| Over the years, I have often wished that other | | | | organ score is not available to me at this time, but it |
| collaborative pianists would share their insights into the | | | | appears that Dorff has transposed the work in its |
| works they are currently learning in the thought that it | | | | entirety up one step. Several examinations of the |
| might prove helpful (or at least, insightful) when I | | | | interludes have been consulted online that discuss the |
| ultimately encounter that piece of the repertoire. This is | | | | use of the keys of F major and Db major in Interlude I |
| the first installment of what I intend to be a recurring | | | | followed by Ab major and F major in Interlude II. Dorff's |
| theme of my writing. | | | | arrangement places both interludes a whole step |
| Currently, I am preparing a recital that is scheduled to | | | | higher. I question the necessity of this, especially in |
| showcase patriotic music for flute, soprano, and piano. | | | | consideration of the impact that the new tonal areas |
| The first work that I will examine is Charles Ives' | | | | have upon the technical aspects of the keyboard part. |
| Variations on "America," arranged for flute and piano | | | | (As a side note, Dorff's instruments are saxophone |
| by Daniel Dorff. As an additional help, I have found a | | | | and clarinet in addition to his work as a composer.) |
| single recording of this arrangement by Pam | | | | Both of the bitonal interludes are presented by piano |
| Youngblood, flute, and Gabriel Bita, piano, that was | | | | alone. In the original organ setting, the use of |
| released on May 25, 2010. | | | | contrasting manual stops for each key area allows the |
| The Variations were composed in 1892 for organ solo. | | | | passages to be played effectively without forcing the |
| They were premiered that same year by Ives at the | | | | audience to question the performer's ability to play! |
| Methodist Church in Brewster, New York. It seems | | | | Dorff's suggestion is to play the right hand fortissimo |
| that many of the variations were improvised at that | | | | while playing the left hand pianissimo. While this does |
| time (as opposed to being completed) and were | | | | lessen the offensive sounds, it also makes the |
| subject to the approval of the young composer's | | | | bitonality merely an academic endeavor rather than an |
| father. At that first premiere, the polonaise--which was | | | | aural experience. |
| re-inserted as variation IV--was considered | | | | Lastly, I take issue with Dorff's metronome markings. |
| inappropriate. The Variations on "America" would | | | | When compared to the Youngblood/Bita recording as |
| ultimately be orchestrated by William Schuman. | | | | well as recordings of the organ solo and orchestrated |
| The organ composition is interesting because it | | | | versions housed at youtube.com, Mr. Dorff's suggested |
| contains some of the earliest examples of Ives' use of | | | | tempi appear to be a bit extreme. For example, Dorff |
| bitonality. The brief forays into bitonality appear as | | | | marks the allegro of variation V as dotted quarter note |
| interludes that separate variations II and III and the final | | | | = 112 (noting that the allegro is in 3/4). Ives' marking at |
| two variations. These brief interludes were added to | | | | this point in the original composition suggests his |
| the composition in 1909-10. | | | | intentions: "as fast as the pedals can go." Such |
| The work maintains some of its viability in its original | | | | comments clearly suggest that Ives preferred clarity of |
| form because it is the only major work for organ by | | | | the sixteenth note passages in the lower voice over |
| Ives. Despite its historical importance, the important | | | | speed. |
| sonorities of the organ's registrations are lost in Dorff's | | | | I am intrigued by the organ solo, but hope to never see |
| arrangement and make the work rather dull in my | | | | the flute arrangement again after this patriotic recital. |
| opinion. | | | | Based upon my time spent with the piece and listening |
| Regardless of my feelings about the piece, I will be | | | | to the available recording, I find this setting to be an |
| performing it in just over a month, so I wish to examine | | | | ineffective arrangement with few redeeming qualities |
| some of the challenges. First is the question of key. An | | | | outside of variation IV (the polonaise). |