Talk:Mississippi Suite

message: The final sentence is either wrong or needs elaboration to be clear. See the list of available recordings at Amazon. Some of them had to be made before 2004. Wis2fan (talk) 18:55, 12 April 2008 (UTC)
thread_title:  Clarification needed 

message: https://classicalexburns.com/2019/03/20/ferde-grofe-mississippi-suite-a-journey-down-memory-lane/
The Music
Grofé composed the Mississippi Suite  in 1925, and it was first recorded by Paul Whiteman and his Concert Orchestra in 1927. It is a four-movement orchestral suite, which depicts the scenes along a boat journey down the famous Mississippi River. The journey starts at the head of Minnesota and ends up down in New Orleans. Grofé admired Aaron Copland and his ‘American classical music’ style, and this suite is said to pay homage to Copland.
I. Father of the Waters (Depicts the start of the Mississippi River in Minnesota)
The first movement begins with a warm brass chorale, which sets the tone for the rest of the movement. The woodwinds then shadow this chorale. There is a feeling of this opening depicting the morning sunrise, due to the warmth and slow movement of the chorale. The strings play a whirling melody, which adds an air of wistfulness and magic into the developing atmosphere of this movement.
Percussion keep the music moving and the timbre ever-changing throughout. The upper winds and tuned percussion interrupt with a faster-paced motif, which is a stark change from the opening theme. The strings play their long melody once more, and the journey carries on. The woodwinds bring the tone and texture down, before the brass enter with another chorale. The movement ends with a neat tonic chord, led by the winds.
II. Huckleberry Finn (This movement is based on Mark Twain’s novel The Adventures of Huckleberry Finn. The movement depicts the characteristics of Huck)
This playful movement begins with a bouncy motif played by a solo bassoon. This is then accentuated by the strings who build up and then play a fast swirling descending scale. The strings then play this playful melody in full, with the brass playing interludes of a fanfare.
The horns lead us into a slower passage, where the tone is lowered slightly. The bassoon again is at the forefront here, as well as the lower strings. The upper winds and strings play a call and response passage which brings the tempo back up once more. The dotted rhythms are what give this movement an up-beat and playful atmosphere throughout.
The orchestra cut out and the bassoon plays a small slower, which leads into the upper brass playing a short two pulsating chords. The piece then ends with the whole orchestra playing a very short dominant-tonic chord explosion.
 
III. Old Creole Days (This depicts an interpretation of spirituals sung by slaves on the plantations)
The third movement is the slowest movement of the quartet, and it is also the most sorrowful. It begins with the strings playing a chorale-like melody in their lower registers. A solo violin plays a melody in a minor key, which is very nostalgic. This is then copied by the cor anglais, which gives the melody a slightly different tone.
Variations of this theme are taken around the ensemble, in particular the upper strings and flutes. The horn then plays this melody, and the orchestra stay at this quiet dynamic. This movement is also the shortest and the music stops quietly. The music in this movement is reminiscent and pays homage to the spirituals sung by slaves on the plantations.
 
IV. Mardi Gras (Depiction of the Mardi Gras celebrations in New Orleans)
The final movement begins with a brass fanfare, which sets a fast tempo for a dance-like theme to be played by the strings. The dance is reminiscent of the Cakewalk dance, with its jaunty accented motifs. The whole ensemble take a turn in playing parts of this dance theme.
The strings play both arco and pizzicato, which gives a different tone to parts of this movement. The tempo comes down slightly, and a theme, similar to that from the first movement is heard. This lyrical section is accentuated by Grofé with the use of extremities of range in instruments and the dynamic ranges of the brass.
This section leads us next into another nostalgic section, which is interrupted by another brass fanfare. The initial cakewalk dance motif is then played out again, accentuating the idea of the Mardi Gras celebrations.
A descending sequence by the tuned percussion and strings creates the foundation for the ‘breakthrough’ section. The lyrical theme returns in an almighty form, with the whole ensemble playing out fully. The horns play a wonderful counter-theme and the strings are playing this lyrical melodic cell underneath. The tempo comes up slightly once more for the final stretch of the movement. A fanfare call and response theme is heard, the timpani rolls and brings us into the final chords of the piece, which ends on its tonic chord.
 
Ⓒ Alex Burns Tillywilly17 (talk) 19:03, 4 September 2021 (UTC)
thread_title:  Alex Burns 

message: It would be great if somebody could write the ending. If not, I will research it and write it. 
I need to add my citations for the 1926-1928 sections 
It would be nice if one or more of you "Rhapsody In Blue" classical guys added your touch to it.
I will check the copyright files to get the exact information on all events  1929-present and post in here.
Need to check exact timings Also Victor 35891 35892
Tillywilly17 (talk) 19:56, 4 September 2021 (UTC)
thread_title:  Completion 

message: So far indexed 1978-2021    1924-1928
more to come
From 1926
Mississippi ; tone journey, melody by 
Ferdie Grofe. 1. Father of waters. 
[3 others] © 1 c. Apr. 20, 1926; 
E 637135 ; Leo Feist, Inc., New York. 7667 
Mississippi; tone journey, by Ferdie 
Grofe; orch. with pf. conductor. 1. 
Father of waters. [3 others] © 
July 9, 1926 ; 2 c. July 10 ; E 644453 ; 
Leo Feist, inc., New York. 13576 
Mississippi ; tone journey, by Ferdie 
Grofe ; pf . 1. Father of waters. 
[3 others] © Aug. 26, 1926; 2 c. 
Aug. 28; E 643969; Leo Feist, inc., 
New York. 15894
Daybreak. Based on the theme of Mardis Gras from Mississippi suite. w...
Type of Work:	Music
Registration Number RE0000529898 
Date: 1991-04-15
Renewal registration for: EP0000176677 / 1963-06-24
Title:	Daybreak. Based on the theme of Mardis Gras from Mississippi suite. w Harold Adamson, m Ferde Grofe, arr. Leo Feist, Inc., employer for hire of Jim Baker.
Copyright Claimant: EMI Catalogue Partnership, successor in interest to Leo Feist, Inc. (PWH)
Basis of Claim:	New Matter: arr.
Variant title:	Daybreak
Other Title:	Mardis Gras
Mississippi suite
Names:	Adamson, Harold
Grofe, Ferde
Baker, Jim
Leo Feist, Inc.
EMI Catalogue Partnership
Mississippi suite; a tone journey in four movements. Music: Ferde Grofe,...
Type of Work:	Music
Registration Number RE0000120058
Date: 1982-01-08
Renewal registration for: EP0000079396 / 1954-03-30
Title:	Mississippi suite; a tone journey in four movements. Music: Ferde Grofe, arr. Leo Feist, Inc., employer for hire of Merle J. Isaac.
Notes:	Piano-conductor score (orchestra) & parts.
Copyright Claimant:	Leo Feist, Inc. (PWH)
Variant title:	Mississippi suite
Names:	Isaac, Merle J.
Grofe, Ferde, 1892-1972
Leo Feist, Inc.
Mardi Gras. From Mississippi suite. For piano. m Ferde Grofe, modified...
Type of Work:	Music
Registration Number RE0000340040
Date: 1987-05-15
Renewal registration for: EP0000130279 / 1959-05-18
Title:	Mardi Gras. From Mississippi suite. For piano. m Ferde Grofe, modified arr. Leo Feist, Inc., employer for hire of John Lane, pseud. of Joe Levin.
Copyright Claimant:	S B K Catalogue Partnership (PWH)
Basis of Claim:	New Matter: arr.
Copyright Note:	C.O. correspondence.
Variant title:	Mardi Gras
Other Title:	Mississippi suite.
Names:	Levin, Joe
Grofe, Ferde, 1892-1972
Lane, John, pseud.
Leo Feist, Inc.
SBK Catalogue Partnership
Tillywilly17 (talk) 20:55, 4 September 2021 (UTC)
thread_title:  Copyright/Publishing