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Ives, Charles (Edward )
https://doi.org/10.1093/gmo/9781561592630.article.A2252967
Published in print: 26 November 2013
Published online: 16 October 2013
Charles Ives.
Lebrecht Music and Arts
(b Danbury, CT, Oct 20, 1874; d New York, NY, May 19, 1954).
American composer. His music is marked by an integration of
American and European musical traditions, innovations in rhythm,
harmony, and form, and an unparalleled ability to evoke the sounds
and feelings of American life. He is regarded as the leading
American composer of art music of the early 20th century.
J. Peter Burkholder, James B. Sinclair and Gayle Sherwood Magee
Grove Music Online
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1. Unusual aspects of Ives’s career.
Ives had an extraordinary working life. After professional training as
an organist and composer, he worked in insurance for 30 years,
composing in his free time. He used a wide variety of styles, from
tonal Romanticism to radical experimentation, even in pieces written
during the same period, and in his mature music frequently used
multiple styles within a single work as a formal and expressive
device. His major works often took years from first sketch to final
revisions, and most pieces lay unperformed for decades. His selfpublications
in the early 1920s brought a small group of admirers
who worked to promote his music. Around 1927 he ceased to
compose new works, focusing instead on revising and preparing for
performance the works he had already drafted. By his death he had
received many performances and honors, and much of his music had
been published. His reputation continued to grow posthumously, and
by his centenary in 1974 he was recognized worldwide as the first
composer to create a distinctively American art music. Since then
his music has been frequently performed and recorded and his
reputation has broadened further, resting less on his innovations or
nationality and more on the intrinsic merits of his music.
The unique circumstances of Ives’s career have bred
misunderstandings. His work in insurance, combined with the
diversity of his output and the small number of performances during
his composing years, led to an image of Ives as an amateur. Yet he
had a 14-year career as a professional organist and thorough formal
training in composition. Since he developed as a composer out of the
public eye, his mature works seemed radical and unconnected to the
past when they were first published and performed. However, as his
earlier music has become known, his deep roots in 19th-century
European Romanticism and his gradual development of a highly
personal modern idiom have become clear. The first of Ives’s major
works to appear in performance and publication, such as Orchestral
Set no.1: Three Places in New England, the Concord Sonata, and
movements of the Symphony no.4 and A Symphony: New England
Holidays, were highly complex, incorporated diverse musical styles,
and made frequent use of musical borrowing. These characteristics
led some to conclude that Ives’s music could be understood only
through the programmatic explanations he offered and was not
organized on specifically musical principles. Yet by analyzing his
techniques in depth and tracing their evolution through his earlier
works, scholars have demonstrated the craft that underlies even
seemingly chaotic scores and have shown the close relationship of
his procedures to those of his European predecessors and
contemporaries.
One result of Ives’s unusual path is that the chronology of his music
is difficult to establish beyond general outlines. His practice of
composing and reworking pieces over many years often makes it
impossible to assign a piece a single date. That he worked on many
compositions and in many idioms simultaneously makes the
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chronological relationships between works still more complex. There
is often no independent verification of the dates Ives assigned to his
works, which can be years or decades before the first performance
or publication. It has been suggested that he dated many pieces too
early and concealed significant revisions in order to claim priority
over European composers who used similar techniques (Solomon,
C1987) or to hide from his business associates how much time he
was spending on music in the 1920s (Swafford, C1996). Recent
scholarship, however, has established firmer dates for the types of
music paper Ives used and refined estimated dates for various forms
of his handwriting, allowing most manuscripts to be placed within a
brief span of years (Sherwood, C1994 and E1995, building on
Kirkpatrick, A1960, and Baron, C1990). These methods have often
come to support Ives’s dates, confirming that he did indeed develop
numerous innovative techniques before his European counterparts,
including polytonality, tone-clusters, chords based on 4ths or 5ths,
atonality, and polyrhythm. Where a discrepancy exists—in the case of
several longer works for example—this may well result from his
practice of dating pieces by their initial conception, the first ideas
worked out at the keyboard or in sketches now lost. The dates
provided here are, then, estimates based on the manuscripts when
extant, supplemented by contemporary documents and Ives’s
testimony.
2. Youth, 1874–94.
The Iveses were one of Danbury’s leading families, and they were
prominent in business and civic improvement and active in social
causes, such as the abolition of slavery. Ives’s father George E. Ives
(1845–94) was an exception in making music a career. He took
lessons on the flute, violin, piano, and cornet, following which,
during 1860–62, he studied harmony, counterpoint, and
orchestration with the German-born musician Carl Foeppl in New
York. After Civil War service as the youngest bandmaster in the
Union Army and two more years in New York, he returned to
Danbury and pursued a variety of musical activities, performing,
teaching, and leading bands, orchestras, and choirs in and near
Danbury, and sometimes touring with traveling minstrel shows. He
also worked in businesses connected to the Ives family. He married
Mary (“Mollie”) Elizabeth Parmalee (1850–1929) on 1 January 1874,
and Charles was born on 20 October the same year, followed by J.
Moss (1876–1939), who became a lawyer and judge in Danbury.
As a youth Ives was exposed to the entire range of music-making in
Danbury, from the band music and gospel hymns he associated with
his father to the cultivated repertoire fostered by the local school of
music. He studied the piano and organ from a young age with a
series of teachers and was playing in recitals by his early teens. He
became an accomplished performer in three musical traditions:
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American vernacular music, Protestant church music, and European
classical music. Additionally, he was an avid athlete and was captain
of several baseball and football teams.
Ives played the drums with his father’s band, and the spirit of band
performance echoes in many works of his maturity. He wrote
marches for piano, band, and theater orchestra, several of which
adopt the by then longstanding practice of setting a popular song in
one section of the march. His first publicly performed piece may
have been the march Holiday Quickstep, written when he was 13;
despite the work’s somewhat old-fashioned style, the review in the
Danbury Evening News of the January 1888 premiere called him
“certainly a musical genius” and declared “we shall expect more
from this talented youngster in the future.”
At the age of 14 he became the youngest salaried church organist in
the state, and he worked regularly as one until 1902. He wrote
anthems and sacred songs for church services, at first using hymn
texts and a hymn-like style, as in Psalm 42. The hymns he knew from
church, and the gospel hymns he knew from camp-meeting revivals
where his father sometimes led the singing with his cornet, he later
regularly borrowed or reworked as themes in sonatas, quartets, and
symphonies. He heard some classical music in concert performances
in Danbury, New York, and Chicago (at the 1893 World’s Fair) and
learned rather more through his own study and performance of
works by Bach, Handel, Beethoven, Rossini, Schubert, Mendelssohn,
Wagner, John Knowles Paine, and others on the piano or organ,
including many transcriptions. His virtuoso Variations on
“America” (1891–2) shows just how skilled an organist Ives was
while still in his late teens. Many of the distinctive features of Ives’s
mature music stem from his experience as an organist, including his
penchant for improvisation, virtuosic demands on performers,
orchestration with layering or juxtaposition of contrasting timbres
(akin to contrasting ranks of pipes on the organ’s different
keyboards), spatial effects (based on alternating Great and Swell
keyboards), and frequent use of pedal points, fugal textures, and
hymn tune elaborations, all characteristics of the organ repertoire
(Burkholder, D2002).
Although he had many teachers for performance, his father taught
him harmony and counterpoint and guided his first compositions.
Several of these take existing works as models, following the
traditional practice of learning through imitation, such as the
Polonaise for two cornets and piano (c1887–9), modeled on the
sextet from Donizetti’s Lucia di Lammermoor. At the same time,
Ives’s father had an open mind about musical theory and practice
and encouraged his son’s experimentation. Bitonal harmonizations of
London Bridge, polytonal canons and fugues, and experiments with
whole-tone pieces, triads in parallel motion, and chromatic lines
moving in contrary motion to create expanding or contracting
wedges, all dating from the early 1890s, show Ives’s interest in
testing the rules of traditional music by trying out alternative
systems, as if the rules of music theory were as arbitrary as those of
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baseball (whose rules changed several times during his youth). Many
of Ives’s experiments derive from extending European classical
precedents: for example, the fugue in four keys (C, F, B♭, E♭) that
opens his Song for Harvest Season was modeled on a fugal
modulating sequence in the same keys in Mendelssohn’s organ
Prelude and Fugue in C Minor, op.37, no.1, which Ives played in
church and in recital. At the time, Ives apparently conceived of such
experimentation merely as playing with music theory, a private
activity shared primarily with his father, rather than regarding these
new systems as a serious basis for composing concert music. On still
another musical plane, it was his father whom he credited with
teaching him the songs of Stephen Foster, whose tunes he would
later borrow and whose simple diatonic lyricism informs many of
Ives’s own melodies.
Ives moved to New Haven in early 1893 to attend Hopkins Grammar
School and prepare for entrance examinations at Yale. He pitched
for the Hopkins baseball team and led them to victory over the Yale
freshmen in April 1894 for only the second time in the school’s
history. He was the organist at St. Thomas’s Episcopal Church for a
year, and then moved to Center Church on the Green in September
1894, the same month he matriculated at Yale. Just six weeks later,
on 4 November, his father died suddenly of a stroke. Leaving home,
starting university, and especially the death of his principal teacher
and supporter marked a sharp break from the past and the end of
his youth.
3. Apprenticeship, 1894–1902.
Ives began his time at Yale as a virtuoso organist and an experienced
composer of popular and church music but with limited exposure to
classical music. He continued to compose vernacular works
including songs, marches, and glee club and fraternity-show
numbers. Several works were published, including three glees, a
march, and an 1896 presidential campaign song for William
McKinley. His church music also grew in maturity. The choirmaster
at Center Church, John Cornelius Griggs, was a supportive colleague
and mentor and became a lifelong friend. For the Center Church
choir, which was led by a quartet of paid soloists, Ives wrote
anthems such as Crossing the Bar in a chromatic late-Romantic style
modeled on the anthems of Dudley Buck, the leading composer of
music for quartet choir, with whom he briefly studied the organ
around 1895. Later, he gradually adopted the elevated choral style of
his teacher at Yale, Horatio Parker, in works such as All-Forgiving,
look on me.
But it was in classical music that Ives learned the most. For the first
time, he had regular access to chamber and orchestral concerts. He
audited Parker’s courses in harmony and music history during his
first two years, and then studied counterpoint, instrumentation, and
strict composition with Parker. In his senior year he took the
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capstone course in free composition (as an unregistered student
because he lacked one prerequisite); Parker’s willingness to admit
him to the class shows his high esteem for Ives’s potential as a
composer. Ives assimilated the German lied by resetting texts from
well-known examples, typically incorporating some aspects of the
model’s structure or contour while seeking a different figuration and
mood. He later recalled that his Feldeinsamkeit earned the praise of
Parker’s teacher George Chadwick for taking “a more difficult and
almost opposite approach” that was “in its way almost as good as
Brahms” and “as good a song as [Parker] could write.” Comparison
of Ives’s earlier exercises with the works of his last term at Yale
shows how much he learned from Parker, whose thorough
instruction provided the firm foundation he needed in theory and
composition.
Ives began his Symphony no.1 under Parker, and later recalled that
the second and fourth movements were accepted as his final thesis,
although he continued to work on it after graduation. In this work
there are strong echoes of the symphonic masterpieces he used as
models, especially Schubert’s “Unfinished” in the first movement,
Dvořák’s “New World” in the slow movement and the work as a
whole, Beethoven’s Ninth Symphony in the scherzo, and the third
movement of Tchaikovsky’s “Pathétique” in the finale. Yet even the
most direct references are reworked in fresh and interesting ways.
Ives owed to Parker his new-found skills in counterpoint, thematic
development, orchestration, and composing large forms, along with
the concept, foreign to the utilitarian music of Danbury, of music as
an experience to be savored for its own sake. The simultaneous
citation of the familiar and assertion of an individual personality is a
distinguishing Ives trait, evident even in the music he wrote in a
late-Romantic style. This work also set the pattern for Ives’s later
symphonies and for many of his sonatas in linking movements
through the cyclic repetition of themes.
Although he studied music diligently, Ives may not have intended to
make music his career. He took the usual round of Greek, Latin,
German, French, mathematics, history, and political science, and he
remembered especially fondly his English and American literature
courses with William Lyon Phelps, who helped to form Ives’s taste in
poetry. A Yale education was regarded as a preparation for success
in business, and much of the social life on the all-male campus was
organized around groups through which one could develop
friendships and potentially useful connections. Ives was no great
scholar outside his music courses, but he was well-regarded and
socially successful, chosen as a member of the Delta Kappa Epsilon
fraternity and of Wolf’s Head, one of Yale’s elite secret senior
societies. Songs of both groups figure in later works recalling his
college days, such as Calcium Light Night and the middle movement
of the Trio for Violin, Violoncello, and Piano. One of his best friends
was David Twichell, who invited him to Keene Valley in the
Adirondacks for a family vacation in August 1896; there Ives met his
future wife, David’s sister Harmony (1876–1969).
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After graduation in 1898, he moved to New York, living for the next
decade in a series of apartments, all wryly dubbed Poverty Flat, with
other bachelors with Yale connections. Through his father’s cousin,
Ives gained a position in the actuarial department of the Mutual
Insurance Company. In early 1899 he moved to Charles H. Raymond
and Co., agents for Mutual, where he worked with sales agents and
developed ways to present the idea of insurance. There he met Julian
Myrick (1880–1969), who would later become his partner.
While working in insurance, Ives did not give up all hope of a
musical career. He continued to serve as an organist, first in
Bloomfield, New Jersey (where for the first time he was also
choirmaster), and then from 1900 at the Central Presbyterian
Church in New York, a prestigious post. After university, he ceased
writing vernacular music and sought to consolidate his training as a
composer of church music and art music in the Parker mold. He
continued to write lieder to established texts and composed a sevenmovement
cantata, The Celestial Country, modeled in its format on
the quartet choir cantatas of Buck and in specific details on Parker’s
oratorio Hora novissima, whose 1893 premiere had established
Parker’s reputation.
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Ives, Charles Edward 3. Apprenticeship, 1894–1902.: Ex.1 Opening
theme of String Quartet no.1, 3rd movt, and its source
He also pursued some new avenues. Parker had focused on German
music; now Ives wrote French chansons, modeled on those of
composers such as Massenet. He reworked some of the German
songs with new English texts; it would become characteristic of him
to reshape older pieces into newer ones, often in different media. In
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similar fashion, he developed what may have been church service
music from his Yale years into a string quartet that used
paraphrased hymn tunes as themes. The opening theme of the First
Symphony had used elements of two hymns, but the String Quartet
no.1 established the pattern for many later works in that it derived
virtually every one of its themes from a hymn tune source. Unaltered
hymn tunes were too predictable and repetitive in rhythm, melody,
and harmony to serve well as themes for movements in classical
forms, so Ives ingeniously reshaped them into irregular, Brahmsian
themes ripe for development, while preserving a hymn-like,
American character. Ex.1 shows the derivation of the opening theme
of the third movement from its source, the hymn-tune Nettleton
(“Come, Thou Fount of Ev’ry Blessing”). With this work Ives began to
integrate the different traditions he had learned, bringing the spirit
and sound of Protestant hymnody into the realm of art music.
Most remarkably, Ives’s experimentation took on a new seriousness.
Armed with techniques learned from Parker and perhaps inspired by
compositional systems of the Middle Ages and Renaissance that
Parker described in his music history lectures, such as organum,
counterpoint, and rhythmic stratification, Ives began to produce, not
mere sketches or improvised “stunts,” but finished pieces that
explore new procedures. Most significant is a series of sacred choral
works, mainly psalm-settings, that Ives may have tried out with
singers where he was organist, although no performances are
registered. Psalm 67 uses transformations of a five-note chord
(arranged to create the impression of bitonality) to harmonize a
simple melody in a style resembling Anglican chant. Psalm 150
features parallel triads that are dissonant against sustained triads.
Psalm 25 deploys angular, dissonant two-voice canons over pedal
points and includes a whole-tone passage that expands from a
unison to a whole-tone cluster spanning almost three octaves. In
Psalm 24 the outer voices move in contrary motion, expanding from
a unison in each successive phrase and moving first by semitones
(often displaced by octaves), then by whole tones, 3rds, 4ths, 4ths
and tritones, and finally 5ths; after the golden section of the work,
there is a contraction, phrase by phrase, using the same intervals in
reverse order, to make an approximate palindrome.
Each piece finds new ways to establish a tonal center, create
harmonic motion and resolution, and regulate counterpoint. The
technique chosen often responds to the text; for example, the central
image of Processional: Let There Be Light is perfectly conveyed by
the procession of chords formed of 2nds, 3rds, 4ths, and 5ths,
through increasingly dissonant chords of 6ths and 7ths, to pure
octaves. In these systematic experiments in compositional method,
Ives established what was to become a 20th-century tradition of
experimental composition, one that included the work of Henry
Cowell, Charles Seeger, Ruth Crawford Seeger, John Cage, and many
later composers. These experimental works remained distinct from
his concert music, which continued to use the language of European
Romanticism.
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The climax of Ives’s apprenticeship was the premiere of The
Celestial Country at the Central Presbyterian Church in April 1902,
his most ambitious piece to be performed up to that point. It
received pleasant, if mild, reviews from the New York Times and
Musical Courier. Yet soon after, Ives resigned as organist, the last
professional position in music he was to hold. He recalled that he left
behind much of his church music, which was later discarded by the
church, so that what survives of his anthems, songs, and organ
music for services is only part of what may have been a much larger
body of work. Ives apparently concluded that he did not want or
would not achieve a career like that of Parker, who survived as a
composer by serving as a church organist and teaching at Yale. Ives
would later ironically describe this as the time he “resigned as a nice
organist and gave up music.”
4. Innovation and synthesis, 1902–8.
Having abandoned music as a career, Ives cast his lot with
insurance. However, in 1905 the New York state legislature launched
an investigation of scandals in the insurance business, with Mutual
and the Raymond agency as particular targets. Although Ives was
not implicated, higher executives were, including two of Ives’s
relatives, and the agency was ultimately dissolved. The investigation
coincided with two bouts of illness for Ives in the summer of 1905
and late 1906, diagnosed as neurasthenia (nervous exhaustion) with
irregular heartbeat, a condition associated at the time with
overwork, especially among upper-class businessmen (Magee,
C2001). The usual prescribed remedy was a rest cure. Ives spent the
late summer of 1905 at Saranac Lake in the Adirondacks with David
Twichell and family, including Harmony, by then a registered nurse.
While recuperating from the second, more serious illness over
Christmas 1906 at Old Point Comfort, Virginia, Ives finalized plans
with Myrick to launch an agency affiliated with Washington Life,
which had begun as a Mutual subsidiary; it appears that Mutual’s
management helped with the arrangements. Ives & Co. opened on 1
January 1907, with Myrick as Ives’s assistant. The two became
central figures of the generation that professionalized the insurance
business and cleaned up its image after the 1905 scandals. The
ideals Ives stated and pursued as a businessman were, ironically,
those articulated at the New York legislature’s hearings by the
president of Mutual: that life insurance was not a scheme for profit,
but a way for each policyholder to provide for his family while
“participating in a great movement for the benefit of humanity at
large” through mutual assistance.
The year 1905 also began the other key partnership of Ives’s
adulthood, as he renewed his acquaintance with Harmony Twichell.
Their courtship was slow, hindered by long absences, infrequent
times together, and Ives’s shyness. She wrote poems, some of which
he set to music in a tonal, Romantic style meant to please her and
her family, and they planned an opera that never materialized. Their
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friendship grew in intensity until they professed their love for each
other on 22 October 1907. They were married on 9 June 1908 by
Harmony’s father, the Rev. Joseph Twichell, at his Congregational
church in Hartford, and settled in New York.
Harmony rekindled Ives’s interest in composition after three years in
which he had composed little. Without a church position, he had
evenings and weekends free for composition, and forgoing regular
performance allowed Ives freedom to explore without having to
please anyone but himself. No longer a Parker apprentice, nor a
composer of popular or sacred music, Ives entered a period of
innovation and synthesis.
Ives now sought increasingly to integrate vernacular and church
style into his concert music. In his Second Symphony (begun by
1902, completed c1907–9), the major work of this period, he
introduced for the first time both hymn tunes and American popular
songs into a piece in the classical tradition. The framework is still
European, a cyclic five-movement symphony in late Romantic style
with direct borrowings from Bach, Brahms, Wagner, Dvořák, and
Tchaikovsky; the final two movements are modeled on the finale of
Brahms’s First Symphony. But the themes are all paraphrased from
American melodies, reshaped to suit sonata and ternary forms. Like
many symphonies that employ national material, the work celebrates
the nation’s music while conforming to an international style. What
is especially striking is that the national material is not primarily folk
music (only three fiddle tunes fit that category) but rather types of
popular music, including Stephen Foster songs, patriotic songs,
popular songs, gospel songs, and hymn tunes. From this time on,
most of Ives’s major works would integrate sounds and melodies of
popular music into classical genres. This was a radical departure
from the traditional focus on privileging folk material, but it was a
choice that represented his own experience and that of many urban
Americans, who were more familiar with popular music from several
generations than with any folk music.
In other pieces, such as the improvisations and sketches that
became the Ragtime Dances, Ives began to create a more modern
and individual idiom that drew on American melodic and rhythmic
characteristics, including ragtime, the currently popular style. Ives
had grown familiar with ragtime at Yale and in New York, primarily
East Coast performing styles and Tin Pan Alley ragtime songs, and
he was one of the first composers to integrate its gestures into
classical genres. In such works, Ives was writing music about music,
evoking the sounds and spirit of American music-making, placing
both himself and his listeners in the role of spectators. The many
guises the Ragtime Dances would eventually assume—from a set of
dances for theater orchestra to movements in his Piano Sonata no.1,
Set for Theatre Orchestra, and Orchestral Set no.2, and passages in
his second Quarter-Tone Piece for two pianos—illustrate again his
penchant for reworking his own music into new forms.
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Ives, Charles Edward 4. Innovation and synthesis, 1902–8.: Ex.2
Scherzo: All the Way Around and Back, bars 17–18
He continued experimenting, especially now in chamber music,
whose greater range of sonorities allowed him to extend traditional
counterpoint and increase the independence between the parts to
create an effect of separate layers. Works such as the Fugue in Four
Keys on “The Shining Shore,” From the Steeples and the Mountains,
and The Unanswered Question display polytonal and atonal canons,
multiple layers distinguished by rhythm, pitch content, and sonority,
and the combination of atonal and tonal planes, often with a
program to explain the unusual musical procedures. For example,
Scherzo: All the Way Around and Back gradually builds up six
distinct layers, subdividing each bar into 1, 2, 3, 5, 7, and 11 equal
divisions respectively, over which a bugle plays fanfares in common
time (Ex.2 ); the piece is palindromic, swelling to a climax and
returning in an exact retrograde, a musical analogue to “a foul ball
[in baseball]—and the base runner on 3rd has to go all the way back
to 1st.” Several of his experimental works use such images from
baseball, which became a proving ground for musical ideas as it had
been for his athletic abilities in his teens (Johnson, D2004). In works
like this Ives developed approaches using interval cycles, pitch class
sets, and other organizing principles that he later used to great
effect in his mature music.
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5. Maturity: modernist nationalism, 1908–
18.
Ives’s wife Harmony played a crucial role in his development. As he
noted in his Memos, her unwavering faith in him gave him
confidence to be himself, although she did not claim to understand
all of his music. Moreover, she helped him to find the purpose and
the subject matter for his mature work. She wrote to him in early
1908 stating that
inspiration ought to come fullest at one’s happiest moments—I think
it would be so satisfying to crystallize one of those moments at the
time in some beautiful expression—but I don’t believe it’s often done
—I think inspiration—in art—seems to be almost a consolation in
hours of sadness or loneliness & that most happy moments are put
into expression after they have been memories & made doubly
precious because they are gone.
This upholds the Romantic idea of music as an embodiment of
individual emotional experience, but adds two elements that were to
become characteristic of Ives’s mature music: capturing specific
moments that are individual and irreplaceable, and doing so through
memory. Her interest in Ives’s father and family revived his own, and
several pieces over the next decade recall the town band (Decoration
Day, The Fourth of July, Putnam’s Camp), the American Civil War
(The “St Gaudens” in Boston Common), camp meetings (Symphony
no.3, Violin Sonata no.4, The Rockstrewn Hills Join in the People’s
Outdoor Meeting), and other memories Ives connected to his father.
Harmony’s interest in literature rekindled his, which had apparently
lain dormant since college, and he produced a series of works on
Emerson, Browning, Hawthorne, Thoreau, and others. Her sense of
idealism about America echoed in him, stimulating a rush of pieces
on American subjects. The socially committed Christianity of the
Twichells reinforced that of the Ives family, as Ives took up subjects
from Matthew Arnold’s West London to the movement to abolish
slavery (Study no.9: the Anti-Abolitionist Riots in the 1830s and 40s).
Although her influence and support were crucial, Harmony was of
course not his only inspiration; some pieces respond to current
events or set poetry he read in newspapers, and several works
begun in the mid-1910s focus on war or memorials to war, inspired
by the 1911–15 50th anniversary of the Civil War and by the events
of World War I.
Ives’s successes in insurance must also have bolstered his selfconfidence.
After Washington Life was sold in 1908, he took Myrick
into full partnership in an agency with Mutual, launched on 1
January 1909. Within a few years, they were selling more insurance
than any agency in the country, during a time of dramatic expansion
in the industry. Their secret lay in recruiting a wide network of
agents to sell policies for them and in preparing detailed guidelines
for selling insurance, summarizing the best arguments to be made.
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Ives established the first classes for insurance agents at Mutual and
helped to devise and promote “estate planning,” a method still used
to calculate the amount of life insurance one should carry based on a
family’s expected expenses and income should they lose their main
breadwinner. His pamphlet The Amount to Carry became a classic of
its kind. He composed during the evenings, at weekends and on
vacations, finding particular inspiration at a weekend cabin on Pine
Mountain in Connecticut and during family vacations in the
Adirondacks. Family letters suggest that Harmony chose these
getaways, at rural locations suitable for rest cures, as part of Ives’s
ongoing treatment for neurasthenia, but increasingly composition
seems to have played a role as a relief from the pressures of
business.
The works of 1908–18 have been aptly described as examples of
modernist nationalism (Magee, C2008), using modernist techniques
to ruminate on American music and culture. Ives continued to use
American melodies as themes, but turned from the traditional
ternary and sonata forms of the First Quartet and Second Symphony
to a new pattern that has been called cumulative form. In the outer
movements of the Symphony no.3, most movements of the four violin
sonatas and the Piano Sonata no.1, and several other works from
c1908–17, the borrowed hymn tune used as a theme appears
complete only near the end, usually accompanied by a
countermelody (often paraphrased from another hymn). This is
preceded by development of both melodies, including a statement of
the countermelody alone. The harmony may be dissonant, and the
key is often ambiguous until the theme appears, but the music
remains essentially tonal. Cumulative form drew on traditional
sources, including thematic development and recapitulation; the
19th-century conventions of a large work culminating with a hymnlike
theme and of combining themes in counterpoint; and the church
organist practice of preceding a hymn with an improvised prelude on
motives from the hymn. Indeed, Ives commented that many of these
movements developed from organ preludes he had played or
improvised in church, all now lost. However, Ives’s synthesis was
new. The avoidance of large-scale repetitions, inherent in older
forms, allowed him to use hymns essentially unaltered as themes, for
the rhythmic and melodic plainness and lack of harmonic contrast
that made them unsuitable for the opening theme of a sonata form
were perfect for the culmination of a movement. The process of
developing motives and gradually bringing them together in a hymn
paralleled, on a purely musical level, the experience Ives
remembered of hymn-singing at the camp-meetings of his youth, as
individuals joined in a common expression of feeling. The
combination in many of these works, such as the Third Symphony, of
source tunes from the camp-meeting repertoire with hymns from
middle-class mainline churches, all in a compositional framework
derived from European symphonies and sonatas, embodies a
reconciliation of rural and urban, lower- and middle-class, and
American and European traditions.
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Ives, Charles Edward 5. Maturity: modernist nationalism, 1908–18.: Ex.3
The Housatonic at Stockbridge
In other works, Ives sought to capture American life, especially
American experiences with music, in a more directly programmatic
way. The Housatonic at Stockbridge (Ex.3 ) evokes a walk by the
river Ives and his wife shared soon after their marriage. The main
melody (given to second violas, horn, and English horn), harmonized
with simple tonal triads (in the lower strings and brass, notated
enharmonically), suggests a hymn wafting from the church across
the river, while repeating figures in distant tonal and rhythmic
regions (upper strings), subtly changing over time, convey a sense of
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the mists and rippling water. Like this work, most of Ives’s music
about life experiences is composed in layers, distinguished by
timbre, register, rhythm, pitch content, and dynamic level, to create
a sense of three-dimensional space and multiple planes of activity;
here the earlier experiments in layering bear rich fruit. Central Park
in the Dark pictures the noises and music of the city against the
background sounds of nature, rendered as a soft series of atonal
chords in parallel motion. In From Hanover Square North,
background ostinatos represent city noises in New York, over which
commuters on a train platform gradually come together to sing a
hymn for those lost in the sinking of the Lusitania that morning.
When suggesting a memory of his youth, as in Putnam’s Camp,The
Fourth of July, and Washington’s Birthday, Ives often infused the
background with a collage of tunes related by motif or genre to his
main theme, evoking the way one memory will summon up others in
a stream of consciousness. Songs such as “The Last Reader” and
“The Things Our Fathers Loved” suggest a similar fount of memory
through a patchwork of fragments from songs of the past. These
collages and patchworks present a multiplicity of references, but
they build on Ives’s experience with more traditional forms of
borrowing.
These programmatic pieces and songs mix tonality with atonality,
traditional with experimental procedures, direct quotation with
paraphrases and original melodies. Having developed an impressive
range of tools, Ives used them all in his mature works, choosing
whatever was appropriate to fit the image, event, or feeling he was
attempting to convey. Ives wrote in 1925, “why tonality as such
should be thrown out for good, I can’t see. Why it should be always
present, I can’t see. It depends, it seems to me, a good deal—as
clothes depend on the thermometer—on what one is trying to do.”
Ives’s willingness to break rules, even his own, for expressive ends
places him with the likes of Monteverdi, Beethoven, Mahler, Strauss,
and Berg as an essentially dramatic and rhetorical composer. Like
them he often coordinated diverse styles within a single movement,
using the contrasts to delineate sections and create form as well as
for emotional effect. Though this eclecticism has been criticized by
those who value systems, refinement, and homogeneity more than
rhetorical power, many others have found the mix of elements in
Ives’s music an apt expression of the heterogeneity of modern,
especially American, life.
In 1912 Ives and his wife bought farmland in West Redding, near
Danbury, and built a house, soon settling into a pattern of spending
May to November in West Redding and the rest of the year in New
York. Unable to have children after Harmony miscarried in April
1909 and underwent an emergency hysterectomy, they found a
partial outlet for their parental energies in Moss’s six children, often
hosting one or two of them for extended periods. They opened a
cottage on their property to poor families from the city through the
Fresh Air Fund; the second family to visit had a sickly infant
daughter, whom they cared for and eventually adopted as Edith
Osborne Ives (1914–56).
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From time to time Ives sought out performances or at least readings
of his music, and this encouraged him to have clean scores and parts
copied by a series of professional copyists. Walter Damrosch
conducted an informal reading of movements from the First
Symphony in March 1910; attempts to interest him in the Second
and Third had no result. Periodically, Ives invited or hired
professional musicians to try out some of his music; the reactions he
recorded in his Memos ranged from incomprehension to apoplectic
criticism of its dissonance and complexity. The United States’
entrance into World War I in April 1917 inspired him to write the
song “In Flanders Fields” to a text by a Mutual medical examiner,
and Myrick arranged for a performance at a meeting of insurance
executives. Later the same month David Talmadge (violin teacher to
Ives’s nephew Moss White Ives) and Stuart Ross performed the
Third Violin Sonata for an invited audience at Carnegie Chamber
Music Hall.
6. Completions and last works, 1919–29.
The war pulled Ives away from composition into work for the Red
Cross and Liberty Loan appeals. He even tried to enlist in 1918 to
serve six months in France with the YMCA but did not pass the
physical examination. On 1 October 1918, he suffered a debilitating
illness, apparently a serious recurrence of his cardio neurasthenia,
which kept him from work for a year.
Mindful of his mortality, Ives set about finishing and making
available the music he had been composing. Two months in early
1919 were spent on a rest cure at Asheville, North Carolina, where
he completed his Second Piano Sonata, subtitled Concord, Mass.,
1840–60, with musical impressions of Emerson, Hawthorne, the
Alcotts, and Thoreau, and wrote most of an accompanying book of
Essays before a Sonata, his most detailed statement of his
aesthetics. The importance of transcendentalism in the sonata and
essays has obscured other influences, including those of Beethoven,
Debussy, Liszt, and Skryabin on the sonata (and on much of Ives’s
other music) and those of Romantic aesthetics and liberal
Christianity on his philosophy. The famous distinction Ives makes in
the essays between “substance” (more or less, the spiritual content
of a work) and “manner” (the means of its expression) derives
largely from a 1912 essay on Debussy by Ives’s friend John C.
Griggs. The sonata and the essays were privately printed in 1920–21
and sent free to musicians and critics whom he hoped to interest in
his music. Most reviews were mocking, and the sonata’s
programmaticism and nationalism were out of step with the postwar
mood, but a perceptive notice by Henry Bellamann praised the
sonata’s “loftiness of purpose” and its “elevating and greatly
beautiful” moments. Bellamann became Ives’s first advocate,
lecturing and writing on his music, and Ives later set two of
Bellamann’s poems.
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Ives, Charles Edward 6. Completions and last works, 1919–29.: Ex.4
Resolution
Between 1919 and 1921 Ives gathered most of his songs, including
20 new ones, 20 adapted to new texts, and 36 newly arranged from
works for chorus or instruments, into a book of 114 Songs, privately
printed in 1922. Many of the songs use words by Ives or by
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Harmony, while others set a wide range of texts, from the great
English and American poets Ives studied with Phelps at Yale to
hymns and poems he found in newspapers, or other such sources.
The volume encompasses the diversity of Ives’s output, from the vast
clusters that open Majority and the quartal chords and whole-tone
melody of The Cage to his German lieder and parlor songs from the
1890s. The late songs include a new style for Ives: more restrained,
simpler, and with less overt quotation, although still often dissonant
and full of contrasts used to delineate phrases and highlight the text.
This is illustrated in the song Resolution (Ex.4 ), which features four
distinctive figurations in its brief eight measures, each using a
different collection of pitches and each subtly linked to images in the
text: in a, a pentatonic melody with dotted rhythms recalls American
folksong style, associated with rugged strength and the outdoors,
while the wide spacing in voice and piano evokes the spaciousness of
“distant skies”; in b, tonal harmonies and secondary dominants
suggest hymnody, representing faith; c mimics the style Ives
associated with sentimental parlor songs, with an undulating melody
in dotted rhythm over harmonies tinged with chromaticism, while
the reiterated chords and emphasis on G create a sense of marking
place; d is again diatonic, suggesting Romantic song through a leap
and descent; and a returns at the close, as “journey” harks back to
“walking.”
Once again Ives distributed his publication to musicians and critics,
hoping to attract some interest, with little initial success; John Philip
Sousa found some songs “most startling to a man educated by the
harmonic methods of our forefathers,” and the Musical Courier
called Ives “the American Satie, joker par excellence.” Nevertheless,
several of the songs were given their premieres in recitals in
Danbury, New York, and New Orleans, between 1922 and 1924, and
were apparently well received. Ives also completed or revised many
other works between 1919 and the early 1920s, including the First
Piano Sonata, the Second Violin Sonata, and most movements of A
Symphony: New England Holidays, Orchestral Set no.1: Three
Places in New England, Orchestral Set no.2, and the Symphony no.4.
Many of these multi-movement cycles brought together movements
first conceived separately, sometimes at different times. The Second
Violin Sonata was first performed in 1924 to respectful reviews, but
the others had to wait.
In 1923 Ives met E. Robert Schmitz, pianist and head of the FrancoAmerican
Musical Society, later renamed Pro-Musica Society. The
relationship was mutually beneficial; Ives supported the Society
financially (though anonymously), and Schmitz arranged
performances of the newly composed Three Quarter-Tone Pieces for
two pianos in 1925, the first two movements of the recently
completed Fourth Symphony in 1927, and the piano piece The
Celestial Railroad in 1928. The symphony was a summation of all
Ives had done, drawing on more than a dozen earlier works and
encompassing the range of his techniques from pure tonality to the
most rhythmically complex textures any conductor had ever seen. It
traces a mystical inner journey: the brief opening movement poses
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“the searching questions of What? and Why? which the spirit of man
asks of life” (in the words of Bellamann’s program note) by means of
a choral setting of the hymn tune “Watchman, Tell Us of the Night”;
the second movement, adapted from The Celestial Railroad, is a
dream-like collage based on Hawthorne’s tale of the same name, a
satire of the search for an easy way to heaven; the third movement,
based on the first movement of the First Quartet, depicts religious
“formalism and ritualism” through a tonal fugue on hymn tunes; and
after these two false answers to the questioning prelude the finale
suggests the truer path through a meditation on Bethany (“Nearer,
My God, to Thee”) in cumulative form. Despite the work’s novelty
and complexity, it won encouraging reviews from Olin Downes of the
New York Times and Lawrence Gilman of the Herald Tribune, two of
the leading critics of the day.
Ives stopped composing new works by early 1927; as Harmony later
told John Kirkpatrick, “he came downstairs one day with tears in his
eyes and said he couldn’t seem to compose any more—nothing went
well—nothing sounded right.” Theories abound for his cessation,
from the psychological effects of his double life in business and
music to the physical illnesses he continued to endure. He may have
exhausted himself from the push to complete the Fourth Symphony
and other major works. He had started no new orchestral
compositions since an attempt at a third orchestral set in c1921,
which remained unfinished. The early 1920s had produced a few
songs and his choral masterpiece Psalm 90, essentially rewritten
from scratch around 1923. Around the same time he returned to his
ambitious Universe Symphony (begun c1915), the capstone of his
exploration of systematic methods of composition, which features
over 20 wholly independent musical strands, each moving in its own
subdivision of a metric unit eight seconds in length. This too would
remain unfinished, finally appearing in three separate realizations in
the 1990s. His last new work was the song “Sunrise” in August
1926, left incomplete. He had still received very few performances,
and no professional publications since the 1890s. Ives may have
followed the same steps as most composers—first conceiving a
piece, then drafting, revising, completing and copying it, and seeing
it through to performance and publication—but instead of doing this
for each piece in a short span of time, he did it for dozens of pieces
at once, stretched over decades.
7. Revisions and premieres, 1929–54.
After years of health problems, eventually diagnosed as diabetes (for
which he was among the first to receive insulin treatments), Ives
retired from business on 1 January 1930. His music was written, but
its public career was just beginning. After Bellamann and Schmitz,
Ives found an ever-increasing series of advocates who promoted and
performed his music. Most important was Henry Cowell, whose
activities in support of new American music (including Ives’s own)
Ives supported financially. Cowell’s quarterly New Music, whose first
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issue in 1927 brought Cowell to Ives’s attention, printed several Ives
works, starting with the second movement of the Fourth Symphony
in 1929, and Cowell’s New Music Society sponsored the premiere of
the First Violin Sonata in San Francisco in 1928. In the late 1920s
and 30s, Cowell wrote a series of appreciations of Ives’s music
emphasizing its pioneering use of innovative techniques and
reframing Ives as a uniquely American experimentalist composer,
one who created the first truly American art music by using
American tunes and representing in art music distinctively American
folk performance traditions. Also at Cowell’s urging, Nicolas
Slonimsky approached Ives for a piece for his Boston Chamber
Orchestra, and Ives responded by rescoring Three Places in New
England, which Slonimsky performed in New York, Boston, Havana,
and Paris in 1931 to generally favorable reviews. The combination in
this and other works of modernist sounds, nationalist subjects, and
recognizable borrowings from familiar American tunes was well
suited to the Depression-era interest in cultivating a wide audience
for modern classical music. That September, Slonimsky conducted
the premiere of Washington’s Birthday at a New Music Society
concert in San Francisco, and the following year he conducted The
Fourth of July in Paris, Berlin, and Budapest. In May 1932 Hubert
Linscott and Aaron Copland presented seven of Ives’s songs at the
first Yaddo Festival of Contemporary American Music, and Ives
began to be seen as a forerunner of the current generation of
American modernists. These seven songs, The Fourth of July, and the
Set for Theatre Orchestra were published in 1932, followed by more
songs in 1933 and 1935, Three Places in New England in 1935,
Washington’s Birthday in 1936, and Psalm 67 in 1939. Numerous
songs were given premieres in recitals during the 1930s in New
York, San Francisco, Boston, Dresden, Vienna, Paris (with Messiaen
at the piano), and elsewhere. The January 1939 New York premiere
of the Concord Sonata by John Kirkpatrick (who had played the
world premiere the previous November in Cos Cob, Connecticut)
drew high praise from Gilman in the Herald Tribune, who called it
“exceptionally great music… the greatest music composed by an
American, and the most deeply and essentially American in impulse
and implication.” More premieres followed, including the Fourth
Violin Sonata in 1940, the Symphony no.3 and the String Quartet no.
2 in 1946, and the Piano Sonata no.1 in 1949, each more than two
decades after its completion. Ives was elected to the National
Institute of Arts and Letters in 1945, and the Symphony no.3 won
the Pulitzer Prize in 1947. Bernstein conducted the New York PO in
the premiere of the Symphony no.2 in 1951, over 40 years after its
completion, and the Symphony no.1 was finally performed for the
first time in 1953, almost half a century after it was finished.
Throughout this time, Ives continued to work on his music, copying
the full score for Thanksgiving during a year in Europe with
Harmony in 1932–3, recording his own piano performances and
improvisations in London and New York, adding a new ending to the
Second Symphony, and pulling old pieces out of his piles of
manuscripts. He had photocopies made of his manuscripts and sent
them to those who expressed interest in a work. In the early 1930s
Page 22 of 92
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he dictated reminiscences about his life and his music, intended only
to provide information for those writing about him, but published
four decades later as Memos. Although in Essays before a Sonata he
had seemed a follower of Beethoven, in Memos he emphasized his
experimental works and his invention of novel techniques,
presenting himself as the pioneer Cowell and others seemed to want
him to be, and credited so much influence to his father that he
obscured for decades his deep debts to Parker, to the 19th-century
Romantic tradition, and to older contemporaries such as Debussy,
Strauss, and Skryabin. He worked for years on a revised edition of
the Concord Sonata, finally published in 1947. His health gradually
weakened, and in May 1954 he died of a stroke while recovering
from an operation.
Music continued to appear after his death, and his reputation
continued to grow. Harmony Ives gave his manuscripts to the
Library of the Yale School of Music in 1955, and John Kirkpatrick
published a meticulous catalog in 1960. The first biography, by
Henry and Sidney Cowell in 1955, was followed by a steady stream
of theses and articles. The Fourth Symphony was finally played in its
entirety in 1965. Memos and other writings appeared in 1972. The
Charles Ives Society, which became active in 1973, has sponsored a
series of critical editions of individual works with Kirkpatrick and
James B. Sinclair the most prominent editors. The 1974 centennial
brought the first festivals devoted to Ives’s music, and there have
been several since. He is now regarded as one of the leading
composers of his time from any nation, with a secure place in the
concert repertoire and a growing body of scholarly studies of his
music and life.
Although the legend of Ives as an isolated, idiosyncratic, and
uniquely American figure was useful to those seeking to promote his
music in the 1920s through 1950s, it led to a distorted picture of
him. As a result, much of the scholarship on Ives has been
revisionist, correcting earlier misimpressions and reframing him to
suit new perspectives. Influenced by Cold War politics, the Cowells’
1955 biography already portrayed Ives differently than Cowell had
done in the 1930s, now highlighting his individualism and links to
Transcendentalism. Later biographies by Frank Rossiter (C1975), J.
Peter Burkholder (C1985), Stuart Feder (C1992), Jan Swafford
(C1996), and Gayle Sherwood Magee (C2008) have repeatedly
challenged earlier views, revealing an Ives who was very much of his
time, influenced by a variety of intellectual currents beyond
Transcendentalism, and much less isolated or idiosyncratic than he
once appeared. Other studies have revealed Ives’s strong links to
European composers from Bach and Beethoven to Debussy and
Skryabin, have shown how his techniques from musical borrowing to
pitch organization draw on traditional practices while also
developing new innovations, and have shown how his political views,
use of gendered language, and activities both in and outside music
relate to contemporary currents in American life. Successive waves
of reconsideration are deepening our understanding of his unusual
career and of the genesis, structure, and meaning of his music. The
Page 23 of 92
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picture that is emerging is increasingly well-rounded, embracing the
contrasts and contradictions that both Ives and his music so richly
embodied.
See also Borrowing; Experimental music
Works
A chronological listing of Ives’s works is neither possible nor
appropriate as dates for many works are uncertain, and Ives tended
to work on a number of pieces simultaneously, often taking years
from first sketch to final revision
This work-list follows the ordering, numbering and title style in James
B. Sinclair, A Descriptive Catalogue of the Music of Charles Ives
(New Haven, 1999), grouping works by genre and numerically or
alphabetically within each genre. Most incomplete works, exercises,
arrangements of works by others, unidentified fragments, and lost or
projected works are omitted. Dates are of manuscripts when extant;
these are based on Gayle Sherwood’s datings of the manuscripts by
paper type and handwriting, and they may not reflect the entire
period of composition if the earliest sketches or final revisions do not
survive. Dates in square brackets are from Ives’s own hand but
represent pieces or stages of composition for which no manuscripts
are extant. Printed works are published in New York unless otherwise
stated (reprints are not listed). For full details of publication and first
performances, see Sinclair.
MSS in NH, photocopies in NYp, Wcg
crit.
edn
critical edition sponsored by The Charles Ives
Society
real. realized by
rej. rejected
derived from
developed into
Page 24 of 92
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Principal publishers: Arrow, Associated, Mercury, Merion, New
Music, Peer, Peters, Presser, G. Schirmer
Orchestral
Symphonies
1 Symphony
no.1
c1898–
c1902,
c1907–8
Washington,
DC, 26 April
1953
ed. R. Cordero
(1971); crit. edn
J. Sinclair (1999)
i. Allegro c1898–
c1902,
c1908
first theme <318
(itself <339)
rej. ii. Largo c1898–9 inc.; <2/iii
ii. Adagio
molto
c1898–9,
c1907–8
iii. Scherzo:
Vivace
c1898–9,
c1907–8
iv. Allegro
molto
[1898],
c1907–8
part of coda
<part of 122/ii
2 Symphony
no.2
[1899–
1902],
c1907–9
New York, 22
Feb 1951
ed. H. Cowell
and L. Harrison
(1951); corr.
edns (1988,
1991); crit. edn
J. Elkus (2007)
i. Andante
moderato
c1907–8 ?>lost org
sonata, lost ov.
ii. Allegro c1908–9 ?>lost ovs.
Page 25 of 92
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iii. Adagio
cantabile
c1908–9 >1/rej. ii;
portion <part of
105
iv. Lento
(maestoso)
c1908 ?>lost ov. or lost
org sonata
v. Allegro
molto vivace
c1907–9,
new ending
c1950
?>lost ov./ovs.;
portions <part
of 105
3 Symphony
no.3: The
Camp
Meeting,
small orch
[1904],
c1908–11
New York, 5
April 1946
ed. L. Harrison
(1947); rev. and
corr. edn H.
Cowell (1964);
crit. edn K.
Singleton (1990)
i. Old Folks
Gatherin’
c1909–10 >lost org
prelude
ii. Children’s
Day
c1908–10 >lost org
postlude
iii.
Communion
c1909–11 >lost org
communion
piece; <222
rej. iv. Allegro c1910 inc.; <9/i
4 Symphony
no.4, pf, orch,
opt. SATBB
c1912–18,
c1921–5
New York, 26
April 1965
[complete
work]
(1965)
i. Prelude c1916–17,
c1923–4
New York, 29
Jan 1927
portion >386 or
part of 60/iii
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ii. Allegretto c1916–18,
c1923–5
New York, 29
Jan 1927
>116 (itself
>88/ii, which
borrows from
36); ?>lost
Hawthorne
Concerto; (San
Francisco, 1929)
iii. Fugue c1912–13,
c1923–4
New York, 10
May 1933
>57/i
iv. Largo c1915–16,
c1921–4
?>lost slow
march;
ending>ending
of 58/iii
5 A Symphony:
New England
Holidays
assembled ?
c1917–19
Minneapolis,
9 April 1954
[complete
work]
i.
Washington’s
Birthday,
small orch
[1909–13],
c1915–17
San
Francisco, 3
Sept 1931
(San Francisco,
1936); crit. edn
J. Sinclair (1991)
ii. Decoration
Day
[1912–13],
c1915–20,
rev. c1923–4
Havana, 27
Dec 1931
early version
<64; crit. edn J.
Sinclair (1989)
iii. The
Fourth of July
[1912],
c1914–18,
rev. c1930–
31
Paris, 21 Feb
1932
portions > or <
parts of 315;
portion > trio of
24; (San
Francisco and
Berlin, 1932);
crit. edn W.
Shirley (1992)
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iv.
Thanksgiving
and
Forefathers’
Day, orch,
opt. SSATTB
c1911–16,
rev. 1933
?>lost 1904
version; >lost
1897 org
prelude and
postlude; crit.
edn J. Elkus
(1991)
6 Universe
Symphony
1915–28 Greeley, CO,
29 Oct 1993
[i and iv, ed.
D. Porter];
Cincinnati,
28 Jan 1994
[real. L.
Austin]; New
York, 6 June
1996 [real. J.
Reinhard]
portions >part
of 49/1; chord
structures used
in 319
i. Prelude no.
1
c1923
ii. Prelude no.
2
c1923 inc.
iii. Prelude
no.3, lost
iv. Section A 1915–28
v. Section B 1923–8 inc.
vi. Section C 1923–8 inc.
Orchestral sets
i. The “St Gaudens”
in Boston Common
(Col. Shaw and his
Colored Regiment)
c1915–17 >version
for piano
(Black
March)
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ii. Putnam’s Camp,
Redding,
Connecticut
c1914–15,
c1919–20
>36 and 24
iii. The Housatonic at
Stockbridge
[1908],
c1912–17,
rev. c1921
>early song
version;
<266
8 Orchestral Set no.2 assembled
c1919
Chicago,
11 Feb
1967
crit. edn J.
Sinclair
(2001)
i. An Elegy to Our
Forefathers
c1915–19,
c1924–5
ii. The Rockstrewn
Hills Join in the
People’s Outdoor
Meeting
c1915–16,
c1920–22
>43/iii,
borrows
from 43/i
and ii
iii. From Hanover
Square North, at the
End of a Tragic Day,
the Voice of the
People Again Arose,
orch, opt. unison vv
1915–c1916,
c1918–19,
c1926,
c1929
9 Orchestral Set no.3 assembled
c1921
transcr. of
MSS in
Porter,
1980
i. c1921–2,
c1925–6
Fullerton,
CA, 16
March
1978 [real.
D. Porter]
>3/rej. iv
ii. An Afternoon/
During Camp
Meetin’ Week—One
Secular Afternoon
(In Bethel)
c1912–14,
c1921–2
inc.; partly
>24;
portion
>part of 51;
borrows
from 104
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iii. c1921 inc.;
borrows
from 27
Sets for chamber orchestra
i. Scherzo: The
See’r
[1913],
c1915–16
=18/ii; <344;
portions
reworked in
128/ii
ii. A Lecture [1909],
c1915–16
<377
iii. The Ruined
River
[1912],
c1915–16
>or <186 and
308 (itself
<14/i and 17/
i); portions
reworked in
128/ii
iv. Like a Sick
Eagle
[1909],
c1915–16
=19/i; <288
v. Calcium
Light Night
[1907],
c1915–16
New Haven,
22 Feb 1956
[ed. and arr.
H. Cowell]
portion
borrowed from
70, reused in
117/i
vi. Allegretto
sombreoso
c1915–16 New York,
10 May 1951
<280; (1958)
11 Set no.2 assembled
c1916–17
New Haven,
3 March
1974 [ed. K.
Singleton]
i. Largo: The
Indians
[1912],
c1916–17
<283 (itself
<14/ii and 17/
ii), <19/iii; first
half <part of
128/ii
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ii. “Gyp the
Blood” or
Hearst!?
Which is
Worst?!
?1912,
c1916–17
?inc.; crit. edn
real. K.
Singleton
(1978)
iii. Andante:
The Last
Reader
[1911],
c1916–17
<18/i, 286
12 Set no.3 assembled
c1919
New York, 6
Dec 1962
[arr. G.
Schuller]
i. Adagio
sostenuto: At
Sea
c1918–19 <213; ?<16/i;
(1969)
ii. Luck and
Work
c1919 New York,
10 May 1951
<or>293; <19/
ii
iii.
Premonitions
c1918–19 <328
13 Set no.4:
Three Poets
and Human
Nature
?c1925–30 not fully
orchestrated
i. Robert
Browning
>324; arr. D.
Porter
ii. Walt
Whitman
>384; arr. G.
Smith
iii. Matthew
Arnold
New Haven,
20 Oct 1974
[real. J.
Kirkpatrick]
>388
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14 Set no.5: The
Other Side of
Pioneering, or
Side Lights on
American
Enterprise
?after
c1925
<17
i. The New
River
=17/i; >308
(itself > or
<10/iii and
186)
ii. The Indians =17/ii; >283
(itself >11/i)
iii. Charlie
Rutlage
New Haven,
3 March
1974
>226; crit. edn
K. Singleton
(1983)
iv. Ann Street =17/iii; >211;
not fully orchd
15 Set no.6: From
the Side Hill
?c1925–30
i. Mists New Haven,
3 March
1974
>301 version
2; crit. edn
real. K.
Singleton
(Bryn Mawr,
PA, 1976)
ii. The
Rainbow
>330 (itself
>45)
iii. Afterglow >207
iv. Evening New Haven,
3 March
1974
>244; crit. edn
real. K.
Singleton
(1983)
16 Set no.7:
Water Colors
?c1925–30
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i. At Sea >213, ? >12/i;
not fully orchd
ii. Swimmers New Haven,
3 March
1974 [real. J.
Sinclair]
>366
iii. The Pond New Haven,
3 March
1974
>332; crit. edn
real. K.
Singleton
(1977)
iv. Full Fathom
Five
>324;
orchestration
lost
17 Set no.8:
Songs without
Voices
?c1930 New York,
21 April
1930 [in a
version for
tpt, pf]
>14
i. The New
River
=14/i
ii. The Indians =14/ii
iii. Ann Street =14/iv
18 Set no.9 of
Three Pieces
assembled ?
1934
i. Andante con
moto: The Last
Reader
>11/iii (itself
<286)
ii. Scherzo:
The See’r
=10/i
iii. Largo to
Presto: The
Unanswered
Question
=50 rev.
version
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19 Set no.10 of
Three Pieces
assembled ?
1934
i. Largo molto:
Like a Sick
Eagle
=10/iv (itself
<288)
ii. AllegroAndante:
Luck
and Work
>12/ii (itself
>293)
iii. Adagio: The
Indians
>11/i (itself
<283, which
<14/ii and 17/
ii)
20 Set for
Theatre
Orchestra
assembled
c1915
New York,
16 Feb 1932
[complete
work]
(San
Francisco,
1932)
i. In the Cage [1906],
c1907–8,
rev. c1911–
12
<or >221
ii. In the Inn [1904–11],
c1915–16,
rev. c1929–
30
>43/i and 87/
iib; portions
reworked in
128/ii
iii. In the
Night
[1906],
c1915–16,
rev. c1929–
30
St. Paul, MN,
7 Dec 1931
>80 and lost
choral hymn-
anthem
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Overtures
24 Overture
and March
“1776,”
small orch
[1903–
4];
c1909–
10
New
Haven, 3
March
1974
outer sections <portions
of 7/ii; part of trio <part
of 5/iii; partly <9/ii;
portion used in 74; crit.
edn real. J. Sinclair
(Bryn Mawr, PA, 1975)
25 Overture in
G Minor
c1899 inc.
27 Robert
Browning
Overture
c1912–
14, rev.
c1936–
42
New
York, 14
Oct 1956
portions <portions of
324; borrowed from in 9/
iii; ed. H. Cowell and L.
Harrison (1959)
Marches
29 March no.2, with
“Son of a
Gambolier,” small
orch
1892,
c1895
New
Haven, 3
March
1974
<or >110; crit.
edn K. Singleton
(1977)
31 March no.3, with
“My Old Kentucky
Home,” small orch
c1895 New
Haven, 19
Oct 1973
portion <part of
396; crit. edn K.
Singleton (Bryn
Mawr, PA, 1975)
33 March: The Circus
Band, chbr orch,
opt. SSATTBB
c1898–
9, arr.
c1932–
3
early version
>115; final
version >229
(itself >115); arr.
G. Roberts (1969)
Other orchestral
Allegretto
sombreoso: see 10/vi
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Ann Street: see 14/iv
Calcium Light Night:
see 10/v
34 Central Park in the
Dark, small orch
[1906],
c1909,
rev.
c1936
New York,
11 May
1946
crit. edn J.-L.
Monod and J.
Kirkpatrick
(Hillsdale, NY,
1973)
Charlie Rutlage: see
14/iii
35 Chromâtimelôdtune,
small orch
c1923 New York,
6 Dec 1962
[real. G.
Schuller];
New
Haven, 3
March
1974 [real.
K.
Singleton]
real. and arr. G.
Schuller (1963)
36 “Country Band”
March, small orch
[1905],
c1910–
11,
c1914
New
Haven, 3
March
1974
inc.; borrows
from 43/i;
<part of 7/ii;
portions
borrowed in
88/ii (itself
<116, which
<4/ii) and in
262 (itself
<182, 188,
371); crit. edn
real. J. Sinclair
(Bryn Mawr,
PA, 1974)
Decoration Day: see
5/ii
Evening: see 15/iv
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The Fourth of July:
see 5/iii
37 The General Slocum [1904],
c1909–
10
New York,
29 Nov
1970 [real.
G.
Schuller]
inc.
38 The Gong on the
Hook and Ladder/
Firemen’s Parade on
Main Street, small
orch
arr.
c1934
New York,
22 April
1934
>70; (San
Francisco,
1953); (1960);
corr. edn J.
Sinclair (1979)
“Gyp the Blood” or
Hearst?! Which is
Worst?!: see 11/ii
Holidays Symphony:
see 5
Mists: see 15/i
40 The Pond, small orch [1906],
c1912–
13
New York,
22 April
1934
<332, 16/iii;
crit. edn J.-L.
Monod and J.
Kirkpatrick
(Hillsdale, NY,
1973)
41 Postlude in F c1898–
9
New
Haven, 6
June 1971
>lost org
postlude; crit.
edn K.
Singleton
(1991)
43 Four Ragtime
Dances, small orch
[1902–
11],
c1915–
16,
c1920–
21
crit. edn J.
Sinclair (1990)
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i. no.1 New
Haven, 22
April 1976
partly >46; <
87/iib, 20/ii;
portions
reworked in 8/
ii, 36, 128/ii
ii. no.2 New
Haven, 21
Oct 1974
partly >46;
<87/iia;
portions
reworked in 8/
ii
iii. no.3 New
Haven, 25
Feb 1976
<8/ii
iv. no.4 New
Haven, 21
Oct 1974
<87/ivb;
portion
reworked in
128/ii
45 The Rainbow, small
orch
1914 Danbury,
11 April
1969
<330, 15/ii;
(1959)
46 Skit for Danbury Fair [1902],
c1909
West
Redding,
CT, 17 Aug
1974 [real.
K.
Singleton]
inc.; portions
<portions of
43/i (itself <87/
iib, 20/ii), 43/ii
(itself <87iia)
47 Take-Off no.7: Mike
Donlin—Johnny
Evers
1907 West
Redding,
CT, 17 Aug
1974 [real.
K.
Singleton]
inc.
48 Take-Off no.8: Willy
Keeler at Bat
c1907 West
Redding,
CT, 17 Aug
1974 [real.
K.
Singleton]
inc.
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Thanksgiving and
Forefathers’ Day: see
5/iv
Three Places in New
England: see 7
49 Tone Roads et al.
i. Tone Roads no.1 c1913–
14
San
Francisco,
10 Aug
1950
portion <part
of 6; (1949)
ii. Tone Roads no.2 lost
iii. Tone Roads no.3 c1911,
c1913–
14
New York,
20 Dec
1963
(1952)
50 The Unanswered
Question, 4 fl/(2 fl,
ob, cl), tpt/(ob/eng
hn/cl), str orch/str qt
1908,
rev.
c1930–
35
New York,
11 May
1946 [rev.
version];
New York,
17 March
1984 [first
version]
rev. version =
18/iii;
(Montevideo,
1941); (1953);
both versions,
crit. edn P.
Echols and N.
Zahler (1985)
Washington’s
Birthday: see 5/i
51 Yale-Princeton
Football Game
[1899],
c1910–
11
New York,
29 Nov
1970 [real.
G.
Schuller];
New
Haven, 2
Oct 1976
[real. J.
Sinclair]
?inc.; portion
<part of 9/ii
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Band
53 March in F and C,
with “Omega
Lambda Chi”
1895–
6
>111; ed. and
arr. K. Brion
(1974)
54 March
“Intercollegiate,”
with “Annie Lisle”
c1895 Washington,
DC, 4 March
1897
>112;
(Philadelphia,
1896); ed. and
arr. K. Brion
(Hackensack, NJ,
1973)
55 Runaway Horse on
Main Street
c1907–
8
New Haven,
18 Nov 1977
[real. J.
Sinclair]
inc.; partly
<portion of 226
Chamber ensemble
String quartets
i. Chorale c1897–8 <lost org fugue; <4/
iii
ii. Prelude c1900,
c1909
? <lost org prelude
iii. Offertory c1897–8,
c1909
>lost org prelude
iv. Postlude c1900,
c1909
>lost org postlude
58 String
Quartet no.2
c1913–15 New
York, 11
May
1946
(1954); corr. edn J.
Kirkpatrick (1970)
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i. Discussions [1911],
c1913–14
ii. Arguments [1907],
c1913–14
iii. The Call of
the
Mountains
[1911–13],
c1914–15
ending <ending of 4/
iv
Sonatas for violin and piano
i. Allegretto
moderato
[1902–3],
c1909–10,
rev. c1911–
12
>lost org
postlude;
portion <part
of 61/ii
rej. ii. Largo [1901],
c1909–10
<73; pubd as
Largo for
Violin and
Piano, ed. P.
Zukofsky
(1967)
ii. Largo [1902,
1908],
c1911–12
<60/ii
rej. iii. Scherzo c1908–9 inc.; <part 61/
ii
iii. Largo–Allegro [1908–10],
c1911–13
inc.; <61/i
60 Sonata no.1 for
Violin and Piano
assembled
c1914 or
c1917
San
Francisco,
27 Nov
1928
(1953)
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i. Andante–
Allegro vivace
[1906],
c1910–12,
c1914, rev.
c1917
ii. Largo
cantabile
c1914, rev.
c1917
>59/ii
iii. Allegro [1909],
c1911–12,
rev. c1917–
18, c1924–
5
portion >lost
song
“Watchman”;
<386; used in
4/i
61 Sonata no.2 for
Violin and Piano
assembled
c1914–17
New York,
18 March
1924
mostly >59;
ed. J.
Kirkpatrick
(1951)
i. Autumn c1914, rev.
c1920–21
>59/iii; ending
<265
ii. In the Barn c1914, rev.
c1920–21
>59/rej. iii,
part of 59/i
iii. The Revival c1915–17,
rev. c1920–
21
>63/rej. iv
62 Sonata no.3 for
Violin and Piano
1914 New York,
22 April
1917
ed. S. Babitz
and I. Dahl
(1951)
i. Adagio >lost org
prelude
ii. Allegro >lost org
toccata, lost
ragtime piece
iii. Adagio
cantabile
>lost org
prelude
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63 Sonata no.4 for
Violin and Piano:
Children’s Day at
the Camp
Meeting
assembled
c1914–16
New York,
14 Jan
1940
(1942)
i. Allegro c1911–12 >lost sonata
for tpt and org
ii. Largo–Allegro
(conslugarocko)–
Andante con
spirito–Adagio
cantabile–Largo
cantabile
c1914–15
iii. Allegro c1916 >lost piece for
cornet and str;
portion <214
rej. iv. Adagio–
Faster
[1906,
1909–10],
c1915–17
<61/iii
Other chamber
64 Decoration Day
for Violin and
Piano
arr. c1919 New Haven,
19 Oct 1973
>early
version of 5/ii
65 From the
Steeples and
the Mountains,
tpt, trbn, 4 sets
of bells
[1901],
c1905–6
Waltham,
MA, 26 April
1963
(1965)
69 Fugue in Four
Keys on “The
Shining
Shore,” fl,
cornet, str
c1903 New Haven,
3 March
1974
crit. edn real.
J. Kirkpatrick
(Bryn Mawr,
PA, 1975)
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70 The Gong on
the Hook and
Ladder/
Firemen’s
Parade on Main
Street, str qt/
str qnt, pf
c1912 <38; portion
borrowed in
10/v, 117/i
71 Hallowe’en, str
qt, pf, opt. b
drum/timp/any
drum
[1911],
c1914
New York,
22 April
1934
(1949)
72 In Re Con Moto
et al., str qt, pf
[1913],
c1915–16,
rev. c1923–4
New York,
11 Feb 1970
(1968)
Largo for Violin
and Piano: see
59/rej. ii
73 Largo for
Violin, Clarinet
and Piano
arr. ?1934 New York,
10 May 1951
>59/rej. ii;
(1953)
Largo
cantabile:
Hymn: see 84/i
74 Largo risoluto
no.1, str qt, pf
c1908–9 Washington,
DC, 4 May
1958
portions < or
>parts of 24,
82; (1961)
75 Largo risoluto
no.2, str qt, pf
c1909–10 Washington,
DC, 4 May
1958
(1961)
76 An Old Song
Deranged, cl/
eng hn/1v, hp/
gui, vn/va, va,
2 vc
arr. c1903 New Haven,
3 March
1974
>361
78 Polonaise, 2 ?
cornets, pf
c1887–9 ?inc.
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79 Practice for
String Quartet
in Holding Your
Own!, str qt
1903 <middle
section of 84/
ii
80 Prelude on
“Eventide,”
Bar/trbn, 2 vn/
echo org, org
[by 1902],
c1907–8
New Haven,
21 Oct 1974
<20/iii
81 Scherzo: All
the Way
Around and
Back, cl/fl,
bugle/tpt, bells/
hn, vn, 2 pf/pf
4 hands
c1907–8 (1971)
82 Scherzo: Over
the Pavements,
pic, cl, bn/bar
sax, tpt, 3 trbn,
cymbal, b
drum, pf
c1910, rev.
c1926–7
New York,
20 Dec 1963
portions
>parts of 85
(also used in
87/iva, 107,
321); portions
> or <part of
74, part of 90;
(1954)
83 Scherzo for
String Quartet
1904 <outer
sections of
84/ii
84 A Set of Three
Short Pieces
assembled ?
c1935
Syracuse,
NY, 8 Feb
1965
i. Largo
cantabile:
Hymn, (str qt,
db)/str orch
[1904],
c1907–8
<267; (1966)
ii. Scherzo:
Holding Your
Own!, str qt
assembled
c1935
combines 83
and 79;
(1958)
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iii. Adagio
cantabile: The
Innate, str qt,
pf, opt. db
c1908–9 <284; (1967)
85 Take-Off no.3:
Rube Trying to
Walk 2 to 3!!,
cl, bn, tpt, pf
c1909 portions
<parts of 82,
87/iva, 88/ii,
107, 321
86 Trio for Violin,
Violoncello and
Piano
c1909–10,
rev. c1914–
15
Berea, OH,
24 May 1948
(1955); crit.
edn J.
Kirkpatrick
(1987)
i. Moderato c1909–10
ii. Presto
(“TSIAJ” or
Medley on the
Fence or on the
Campus!)
c1909–10 “TSIAJ”
stands for
“This Scherzo
Is A Joke”
iii. Moderato
con moto
c1909–10,
rev. c1914–
15
portions >209
Piano
Sonatas
i. Adagio con
moto–Allegro con
moto–Allegro
risoluto–Adagio
cantabile
c1909–10,
c1915–16,
rev.
c1921,
c1926–7
>lost organ
piece
iia. Allegro
moderato–
Andante
c1915–16,
c1920–21
>43/ii
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iib. Allegro–
Meno mosso con
moto (In the Inn)
c1915–16,
c1920–22
>43/i; <20/ii;
portions
reworked in
128/ii; (San
Francisco,
1932)
iii. Largo–
Allegro–Largo
c1915–16,
rev.
c1921–2
iva. c1921 portion >part of
85 or 82 (also
used in 107)
ivb. Allegro–
Presto–Slow
c1921 >43/iv;
portion
reworked
in 128/ii
v. Andante
maestoso–Adagio
cantabile–
Allegro–Andante
c1920–22,
rev.
c1926–7
portion >part of
122/iv; borrows
from 106
88 Sonata no.2 for
Piano: Concord,
Mass., 1840–60
c1916–19;
rev.
1920s–40s
Cos Cob,
CT, 28 Nov
1938
[complete
work]
(Redding, CT,
1920); edn
(1947)
i. Emerson c1916–19 Paris, 5
March
1928
>22; uses
portions of 90,
91, 97, 99;
portion used in
107; <123
ii. Hawthorne c1916–17 >lost
Hawthorne
Concerto;
borrows from
36, 85, 262;
<116 (itself <4/
ii)
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iii. The Alcotts c1916–17 3 Aug 1921 >lost Alcott
Overture
iv. Thoreau c1918–19 Hartford,
CT, 12 Dec
1928
portions <parts
of 373
89 Three-Page
Sonata
[1905],
c1910–11,
rev.
c1925–6
New York,
25 April
1949
ed. H. Cowell
(1949); crit. edn
J. Kirkpatrick
(Bryn Mawr, PA,
1975); other
edns in Joyce
(E1970), Baron
(D1987)
Studies
91 Study no.2:
Andante
moderato–
Allegro molto
c1910–
11, rev.
c1925
New York, 23
March 1968
borrows part of
90; <part of 22,
123/i; portion
used in 88/i;
portion = 117/ii
93 Study no.5:
Moderato con
anima
c1912–
13
New York, 23
March 1968
crit. edn A.
Mandel (Bryn
Mawr, PA, 1988)
94 Study no.6:
Andante
c1912–
13
New York, 23
March 1968
95 Study no.7:
Andante
cantabile
c1912–
13
New York, 23
March 1968
96 Study no.8:
Trio (Allegro
moderato–
Presto)
c1912–
13
New Haven,
21 Nov 1966
borrows from
125
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97 Study no.9:
The Anti-
Abolitionist
Riots in the
1830’s and
1840’s
c1912–
13
New York, 3
April 1950
<parts of 22,
123/i; portions
used in 88/i; ed.
H. Cowell (1949)
99 Study no.11:
Andante
c1915–
16
inc.; > or <part
of 22; portion
<part of 88/i,
part of 123/iv
100 Study no.15:
Allegro
moderato
c1917–
18
New York, 23
March 1968
inc.
101 Study no.16:
Andante
cantabile
c1917–
18
Middletown,
CT, 19 April
1991
inc.; real. J.
Kirkpatrick and
D. Berman (with
103)
103 Study no.19:
Andante
cantabile
c1914 Middletown,
CT, 19 April
1991
inc.; real. J.
Kirkpatrick and
D. Berman (with
101)
104 Study no.20:
March (Slow
Allegro or Fast
Andante)
c1917–
19
New York, 23
March 1968
portion borrowed
in 9/ii; crit. edn J.
Kirkpatrick (Bryn
Mawr, PA, 1981)
105 Study no.21:
Some
Southpaw
Pitching
c1918–
19
New York, 3
April 1950
>parts of 2/iii
and 2/v; ed. H.
Cowell (1949);
crit. edn J.
Kirkpatrick (Bryn
Mawr, PA, 1975)
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106 Study no.22:
Andante
maestoso–
Allegro vivace
c1918–
19,
c1922–
3
portion borrowed
in 87/v; ed. H.
Cowell (San
Francisco, 1947);
crit. edn J.
Kirkpatrick (Bryn
Mawr, PA, 1973)
107 Study no.23:
Allegro
c1920–
22
New York, 23
March 1968
portion >part of
85 or 82 (also
used in 87/iva);
portions >part of
22, part of 88/i;
portion used in
123/ii; crit. edn J.
Kirkpatrick (Bryn
Mawr, PA, 1990)
Marches
110 March no.2 for Piano,
with “Son of a
Gambolier”
1895 inc.; > or <29;
<353
111 March no.3 for Piano,
with “Omega Lambda
Chi”
c1895–
6
<53
112 March no.5 for Piano,
with “Annie Lisle”
c1895 <54
113 March no.6 for Piano,
with “Here’s to Good
Old Yale”
c1895–
6
New
York,
16
Feb
1975
three versions, first
and third inc., third
without borrowed
tune; second <lost
chbr orch arr.
114 March in G and C for
Piano, with “See the
Conquering Hero
Comes”
c1896–
7
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115 March for Piano: The
Circus Band
c1898–
9
<229, 33 (early
version)
Other works
117 Three
Improvisations
1938 recorded
New York,
11 May 1938
transcr. from
recording and
ed. G. and J.
Dapogny (1983)
i. Improvisation I borrows from 10/
v or 70
ii. Improvisation
II
=part of 91
iii. Improvisation
III
borrows from 96
or 125
118 Invention in D c1898 New York,
16 Feb 1975
119 Minuetto, op.4 1886
120 New Year’s
Dance
1887 ?inc.
Three Protests:
see 124
122 Set of Five Take-
Offs
c1909 New York,
23 March
1968
crit. edn J.
Kirkpatrick
(1991)
i. The Seen and
Unseen?
ii. Rough and
Ready et al.
borrows part of
1/iv coda
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iii. Song without
(good) Words/The
Good & the Bad
(new & old)
iv. Scene Episode portion <part of
87/v
v. Bad
Resolutions and
Good WAN!
123 Four
Transcriptions
from “Emerson”
c1923–
4,
c1926–
7
New York,
12 March
1948
[complete
work]
i. Slowly c1923–
4,
c1926–
7
New York, 6
Jan 1931
>part of 88/i,
part of 22;
borrows from 90,
91, 97
ii. Moderato c1926–
7
>part of 88/i,
part of 22;
borrows from
107
iii. Largo c1926–
7
>part of 88/i,
part of 22
iv. Allegro
agitato– Broadly
c1926–
7
>part of 88/i,
part of 22;
borrows from 99
124 Varied Air and
Variations
c1920–
22
New Haven,
18 May 1967
portions ed. as
Three Protests
(San Francisco,
1947); ed. J.
Kirkpatrick and
G. Clarke (Bryn
Mawr, PA, 1971)
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125 Waltz-Rondo 1911 Syracuse,
NY, 8 Feb
1965
crit. edn J.
Kirkpatrick and
J. Cox (1978);
portions
borrowed in 96,
117/iii
Two pianos
i. Largo New York, 14 Feb
1925 or 9 April
1929
ii.
Allegro
New York, 14 Feb
1925
reworks parts of 308 [or 10/iii or
186], 283 [or 11/i], 344 [or 10/i],
43/i [or 87/iib or 20/ii], 43/iv [or 87/
ivb]
iii.
Chorale
New York, 8 Feb
1925
>lost quarter-tone chorale for str,
reconstructed by A. Stout (1974)
Organ
134 Canzonetta in
F
c1893–4 New Haven, 21
Oct 1974
135 Fugue in C
Minor
c1898 New Haven, 21
Oct 1974
?inc.
136 Fugue in E♭ c1898 New Haven, 21
Oct 1974
137 Interludes for
Hymns
c1898–
1901
New Haven, 21
Oct 1974
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140 Variations on
“America”
1891–2,
additions
c1909–10,
rev. c1949
Brewster, NY,
17 Feb 1892
polytonal
interludes
added
c1909–10;
ed. E.P.
Biggs
(1949)
Choral
Sacred (more than one movement)
Introduction before
no.1
added
c1912–13
i. Prelude, Trio, and
Chorus
>inc. or lost
anthem
Prelude before no.2 added
c1912–13
ii. Aria for Baritone <307
iii. Quartet
Interlude before no.4 added
c1912–13
iv. Intermezzo for
String Quartet
Interlude after no.4 added
c1912–13
v. Double Quartet, a
cappella
vi. Aria for Tenor <252
Introduction to no.7 added
c1912–13
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vii. Chorale and Finale
144 Communion Service,
SATB, org
c1894
i. Kyrie three settings,
the first inc.
ii. Gratias agimus
iii. Gloria tibi
iv. Sursum corda
v. Credo inc.
vi. Sanctus two settings
vii. Benedictus
viii. Agnus Dei
145 Three Harvest Home
Chorales, SATB divisi,
4 tpt, 3 trbn, tuba, org
c1902,
c1912–15
New
York,
3
March
1948
ed. H. Cowell
(1949)
i. Harvest Home (G.
Burgess)
c1902,
c1915
ii. Lord of the Harvest
(J.H. Gurney)
c1915
iii. Harvest Home
(Alford)
c1912–15
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Psalms
147 Psalm 24,
SSAATTBB
c1901,
rev.
c1912–
13
(1955)
148 Psalm 25,
SSAATTBB,
org
c1901,
rev.
c1912–
13
Washington,
DC, 24 Oct
1967
org part inc.; crit.
edn J. Kirkpatrick
and G. Smith (Bryn
Mawr, PA, 1979)
[org part
reconstructed]
149 Psalm 42, T,
SATB, org
c1891–
2
org part inc.
150 Psalm 54,
SSATBB
c1902 Los Angeles,
18 April
1966
ed. J. Kirkpatrick
and G. Smith (Bryn
Mawr, PA, 1973)
151 Psalm 67,
SSAATTBB
c1898–
9
New York, 6
May 1937
(1939)
152 Psalm 90,
SSAATTBB,
bells (4
players), org
1923–
4
Los Angeles,
18 April
1966
ed. J. Kirkpatrick
and G. Smith (Bryn
Mawr, PA, 1970)
153 Psalm 100,
SSAATTBB,
boys’ choir
(TrTrAA),
opt. bells,
opt. vns/org
c1902 Los Angeles,
18 April
1966
ed. J. Kirkpatrick
and G. Smith (Bryn
Mawr, PA, 1975)
154 Psalm 135,
SSAATTBB,
tpt, trbn,
timp, drums,
org
c1902,
rev.
c1912–
13
crit. edn J.
Kirkpatrick and G.
Smith (Bryn Mawr,
PA, 1981)
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155 Psalm 150,
SSAATTBB,
boys’ choir
(TrTrAA),
opt. org
c1898–
9
Los Angeles,
18 April
1966
ed. J. Kirkpatrick
and G. Smith (Bryn
Mawr, PA, 1972)
[org part added by
ed.]
Other sacred
159 Benedictus in E,
T/S, SATB, org
c1894
161 Bread of the
World (R.
Heber), unison
vv, org
c1896–
7
inc.
164 Crossing the Bar
(A. Tennyson),
SATB, org
c1894 org part inc.; ed. J.
Kirkpatrick (1974)
[org part
reconstructed]
165 Easter Anthem,
SATB, org
c1890–
91
inc.
166 Easter Carol, S,
A, T, B, SATB,
org
c1896,
rev.
c1901
New
York, 7
April
1901
crit. edn of rev.
version J.
Kirkpatrick (1973)
167 Gloria in
Excelsis, A,
unison vv, org
c1893–
4
inc.
169 I Come to Thee
(C. Elliott),
SATB, ?org
c1896–
7
no org in sources;
opening figure
reused in 219; crit.
edn J. Kirkpatrick
(1983) [org part
added by ed.]
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170 I Think of Thee,
My God (J.S.B.
Monsell), SATB
c1895–
6
inc.; <375
173 The Light That Is
Felt (J. Whittier),
B, SATB, org
c1898 inc.; <287
174 Lord God, Thy
Sea Is Mighty,
SATB, org
c1900–
01
org part mostly
missing; crit. edn J.
Kirkpatrick (1983)
[org part
reconstructed]
176 Processional: Let
There Be Light
(J. Ellerton),
(TTBB and/or 4
trbn)/SSAATTBB,
org/str orch, org/
4 vn
c1902–
3, rev.
c1912–
13,
late
1930s
Danbury,
25 March
1966
choral/kbd
reduction (1955);
full score (1967);
first version for
SATB, org
178 Turn Ye, Turn Ye
(J. Hopkins),
SATB, org
c1896 org part inc.;
(1952); crit. edn J.
Kirkpatrick (Bryn
Mawr, PA, 1973)
[org part
reconstructed]
Secular works for chorus and ensemble
180 An Election
(Ives), unison
male vv divisi,
orch
[1920],
c1923
New York,
16 Oct
1967
< or >313;
borrows part of
184 or 289
181 General William
Booth Enters
Into Heaven (V.
Lindsay), unison
vv divisi, chbr
orch
arr.
1934
Los
Angeles, 18
April 1966
arr. of 255 by J.J.
Becker under
Ives’s
supervision
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182 He Is There!
(Ives), unison vv,
orch
c1918–
21
Norwalk,
CT, 19 Oct
1959
>262 (itself
partly >187 and
borrowing from
36); <188, 371
183 Johnny Poe (B.
Low), TTBB,
orch
c1927–9 Miami, 20
Oct 1974
inc.; crit. edn
real. J.
Kirkpatrick
(1978)
184 Lincoln, the
Great
Commoner (E.
Markham),
unison vv divisi,
orch
c1922–3 New York,
16 Oct
1967
>289; (San
Francisco,
1932)
185 The Masses
(Majority) (Ives),
unison vv divisi,
orch
c1916,
rev.
c1920–
21
New York,
16 Oct
1967
<294
186 The New River
(Ives), unison vv
divisi, orch
c1915 New York,
15 April
1934
> or <10/iii, 308
(itself <14/i and
17/i); portions
reworked in
128/ii; (1971)
187 Sneak Thief
(Ives), unison vv
divisi, tpt, pf
1914 New
Haven, 21
Oct 1974
inc.; portion
reworked in 262
188 They Are There!
(A War Song
March) (Ives),
unison vv, orch
adapted
1942
Danbury, 25
March 1966
[with pf];
New York,
16 Oct
1967 [with
orch]
>182 and 371
(themselves
>262); ed. L.
Harrison (1961)
189 Two Slants
(Christian and
Pagan)
c1912–
14,
c1916–
17
Los
Angeles, 18
April 1966
<380
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i. Duty (R.W.
Emerson),
unison male vv,
orch
ii. Vita
(Manilius),
unison vv, org
190 Walt Whitman
(W. Whitman),
SATB, chbr orch
c1914–
15, rev.
c1920–
21
Los
Angeles, 18
April 1966
inc.; >384 and
lost earlier
version
Secular partsongs
193 The Boys in
Blue, TTBB
c1895–
6
New
Haven, 21
Oct 1974
194 For You and
Me!, TTBB/SATB
?
1895–
6
(1896); ed. and arr.
C.G. Richter
(Hackensack, NJ,
1973)
195 My Sweet
Jeanette, TTBB
c1900 ?inc.
196 O Maiden Fair,
Bar, TTBB, pf
c1900 inc.
200 Serenade (H.
Longfellow),
SATB
c1895–
6
New
Haven, 14
Oct 1973
201 A Song of
Mory’s (C.E.
Merrill jr), TTBB
c1896 New
Haven, 21
Oct 1974
(New Haven, 1897)
202 The Year’s at the
Spring (R.
Browning),
SATB
c1892
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Songs
Editions
A 114 Songs (Redding, CT, 1922, 2/1975)
A* in A and also in 50 Songs (Redding, CT, 1923, from plates of A)
B Seven Songs (1932)
C Thirty-Four Songs (San Francisco, 1933)
D Nineteen Songs (San Francisco, also as Eighteen [sic] Songs)
E Four Songs (1950)
F Ten Songs (1953)
G Twelve Songs (1954)
H Fourteen Songs (1955)
J Nine Songs (1956)
K Thirteen Songs (1958)
L Sacred Songs (1961)
M Eleven Songs and Two Harmonizations, ed. J. Kirkpatrick (1968)
N Three Songs (1968)
P Forty Earlier Songs, crit. edn J. Kirkpatrick (1993)
Q 129 Songs, crit. edn H.W. Hitchcock (Middleton, WI, 2004)
205 Abide with me (H.F.
Lyte)
c1890–91,
rev. c1921
New York, 11
April 1962
new acc.
added
c1921; K, L,
Q
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206 Aeschylus and
Sophocles (W.S.
Landor), 1v, pf, str
qt/str orch
1922–
c1924
Los Angeles,
2 April 1951
>inc.
Fugue in
Four Greek
Modes; D,
Q
207 Afterglow (J.F.
Cooper jr)
1919 New York, 6
Feb 1933
<15/iii; A,
C
208 Allegro (Ives) adapted
after
c1902–3
Danbury, 25
March 1966
>345; A, K,
Q
209 The All-Enduring c1898–
c1900
? >lost
TTBB
version;
<parts of
86/iii; P
210 Amphion (Tennyson) adapted
after
c1896–7
>275; A*, F,
Q
211 Ann Street (M.
Morris)
1921 New York, 6
Feb 1933
<14/iv, 17/
iii; A, C, Q
212 At Parting (F.
Peterson)
c1897–
c1900
Milwaukee,
28 March
1950
?>lost
earlier
version; C,
Q
213 At Sea (R.U. Johnson) arr. 1921 New York, 17
Nov 1936
>12/i; <16/
i; A*, C, Q
214 At the River (R.
Lowry)
arr. [1916] Vienna, 15
Feb 1935
>part of
63/iii; A, C,
Q
216 Aug (D.G. Rossetti,
after Folgore)
1920 A, G, Q
217 Autumn (H. Twichell) c1907–8 New York, 24
Feb 1939
A, J, Q
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Ballad from
Rosamunde: see 337
(1st version)
218 Because of You 1898 P
219 Because Thou Art c1901–2 opening
figure
>169; P
No. Title and
instrumentation
Dates First known
performance
Remarks
and
editions
220 Berceuse (Ives) adapted
c1920
New York, 24
Feb 1939
>395; A*,
K, Q
221 The Cage (Ives) [1906] Philadelphia,
1 Nov 1962
> or <20/i;
A, (San
Francisco,
1932), H, Q
222 The Camp Meeting
(Ives, C. Elliott)
arr. [1912] >3/iii; A, K,
L, Q
223 Canon [I] [1893],
c1895–6
<224; P
224 Canon [II] (T. Moore) adapted
after
c1895–6
New York, 19
April 1942
>223; A, D,
Q
225 Chanson de Florian
(J.P.C. de Florian)
c1898 New York, 27
Dec 1949
A, (1950), Q
226 Charlie Rutlage (D.J.
O’Malley, as
collected by J.A.
Lomax)
1920/1921 New Orleans,
17 Jan 1924
partly
>portion of
55; <14/iii;
A*, B, Q
227 The Children’s Hour
(Longfellow)
c1912–13 Vienna, 15
Feb 1935
A*, C, Q
228 A Christmas Carol
(Ives)
before
1898
Los Angeles,
1 Feb 1942
A*, D, Q
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229 The Circus Band
(Ives)
adapted ?
c1899 or ?
c1920–21
New Haven, 5
Nov 1966
>115; <33;
A*, F, Q
230 The Collection (J.
Edmeston)
1920 A, K, L, Q
232 Country Celestial
(J.M. Neale, after
Bernard of Cluny)
c1895–8 >or <240;
<389; P
233 Cradle Song (A.L.
Ives)
1919 New York, 5
Feb 1965
A*, D, Q
234 Dec (D.G. Rossetti,
after Folgore)
c1913–14 <or >179;
A, C, Q
235 Disclosure (Ives) 1921 A*, G, L, Q
No. Title and
instrumentation
Dates First known
performance
Remarks
and
editions
236 Down East (Ives) 1919 New York, 24
Feb 1939
A, K, L, Q
238 Dreams (Baroness
Porteous, trans. A.
Streleski)
[1897] A, J, Q
239 Du alte Mutter (A.O.
Vinje, Ger. trans. E.
Lobedanz) [Eng.
version My dear old
mother (trans. F.
Corder)]
[1900],
c1902
New York, 28
Nov 1922
second
setting of
Eng.
version [see
316]; A, K,
Q
240 Du bist wie eine
Blume (H. Heine)
c1896–7 >or <232;
<389; P
Duty: see 380/a
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241 Ein Ton (P. Cornelius)
[Eng. version I hear
a tone (trans. C.H.
Laubach)]
c1900 <309; P
An Election: see 313
242 Elégie (L. Gallet) c1901–2 Danbury, 17
March 1967
A*, J, Q
243 The Ending Year 1902 ?>lost
song, arr. J.
Kirkpatrick
as 357;
<382; P
244 Evening (J. Milton) 1921 Saratoga
Springs, NY, 1
May 1932
<15/iv; A*,
B, Q
245 Evidence (Ives) adapted
[1910]
>394; A, J,
Q
Eyes so dark: see
387
246 Far from my heav’nly
home (Lyte)
c1893–4 M
247 Far in the wood c1900 <310; P
248 A Farewell to Land
(Byron)
c1909–10 Minneapolis,
18 Jan 1944
D, Q
No. Title and
instrumentation
Dates First known
performance
Remarks
and
editions
249 La Fede (Ariosto) 1920 A*, D, Q
250 Feldeinsamkeit (H.
Allmers) [Eng.
version In Summer
Fields (trans. H.C.
Chapman)]
c1897–8 Los Angeles,
12 Nov 1946
A*, D, Q
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251 Flag Song (H.S.
Durand)
[1898],
c1900
(1968), Q
252 Forward into Light
(H. Alford)
1902 >143/vi; A,
F, L, Q
253 Friendship c1898–9 P
254 Frühlingslied (Heine) c1898 <270; P
255 General William
Booth Enters into
Heaven (V. Lindsay)
1914, rev.
c1933
San
Francisco, 26
Sept 1933
?>lost
version for
unison male
vv, band;
<181; D, Q
256 God Bless and Keep
Thee
c1898,
c1901–2
M
257 Grace c1900–03 <390; P
258 Grantchester (R.
Brooke)
1920 New York, 13
Nov 1933
A*, J, Q
259 The Greatest Man
(A.T. Collins)
1921 New York, 28
Feb 1924
A*, C, N, Q
260 Gruss (Heine) c1898–9,
c1902–3
<398; P
261 Harpalus (anon., coll.
T. Percy)
adapted
[1902] or
c1920
Houston, 3
May 1943
>323; A, C,
Q
262 He Is There! (Ives),
1v/vv, pf, opt. vn/fl/
fife
1917 Danbury, 18
Jan 1940
portion
>part of
187;
borrows
from 36;
<182, 371,
188;
portion
borrowed
in 88/ii; A,
Q
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Hear My Prayer, O
Lord: see 355c
No. Title and
instrumentation
Dates First known
performance
Remarks
and
editions
263 Her Eyes c1898 <299; P
264 Her gown was of
vermilion silk
1897 P
265 His Exaltation (R.
Robinson)
arr. [1913] >ending of
61/i; A, J, L,
Q
266 The Housatonic at
Stockbridge (R.U.
Johnson)
arr. 1921 New York, 11
May 1946
>7/iii, early
song
version; A,
G, Q
267 Hymn (J. Wesley,
after G. Tersteegen)
arr. 1921 San
Francisco, 26
Sept 1933
>84/i; A*,
C, Q
268 Hymn of Trust (O.W.
Holmes sr), 1v, org/
pf
adapted
c1899–
c1900
inc.; >312;
P [org part
added by
ed. J.
Kirkpatrick]
I hear a tone: see
241
269 I knew and loved a
maid
c1898–9,
c1901–2
P
270 I travelled among
unknown men (W.
Wordsworth)
adapted
[1901]
>254; A*, F,
Q
271 Ich grolle nicht
(Heine) [Eng. version
I’ll not complain
(trans. J.S. Dwight)]
c1898–9,
rev.
c1900–01
Milwaukee,
28 March
1950
A, C, Q
[latter two
incl. Eng.
version]
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272 Ilmenau (J.W. von
Goethe) [Eng.
version Over all the
treetops (trans. H.
Twichell)]
c1903 Danbury, 8
June 1922
A*, (1952),
Q
273 Immortality (Ives) 1921 Vienna, 15
Feb 1935
A*, C, Q
275 In April-tide (C.
Scollard)
c1896–7 <210; P
276 In Autumn c1896 P
277 In Flanders Fields (J.
McCrae)
1917, rev.
1919
New York, 15
April 1917
A, H, Q
No. Title and
instrumentation
Dates First known
performance
Remarks
and
editions
278 In My Beloved’s Eyes
(W.M. Chauvenet)
c1899 <311; P
In Summer Fields:
see 250
279 In the Alley (Ives) [1896] Danbury, 18
Jan 1940
A, K, Q
280 The
“Incantation” (Byron)
arr. 1921 >10/vi; A,
C, Q
283 The Indians (C.
Sprague)
arr. 1921 Saratoga
Springs, NY, 1
May 1932
>11/i (itself
<19/iii);
<14/ii and
17/ii; first
half <part
of 128/ii;
A*, B, Q
284 The Innate (Ives) arr. [1916] Paris, 5
March 1936
>84/iii; A,
D, Q
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285 Kären (P.K. Ploug,
trans. C. Kappey)
c1900,
c1905–6
New Haven, 1
March 1968
A*, G, Q
286 The Last Reader
(O.W. Holmes)
arr. 1921 New York, 2
Nov 1942
>11/iii, 18/
i; A*, C, Q
287 The Light That Is
Felt (Whittier)
adapted
c1899–
1900,
[1903–4],
c1919–20
New Haven, 7
Sept 1961
>173; A*,
(1950), Q
288 Like a Sick Eagle (J.
Keats)
arr. 1920 New York, 6
Feb 1933
>10/iv
(itself <19/
i); A*, C, Q
289 Lincoln, the Great
Commoner (E.
Markham)
c1919–20 New York, 27
Dec 1949
<184;
portions
borrowed
in 313
(itself
<180); A,
(1952), Q
291 Die Lotosblume
(Heine) [Eng. version
The Lotus Flower]
c1897–8,
rev.
c1900–01
and
c1908–9
<362; pubd
as
alternative
text for 362
in A*, C, Q
292 The Love Song of
Har Dyal (R. Kipling)
c1899–
c1900,
c1902–3
P
293 Luck and Work (R.U.
Johnson)
c1919–20 Dallas, 7 Feb
1965
> or <12/ii
(itself <19/
ii); A, C, E,
Q
294 Majority (Ives) arr. 1921 Paris, 5
March 1936
>185; A, D,
Q
No. Title and
instrumentation
Dates First known
performance
Remarks
and
editions
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295 Maple Leaves (T.B.
Aldrich)
1920 Saratoga
Springs, NY, 1
May 1932
A, B, Q
296 Marie (R. Gottschall)
[Eng. version trans.
E. Rücker]
[1896],
c1901–2,
second
version
c1903–4
first version
in P; second
version A*,
H
297 Memories: a. Very
Pleasant, b. Rather
Sad (Ives)
[1897] Pittsburgh, 29
April 1949
A, F, Q
298 Minnelied (L.H.C.
Hölty)
c1901 <306; P
299 Mirage (C. Rossetti) adapted
[1902]
Minneapolis,
29 May 1955
>263; A*, F,
Q
300 Mists [I] (H.T. Ives) 1910,
c1912–13
<301
301 Mists [II] (H.T. Ives) c1912–13,
rev. c1920
Vienna, 15
Feb 1935
>300; <15/
i; first
version
inc., second
version in
A*, C, Q
My dear old mother:
see 239, 316
302 My Lou Jennine c1894 P
303 My Native Land [I]
(after Heine)
c1897–
c1900
?first
setting; A,
G, Q
304 My Native Land [II]
(after Heine)
c1900–01 ?second
setting; P
306 Nature’s Way (Ives) adapted
[1908],
c1909–10
>298; A*,
H, Q
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307 Naught that country
needeth (H. Alford)
c1898–9,
rev. 1902
>143/ii; A*,
H, L, Q
308 The New River (Ives) 1914–
15, ?rev.
1921
Dresden, 11
March 1932
> or <10/
iii, 186;
<14/i, 17/i;
portions
reworked in
128/ii; A*,
C, Q
309 Night of Frost in
May (G. Meredith)
adapted
[1899] or
c1920
New York, 30
March 1940
>241; A*,
D, Q
No. Title and
instrumentation
Dates First known
performance
Remarks
and
editions
310 A Night Song (T.
Moore)
adapted ?
c1920
New York, 10
Feb 1950
>247; A,
(1952),
later
printings of
K, Q
311 A Night Thought
(Moore)
adapted
c1916
New York, 28
Nov 1922
>278; A*,
C, Q
312 No More (W. Winter) 1897 New Haven,
22 Feb 1956
<268; M
313 2 Nov 1920 (An
Election) (Ives)
c1921 Bennington,
VT, 17 June
1959
> or <180;
borrows
part of 184
or 289; A,
D, (1949),
Q
314 An Old Flame (Ives) c1898,
c1901
New York, 15
May 1901
A, K, Q
315 Old Home Day (Ives),
1v, pf, opt. vn/fl/fife
c1920 London, 17
June 1965
portions>
or <parts
of 5/iii; A*,
K, Q
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316 The Old Mother
(Vinje, trans. Corder)
?1898,
c1902
first
setting: see
also 239; P
317 Omens and Oracles
(O. Meredith)
[1899],
c1902
Danbury, 17
March 1967
A, F, Q
318 On Judges’ Walk (A.
Symons)
c1901–2 New Haven, 7
Sept 1961
>first
theme of 1/
i; <339; P
319 On the Antipodes
(Ives), 1v, pf 4 hands
c1922–3 New York, 11
May 1963
chords
derived in
part from 6;
D, Q
320 On the Counter
(Ives)
1920 modeled on
355; A, H,
Q
321 “1, 2, 3” (Ives) 1921 Philadelphia,
23 April 1940
portion
>part of 85
or 82; A, E,
Q
322 The One Way (Ives) c1922–3 M
323 The Only Son
(Kipling)
c1898–9 <261; P
Over all the treetops:
see 272
No. Title and
instrumentation
Dates First known
performance
Remarks
and
editions
324 Paracelsus
(Browning)
1921 Paris, 5
March 1936
portions
>parts of
27; <13/i;
A*, D, Q
325 Peaks (H. Bellamann) c1923–4 M
326 A Perfect Day 1902 P
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327 Pictures (M.P.
Turnbull)
1906 Germantown,
PA, 11 Oct
1963
M
328 Premonitions (R.U.
Johnson)
arr. 1921 San
Francisco, 15
Feb 1934
>12/iii; A,
C, Q
329 Qu’il m’irait bien
(trans. M. Delano)
c1897–9 A, G, Q
330 The Rainbow (So
May It Be!)
(Wordsworth)
arr. 1921 New York, 27
Dec 1949
>45; <15/
ii; A, C, Q
331 Religion (L.Y. Case) arr.
c1910–11
>lost
anthem; A*,
G, L, Q
332 Remembrance (Ives) arr. 1921 >40; <16/
iii; A*, G, Q
333 Requiem (R.L.
Stevenson)
1911 Paris, 5
March 1936
D, Q
334 Resolution (Ives) 1921 Paris, 5
March 1936
A*, D, Q
335 Rock of Ages (A.M.
Toplady), 1v, pf/org
c1892 ? Danbury, 30
April 1893
M
336 Romanzo (di Central
Park) (L. Hunt)
[1900],
c1911
Bennington,
VT, 17 June
1959
A, H, Q
337 Rosamunde (H. von
Chézy, Fr.
paraphrase by
Bélanger)
c1898–9,
c1901–2
first version
(Ger. only)
in P; Fr.
text
substituted
in second
version in
A, H, Q
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338 Rosenzweige (K.
Stieler)
c1902–3 >345;
<208; P
No. Title and
instrumentation
Dates First known
performance
Remarks
and
editions
339 Rough Wind (P.B.
Shelley)
adapted
[1902]
New York, 1
March 1932
>318 (itself
>first
theme of 1/
i); A, C, Q
341 A Scotch Lullaby
(Merrill)
1896 (New
Haven,
1896), M
342 A Sea Dirge (W.
Shakespeare)
1925 New Haven,
22 Feb 1956
<16/iv; M
343 The Sea of Sleep 1903 <374; P
344 The See’r (Ives) c1914–15,
arr. 1920
Saratoga
Springs, NY, 1
May 1932
>10/i;
portions
reworked in
128/ii; A, B,
Q
345 Sehnsucht (C.
Winther, Ger. trans.
E. Lobedanz)
c1902–3 <338, 208;
P
346 Sept (D.G. Rossetti,
after Folgore)
c1919–20 New York, 11
May 1963
A, C, Q
347 Serenity (Whittier) arr. [1919] New York, 15
March 1929
>inc. or
lost choral
version; A,
B, Q
348 The Side Show (Ives) adapted
1921
New York, 24
Feb 1939
>lost piece
for 1896
college
show; A, G,
Q
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349 Slow March (L.
Brewster, Ives
family)
c1887,
rev. 1921
A, F, Q
350 Slugging a Vampire
(Ives)
adapted
[1902] or
c1920
New York, 21
Feb 1947
>367; D, Q
So May It Be!: see
330
352 Soliloquy (Ives) c1916–17 Philadelphia,
1 Nov 1962
C, Q
353 A Son of a
Gambolier, 1v, pf,
opt. fls/vns/other
insts
arr.
c1919–21
>110; A, J,
Q
354 Song (H. Coleridge) c1897 P
No. Title and
instrumentation
Dates First known
performance
Remarks
and
editions
355 A Song—For
Anything
c1921 A, H, Q;
355c
reused for
355a and
355b; in
assembling
114 Songs
Ives
combined
all three
texts to
make 355;
used as
model for
320
a. When the waves
softly sigh (?Ives)
[1892]
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b. Yale, Farewell! (?
Ives)
c1898–9
c. Hear My Prayer, O
Lord (N. Tate, N.
Brady)
c1889–90
356 Song for Harvest
Season (G.
Phillimore), 1v
(cornet/tpt, trbn, b
trbn/tuba)/org
1894, rev.
c1932–3
Minneapolis,
18 Jan 1944
C, Q
357 The Song of the
Dead (Kipling)
?1898 conjectured
first text for
music of
243 (itself
<382); arr.
J.
Kirkpatrick,
P
361 Songs my mother
taught me (A.
Heyduk, Eng. trans.
N. Macfarran)
[1895],
c1899–
c1901
Danbury, 17
March 1967
<76; A*, H,
Q
362 The South Wind (H.
Twichell)
adapted
1908
>291; A*,
C, Q
363 Spring Song (H.
Twichell)
1907 Danbury, 8
June 1922
?>lost
song; A*, G,
Q
365 Sunrise (Ives), 1v, pf,
vn
1926 New Haven, 7
Sept 1961
crit. edn J.
Kirkpatrick
(1977)
366 Swimmers (L.
Untermeyer)
[1915], ?
rev. 1921
San
Francisco, 26
Sept 1933
<16/ii; A, C,
Q
367 Tarrant Moss
(Kipling)
c1902–3 New Haven, 2
June 1960
<350; A, K,
Q
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369 There is a certain
garden
[1893],
c1896–8
New Haven,
22 Feb 1956
M
370 There is a lane (Ives) adapted
[1902] or
c1920
>393; A*, J,
Q
371 They Are There!
(Ives), 1v/vv, pf, opt.
vn/fl/fife, opt. 2nd pf
adapted
1942
New Haven,
19 Oct 1973
>182, 262
(which
borrows
from 187
and 36);
<188; J, Q
372 The Things Our
Fathers Loved (Ives)
1917 New York, 15
March 1929
>inc. or
lost orch
work; A, H,
Q
373 Thoreau (Ives, after
H. Thoreau)
arr. c1920 Poughkeepsie,
NY, 19 April
1934
portions
>parts of
88/iv; A, C,
Q
374 Those Evening Bells
(T. Moore)
adapted
[1907]
>343; A, H,
Q
No. Title and
instrumentation
Dates First known
performance
Remarks
and
editions
375 Through Night and
Day (after J.S.B.
Monsell)
adapted
c1897–8
>170; P
376 To Edith (H.T. Ives) 1919 ?>lost
song; A*, F,
Q
377 Tolerance (R.
Kipling)
arr. 1921 Minneapolis,
18 Jan 1944
>10/ii; A, C,
Q
378 Tom Sails Away
(Ives)
1917 New York, 11
May 1963
A, D, Q
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Ein Ton: see 241
379 Two Little Flowers
(C. Ives, H.T. Ives)
1921 New York, 24
Feb 1939
A*, D, N, Q
380 Two Slants
(Christian and
Pagan)
Dallas, 7 Feb
1965
[complete
work]
>189; A*,
C, E, Q
a. Duty (Emerson) arr. 1921 Dallas, 7 Feb
1965
b. Vita (Manilius) arr. 1921 Boston, 22
April 1934
381 Vote for Names!
Names! Names!
(Ives), 1v, 3 pf
1912 inc.;
(1968); ed.
N.
Schoffman,
CMc, no.23
(1977); Q
382 The Waiting Soul (J.
Newton)
adapted
[1908]
>243; A*,
G, L, Q
383 Walking (Ives) c1912 Saratoga
Springs, NY, 1
May 1932
>inc. or
lost
anthem; A*,
B, Q
384 Walt Whitman
(Whitman)
c1920–21 Poughkeepsie,
NY, 19 April
1934
>lost early
version of
190; <190,
13/ii; A*, C,
Q
385 Waltz (Ives) c1894–5,
rev. 1921
A, G, Q
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386 Watchman! (J.
Bowring)
adapted
[1913]
>lost early
song
version or
part of 60/
iii; <part of
4/i; A*, H,
L, Q
387 Weil’ auf mir (N.
Lenau) [Eng. version
Eyes so dark (trans.
after E. Rücker and
W.J. Westbrook)]
[1902] A, H, Q
388 West London (M.
Arnold)
1921 Colorado
Springs, CO,
28 April 1939
>inc.
Matthew
Arnold
Overture;
<13/iii; A*,
C, Q
No. Title and
instrumentation
Dates First known
performance
Remarks
and
editions
389 When stars are in the
quiet skies (E.G.
Bulwer-Lytton)
adapted
c1899–
c1900
Oxford, OH,
14 May 1950
>240 or
232; A*, C,
Q
When the waves
softly sigh: see 355a
390 Where the eagle
cannot see (M.P.
Turnbull)
adapted
c1906
Saratoga
Springs, NY, 1
Oct 1933
>257; A,
(1935),
early
printings of
K, L, N, Q
391 The White Gulls (M.
Morris, after Russian
poem)
c1920–21 Danbury, 8
June 1922
A*, C, Q
393 Widmung (W.M. von
Königswinter)
?1898 <370; P
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394 Wie Melodien zieht
es mir (K. Groth)
c1898–
1900
<245; P
395 Wiegenlied (Des
Knaben Wunderhorn)
c1906 Germantown,
PA, 11 Oct
1963
<220; P
396 William Will (S.B.
Hill)
1896 portion
>part of
31; (1896),
P
397 The World’s Highway
(H. Twichell)
1906/1907 A, K, Q
398 The World’s
Wanderers (Shelley)
adapted
after
c1898–9
Danbury, 17
March 1967
>260; A*, F,
Q
Yale, Farewell!: see
355b
399 Yellow Leaves
(Bellamann)
1923 New Haven,
22 Feb 1956
M
Arrangements
440 E. Ives: Christmas Carol, 1v,
pf, opt. bells
1924/1925 New York,
Dec 1925
M
441 In the Mornin’, 1v, pf 1929 M
Writings
Essays Before a Sonata (New York, 1920/R)
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“Some ‘Quarter-tone’ Impressions,” Franco-American Music Society
Bulletin (25 March 1925)
“Music and its Future,” American Composers on American Music,
ed. H. COWELL (Stanford, CA, 1933/R)
Essays Before a Sonata and Other Writings, ed. H. BOATWRIGHT
(New York, 1962, rev. 2/1970 as Essays Before a Sonata, The
Majority, and Other Writings)
Memos, ed. J. KIRKPATRICK(New York, 1972)
Selected Correspondence of Charles Ives, ed. T.C. OWENS (Berkeley,
2007)
Bibliography
A: Catalogs, bibliographies, and reference works
J. KIRKPATRICK: A Temporary Mimeographed Catalogue of the Music
Manuscripts and Related Materials of Charles Edward Ives 1874–
1954 (New Haven, CT, 1960)
R. WARREN: Charles E. Ives: Discography (New Haven, CT, 1972)
V. PERLIS, ed.: Charles Ives Papers (New Haven, CT, 1983)
G. BLOCK: Charles Ives: a Bio-Bibliography (New York, 1988)
W. RATHERT: Charles Ives (Darmstadt, 1989, 2/1996)
C.W. HENDERSON: The Charles Ives Tunebook (Warren, MI, 1990,
2/2008)
J.B. SINCLAIR: A Descriptive Catalogue of the Music of Charles Ives
(New Haven, CT, 1999; rev. 2/2010, available at <http://
hdl.handle.net/10079/fa/music.mss.0014.1 <http://hdl.handle.net/
10079/fa/music.mss.0014.1>>)
G. SHERWOOD: Charles Ives: a Guide to Research (New York, 2002;
rev. 2/2010 by G.S. MAGEE as Charles Ives: a Research and
Information Guide)
J.M. BURK and M.J. BUDDS: A Charles Ives Omnibus (Missoula, MT,
2008)
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B: Collections of articles
H.W. HITCHCOCK and V. PERLIS, eds: An Ives Celebration (Brooklyn,
NY, and New Haven, CT, 1974) [incl. articles by R.M. CRUNDEN, F.R.
ROSSITER, N. BRUCE, R.P. MORGAN, A. FORTE, W. BROOKS]
Charles Ives und die amerikanische Musiktradition bis zur
Gegenwart: Cologne 1988 [incl. articles by J.P. BURKHOLDER, D.
KÄMPER, R.P. MORGAN, W. RATHERT]
G. BLOCK and J.P. BURKHOLDER, eds: Charles Ives and the Classical
Tradition (New Haven, CT, 1996) [incl. articles by G. BLOCK, A.
BUCHMAN, J.P. BURKHOLDER, P. LAMBERT, R.P. MORGAN, N.E. TAWA,
K.C. Ward]
J.P. BURKHOLDER, ed.: Charles Ives and his World (Princeton, NJ,
1996) [incl. articles by L. BOTSTEIN, M. BROYLES, J.P. BURKHOLDER,
D.M. HERTZ, and M. TUCKER, with selected correspondence 1881–
1954, reviews 1888–1951, profiles 1932–55]
P. LAMBERT, ed.: Ives Studies (Cambridge, 1998) [incl. articles by L.
AUSTIN, G. BLOCK, J.P. BURKHOLDER, S. FEDER, H.W. HITCHCOCK, P.
LAMBERT, R.P. Morgan, W. Rathert, G. Sherwood, J. Tick]
H.-W. HEISTER and W. KREMP, eds: Charles Ives, 1874–1954:
Amerikanischer Pionier der neuen Musik (Trier, 2004) [incl. articles
by J. BARNIECK, R. FLENDER, T. GIEBISCH, P. GLÄFCKE, H.-W.
HEISTER, H. HENCK, H. LÜCK, F. MEHRING, H.-C. MÜLLER, T.
PHELPS, W. RATHERT, L. SCHMIDTHALS, M. TISCHER]
U. TADDAY, ed.: Charles Ives [Musik-Konzepte 123] (Munich, 2004)
[incl. articles by L. FENNER, D. GAIL, W. RATHERT, G. SCHUBERT, D.
SCHULZ, D. VON GLAHN]
C: Life and works
H. COWELL: “Charles Ives,” , x (1932–3), 24–33
H. BELLAMANN: “Charles Ives: the Man and his Music,” , xix
(1933), 45–58
H. COWELL: American Composers on American Music (Stanford, CA,
1933/R), 128–45
H. and S. COWELL: Charles Ives and his Music (New York, 1955,
2/1969)
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J. BERNLEF and R. DE LEEUW: Charles Ives (Amsterdam, 1969);
partial Eng. trans. in Student Musicologists at Minnesota, vi (1975–
6), 128–91
L. WALLACH: The New England Education of Charles Ives (diss.,
Columbia U., 1973)
V. PERLIS: Charles Ives Remembered: an Oral History (New Haven,
CT, 1974/R)
R.S. PERRY: Charles Ives and the American Mind (Kent, OH, 1974)
G. VINAY: L’America musicale di Charles Ives (Turin, 1974)
D. WOOLDRIDGE: From the Steeples and Mountains: a Study of
Charles Ives (New York, 1974); repr. as Charles Ives: a Portrait
(London, 1975)
F.R. ROSSITER: Charles Ives and his America (New York, 1975)
S. FEDER: “Charles and George Ives: the Veneration of Boyhood,”
Annual of Psychoanalysis, ix (1981), 265–316; repr. in Psychoanalytic
Explorations in Music, ed. S. FEDER, R.L. KARMEL and G.H. POLLOCK
(Madison, CT, 1990), 115–76
P.J. CONN: “Innovation and Nostalgia: Charles Ives,” The Divided
Mind: Ideology and Imagination in America, 1898–1917 (Cambridge,
1983), 230–50
M.S. HARVEY: Charles Ives: Prophet of American Civil Religion (diss.,
Boston U., 1983)
J.P. BURKHOLDER: Charles Ives: the Ideas Behind the Music (New
Haven, 1985)
J.J. GIBBENS: Debussy’s Impact on Ives: an Assessment (diss., U. of
Illinois, 1985)
M.S. MOORE: Yankee Blues: Musical Culture and American Identity
(Bloomington, IN, 1985)
K.C. WARD: Musical Idealism: a Study of the Aesthetics of Arnold
Schoenberg and Charles Ives (diss., Northwestern U., 1985)
J. MADERUELO: Charles Ives (Madrid, 1986)
D. ROSTKOWSKI: Ives (Gdańsk, 1987)
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M. SOLOMON: “Charles Ives: some Questions of Veracity,” , xl
(1987), 443–70 [response: J.P. LAMBERT, , xlii (1989), 204–9;
counter-response: M. SOLOMON, , xliii (1989), 209–18]
R.N. BUKOFF: Charles Ives: a History and Bibliography of Criticism
(1920–1939), and Ives’ Influence (to 1947) on Bernard Herrmann,
Elie Siegmeister, and Robert Palmer (diss., Cornell U., 1988)
J.P. BURKHOLDER: “Charles Ives and his Fathers: a Response to
Maynard Solomon,” Institute for Studies in American Music
Newsletter, xviii/1 (1988), 8–11
C.K. BARON: “Dating Charles Ives’s Music: Facts and Fictions,” ,
xxviii/1 (1990), 20–56
A. IVASHKIN: Charlz Aivz i muzïka XX veka [Charles Ives and
Twentieth-Century Music] (Moscow, 1991)
C.K. BARON: “Georges Ives’s Essay in Music Theory: an Introduction
and Annotated Edition,” American Music, x (1992), 239–88
S. FEDER: Charles Ives, “My Father’s Song”: a Psychoanalytic
Biography (New Haven, CT, 1992)
R.V. WIECKI: “Two Musical Idealists, Charles Ives and E. Robert
Schmitz: a Friendship Reconsidered,” American Music, x (1992), 1–
19
J. TICK: “Charles Ives and Gender Ideology,” Musicology and
Difference: Gender and Sexuality in Music Scholarship, ed. R.A.
SOLIE (Berkeley, 1993), 83–106
G. SHERWOOD: “Questions and Veracities: Reassessing the
Chronology of Ives’s Choral Works,” , lxxviii (1994), 429–47
D.V.G. COONEY: Reconciliation: Time, Space and the American Place
in the Music of Charles Ives (diss., U. of Washington, 1995)
L. KRAMER: “Cultural Politics and Musical Form: the Case of Charles
Ives,” Classical Music and Postmodern Knowledge (Berkeley, 1995),
174–200
J. SWAFFORD: Charles Ives: a Life with Music (New York, 1996)
J.P. BURKHOLDER: “Ives and Yale: the Enduring Influence of a
College Experience,” College Music Symposium, xxxix (1999), 27–42
S. FEDER: The Life of Charles Ives (Cambridge, 1999)
JAMS
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T.C. OWENS: Charles Ives and His American Context: Images of
“Americanness” in the Arts (diss., Yale U., 1999)
P.K. FAIRFIELD: Representations of Gender and Sexuality in the
Music and Writings of Charles Ives (diss., Brandeis U., 2000)
G. SHERWOOD: “Charles Ives and ‘Our National Malady’,” , liv
(2001), 555–84
B. MARSHALL: Charles Ives and the Absent Presences of Life and
Work (diss., U. of Wales, 2003)
C.K. BARON: “Efforts on Behalf of Democracy by Charles Ives and
His Family: Their Religious Contexts,” , lxxvii (2004), 6–43
M. BROYLES: Mavericks and Other Traditions in American Music
(New Haven, 2004)
T.A. JOHNSON: Baseball and the Music of Charles Ives: a Proving
Ground (Lanham, MD, 2004)
D.C. PAUL: “From American Ethnographer to Cold War Icon: Charles
Ives through the Eyes of Henry and Sidney Cowell,” , lix
(2006), 399–457
D. MASSEY: “The Problem of Ives’s Revisions (1973–1987),” , lx
(2007), 599–645
G.S. SHERWOOD: Charles Ives Reconsidered (Urbana, IL, 2008)
D. NICHOLLS: “‘The Unanswered Question of Her Son’s Biography’:
New Thoughts on Mollie Ives,” Journal of the Society for American
Music, v (2011), 95–111
D.C. PAUL: Charles Ives in the Mirror: American Histories of an
Iconic Composer (Urbana, IL, 2013)
D: Studies of the music
H. BELLAMANN: “The Music of Charles Ives,” Pro-Musica Quarterly,
v/1 (1927), 16–22
P. ROSENFELD: Discoveries of a Music Critic (New York, 1936/R),
315–24
W. MELLERS: “Realism and Transcendentalism: Charles Ives as
American Hero,” Music in a New Found Land: Themes and
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Developments in the History of American Music (London, 1964/R),
38–64
D. MARSHALL: “Charles Ives’s Quotations: Manner or Substance?,”
, vi/2 (1967–8), 45–56; repr. in Perspectives on American
Composers, ed. B. BORETZ and E.T. CONE (New York, 1971), 13–24
C.W. HENDERSON: Quotation as a Style Element in the Music of
Charles Ives (diss., Washington U., 1969)
J.M. RINEHART: Ives’ Compositional Idioms: an Investigation of
Selected Short Compositions as Microcosms of his Musical
Language (diss., Ohio State U., 1970)
R.P. MORGAN: “Rewriting Music History: Second Thoughts on Ives
and Varèse,” Musical Newsletter, iii (1973), no.1, pp.3–12; no.2, pp.
15–23, 28
C. WARD: Charles Ives: the Relationship Between Aesthetic Theories
and Compositional Processes (diss., U. of Texas, 1974)
H.W. HITCHCOCK: Ives (London, 1977, 3/1988)
L. STARR: “Charles Ives: the Next Hundred Years: Towards a Method
of Analyzing the Music,” , xxxviii (1977), 101–11
N.S. JOSEPHSON: “Charles Ives: intervallische Permutationen im
Spätwerk,” Zeitschrift für Musiktheorie, ix/2 (1978), 27–33
R.P. MORGAN: “Ives and Mahler: Mutual Responses at the End of an
Era,” , ii (1978–9), 72–81; repr. in Charles Ives and the
Classical Tradition, ed. G. BLOCK and J.P. BURKHOLDER (New Haven,
CT, 1996), 75–86
C. BALLANTINE: “Charles Ives and the Meaning of Quotation in
Music,” , lxv (1979), 167–84
S.S. PAVLYSHYN: Charlz Aivz (Moscow, 1979)
N. SCHOFFMAN: “Serialism in the Works of Charles Ives,” Tempo, no.
138 (1981), 21–32
J.P. BURKHOLDER: The Evolution of Charles Ives’s Music: Aesthetics,
Quotation, Technique (diss., U. of Chicago, 1983)
L.L. GINGERICH: Processes of Motivic Transformation in the
Keyboard and Chamber Music of Charles E. Ives (diss., Yale U.,
1983)
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L. STARR: “The Early Styles of Charles Ives,” , vii (1983–4), 71–
80
L.L. GINGERICH: “A Technique for Melodic Motivic Analysis in the
Music of Charles Ives,” Music Theory Spectrum, viii (1986), 75–93
T.D. WINTERS: Additive and Repetitive Techniques in the
Experimental Works of Charles Ives (diss., U. of Pennsylvania, 1986)
C.K. BARON: Ives on his Own Terms: an Explication, a Theory of Pitch
Organization, and a New Critical Edition for the “3-Page Sonata”
(diss., CUNY, 1987)
H.W. DAVIES: The Correlation Between Source and Style in the Music
of Ives (diss., U. of Wales, Cardiff, 1987)
Y. SAKAE: “Charles Ives no ongakukozo ni okeru decomposition”
[De-composition in the structure of Ives’s music],
Ongaku-gaku, xxxiv/2 (1988), 97–111
J.P. LAMBERT: “Ives’s ‘Piano-Drum’ Chords,” Intégral, iii (1989), 1–36
J.P. BURKHOLDER: “The Critique of Tonality in the Early
Experimental Music of Charles Ives,” Music Theory Spectrum, xii
(1990), 203–23
J.P. LAMBERT: “Aggregate Structures in Music of Charles Ives,” ,
xxxiv (1990), 29–55
J.P. LAMBERT: “Interval Cycles as Compositional Resources in the
Music of Charles Ives,” Music Theory Spectrum, xii (1990), 43–82
D. NICHOLLS: American Experimental Music, 1890–1940
(Cambridge, 1990)
C.K. BARON: “Meaning in the Music of Charles Ives,” Metaphor: a
Musical Dimension, ed. J.C. KASSLER (Sydney, 1991), 37–50
J.P. LAMBERT: “Ives and Counterpoint,” American Music, ix (1991),
119–48
W. RATHERT: The Seen and Unseen: Studien zum Werk von Charles
Ives (Munich, 1991)
L. STARR: A Union of Diversities: Style in the Music of Charles Ives
(New York, 1992)
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T. GIEBISCH: Take-Off als Kompositionsprinzip bei Charles Ives
(Kassel, 1993)
D.M. HERTZ: Angels of Reality: Emersonian Unfoldings in Wright,
Stevens, and Ives (Carbondale, IL, 1993)
J.P. LAMBERT: “Toward a Theory of Chord Structure for the Music of
Ives,” , xxxvii (1993), 55–83
T.M. BRODHEAD: “Ives’s Celestial Railroad and his Fourth
Symphony,” American Music, xii (1994), 389–424
A.B. SCOTT: “Medieval and Renaissance Techniques in the Music of
Charles Ives: Horatio at the Bridge?,” , lxxviii (1994), 448–78
J.P. BURKHOLDER: All Made of Tunes: Charles Ives and the Uses of
Musical Borrowing (New Haven, CT, 1995)
P. LAMBERT: The Music of Charles Ives (New Haven, CT, 1997)
D. METZER: “‘We Boys’: Childhood in the Music of Charles Ives,”
, xxi (1997–8), 77–95
J.P. BURKHOLDER: “The Organist in Ives,” , lv (2002), 255–310
M.E. JOHNSON: “Charles Ives’s (Utopian, Pragmatist, Nostalgic,
Progressive, Romantic, Modernist) Yankee Realism,” American
Music, xx (2002), 188–231
M. BETZ: “The Voice of the City: New York in der Musik von Charles
Ives,” , lxi (2004), 207–25
M.J. MCDONALD: Translating Experience, Transcending Time:
Temporal Procedures and Their Expressive Meanings in the Music of
Charles Ives (diss., Yale U., 2004)
L. FENNER: Erinnerung und Entlehnung im Werk von Charles Ives
(Tutzing, 2005)
H.-C. LIAO: The Evolving Perception of Charles Ives and His Music
(diss., U. of West Virginia, 2006)
J.P. BURKHOLDER: “Stylistic Heterogeneity and Topics in the Music
of Charles Ives,” Journal of Musicological Research, xxxi (2012),
166–99
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E: Studies of individual works or genres
Orchestral
D. EISEMAN: Charles Ives and the European Symphonic Tradition: a
Historical Reappraisal (diss., U. of Illinois, 1972)
W. BROOKS: “Unity and Diversity in Charles Ives’s Fourth
Symphony,” , x (1974), 5–49
N.S. JOSEPHSON: “Zur formalen Struktur einiger später
Orchesterwerke von Charles Ives (1874–1954),” , xxvii (1974), 57–
64
S. FEDER: “Decoration Day: a Boyhood Memory of Charles Ives,”
, lxvi (1980), 234–61
D. PORTER: The Third Orchestral Set of Charles Edward Ives (thesis,
California State U., 1980)
A. MAISEL: “The Fourth of July by Charles Ives: Mixed Harmonic
Criteria in a Twentieth-Century Classic,” Theory and Practice, vi/1
(1981), 3–32
W. RATHERT: “Charles Ives: Symphonie Nr.4, 1911–1916,” Neuland,
iii (1982–3), 226–41
M.D. NELSON: “Beyond Mimesis: Transcendentalism and Processes
of Analogy in Charles Ives’ ‘The Fourth of July’,” , xxii/1–2
(1983–4), 353–84
W. BROOKS: “A Drummer-Boy Looks Back: Percussion in Ives’s
Fourth Symphony,” Percussive Notes, xxii/6 (1984), 4–45
N.S. JOSEPHSON: “The Initial Sketches for Ives’s St. Gaudens in
Boston Common,” Soundings [Cardiff], xii (1984–5), 46–63
L. AUSTIN: “Charles Ives’s Life Pulse Prelude for Percussion
Orchestra: a Realization for Modern Performance from Sketches for
his Universe Symphony,” Percussionist, xxiii/6 (1985), 58–84
R. POZZI: “Polemica antiurbana ed isolamento ideologico in Central
Park in the Dark di Charles Ives,” , xix (1985), 471–81
W. RATHERT: “Paysage imaginaire et perception totale: l’idée et la
forme de la symphonie Universe,” Contrechamps, no.7 (1986), 129–
54
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W. SHIRLEY: “Once More Through The Unanswered Question,”
Institute for Studies in American Music Newsletter, xviii/2 (1989), 8–
9, 13
W. SHIRLEY: “‘The Second of July’: a Charles Ives Draft Considered
as an Independent Work,” A Celebration of American Music: Words
and Music in Honor of H. Wiley Hitchcock, ed. R.A. CRAWFORD, R.A.
LOTT and C.J. OJA (Ann Arbor, 1990), 391–404
J.B. ROLLER: An Analysis of Selected Movements from the
Symphonies of Charles Ives Using Linear and Set Theoretical
Analytical Models (diss., U. of Kentucky, 1995)
D.V.G. COONEY: “A Sense of Place: Charles Ives and ‘Putnam’s Camp,
Redding, Connecticut’,” American Music, xiv (1996), 276–312
D.V.G. COONEY: “New Sources for The ‘St. Gaudens’ in Boston
Common (Colonel Robert Gould Shaw and his Colored Regiment),”
, lxxxi (1997), 13–50
D. VON GLAHN: “From Country to City in the Music of Charles Ives,”
in The Sounds of Place: Music and the American Cultural Landscape
(Boston, 2003), 64–109
C.H. GARRETT: “Charles Ives’s Four Ragtime Dances and ‘True
American Music’,” Struggling to Define a Nation: American Music
and the Twentieth Century (Berkeley, CA, 2008), 17–47
D. VON GLAHN: “Charles Ives at ‘Christo’s Gates’,” TwentiethCentury
Music, v (2008), 157–78
D. GAIL: Charles E. Ives’ Fourth Symphony: Quellen—Analyse—
Deutung (Hofheim, 2009)
M.A. ZOBEL: The Third Symphony of Charles Ives (Hillsdale, NY,
2009)
Band
J. ELKUS: Charles Ives and the American Band Tradition: a
Centennial Tribute (Exeter, 1974)
Chamber
E. GRATOVICH: The Sonatas for Violin and Piano by Charles Ives: a
Critical Commentary and Concordance of the Printed Editions and
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the Autographs and Manuscripts of the Yale Ives Collection (diss.,
Boston U., 1968)
U. MASKE: Charles Ives in seiner Kammermusik für drei bis sechs
Instrumente (Regensburg, 1971)
A. FORTE: “The Diatonic Looking Glass, or An Ivesian
Metamorphosis,” , lxxvi (1992), 355–82 [on Sonata no.2 for violin
and piano, 3rd movement]
Piano
S.R. CLARK: The Evolving “Concord Sonata”: a Study of Choices and
Variants in the Music of Charles Ives (diss., Stanford U., 1972)
S.R. CLARK: “The Element of Choice in Ives’s Concord Sonata,” ,
lx (1974), 167–86
B.E. CHMAJ: “Sonata for American Studies: Perspectives on Charles
Ives,” Prospects: an Annual of American Cultural Studies, iv (1978),
1–58
M.J. ALEXANDER: The Evolving Keyboard Style of Charles Ives (New
York, 1989)
F. MEYER: “The Art of Speaking Extravagantly”: eine vergleichende
Studie der “Concord Sonata” und der “Essays before a Sonata” von
Charles Ives (Berne, 1991)
G. BLOCK: Ives: Concord Sonata (Cambridge, 1996)
W. RATHERT: “‘Sonate, que me veux-tu?’: Die Concord Sonata von
Charles Ives als musikalische Utopie,” Bayerische Akademie der
Schönen Künste Jahrbuch, xxii (2008), 160–74
C. BRUHN: “The Transitive Multiverse of Charles Ives’s ‘Concord’
Sonata,” , xxviii (2011), 166–94
Choral
W.C. KUMLIEN: The Sacred Choral Music of Charles Ives: a Study in
Style Development (diss., U. of Illinois, 1969)
G. SHERWOOD: The Choral Works of Charles Ives: Chronology, Style,
Reception (diss., Yale U., 1995)
MQ
MQ
JM
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G. SHERWOOD: “‘Buds the Infant Mind’: Charles Ives’s The Celestial
Country and American Protestant Choral Traditions,” , xxiii
(1999), 163–89)
Songs
P.E. NEWMAN: The Songs of Charles Ives (diss., U. of Iowa, 1967)
L. STARR: “Style and Substance: ‘Ann Street’ by Charles Ives,” ,
xv/2 (1976–7), 23–33
N. SCHOFFMAN: The Songs of Charles Ives (diss., Hebrew U. of
Jerusalem, 1977)
L. KRAMER: “‘A Completely New Set of Objects’,” Music and Poetry:
the Nineteenth Century and After (Berkeley, 1984), 171–202
K.O. KELLY: The Songs of Charles Ives and the Cultural Contexts of
Death (diss., U. of North Carolina, 1988)
L. WHITESELL: “Reckless Form, Uncertain Audiences: Responding to
Ives,” American Music, xii (1994), 304–19
T.A. JOHNSON: “Chromatic Quotations of Diatonic Tunes in Songs of
Charles Ives,” Music Theory Spectrum, xviii (1996), 236–61
H.W. HITCHCOCK: “‘A grand and glorious noise!’: Charles Ives as
Lyricist,” American Music, xv/1 (1997), 26–44
A. HOUTCHENS and J.P. STOUT: “‘Scarce Heard amidst the Guns
Below’: Intertextuality and Meaning in Charles Ives’s War Songs,”
, xv (1997), 66–97
H.W. HITCHCOCK: “Ives’s 114 [+ 15] Songs and What he Thought of
them,” , lii (1999), 97–144
External references
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particular link, you may receive an error message. Otherwise
you will go directly to the example. If you experience any
problems with the links, please contact us.
Symphony No. 2. Charles Ives, composer. Nurnberg Symphony
Orchestra. Ives: Symphony No. 2 / Barber: Knoxville: Summer of
1915, Op. 24 / Cowell: Symphonic Set, Op. 17 (Claves Records:
1998). Audio. <http://muco.alexanderstreet.com/view/
1114121 <http://muco.alexanderstreet.com/view/1114121>>