Review (I think it was the former) in their listing of the
coming year's releases was a listing of Masselos playing the Concord, which I
think was going to be out together with a reissued First.  That, of course,
never happened, but Masselos did have it in his repertoire at the time. I heard
him play it live at Town Hall NYC in the fall of 1971, along with the
Kreisleriana.  Rosina Lhevinne was even there, although I'm not sure she stuck
around for the Ives on the second half.

Anyone have any other information about this?

Also, does anyone know what happened to Masselos' estate after his death?

Hoping my old contact has not yet been let go at BMG.  I'm going to ask him to
look it up to see if there is any trace of it in their computer.

Dan Plante

Gene Halaburt <ghal@...> wrote:
At 11:36 AM 5/9/2005, Scott wrote:


>As Gene noted, it looks like you've got to be a member to view MHS's CDs.


Just got off the phone with MHS and my earlier conclusion was correct, i.e. one
must be a member before being allowed access to their catalog.  No further
comment from here.

-Gene


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Checked by AVG Anti-Virus.
Version: 7.0.308 / Virus Database: 266.11.7 - Release Date: 5/9/2005




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[Non-text portions of this message have been removed]

Frank,
I don't know of a recording but thought you, and others, might like to hear
Variations on America from a recent Pipe Dreams broadcast (pipedreams.org). 
It's the April 11 program called Texas Treasures.  Mary Preston is the organist.

Regards,

Russ Jenkins

Frank Camiola <fcamiola@...> wrote:
Does a recording exist of either Variations on America and/or the Third Symphony
for organ?

Also, Scott, is there a problem with (or are you updating) your site ? It's been
down for a few days now.

Frankie
--------------------------------------------------------------------------------\
--------------------------------------------------------------------------------
"Beauty in music is too often confused with something that lets the ear lie back
in an easy chair." Charles Ives

[Non-text portions of this message have been removed]



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[Non-text portions of this message have been removed]

> I don't know of a recording but thought you, and others, might like to
> hear Variations on America from a recent Pipe Dreams broadcast
> (pipedreams.org).  It's the April 11 program called Texas Treasures.  Mary
> Preston is the organist.
>
> Regards,
>
> Russ Jenkins

Excellent - thanks for that Russ!

Here is the link to the stream if you are interested - it starts at around
the 3:25 mark....
http://www.publicradio.org/tools/media/player/pipedreams/2005/04/17_pipedreams

Frankie