The Music of Wes, Web Or Not

Home , Calcium Light Night, Central Park in the Dark, In the Night (ballet), Johnny Poe, Piano Pieces, The Unanswered Question

THE MUSIC OF WES, WEB OR NOT

Thesis for the Degree-0f M. M. met-am. STATE UNIVERSITY R035 MAME MUENNiG-‘l' ' 1976

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THE MUSIC OF IVES, BORROWED OR NOT

Rose Marie Muennich

The music of Charles Ives is his own, whether it is

borrowed or not. It is true that most of Ives's music is

borrowed from other sources, primarily folk-tunes, patriotic

hymns, and his own music; but why and what he dees with his

borrowings and why he does it is what makes it uniquely Ives's

music.

He was born and raised in Danbury, Connecticut, and

later settled in New York, as an insurance salesman. As a

child he studied music with his father, and received a degree

in Music Composition, in 1898 from Yale University. While Ives

received a traditional background in music, which included the

study of works by Bach, Dvorak, and other "Classical" composers,

it was his everyday musical experience_that led him to his own

distinct style of composition.

People and events were related to the music that Ives

heard in his lifetime, and were, therefore, a great influence

on the way music was recorded in his mind and eventually on

paper, in the form of his own music. The relationship between

Ives's music and the music he borrowed resulted in his Rose Marie Muennich

recreation of past events, so he borrowed material in order

to project his own ideas to the listener, through music.

Ives used borrowed material in several ways, preferring

to rework melodic lines by omitting tones, altering the measure-

sequence, expanding and/or contracting intervals, changing the original key, or ornamenting the melodic lines. Sometimes

he retained the original rhythmic divisions of a borrowed tune

but shifted the pulse or accent by using irregular meter signatures such as 5/4, 7/4, and 9/2, in place of 3/4, 4/4, and

6/8. At times, Ives also retained the original melody, but

changed the original note values. He expanded or created other harmonies by adding diminished or augmented octaves to thirteenth chords, adding major or minor thirds above chordal

accompaniments of hymns, or by constructing tone clusters of

superimposed major or minor seconds or thirds, and sometimes

a combination of both. Ives experimented with different

instrumental textures by writing as many as twenty different melodic phrases and rhythmic lines against each other, as in

the Fourth Symphony. He exploited the possibilities of vocal writing by composing melodic lines that contained leaps of major and minor sevenths, written against dissonant pitches

in the accompaniment, a practice that was not common at this time. Sometimes Ives composed with conventional forms of music in mind, such as A—B-A or sonata designs, but like others, he did not always adhere strictly to these forms.

Many times, especially in his songs, he off-set or off- balanced the form rhythmically and/or harmonically in one or Rose Marie Muennich

both of the sections. For example, in Ives's song, "Karen," the B section is off-balanced rhythmically within itself. He wrote a four-measure introduction and then added the voice part, the first three phrases (each four measures in length) in

3/4. Ives then changed the fourth phrase to four measures of

3/8 followed by a measure of 4/4, with the last note of the phrase returning to 3/4. He concluded the song by recapitulating the four-measure introduction, with the last measure an octave higher. It is also interesting to note that while a tonic, tonic, dominant pattern is established in three beats, the song ends on a dominant seventh chord as opposed to tonic.

Ives also composed music that, at times, involved more than one borrowed tune. Sometimes he chose to present one familiar melody at a time, as in the outer movements of his

Second Sonata for violin and piano (each is based on a different hymn-tune). His use of two or more tunes within a movement or entire work, is represented in "Lincoln, the Great

Commoner," which contains such patriotic hymns as "Battle

Hymn of the Republic" and "America." But Ives was also known to write two or more tunes simultaneously, an example being the third movement of the Fourth Symphony, with Lowell Mason's

"Missionary Chant" as the fugue subject and Oliver Holden's

”Coronation: All Hail the power of Jesus' name" as the countersubject.

Two of Ives's compositions, "Lincoln, the Great

Commoner" and the Second Sonata for violin and piano, serve to Rose Marie Muennich

illustrate the various ways that he used borrowed material.

Limited citations of other works will also be included.

The Appendices list all of Ives's works alphabetically, according to specific categories. Works derived from earlier compositions of his are indicated, as well as borrowed material

from other composers. Each appendix is also prefaced with pertinent information relating to specific works within a category, or the category as a whole. THE MUSIC OF IVES,

BORROWED OR NOT

Rose Marie Muennich

A THESIS

Submitted to Michigan State University in partial fulfillment of the requirements for the degree of

MASTER OF MUSIC

Department of Music

1976 Copyright by

ROSE MARIE MUENNICH

1976 To My Parents

ii ACKNOWLEDGEMENTS

The writer wishes to thank her major advisor, Professor

Russell E. Friedewald, for his guidance and helpful suggestions during the preparation of the thesis. She also wishes to thank Professors Theodore Johnson and Richard Klausli for reading the thesis and making further suggestions for its improvement.

Musical examples and text are reprinted by kind permission of the copyright owners as follows:

iii TABLE OF CONTENTS

Page

ACKNOWLEDGEMENTS...... O iii

Chapter I. AN INTRODUCTION TO THE LIFE OF IVES. . .

II. IVES BORROWS FROM VARIOUS MUSICAL SOURCES. 10

III. HOW IVES USED BORROWED MATERIAL IN HIS OWN 14 MELODY ...... 14 RHYTHM ...... 22 HARMONY...... 28 TEXTURE...... 32 FORM ...... 34

APPENDICES O O O C C O O O O O O O C O O 0 INTRODUCTION...... 39

APPENDIX A. CHORAL MUSIC ...... 40 Boys' Voices . . . 40 Double Chorus (boys' and mixed voices--SATB) 40 Double Chorus (mixed voices--SATB) . . 41 Male Chorus (TB) ...... Male Unison Chorus ...... 41 Mixed Chorus (SATB)...... 42 Mixed Unison Chorus...... 45 Mixed Chorus (high and low voices-~SATB 45

B. ORCHESTRAL MUSIC ...... O 46 46

Chamber or Theater Orchestra . . O 48 Symphony or Large Orchestra. . . O 52

Pieces for Orchestra (Take-offs) O

Brass or Military Band . . . . . 0 53

C. ORGAN MUSIC...... 55

57 D. PIANO MUSIC. 0 O O O O O O O O O 0 Single Piano Pieces, Studies and 58 Other Single Piano Pieces. . . . 58 Solo Piano Pieces and One Duet . 59 Piano Trios...... 60 Piano Quintets ...... 61 Piano Quintet and Voices . . . . 61

iv Page

E. STRING MUSIC. 62 String Quartets 62 Set 63 Violin Sonatas. 63

F. VOCAL MUSIC . 66

G. MISCELLANEOUS ENSEMBLE MUSIC. 79

BIBLIOGRAPHY 81 AN INTRODUCTION TO THE LIFE OF IVES

Charles Edward Ives was born in Danbury, Connecticut,

to George and Mary Parmelee Ives, on 20 October 1874. His

early years, when most people called him Charlie, were spent

in Danbury, where his first exposure to music was by way of the

town band rehearsals held by his father.

The music that was most familiar to Ives was the popu-

lar music of the time, which he heard at dances, outdoor camp meetings, churches, country fairs, and minstrel-shows. Music

of this nature included "Swanee River," "Camptown Races,”

”Turkey in the Straw," "Beulah Land," ”Nearer, My God to Thee,"

"Old Black Joe," and so on. He was also familiar with all of

the popular songs of his father's friend, Stephen Foster.

However, Charlie's father saw to it that this was not the only

type of musical expression that his son heard. His father

gave him a traditional background in music, but he did not

limit Charlie's mind and ears to Bach, or any other composer,

style, or type of music. Charlie often listened to chamber works of Handel, Bach, and Beethoven, as performed by his

father and his friends, and he himself studied and performed works such as a Bach toccata for organ (a specific title is not mentioned in Ives's writings) and Mendelssohn's F-minor

Organ Sonata. But he also heard the music played at town

band rehearsals (Ives became a member at the age of twelve), music at church, patriotic songs during holidays, and the musical experiments of his father.

George Ives liked to work with quarter-tones, which he produced on the slide cornet and also with tuned glasses. He

used these quarter-tone pitches to create new tunes, and then

he asked the family to try to sing them. Another experiment

involved family and friends singing a favorite tune, such as

”Swanee River" in the key of E-flat major, while he played it on the piano in the key of C major. As Ives recalled:

This was to stretch our ears and strengthen our musical minds, so that they could learn to use and translate things that might be used and translated (in the art of music) more than they had been.1

As a boy, Charlie learned to play the drums so that he

could play in his father's band. He later became skilled at playing the piano, cornet, violin, and organ. He was a church organist at the age of thirteen and very much a composer, writing organ music, songs, and instrumental pieces. Much of

the knowledge that he applied when composing for various instruments, was gained through the practical experience he acquired

by being an active and interested member of his father's band.

The first work of his to win approval and recognition was

"Holiday Quickstep," a piece for brass written in 1887. In

1891, at the age of seventeen, he finished an organ piece,

"Variations on America," whose interludes contain the earliest

example of bitonality. Alan Buechner, when writing of Ives's

1Charles E. Ives, Memos, ed. John Kirkpatrick (New York: W. W. Norton, 1972), p. 115. use of bitonality said: "He anticipated one of the most significant developments of modern music, some twenty years before it appeared in Europe. "2

At the age of twenty-two, he went to Yale University, and continued his musical studies in composition under the direction of Horatio Parker. At this time, he also studied organ with Harry Rowe Shelley and Dudley Buck. During his first year at Yale, he experienced a great loss, that of the death of his father. This was not only a personal loss, but a professional loss for Ives as well, for the two men shared many common musical interests in life. He often discussed his first-year studies at Yale with his father. Sometimes

Ives wrote themes that were in more than one key at a given time, which Parker did not approve of for classroom assign- ments. In regard to Parker's attitude, Ives wrote:

Parker took it as a joke (he was seldom mean), and I didn't bother him but occasionally after the first few months. He would just look at a measure or so, and hand it back with a smile, or joke about "hogging all the keys at one meal" and then talk about something else (Memos, p. 49).

His father, however, allowed him to think about new ideas and to try them out, as long as he realized the so-called 'proper' way of doing things. Later in life, Ives referred to the importance of his father:

What my father did for me was not only in his teaching, on the technical side, but in his influence, his per- sonality, character, and open-mindedness, and his remarkable understanding of the ways of a boy's heart and mind (Memos, pp. 114-15).

2Alan Buechner, "Ives in the Classroom," Music Educators Journal, October 1974, p. 66. This was the man, the father, that he missed immensely. The only other friend and musician that understood his writings was Dr. John Cornelius Griggs, choirmaster and soloist at

Centre Church, New Haven, where Ives was once an organist.

Accustomed to different sounds, to which his father had

introduced him, Ives found it difficult to adhere to the wishes of Parker during his studies at Yale. Whenever he ven-

tured beyond the realm of traditional writing, Parker was quick to correct him and to ask him to do just the work that was assigned. For example, Parker did not approve of Ives's

fugues that had, in the exposition, a subject presented in

four different keys: C, G, D and A major. But Ives's ratio- nale for his writing a fugue exposition in this way was logical

to him, if to no one else. He believed that:

. . . a fugue is to a great extent, a rule—made thing. So if the first statement of the theme is in a certain key, and the second statement is in a key a 5th higher, why can't (musically speaking) the third entrance sometimes go another 5th higher, and the fourth statement another 5th higher? And if it must hold to the same nice key system, why can't these themes come back in the same way? (Memos, pp. 49-50).

While at Yale, he completed his First Symphony (1896-

1898). Here, too, he originally used as many as eight different key centers within the exposition, but being con-

strained by Parker's criticisms once again, he was compelled

to use only one. In this particular work, influences of other known composers are evident. Paul C. Echols said:

. . . the influence of Brahms is everywhere apparent, especially in orchestration, . . . . Not only the scoring and texture, but also the overall form of this movement [second] shows the influence of Dvorék's [New World symphonj] slow movement.3

Knowing that he could not support himself by selling

the music that he wrote, he went to New York following gradu-

ation from Yale in 1898, and began a career in the insurance

business. He continued to compose, however, whenever he had

the time, and he maintained the position of organist and choirmaster at the Central Presbyterian Church in New York.

' In 1899 he began working for the Raymond Agency in

connection with The Mutual Life Insurance Company, and it was

here that he met Julian Myrick, soon to become a close friend.

By 1907, the two men went into business together as repre-

sentatives of the Washington Life Insurance Company of New

York.

In the meantime, Ives met and fell in love with Harmony

Twichell, the daughter of Dr. Joseph A. Twichell, a minister

and a close friend of Mark Twain. On 8 June 1908, Harmony

and Charles were married, and they settled down in New York

City. In the Fall of the same year, Ives was without a job,

because the major company that he and his partner Myrick

represented sold out to another, cancelling the Ives and

Myrick agency.

Life took a better turn for Ives and Myrick when the

two were asked to become agents for their first employer, The

Mutual Life Insurance Company. As a result, they continued

to work together. In 1918, Ives suffered a serious

3Paul C. Echols, "The Music for Orchestra," Music Educators Journal, October 1974, p. 32. heart-attack, which caused him to stay away from work for

six months. He never regained his former strength, but con-

tinued to work at his office whenever he could, until he

retired in 1930. Ives is remembered for his organization of

the Ives and Myrick training school for agents. He was the

author of a booklet entitled The Amount to Carry--Measuring

the Prospect, which contains basic principles widely referred

to by insurance people yet today. He is also known for his

concept of 'estate planning', ". . . which is nowadays consid-

ered as a basic in the life insurance business."4

After the death of his father, Ives continually

received moral support for his musical writings from his wife,

Harmony. He never worried about his style being stifled by

the public, because he did not have to please them in order

to earn a living.

Ives showed a change in his style of writing, particu-

larly during the years 1898-1906, and thereafter. Up until

this time, he tried to model his works after such Romantic

composers as Brahms, Dvoiak, and Strauss. From 1897-1904,

he worked on his Second and Third Symphonies. Echols, in writing about Ives's music for the orchestra, made the

following statement:

. . . Ives gradually shed the Romantic vocabulary he had grown up with and began developing a stylistically coherent idiom from his quotational procedures and from the technical devices first tried out in his college "take-offs" [His "take-offs" were similar to improvisa- tions on the piano, they depicted events that Ives

4Henry and Sidney Cowell, Charles Ives and His Music (New York: Oxford University Press, 1955), p. 52. re-created in music, such as "A Yale-Princeton Football Game." on ragtime and other popular types of music. . . . In the Symphony No. 3 . . . nineteenth-century formal procedures drop away. All three movements trace back to earlier organ pieces and are constructed, wholly or in part, as fantasies on hymn tunes. . . ("The Music for Orchestra," p. 32).

Throughout his life, Ives rarely attended concerts. He worked at his office during the week, which left him only evenings, week-ends, and vacations to compose. He also avoid- ed going to concerts, because he carried many musical ideas in his head, and hearing other composers' works, tended to make him forget what he originally had in mind. Ives, himself,

indicated that:

At any rate, I found that I could work more naturally and with more concentration if I didn't hear much music, especially unfamiliar music. To make a long story short, I went to very few concerts. I suppose everyone is built differently and works differently. It just so happened that I felt I could work better and liked to work more, if I kept to my own music and let other people keep to theirs. I don't by any means say this as a recommenda- tion to others--in fact, if I'd had more time for my own music, quite probably I wouldn't have felt this way. . . (Memos, pp. 137-38).

Even though he was unfamiliar with the music written by composers at the turn of the twentieth century, working on his own, he anticipated many of the new techniques in writing by using polyrhythms, polytonality, and tone clusters. He also used the technique of writing complex polyphonic textures, which are evident in his Fourth Symphony (second movement,

Piu mosso, m. 66), as described by the Cowells:

. . . there are twenty rhythmically independent voices, some single, some in block chords. The trombones are playing a tune based on "Marching through Georgia"; each of the other parts is playing its own short melodic phrase over and over, combining in different simultaneous keys and rhythms to form a complex polyphonic background (Charles Ives and His Music, pp. 150-51).

The Cowells point out another technique in his writing: "At a time when consecutive extreme dissonances were unknown,

Ives used them constantly whenever, in his judgment, they constituted the most powerful harmonic force for his purpose"

(Charles Ives and His Music, p. 155). He did not always think that it was necessary to resolve dissonances, but Ives usually kept each of the dissonant tones in relationship to its own tonal center, while keeping the tonal center apparent in the background of the music.

Ives taught no music students in his lifetime, he founded no "school," nor did he develop a "system," as

Schoenberg was to do. He grew up with a transcendental phi- losophy about life. Sister Mirelda Zeigler made the following comment:

It taught him to look for the Universal behind the appearance of nature and of all matter. So he resolved to test music by life, and life by music. Ives's music recorded not a thing that happened, but the way things happen.5

Perhaps this belief was fully expressed in his final composition (incomplete), the Universe Symphony. Ives wrote on the back of one of the manuscript-pages the following:

5Sister Mirelda Zeigler "Ives: First American Vanguardist," Music Journal, April 1974, p. 42.

. . . general plan for a Universe Symphony or "The Universe, Past, Present, and Future" in tones. . . . I. [Section A] (Past) Formation of the waters and mountains. II. [Section B:](Present) Earth, evolution in nature and humanity. III. [Section c:](Future) Heaven, the rise of all to the spiritual. (Memos, p. 106).

He never intended the symphony to be finished, and perhaps rightly so, since no one really knows what the future will bring.

Charles Ives died 19 May 1954, in New York, at the age of seventy-nine. He believed that his life as a businessman and as a composer worked hand in hand with his being a total person. He once told Henry Bellaman (a poet and writer who wrote reviews and articles of Ives's music), what his life as a businessman and a musician meant to him:

. . . The fabric of existence weaves itself whole. You cannot set an art off in the corner and hope for it to have vitality, reality and substance. There can be nothing exclusive about a substantial art. It comes directly out of the heart of experience in life and thinking about life and living life. My work in music helped my business and work in business helped my music (Charles Ives and His Music, p. 97).

IVES BORROWS FROM VARIOUS SOURCES

Ives made use of a variety of musical sources in his own music. He borrowed primarily from early American hymns, spirituals, patriotic (American and British), military, college, and popular songs, American, Irish, and Scottish folk tunes, "classical" compositions, music written by his father, and his own music. Some of Ives's favorites were

”watchman, Tell Us of the Night,“ "Shall We Gather at the

River?," "My Old Kentucky Home," Beethoven's Fifth Symphony, and "Columbia, the Gem of the Ocean.”

He used hymns and spirituals, because they reminded him of those that were sung at church and at outdoor revival meetings; military and patriotic songs reminded him of the ones he heard played by the town band for national holidays and parades; he liked p0pular songs and folk tunes, because he, his family and friends sang and played them at his home and at social gatherings; college songs reminded him of his days at

Yale; and he recalled "classical" compositions that were played by his father and his friends, or those that he heard when he attended concerts.

Ives was certainly capable of writing his own music, without having to borrow material, but he frequently turned to pre-existent material for musical inspiration. He was concerned, in choosing his material, that the listener, too,

10 11

would be familiar with it. He hoped that the listener, like himself, but perhaps not in the same way, would be reminded of something which actually took place in his life.

Throughout music history, there is evidence that composers used pre-existing music as a basis for their own.

Sometimes composers used borrowed material to recall something of the past, and sometimes they used it as thematic material for further develOpment. In Ives's music, the borrowed material is used consistently to recall something of the past.

When he used borrowed material, he sometimes limited himself to one tune for a single work or movement of a work, for example, the outer movements of his Second Sonata for violin and piano. The first and third movements are based on a separate hymn-tune--Francois H. Barthélémon's "Autumn" and John Wyeth's (?) ”Nettleton" or "Come, Thou Fount of every blessing" respectively. Sometimes he incorporated two or more tunes for a single work or movement of a work, as in "Lincoln, the Great Commoner," a composition containing such patriotic melodies as "Battle Hymn of the Republic," "America,“ and

"The Star-Spangled Banner." An example of two or more tunes used simultaneously may be found in the third movement of

Ives's Fourth Symphony. In this movement, Ives wrote a fugue based on Lowell Mason's "Missionary Chant," which he used simultaneously with the counter-subject, Oliver Holden's

"Coronation: All Hail the power of Jesus' name." He believed that the listener was able to think of more than one thing at one time (though his thoughts may be fragmented), and thus, 12

he should compose music using more than one tune (his musical

ideas may also be fragmented).

In addition to having used borrowed material as a memory association for the listener, he was also concerned with the flow of ideas that passed through the listener's as well as the performer's mind. The listener may not have realized that Ives omitted bar lines or meter signatures to create a continuous flow of ideas, as a performer might, but he could hear how one melodic idea flowed to the next and if

it was altered melodically or rhythmically from what he was accustomed to hearing. Rosalie Perry described this technique in Ives's music, as ". . . a stream-of-consciousness device; a nonmetrical melody interwoven in relatively free temporal relationships."6 He omitted meter signatures and bar lines in "The Alcotts" movement of his Second Piano Sonata

(Concord), which he hoped would provide a freer, yet con- trolled movement of one musical idea moving to the next, just as it appeared on the printed page. This device gave the performer more freedom of interpretation with regard to his music as well.

. Another means of association, aside from the music it-

self, came from his use of programmatic titles and notes, as

in the title Holidays Symphony, that depicted four different national holidays, and more extensively, his book, Essays

Before a Sonata and Other writings, which he wrote to accompany

6Rosalie Sandra Perry, Charles Ives and the American Mind (Ohio: The Kent State University Press, 1974), p. 47. 13 his Concord Sonata. Sometimes he wrote notes to explain what he had in mind at the time of Composing, as in the Foreword to his work, "The Unanswered Question,":

. . .The strings play 222 throughout with no change in tempo. They are to represent "The Silences of the Druids-- Who Know, See and Hear Nothing." The trumpet intones "The Perennial Question of Existence," and states it in the same tone of voice each time. But the hunt for "The Invisible Answer" undertaken by the flutes and other human beings, becomes gradually more active, faster and louder through an animando to a confuoco. This part need not be played in the exact time position indicated. It is played in somewhat of an impromptu way; if there be no conductor, one of the flute players may direct their playing. . . .

In his own writings, and in Rosalie Perry's chapter,

"C. E. I. : The Personal Past," it can be said that Horatio

Parker also influenced Ives in his use of borrowed material.

Parker may have been critical of some of Ives's music, but he too, based some of his own compositions on borrowed material, and Ives was aware of it. Encouraged by the thought that his own teacher used borrowed material, Ives proceeded to incor- porate borrowed material in his own works as well.

From another point of view, Ives's literary hero, Ralph

Waldo Emerson, may also be considered as an influential figure in his use of borrowed material. Emerson believed in quoting borrowed beliefs and writings of others, which was evident to

Ives. Since he realized the effect borrowing had on both

Parker's and Emerson's writings, the thought of their using borrowed material possibly supported his own feelings about using it all the more.

7Charles Ives, The Unanswered Question (Southern Music Company, c1953), Foreword. HOW IVES USED BORROWED MATERIAL IN HIS OWN MUSIC

In order to gain insight into how Ives used borrowed material in his own music, two of his compositions, Second

Sonata for violin and piano, and "Lincoln, the Great Commoner"

for mixed chorus (SAATB) and orchestra, will be reviewed in detail, in regard to melody, rhythm, harmony, texture, and

form. Limited citations from other works will also be included.

MELODY

Clayton W. Henderson made the following statement that:

"In his borrowings, Ives generally preferred to work with altered melodic segments."8 He modified original melodies in

several ways. Frequently, tones of a melody were omitted.

The last phrase of the original melody, Example 1, is changed

Example 1. "White Cockade."

:11

8Clayton W. Henderson, "Ives' Use of Quotation," Music Educators Journal, October 1974, p. 24.

l4 15 by the omission of the notes (encircled here) A, F-sharp, and B, as opposed to the melody of the violin part in Example

Example 2. Ives, Second Sonata, Movement II.

Ives also used intervallic expansion and/or contraction, which brought about tone-substitutions. A comparison of

Examples 3 and 4 will show that the original interval of a

Example 3. "Sailor's Hornpipe."

Example 4. Ives, Second Sonata, Movement II.

‘EE] 7 7' ’ .-

descending minor second, C to B, in the former example is expanded to a descending perfect fourth, D to A, in the latter.

Similar treatment is portrayed in measure one of Example 3, when the original interval of an ascending perfect fifth, G- to D, is contracted to an ascending minor third, B to D, in measures 42 and 43 of Example 4.

The original measure order of a melodic line is altered sometimes, as in Ives's use of the refrain of the

"Battle Hymn of the Republic" (Example 5), rather than the

Example 5. "Battle Hymn of the Republic."

beginning, a feature which is evident in the opening lines of the bassoons and the low brass and strings (Example 6, p. 17).

Frequently, he changed the key of an original melody, often using two different keys simultaneously. The third 17

Example 6. Ives, "Lincoln, the Great Commoner."

[mm was if

18 movement ("The Revival") of the Second Sonata, is based on the hymn-tune "Nettleton" or "Come, Thou Fount of every blessing" (Example 7, p. 19), which is written in the key of

E-flat major. The melody appears in the piano part (Example

8), in the key of E Major. A few measures later, the melody

Example 8. Ives, Second Sonata, Movement III. E] very dull!

‘Piano

rié. f

' r; ‘____/ h______/’ 7*-

is found in the piano part, in E major, but when the violin takes up the melody, a dotted-quarter note later, the key shifts to B-flat major (Example 9, p. 20). The result is a canon at the tritone.

Sometimes Ives ornamented borrowed melodic lines. He kept the original melody of "Nettleton" (Example 7, p. 19)

Example 7. "Nettleton." Jo)... Wyeth/2), r770 43;:

Example 9. Ives, Second Sonata, Movement III.

fa.

intact, but changed the last phrase by ornamenting the line with additional notes as in the violin part of Example 10.

Example 10. Ives, Second Sonata, Movement III. The beginning of the original melody is encircled.

He developed melodic lines by writing a fragment in retrograde form, often creating a palindrome of pitches, for example, in the violin part of the first movement ("Autumn"):

Example 11. Ives, Second Sonata, Movement I.

In Example 12, Ives wrote part of the melody in

Example 12. Ives, Second Sonata, Movement I.

inverted form, within the span of a measure or two. He also used octave displacement of pitches:

Example 13. Ives, Second Sonata, Movement I.

7L”.

Finally, Ives frequently excluded bar lines, and, sometimes, meter signatures. He created a quasi-"nonmetrical melody," which he believed would allow for a freer interpretation of a line. Example 14, p. 23, is a good representation of this technique. The G. Schirmer edition includes broken bar lines where one would normally expect them to be found, with only a few measures actually barred by the composer himself. Other examples of this technique can be seen in the first movement of the same sonata, and in the various movements of his Second Piano Sonata (Concord Sonata).

RHYTHM

Meter signatures and rhythmic divisions in Ives's music also underwent several changes. He liked to make use of irregular meter signatures, such as 5/4, 7/4, and 9/2 as in

"Lincoln, the Great Commoner," which uses borrowed material originally written in either 3/4 ("America" and "The Star-

Spangled Banner"), 4/4 ("Columbia, the Gem of the Ocean,"

"Battle Hymn of the Republic," and "Hail Columbia"), or 6/8

("When Johnny Comes Marching Home"). In "Soliloquy," Ives wrote different meter signatures for the vocal line as 23

Example 14. Ives, Second Sonata, Movement III.

opposed to the piano part; one measure is written in 5/16, above a measure in 4/16 followed by one in 1/16 (Example 15).

In the second movement of the Fourth Symphony, he combined 3/4

Example 15. Opposing meter signatures.

'3' Voice 1% r r r

‘Péano 1 it Jfﬁ ”6 db

against 6/8 (piano part), and used meters such as 6/8, 5/8,

7/4, and 2/4 simultaneously with different instruments of the orchestra.

Ives changed note values of original rhythms as well.

The rhythm of the original melody ("My Country 'tis of Thee") in Example 16, is altered in the vocal line of Example 17, p.

25. A comparison of the two examples will show that the note values are changed a. from JJ to J ; b. fromJJ' to 4!); and c. from J to :7

Example 16. "America."

J{LAM whm my in. . than M! Lani of ”Cl-(c m - grim} Pride!

Example 17. Ives, "Lincoln, the Great Commoner."

b. A ll-

1.11 At: flue—(u In“ {kg (on! par 70!: Ilka 4

At times, he also shifted the pulse or accent, rhythmically, but retained the original note values. The original rhythm of the hymn "Nettleton" is:

Example 18. "Nettleton."

In using this hymn, Ives began the violin part (Example 19) on the third beat of a 7/4 measure, as opposed to the third

Example 19. Ives, Second Sonata, Movement III.

LL‘

beat of a 3/4 measure. Further examples of shifted pulses and accents are evident in such works as “In the Inn" and the

First Piano Sonata.

Ives's interest in off-beat accents and syncopation resulted from the fact that: "He heard a great deal of minstrel music in his youth and was always alive to its off-beat rhythmic thrusts" (Charles Ives and His Music, p. 167). In the two works previously mentioned, Ives used rhythms of dances that were at the time, unfamiliar to the people of

America. The Cowells explain what dances the rhythms are derived from, as we know them today:

In such of his movements as "In the Barn" and part of the First Piano Sonata, the Charleston rhythm (8/16 divided 3 plus 5) and the rumba rhythm (8/16 divided 3 plus 3 plus 2), may be found, long before these dances were generally known in the United States (Charles Ives and His Music, p. 167).

He often used uneven-numbered groups of five, seven, and nine beats, divided among a measure, beginning either on the beat or off, a feature which is presented in Example 20.

Example 20. Ives, "Lincoln, the Great Commoner."

’ .r

Later, in the same work, Ives wrote groupings of four and five notes in a 4/4 measure, which are found both on and off the beat (Example 21, p. 27). He was also known to write an even number of notes to be played against the beats of an uneven- numbered meter signature, such as 3/8 or 3/4. In Example 22,

Example 21. Ives, "Lincoln, the Great Commoner."

Am A K}\

éf ﬁx

Example 22. Ives, Second Sonata, Movement II.

four equal notes are to be played against the beats of a 3/4 meter signature.

HARMONY

In Ives's music, harmony was based on the original chord-progressions of borrowed tunes, or a reharmonization of them with conventional chords, or chords that were not considered as conventional. The latter, therefore, will be observed, as opposed to the first two. The types of chords that he created are as follows:

An example of a seventh chord that Ives wrote contained a diminished third and two major thirds (B, D-flat, F, and A), which results in a whole-tone sonority of A, B, D-flat, and

F (Example 23). In this particular example, he resolved the

Example 23. Ives, Second Sonata, Movement I.

ﬂan.

chord to a C-major seventh sonority. In the piano part of

Example 24, p. 29, one can see a thirteenth chord that is built in minor and major thirds, but enlarged into a seventeenth chord when Ives added an augmented octave above C-flat.

Inrﬁissong "Soliloquy," he built chords on superimposed minor sevenths, perfect fifths, perfect fourths, alternating major and minor thirds, and major seconds or minor seconds.

Sometimes Ives created other chords by combining two or three

Example 24. Ives, Second Sonata, Movement I.

[I f“, A

’1 l 30 I

basic interval arrangements together, such as major and minor

seconds and thirds, or major and minor thirds and sevenths

with perfect fourths.

Usually he harmonized hymns, ". . . with a few well-

worn and 'easy' chords" (Charles Ives and His Music, p. 161),

but for variety, Ives added a major or minor third to the

original triads. In his writings, the harmonization of the

hymn "Nearer, My God to Thee," in this manner, seemed to be

a favorite. (Whether or not it was to the congregation was

another story!)

Many sonorities in Ives's compositions are tertian but

with added pitches. In Example 25, p. 30, a B-diminished- minor seventh chord contains an added perfect fourth (first

beat), and the complete chord is built over a pedal note E.

He also used chords which are now considered poly-

chords. The polychord on the second heat of Example 25, p. 30, 30

Example 25. Ives, Second Sonata, Movement I.

21.

has the combined sonorities of a C-augmented triad and a D- augmented triad. Compositely, it sounds like a whole-tone

sonority--with the entire scale present.

Parallel perfect octaves and/or fifths were employed

freely by Ives as in Example 26. Also evident in his writing

Example 26. Ives, Second Sonata, Movement I.

/7 ,5 ‘4 ’¢ ? .A> 16 A O

piano

(Example 27, p. 31), is planing of triads.

Ives achieved various types of tone-clusters by

combining major or minor seconds or both, or by using thirds 31

Example 27. Ives, Second Sonata, Movement I.

Pam. ‘

in the same manner, or a combination of mixed seconds or thirds. Tone-clusters of this nature, are found in "Majority," also titled "The Masses," and in Example 28.

Example 28. Ives, "Lincoln, the Great Commoner."

A final observation relating to harmony in Ives's music deals with tertian structures used in a non-functional manner.

The given structure is varied by Ives when one pitch is altered, usually a half step in either direction, while the common tones are held. An example of this practice is seen in the piano

32 accompaniment of Example 29. The first beat written is a

Example 29. Ives, Second Sonata, Movement I.

A“: mohm‘to L115 [E 7_\\ r“

7' MM ~’\—-—

G-major triad, the second heat is changed to a B-minor triad

(G moves to F-sharp), and the fourth beat is changed again, by one pitch (F-sharp to F-natural), resulting in a B— diminished triad.

TEXTURE

The texture of Ives's music was more polyphonic than homophonic. In most cases, he made each line independent, rather than writing a melody with a simple block-chord accompaniment. While the lines may be independent, Ives wrote with overall unity in mind. He was interested in integrating his different musical ideas into one unified idea, but,

He feels that music, like other truths, should never be immediately understood; there must always remain some further element to be disclosed. A complete musical state— ment, in all its clarity and simplicity, like any absolute truth, is an ultimate, not a beginning. Ives reserves it, therefore, for the culmination of a work (Charles Ives and His Music, p. 142).

Ives's use of polyphonic texture stems from a boyhood experience. He went to a parade before a baseball game that was held in Danbury. His father had invited a neighboring band to play for their team, while Danbury's band played in support of their team. At the parade, the two bands started at opposite ends of the town, each playing a different piece of music at the same time. They continued to play as they passed one another, allowing the dissonances to fall where they might. Ives related this musical event to his own musical writings. Sometimes his polyphonic textures result from the simultaneous use of different meter signatures, different keys, different tunes, and different harmonic combinations.

This writing is particularly evident in the second movement of the Fourth Symphony.

Ives believed that a composer should write music and not be influenced by what can or can not be done at first, or even at a later reading of a score. He was more concerned with the idea behind his music, than whether or not all the rhythms and pitches were sung or played correctly. Some of his music,

. . . was quite frankly written not so much to be sounded (though there is no objection to this if it proves possible) as to be perceived, to be heard in the mind's ear (Charles Ives and His Music, p. 179).

Ives was accustomed to writing for both instruments and voices. ". . . his early experience in playing and arranging for a great many different instruments equipped him thoroughly to know the capacity of each instrument. . . ," and in addition to being a choirmaster and church organist, "One of the reasons 34

for the early and continued success of Ives's songs is their real feeling for the nature of the voice" (Charles Ives and

His Music, pp. 177-78). Even if something seemed difficult

to play or sing at first, in time, Ives believed it would fit together.

"Lincoln, the Great Commoner," is considered to be a difficult work to perform. The music written for the orchestra is quite vibrant and rhythmic. Ives knew that a single voice would not be heard against the entire orchestra, so he scored the composition for a group of mixed voices in unison.

In the final two measures, he divided the voices into five parts (SAATB), in order to achieve the affect of the people's voice, not a single person's voice. When Ives used the voices in unison and divisi at the end, he depicted the original title of Edwin Markam's poem, "Lincoln, The Man of the People," the poem, that was the basis of his composition, "Lincoln, the

Great Commoner."

FORM

As discussed earlier, Ives was concerned with the underlying unity of the music he wrote. He was not so concerned with how clearly the form of his music came across to the listener. He relied on associations the listener might make with familiar material that he used. With this in mind,

Ives allowed his music to take on various forms.

Within his compositions the forms were based on related harmonies (tonic and dominant were rarely used, however), and the development of melodies and rhythms. An example may be seen in 35

the development of a fragment in the second measure of the

first motif, in the opening movement of the Second Sonata

(Example 30). This figure is often used in inverted form and

Example 30. Ives, Second Sonata, Movement I.

L____1 is altered rhythmically throughout the movement. Ives developed this figure in the violin part of the same movement

(Example 31), on different pitch levels, in different rhythms,

Example 31. Ives, Second Sonata, Movement I.

and on different beats of the measure. Sometimes he used a ground bass figure as in his "Tone Roads," with numerous changes occurring melodically, rhythmically, or harmonically, above or below the established ground bass.

Ives used the format A-B-A but altered it to some extent, by off-balancing one or both of the sections rhythmically and/or harmonically. In his song "Kgren," he began with a four—measure introduction in the piano part. The voice 36

part is then added with the first three phrases (each four measures in length) in 3/4. Ives then changed the fourth phrase to four measures of 3/8 followed by a measure of 4/4 with the last note of the phrase returning to 3/4. He concluded the song, by recapitulating the four measure introduction with the last measure an octave higher. The basic chord pattern that Ives established within three beats was tonic, tonic, dominant. As a result of the meter change, the song ends on a dominant seventh chord, as opposed to tonic.

At times, the different types of music Ives borrowed resulted in the overall structure of A—B-A. His Second

Sonata, in a general sense, can be considered as A-B-A form, with its outer movements based on hymn-tunes and the inner movement based on folk-tunes. The inner movement itself, can be considered as A-B-A form, with the folk-tunes "Sailor's

Hornpipe," "White Cockade," "Money Musk," and "Turkey in the

Straw" used in fast succession throughout the piece, but divided in the middle by a waltz-tempo of 3/4, that is solely based on the tune "Battle Cry of Freedom."

While Ives used the terms sonata or symphony for the titles of some of his works, he did not always write in the form one might expect to hear. Rosalie Perry stated that in the Concord Sonata:

. . . Ives's use of the term "sonata" is close to the way the term was used in the sixteenth and early seventeenth century for almost any kind of instrumental composition, implying nothing about the form.8

8Rosalie Sandra Perry, Charles Ives and the American Mind (Ohio: Kent State University Press, 1974), p. 32. 37

Ives thought that: "The unity of a sonata movement has long

been associated with its form, and to a greater extent than is

necessary. . . ."9 His idea of form was based more on one musical idea leading to another, to create one unifying idea

in the composition, as a whole.

A final observation of some of the forms Ives used, is

the 'reverse' variation form in the third movement of the

Second Sonata for violin and piano. Rather than adhere to the practice of introducing a theme followed by a number of varia-

tions on it, Ives chose to present a number of variations of

the hymn-tune, "Nettleton" (Example 7, p. 19), and then to

conclude the movement with a complete statement of the hymn

(Example 32, p. 38).

9Charles Ives, Essays Before a Sonata and other writings. Edited by Howard Boatwright. New York: W. W. Norton, 1961, 1962. 38

Example 32. Ives, Second Sonata, Movement III. 4 v ,

[g t .1 or 3 (£318! ﬂ: n't. grains“: *9 ‘P

” >7” van-5 1'10wa APPENDICES APPENDICES10

INTRODUCTION

The following appendices list Ives's compositions

according to the different categories of music that he wrote.

Points of interest concerning specific works, or the category

as a whole, will preface each appendix.

The compositions are listed in alphabetical order,

followed by the year(s) in which they were composed, the

instrumentation of each work, other arrangements that are

available, and their dates. The following symbols are also used where applicable.

N.L. = Not located. N.P. = Not published. S, l = The work's order of appearance in the 114 Songs. S, 3* = The work's order of appearance originally found in the 114 Songs, but reprinted in the 50 Songs.11

Each entry according to movement, lists Ives's earlier music

that he reworked into various movements of other works, and

each entry, as a whole, is concluded with a list of the material borrowed from other composers.

10The titles of Ives's compositions will be spelled according to the capitalization and punctuation that he himself used.

11The Arabic numbers and asterisks that refer to the 114 Songs and those reprinted in 50 Son 5, are symbols first used by Henry and Sidney Cowell in their book, Charles Ives and His Music.

39 APPENDIX A

CHORAL MUSIC

The choral music of Ives was written for boys' voices, double chorus (boys' and mixed voices--SATB), double chorus

(mixed voices-~SATB), male chorus (TB), male unison chorus, mixed chorus (SATB), mixed unison chorus, and mixed chorus

(high and low voices--SATB). Other choral works were left incomplete or were retranscribed for voice and piano in the

114 Songs.

Two works of particular interest are "The Celestial

Country" and "Psalm Sixty-seven." "The Celestial Country" is the only cantata written by Ives, and it is the most extensive of his choral compositions. It includes a prelude, trio and chorus, a bass solo, a separate quartet, an intermezzo for strings, an a capella octet, a tenor solo, and a final chorale and fugue. The second work, "Psalm Sixty-seven," which he wrote in 1894, is the first-known bitonal, choral composition.

Boys' Voices

Psalm One Hundred, N.P., 1898. Boys' voices and organ.

Double Chorus (boys' and mixed voices--SATB)

Psalm One Hundred Fifty, 1896. Double chorus of boys' voices (in unison) and mixed voices (SATB), with organ.

40 41

APPENDIX A

Double Chorus (mixed voices--SATB)

Psalm Fourteen, N.P., 1899-1900. Two choirs and organ. Organ transitions, N.L.

Psalm Twenty-four, 1897. Double mixed chorus (SATB) sung a capella.

Male Chorus (TB)

Age of Gold, (1896?).

Bells of Yale, 1896.

For You and For Me, 1896. No. 966 in Molineux' Collection of Part Songs and Choruses for male voices.

Johnny Poe, 1925. Unfinished sketch for male chorus and orchestra.

Let There Be Light, a prelude, 1901. Processional for either male chorus, organ, and an extra organ player or four violins, or trombones, organ, and an extra organ player or four violins.

O Maiden fair, N.P., 1898. Baritone solo, (TB), and piano.

My sweet Jeanette, N.L., (1898?). Incomplete (?).

'Neath the elm trees. N.P., (1895?).

Partsong (I wrote a rhyme. . .), N.L., (1896?). Incomplete (?).

Song of Mory's, 1896.

Male Unison Chorus

December, 1912-13. Unison male chorus with woodwinds and brass. Voice and piano, S, 37, 1920.

Duty, before 1914. Unison and (divisi for last two measures) male chorus, and orchestra. Voice and piano, 5, 9a*, 1921. From Two Slants or Christian and Pagan, a score-sketch, 1911, 12, or 13. 42 APPENDIX A

An Election, It strikes me that, or Nov. 2. 1920, 1920. Male voice or male unison chorus, with orchestra or piano. Voice and piano, S, 22, 1921. From Lincoln, the Great Commoner, 1912, see Mixed Chorus (SATB), below.

Vita, 1921. Male unison chorus and organ. From part of the Pre-Second String Quartet, 1905, and Two Slants or Christian and Pagan, a score-sketch, 1911, 12, or 13. Voice and piano, S, 9b*, 1921.

Mixed Chorus (SATB)

The All-Enduring, 1897. Chorus and orchestra.

All Forgiving, N.P., 1898.

Anthem, N.L., 1898.

Benedictus, N.P., 1888.

Bread of the World, N.L., (1891 or 1892?). Incomplete (?).

Canticle phrases, N.P., (1891 or 1892?). Experimental phrases that Ives used for church services.

The Celestial Country, a cantata, 1898-99. Mixed chorus, quartet, soli, strings, brass, and organ.

Chant, op. 2, no. 2, N.P., (1887?). The composition is textless.

Circus Band, 1894. Unison mixed chorus with SSATTBB at the end, three woodwinds, three trombones, tuba, violins, cello, bass drums, and piano; piano part, N.L., not written into score. Voice and piano, 8, 56*, 1894. Borrowed Material: Fragments and parodies of college songs such as: Here's to Good Old Yale Omega Lambda Chi A Son of a Gambolier

Communion Service, N.P., 1886-87. Mixed chorus, a capella or with organ accompaniment.

Crossing the Bar, N.P., sometime between 1888-1893. Mixed chorus, a capella or with organ accompaniment.

Easter anthem, (1890 or 1891?). Incomplete.

Easter Carol, 1892. Mixed chorus and full organ accompaniment.

An Election, N.P., 1920. Chorus and orchestra. Male unison chorus, 1920. Voice and piano, S, 22, 1921. 43

APPENDIX A

Evening (Vespers) Service, N.L., 1893-94. May have contained the separate works Gloria and Psalm Sixty-seven, other possibilities are unknown.

General William Booth Enters Into Heaven, 1914. Mixed chorus or baritone solo, with brass band. Voice and piano, 1914, in 18(19) Songs. Arranged for chamber orchestra by John J. Becker, 1934. Borrowed Material: Cleansing Fountain Golden Slippers Onward, Upward Reveille

Gloria, 1893-94. Incomplete. Possibly contained in the Evening Service.

God of My Life, N.P., sometime between 1888-1893. Mixed chorus, a capella or with organ accompaniment.

Harvest Home, see Movements I and II of Three Harvest Home Chorales, 1898-1912, below.

Hymn, N.P., 1887. The composition is textless.

Hymn anthem on Abide With Me, N.L., 1902. Borrowed Material: Abide With Me

I Think of Thee, N.P., 1888-1893; (1899?). Mixed chorus, a capella or with organ accompaniment.

Kyrie eleison, N.L., (1897?). Incomplete (?).

The Light That is Felt, N.P., 1895. Vocal quartet, chorus, and organ.

Lincoln, the Great Commoner, 1912. Mixed Chorus (SAATB) and large orchestra. Voice and piano, 8, 11, 1921. Borrowed Material: America Battle Hymn of the Republic Columbia, the Gem of the Ocean Hail Columbia The Star-Spangled Banner When Johnny Comes Marching Home

Lord God, Thy Sea Is Mighty, N.P., sometime between 1888-1893. Mixed chorus, a capella or with organ accompaniment.

Lord of the Harvest, see Movement II of Three Harvest Home Chorales, 1898-1912, below. 44

APPENDIX A

The Majority, N.P., 1914. Mixed unison chorus and orchestra, 1915. Voice and piano, 8, l, 1921, in 18(19) Songs.

Morning Service, N.L., 1893-94. May have included the Te Deum, other possibilities are unknown.

Psalm Fifty-four, 1896.

Psalm Fourty-two (As Pants the Hart), N.P., 1885.

Psalm Ninety, 1898-1901. Mixed chorus, bells, and organ.

Psalm One Hundred Eight, N.L., (1892?).

Psalm One Hundred Thirty-five, N.P., 1899-1900.

Psalm One Hundred Thirty-nine, see Search Me O Lord, below.

Psalm Sixty-seven, 1894. Mixed chorus, unaccompanied. Possibly contained in the Evening Service.

Psalm Twenty-five, N.P., 1897. Mixed chorus and organ.

Psalm Twenty-three, N.L., (1898 or 1899?).

Search Me O Lord (Psalm One Hundred Thirty-nine, verses 23-24), N.P., sometime between 1888-1893, if written by Ives at all. Mixed chorus, a capella or with organ accompaniment.

Serenity, N.L., 1909. Chorus and orchestra. See also Appendix F, voice and piano, Serenity, S, 42, 1919.

Sneak Thief, N.P., 1914. Chorus and orchestra.

Stars of the summer night, N.P., (1891?).

Te Deum, N.L., 1888—89. Possibly contained in the Morning Service.

They Are There! A War Song March, 1917. Mixed chorus, orchestra, full brass, and drum corps. Voice and piano, 1917, in 9 Songs. Enlargement of He Is There!, S, 50, 1917. Words changed in 1942.

Three Harvest Home Chorales, 1898-1912. Mixed chorus, brass, string bass, and organ. I. Harvest Home, 1898-1912. II. Lord of the Harvest, before 1912. III. Harvest Home, before 1912.

Turn Ye, Turn Ye, 1889. Mixed chorus with piano or organ. 45

APPENDIX A

Vespers, see Evening Service, above.

Walt Whitman, N.P., 1913. Mixed chorus and orchestra. Voice and piano, 3, 31*, 1921.

The Year's at the Spring, N.P., 1887.

Mixed Unison Chorus

Majority or The Masses, 1915. Mixed unison chorus and orchestra. Voice and piano, S, 1, 1921, in 18(19) Songs.

Premonitions, 1917. Voice or mixed unison chorus, with flute, oboe, clarinet, horn, strings, piano, and drums. Voice and piano, S, 24, 1921, in 34 Songs.

Mixed Chorus (high and low voices--SATB)

The New River, 1912. Mixed chorus (high and low voices—- SATB) and chamber orchestra. Voice and piano, S, 6*, 1921, in 34 Songs. APPENDIX B

ORCHESTRAL MUSIC

Written during the years 1887-1928, Ives's orchestral music comprises, after the Songs, his second largest body of compositions. Ives's first major orchestral work is the First

Symphony, which he finished during his studies at Yale. A final work, which Ives left incomplete, is the Universe Sym- phony. The orchestral music is scored for chamber or theater orchestra, and symphony or large orchestra.

His "take-offs," which are either fully scored for orchestra or in sketch-form, depict events that are academic, athletic, anthrOpic, economic, or tragic in nature. Ives said:

. . . many of those things were started as kinds of studies, or rather trying out sounds, beats, etc., usually by what is called politely "improvisation on the keyboard" . . . . For instance, "All the Way Around and Back" is but a trying to take off, in sounds and rhythms, a very common thing in a back lot--a foul ba11--and the base runner on 3rd has to go all the way back to 1st (Memos, pp. 61-62).

Brass or military band pieces are among the works Ives first composed (1885-1895). Of all his works, one of the first to receive recognition was the "Holiday Quickstep" for brass band.

Chamber or Theater Orchestra

Calcium Light Night, 1898-1907. Chamber orchestra.

46 47

APPENDIX B

Central Park in the Dark, 1898-1907. Chamber orchestra. Pub- lished as Movement III of Three Outdoor Scenes.

A Full Game at the Spot, N.L., (1898-1907?).

The Gong on the Hook and the Ladder or Fireman's Parade on Main Street, before 1912. Chamber orchestra.

In the Cage, 1906, see Movement I of Theater Orchestra Set, 1904-1911, below. From The Cage, S, 64, voice and piano, 1906.

In the Inn, l904-l9ll,'see Movement II of Theater Orchestra Set, 1904-1911, below.

In the Night, 1905, see Movement III of Theater Orchestra Set, 1904-1911, below.

The New River, 1912. Chorus and chamber orchestra. Voice and piano, 8, 6, 1921.

An Old Song Deranged, N.P., (1903?).

Overture in G minor, (1884-1888?). Composed before Ives's college years, untitled and incomplete.

Premonitions, 1917. Voice or mixed unison with small orchestra. Voice and piano, S, 24, 1921.

Ragtime Dances, N.L., 1900-1911. Although more exist, only twelve pieces have been located. For small theater orchestra. Some were arranged for piano, and violin and piano sonatas, and orchestral sets. Some were also left incomplete.

Theater Orchestra Set or Set for theater or chamber orchestra, 1904-1911. I. In the Cage, 1906. From The Cage, S, 64, voice and ' piano, 1906. - II. In the Inn, 1904-1911. Forms part of Movement II of the First Piano Sonata, 1904-1911. III. In the Night, 1906. Borrowed Material: Abide With Me Bringing in the Sheaves Good-night Ladies Ta-ra-ra Boom-der-e We Won't Go Home Until Morning 48

APPENDIX B

Tone Roads Fast (No. l), 1911. Chamber orchestra. 'Tone Road' established by cellos and string basses. Slow (No. 2), N.L., 1911-19. Possible fragments of a sketch exist. Slow and Fast (No. 3), 1915. Chamber orchestra. 'Tone Road' established by chimes or piano.

Symphony or Large Orchestra

Circus Band, N.P., 1894. See also Appendix A, CHORAL MUSIC, Mixed Chorus (SATB); Appendix D, PIANO MUSIC, Other Single Piano Pieces; and Appendix F, VOCAL MUSIC.

Decoration Day, 1912, see Holidays Symphony, 1904-1913, below.

An Election, It strikes me that, or Nov. 2. 1920, 1920. Male voice or mixed unison chorus and orchestra. Voice and piano, 8, 20, 1921.

An Elegy to Our Forefathers, 1912-15, see Second Orchestral Set, 1912-15, below.

First Orchestral Set or a New England Symphony: Three Places in New England or Three New England Places, 1903-1914. Symphony orchestra. - I. The 'Saint Gaudens' in Boston Common. II. Putnam's Camp. From Overture and March "1776", (1903- 1904?) and Country Band March, 1903. III. The Housatonic at Stockbridge. Voice and piano, 8, 15, 1921. Borrowed Material: Battle Cry of Freedom The Liberty Bell Marching through Georgia Missionary Chant Old Black Joe Semper Fidelis

First Symphony in D Minor, 1896-98. Symphony orchestra. I. Allegro moderato II. Adagio molto, sostenuto III. Scherzo--vivace IV. Allegro molto

Fourth of July, 1912-13, see Holidays Symphony, 1904-1913, below. 49

APPENDIX B

Fourth Symphony, 1910-1916. Large orchestra.

I. Prelude II. Scherzo. Later arranged for the piano work, The Celestial Railroad, (1919?). From an earlier Country Band March, 1903, and the Hawthorne movement of the Second Piano Sonata (Concord Sonata). III. Fugue in C Major, N.P. Originally used in the First String Quartet, 1896. Arranged by Bernard Herrmann for radio orchestra; by John Kirkpatrick for piano. IV. Finale, N.P. From Memorial Slow March, N.L., 1901, for organ. Borrowed Material: - As Freshman First We Came to Yal Bethany Beulah Land Camptown Races Columbia, the Gem of the Ocean Coronation: All Hail the power of Jesus' name Dorrnance In the Sweet Bye and Bye Jesus, Lover of My Soul Joy to the World Marching through Georgia Martyn Missionary Chant My Bonnie Lies Over the Ocean’ Nearer, My God to Thee Nettleton (Come, Thou Fount of every blessing) Proprior Deo Saint Hilda Throw Out the Lifeline Turkey in the Straw Watchman, Tell Us of the Night Westminster Chimes Yankee Doodle

From Hanover Square North, at the end of a Tragic Day, the Voice of the People Again Arose, 1915, see Orchestral Set, 1912-15, below.

Holidays Symphony, 1897-1913. May be played as separate pieces or as a symphony. I. Washington's Birthday, 1909. Rescored in 1913. Strings, flute, horn, and bells. II. Decoration Day, 1912. Large orchestra. From an earlier organ piece, N.L., 1901. III. Fourth of July, 1912-13. Large orchestra. From Overture and March "1776", (1903-1904?). IV. Thanksgiving and/or Forefather's Day, 1904. Large orchestra. From an organ Prelude and Postlude for a Thanks- giving Service, N.L., 1897. 50

APPENDIX B

Holidays Symphony (cont'd.) Borrowed Material: Battle Hymn of the Republic The Cambells Are Comin Duke Street Good-night Ladies Second Regiment Connecticut National Guard Semper Fidelis Swanee River Taps

It strikes me that, 1920, see An Election, 1920, above.

Majority or The Masses, 1915. Orchestra and mixed unison chorus. Voice and piano, S, 1, 1921.

March, N.P., (1892-95?).

A New England Symphony: Three Places in New England or Three New England Places, 1903-1914, see First Orchestral Set, 1903-1914, above.

Nov. 2. 1920, see An Election, 1920, above.

Overtures, 1901-1912. Large and small orchestra. Not all are complete. Some were reworked into songs and shorter pieces called Songs Without Voices. Some were arranged for voice and piano, 1921. They are based on the lives and works of literary men. Alcott, 1904. Incomplete. American Woods, N.L., (1889?). Beecher, N.L., (1904?). Scherzo, The See'r, before 1913, is derived from this overture. Browning, 1911. Symphony orchestra. Four missing pages were 'recomposed' by Lou Harrison or Henry Cowell. Other indeci- pherable places were worked out with c0pyist Carl Pagano and the editors, upon publication. Paracelsus, S, 30*, 1912-1921, is derived from this overture. Down East, N.L., (1897?). Down East, S, 55, 1919, is derived from this overture. Emerson, N.P., 1909-1911. From an incomplete concerto for piano and orchestra, 1907. Movement I of the Second Piano Sonata, 1909-1915, is derived from this overture. Major Andre, N.P., 1903-1904. Matthew Arnold, N.L., 1912. Only page one is left. West London, S, 105, 1921, also in 34 Songs, is derived from this overture. Orchard House, 1904. Walt Whitman, N.L., sometime between 1900-1912 or 13. A sketch. Whittier, N.L., sometime between 1900-1912 or 13. A sketch. 51

APPENDIX B

Putnam's Camp, 1903-1914, see First Orchestral Set, 1903-1914, above.

The Rockstrewn Hills Join in the PeOple's Outdoor Meeting, 1912-15, see Second Orchestral Set, 1912-15, below.

The 'Saint Gaudens' in Boston Common, 1903-1914, see First Orchestral Set, 1903-1914, above.

Scherzo, The See'r, N.P., (1907?). See also Appendix F, VOCAL MUSIC, The See'r, S, 29, 1920 and Appendix G, MISCEL- LANEOUS ENSEMBLE MUSIC, Scherzo, The See'r, before 1913. Clarinet, trumpet, alto horn, piano and drum.

Second Orchestral Set, 1912-15. Large orchestra. I. An Elegy to Our Forefathers II. The Rockstrewn Hills Join in the People's Outdoor Meeting III. From Hanover Square North, at the end of a Tragic Day, the Voice of the People Again Arose (Requires a chorus of accordians with soprano concertina in one spot) Borrowed Material: In the Sweet Bye and Bye Music in general of Stephen Foster (no particular one) Ragtime Dances of Ives

Second Symphony, 1897-1902. Symphony orchestra. I. Andante moderato. From an earlier organ sonata. II. Allegro, 1900. III. Adagio cantabile. From an organ prelude, 1896, scored in 1902, revised in 1909. IV. Lento maestoso. V. Allegro molto Vivace. From an early overture, American Woods, N.L., (1889?). Borrowed Material: America the Beautiful Beethoven's Fifth Symphony Brahm's First and Third Symphonies Bringing in the Sheaves Camptown Races Columbia, the Gem of the Ocean Dvoiak's New World Symphony Joy to the World Long, Long Ago Music of Bach and Bruckner Old Black Joe Pig Town Fling Reveille Swanee River Turkey in the Straw Wagner's Tristan and Walkure When I Survey the Wondrous Cross 52

APPENDIX B

Thanksgiving and/or Forefather's Day, 1904, see Holidays Symphony, 1904-1913, above.

They Are There! A War Song March, 1917. Mixed unison chorus and symphony orchestra. Enlarged from He Is There!, S, 50, 5 May 1917. Borrowed Material: Battle Cry of Freedom Columbia, the Gem of the Ocean Marching through Georgia Tenting Tonight

Third Orchestral Set, N.L., 1919-1926. Symphony orchestra. Three movements, one movement left incomplete.

Third Symphony, 1901-1904. Symphony orchestra. I. Andante maestoso. From an organ piece, 1901. Revised in 1911. II. Allegro. III. Largo. From an organ piece, 1901. Borrowed Material: All Through the Night (A Welsh battle song) Azmon Just As I Am Without One Plea Old Folk's Gathering Take It to the Lord There is a Mountain Filled with Blood What a Friend We Have in Jesus Woodworth

Universe Symphony, 1911-16, 1926-27, and reworked various times up until 1951. Three movements are sketched out, but are incomplete. Many pages are missing. Ives did not intend for it to be completed. Suggested movements as written down by Ives: I. Formation of the waters and mountains. II. Earth, evolution in nature and humanity. III. Heaven, the rise of all to the spiritual.

Washington's Birthday, 1909, rescored in 1913, see Holidays Symphony, 1904-1913, above.

Pieces for Orchestra (Take-offs)

General Slocum, N.P., 1904. Fragmentary sketches that depict a boat disaster scene, scored for three separate orchestras.

Giants vs. Cubs, N.P., 1907. Orchestra sketch for a baseball game. 53

APPENDIX B

Largo to Presto, The Unanswered Question, before 1908. Trumpet, four flutes, treble woodwind, and string orchestra.

Largo sostenuto, The Pond, N.P., 1906. Flute, harp, two violins, viola, cello, bass, piano, and medium voice. See also Appendix F, VOCAL MUSIC, Rememberance, S, 12, 1921. Published as Movement II of Three Outdoor Scenes.

A Lecture or Tolerance, N.P., 1906. Orchestra sketch. Voice and piano, 8, 59, 1909.

Mike Donlin——Johnny Rivers, N.P., 1907. Incomplete.

Scherzo, All the Way Around and Back, before 1908. Piano (two players), violin or flute, flute or clarinet, bugle or trumpet, bells or French horn.

Willy Keeler, N.P., 1907. Incomplete.

A Yale-Princeton Football Game, N.P., 1907. Sketch of first part and full score of last part exists.

Brass or Military Band

Circus Band, N.L., 1894. An old band version of The Circus Band, voice and piano, S, 56*, 1894. Orchestrated by George F. Roberts, 1934. See also Appendix A, CHORAL MUSIC, Mixed Chorus (SATB), Circus Band, 1894.

Country Band March, N.P., 1903. A sketch.

Holiday Quickstep (Holiday March), 1885-86. Borrowed Material: Second Regiment Connecticut National Guard

Fantasia on Jerusalem the Golden, 1888. Possibly from Varia- tions on Jerusalem the Golden, N.L., for organ, before 1888. Borrowed Material: Jerusalem the Golden (hymn-tune)

Intercollegiate March, 1895. Borrowed Material: Annie Lisle

March, N.P., 1896.

March for Dewey Day, N.L., 1899.

March in F and C with the Air, Omega Lambda Chi, 1896. Borrowed Material: Liberty Bell Sailing, sailing over the bounding main' 54

APPENDIX B

Overture and March "1776", (1903-1904?).

Runaway horse on Main Street, N.P., (1905?).

Scherzo, Over the Pavements, 1906-1913. Piano, clarinet, bass or saxophone, trumpet, and drums; piccolo and three trombones ad lib. (Two separate bands are needed.)

Schoolboy March, Op. 1, N.L., 1886.

Slow March, N.L., 1886 or 1887. Voice and piano, S, 114, 1888.

Slow March on Adeste fidelis, N.L., 1886 or 1887.

These United States, N.L., 1896.

Town, Gown, and State, N.L., 1896. Overture in These United States. Sometimes referred to by Ives as "alla Zampa." APPENDIX C

ORGAN MUSIC

Most of the organ music by Ives is either lost or

reworked into other compositions. The most noted one is

"Variations on America" (1891) which, in the interludes,

contains Ives's earliest use of bitonality. It is also the

earliest surviving piece of his that contains polytonality.

Adeste Fidelis, a prelude, 1891.

Canzonetta, N.P., (1893?). F major.

Communion Service, N.L., 1886-87. See also Appendix A, CHORAL MUSIC, Mixed Chorus (SATB).

Fugue, N.P., (1897?). C minor.

Fugue, N.P., (1897?). E-flat major.

.Fugues, The Shining Shore, N.L., 1892-95. Organ and strings.

Interludes for hymns, N.L., before 1893.

Memorial Slow March, N.L., 1901.

Organ Music, N.L., 1896-1902. For church services and recitals.

Organ Sonata, N.L., (1889-1890?). Destroyed by Ives.

Prelude on Abide With Me, N.P., (1889?). Organ, trombones, and two violins. Borrowed Material: Abide With Me (hymn-tune)

Prelude and Postlude for a Thanksgiving Service, N.L., 1897. Only the first page of the Postlude now exists.

55 56

APPENDIX C

Sonata for trumpet and organ, N.L., 1900.

Two organ pieces, 1901. Reworked into movements I and III of the Third Symphony, 1901-1904.

Variations on America, 1891. Introduction, chorale, and five variations. Bi-tonal interludes added later, but before 1894. Borrowed Material: America

Variations on Jerusalem the Golden, N.L., before 1888. Borrowed Material: Jerusalem the Golden (hymn-tune) APPENDIX D

PIANO MUSIC

The piano music of Ives is written for solo piano, and for piano in combination with other instruments. The first group of piano music lists, as titled by Ives, Single Piano

Pieces, Studies and so on. Some of the pieces contained

within are published separately.

Another collection, entitled Twenty-seven Studies, is

known to exist, but it remains incomplete. Three of the

Studies are mentioned in the first group. The Studies, as

Elizabeth McCrae explains, ". . . are studies in the composi- tional sense rather than pianistic preparations." 12 H. Wiley

Hitchcock describes "Some Southpaw Pitching," number 21 (in the series of 27), as ". . . a showpiece for the left hand under right-hand variants of Foster's "Massa's in de cold cold ground; . . ."13 The Studies are possibly a 'take-off'

on Ch0pin's 27 Etudes, as suggested by Kirkpatrick (editor of

Ives's Mgmgg), Hitchcock, and others.

The lists of piano music that follow the first group are: Other Single Piano Pieces, Solo Pieces and One Duet,

Piano Trios, Quintets, and Piano Quintet and Voices.

12Elizabeth McCrae, "The Piano Music," Music Educators Journal, October, 1974, p. 53.

13H. Wiley Hitchcock, Music in the United States: A His- torical Introduction, 2nd ed. (New Jersey: Prentice-Hall, 1974), p. 163. s7 58

APPENDIX D

Single Piano Pieces, Studies and so on

The Anti-Abolitionists Riots in Boston in the 1830's and 1840's, Study # 9, 1908-1909.

Bad Resolutions, N.P., 1900-1914.

Rough and Ready or The Jumping Frog, N.P., 1900-1914.

Scene-Episode, N.P., 1900-1914.

Single Piano Pieces, Studies and so on, 1900-1914. So listed by Ives. One bound copy is known to exist.

Some Southpaw Pitching, Study # 21, 1908. Borrowed Material: Foster's Massa's in de cold cold ground

Song Without Words, N.P., 1900-1914.

Three-Page Sonata, 1905. A one-movement form, three pages in length. Borrowed Material: Westminster Chimes

Three Protests for Piano from Single Piano Pieces, 1900-1914. I. March time or faster II. Adagio or allegro, or Varied Air and Variations III. A Canon

Varied Air and Variations, Study # 2, 1900-1914. Published as Movement II of Three Protests for Piano, see entry above.

Waltz-Rondo, 1900-1914.

Other Single Piano Pieces

The Celestial Railroad, 1919. Arranged by Ives in (1919?) from Movement II of the Fourth Symphony, 1910-16.

Circus Band, N.L., 1894. See also Appendix A, CHORAL MUSIC, Mixed Chorus (SATB), and Appendix B, ORCHESTRAL MUSIC, Brass or Military Band.

Invention, N.P., (1896?). D major. 59

APPENDIX D

March, (1890-96?). Nine separate marches. Numbers 1, 2, 3, 5, 5a, and 6 are N.P. and numbers 3a, 3b, and 4 are N.L. The marches which are known to exist are written in the following major keys: B-flat and F, C and F, C and F, B-flat and D, C and G, and D and G respectively.

New Year's dance, N.P., 1887.

On the Antipodes, 1923. One piano, four hands, and organ pedal at the end. Voice or chorus and two pianos, 1915, in 18(19) Songs.

Polonaise, N.P., (1887?). Two cornets and piano. Incomplete.

Study # 22, 1912. From Twenty-seven Studies, 1900-1914. The title refers to the page number in Ives's music notebook, on which the piano piece was written.

Solo Piano Pieces and One Duet

Concord Sonata, see Second Piano Sonata, below.

First Piano Sonata, 1902-1909. Ives lists this work in seven movements, but two have not been located. I. Adagio con moto--Andante con moto--Allegro risoluto. II. Allegro moderato, arranged from In the Inn, 1904-1911, Movement II of Theater Orchestra Set. III. Largo or Adagio--Allegro--Largo. From Set of Four Ragtime Pieces for Orchestra, 1904. IV. Andante--Allegro--Presto. V. Andante maestoso--Adagio cantabile--A11egro--Allegro moderato ma con brio. Borrowed Material: Abide With Me Bringing in the Sheaves Erie Good-night Ladies Happy Day How Dry I Am I Hear Thy Welcome Voice I Was a Wandering Sheep Jesus Lover of My Soul Lebanon 0 Susanna We Won't Go Home Until Morning What a Friend We Have in Jesus Where's My Wandering Boy Tonight 60

APPENDIX D

Second Piano Sonata (Concord, Mass., 1840-60), 1909-1915. Four transcriptions for piano. I. Emerson, 1909--summer, 1912. Begun as Emerson Piano Concerto for piano and orchestra, but never completed. Later planned as an Emerson Overture, 1909-1911. II. Hawthorne, 12 October 1915. A scherzo. For a piano or a dozen. III. The Alcotts, 1915. From a theme and some passages of an Alcott or Orchard House Overture, 1904. Also for organ, or piano with voice or violin. IV. Thoreau, 1911-15. Voice and piano, S, 48, 1915. Also for strings with flute or horn. Borrowed Material: Beethoven's Fifth Symphony Jesus Lover of My Soul Loch Lommond (from Lohengrin) Missionary Chant Wedding March (from Lohengrin)

Third Piano Sonata, N.L., 1928. One movement, uncompleted, but probably destroyed by Ives.

Three Quarter-tone Piano Pieces, 1923-24. For a 'quarter-tone piano' or two pianos (duet) tuned a quarter-tone apart. May be a set of early piano pieces, 1903-1904, to which Ives added quarter-tone chords, when he helped Hans Barth in 1924 build his quarter-tone piano. I. Largo II. Allegro, from Ragtime Pieces (Dances) III. Adagio Chorale (for strings, arranged for two pianos) Borrowed Material: America La Marseillaise

Piano Trios

Set for trumpet, saxophone, and piano, 1912-1921. (Additional instruments indicated.) At one time, Ives referred to these as Songs Without Voices. I. The New River, 1912. Trumpet, clarinet, sax0phone, piano, and four violins ad lib. Voice and piano, S, 6*, 1921. II. The Indians, 1912. Trumpet, oboe, strings, and piano. Voice and piano, 8, 14*, 1921. III. Ann Street, 1921. Trumpet, flute, trombone or baritone horn or baritone sax0phone, and piano. Voice and piano, S, 25, 1921. 61

APPENDIX D

Trio for violin, cello, and piano, 1904-1911. I. Andante moderato. II. Presto--Piu mosso--Adagio--Allegro moderato-~Allegro assai--Adagio--Presto. III. Moderato con moto--Andante sostenuto--Maestoso--Andante con moto--Allegro. Borrowed Material: Rock of Ages

Trio for violin, clarinet, and piano, N.L., 1902-1903.

Piano Quintets

Chromatimelddtune, Study # 27, N.P., 1900—1914. A sketch, conceived for piano and brass quartet.

Hallowe'en, 1911. String quartet and piano. Published as Movement I of Three Outdoor Scenes.

In Re con moto et. a1., 1908. String quartet and piano.

The Innate, 1908. String quartet and piano. Movement III of Set for string quartet, 'basso' and piano, 1903-1914. Voice and piano or organ, S, 40, 1916. In 18(19) Songs.

Largo Risoluto No. 1, The Law of Diminishing Returns, 1908. String quartet and piano.

Largo Risoluto No. 2, A Shadow Made-—a Silhouette, 1908. String quartet and piano.

Space and Duration, 1907. String quartet and mechanical piano if desired. The work is incomplete, and only sketches exist.

Piano Quintet and Voices

Aeschylus and Sophocles, no earlier than 1921. For two male voices with piano and string quartet, in 18(19) Songs. From Greek Fugue, (1897?) and Pre-Second String Quartet, 1905. APPENDIX E

STRING MUSIC

Ives's compositions for stringed instruments include

string quartets, a Sgt (separate pieces grouped together to

form one piece), and violin sonatas. Of his violin sonatas,

four are complete and a fifth, which is incomplete, is an arrangement for violin and piano of his First Orchestral Set

(New England Symphony). There are also earlier sonatas of

the year 1895, other than the five sonatas just mentioned, but only sketches of the earlier sonatas remain. Each of his four complete sonatas consists of three movements. Ives prefers verse-refrain, A-B-A, and other sectionalized forms within the sonatas. His sonatas are found to be related to one another, by virtue of their inclusion of thematic material, which is borrowed from hymns, barn dances, and patriotic songs.

StringiQuartets

First String Quartet, A Revival Service, 1896. Originally the Prelude was preceded by a movement entitled Chorale, a fugue, now in the Fourth Symphony. I. Prelude II. Offertory III. Postlude Borrowed Material: All Hail the power of Jesus' name From Greenland's Icy Mountains Nettleton Stand up, Stand up for Jesus!

62 63

APPENDIX E

Pre-Second String Quartet, 1905. Consisted of two movements originally intended for the Second String Quartet. Instead, the material was used in such works as the Third Symphony, 1901-1904, Hymn, S, 20*, 1904, and Aeschylus and Sophocles, 1921.

Second String Quartet, 1907-1913. I. Discussions, 1911-13. II. Arguments, 1907. III. The Call of the Mountains, 1911-13. Borrowed Material: Beethoven's Ninth Symphony Bethany Brahm's Second Symphony Columbia, the Gem of the Ocean Come, Thou Fount of every blessing Dixie Marching through Georgia Nearer, My God to Thee Tchaikovsky's Sixth Symphony

Set

Hymn, 1904, see Movement I of Set, below. Voice and piano, S, 20*, 1921.

The Innate, 1908, see Movement III of Set, below. Voice and piano, S, 40, 1916.

Scherzo, 1903, 1914, see Movement II of Set, below.

Set for string quartet, 'basso' and piano, 1903-1914. I. Hymn, 1904. Largo cantabile for string quartet and 'basso' (male voice) or string quartet and solo cello. II. Scherzo, 1903, middle section, 1914. String quartet and 'basso' (string bass) ad lib. III. The Innate, 1908. String quartet and piano. Voice and piano or organ, 1916. In 18(19) Songs.

Violin Sonatas-

Cello Sonata, N.L., (1901?). Ives destroyed it.

Fifth Sonata, (1906-1914?). Violin and piano. An arrangement of the First Orchestral Set. 64

APPENDIX E

First Sonata, 1908. Violin and piano. I. Andante--Allegro. II. Largo, from Pre-First Sonata. III. Allegro--Andante cantabile--A11egro primo. Borrowed Material: Bringing in the Sheaves The Old Oaken Bucket Shining Shores Tramp, Tramp, Tramp Watchman, Tell Us of the Night Wbrk for the Night is Coming

Fourth Sonata, Children's Day at the Camp Meeting, 1914-15. Violin and piano . I. Allegro. From Sonata for trumpet and organ, N.L., 1900. II. Largo--A11egro con s1ugarocko--Andante--Adagio--Largo. III. Allegro. From a score-sketch, N.L., 1905. Borrowed Material: Fourth Fugue in B-flat by George Ives Shall We Gather at the River? Tell Me That Old, Old Story Wait for the Night Is Coming Yes, Jesus Loves Me! This I Know

Pre-First Sonata, 1901. Violin and piano. Allegro. Started as the First Violin Sonata, but it was not completed. Largo. Arranged for violin, clarinet, and piano in 1902. Originally for violin and organ (with a solo stop). Incorporated into the First Sonata in 1908.

Prelude, 1900. Fragment from a pre-Pre-First Sonata for violin and piano, originally a cello sonata that Ives destroyed. Borrowed Material: Watchman, Tell Us of the Night

Second Sonata, 1903-1910. Violin and piano. I. Autumn II. In the Barn III. The Revival Borrowed Material: Barthélémon's Autumn Battle Cry of Freedom Irish Reel or Money Musk Nettleton Sailor's Hornpipe Turkey in the Straw White Cockade 65

APPENDIX E

Third Sonata, 1902-1914. Violin and piano. I. Adagio II. Allegro. First written for small theater orchestra, 1902-1903. III. Adagio (cantabile) Borrowed Material: Beulah Land Happy Day I Need Thee Every Hour They'll Be No Dark Valley APPENDIX F

VOCAL MUSIC

Most of Ives's compositions are for voice and piano, and are generally referred to as his Songs. He privately printed a collection entitled 114 Songs in 1922, for friends

and whoever wanted a copy. Including those published before or after the 114, the total number of songs is 141. There are an additional 60 songs or more (the number being uncertain due to lost manuscripts), which Ives used as the basis of other songs that are printed; some of these are only in sketch form.

There are several other collections which followed the

114 Songs, and these contain reprints (those in 50 Songs, also

privately printed, appear with an asterisk), and additional songs. The various collections are referred to by the number of songs they contain, and are as follows: 7 Songs (first real publication, by Cos Cob-Arrow Press, 1932), 34 Songs,

18(19) Songs, 4 Songs, 10 Songs, 12 Songs, 14 Songs, 9 Songs,

13 Songs, (12) Sacred Songs, and 11 Songs and 2 Harmonizations.

In reference to 18(19) Songs, the two numbers are listed,

because the first edition was titled 18 Songs, and after the editor counted them, he realized there were actually nineteen.

For a complete categorizing of each song found in the various

66 67

collections, refer to Charles Ives Mgmgs, edited by John

Kirkpatrick, Appendix 4, pp. 167-177.

The Cowells wrote that "Ives thought his most charac- teristic songs would be comprehensible to the average singer;

. . ." (Charles Ives and His Music, p. 77). He rarely desig-

nated a specific voice range for the Sgngs to be sung. A

few in which he did are "Majority," S, 1 for single voice or a mixed unison chorus, "Naught that Country needeth," S,

98*, an aria for Baritone, "Forward into Light," S, 99, an aria for Tenor (or Soprano), and "Aeschylus and SOphocles" of 18(19) Songs, for two male voices.

The composer wrote the text for one-third of his songs, and he borrowed the remaining texts from poems by Browning,

Shelley, Woodworth, Kipling, Whitman, Longfellow, Keats, his wife (Harmony Twitchell Ives, who always left hers unsigned), and others. He used poems he found in the New York Evening

Sun newspaper, and a magazine called The Independent. In this

appendix, in addition to the date of composition and the borrowed material in each song, the poet's name will be

included, with H. T. I. referring to his wife, Harmony.

The texts vary greatly. They are not only poetic and prosaic, but also religious and satirical in nature, and expressionstic of personal family, political, and patriotic

feelings.

Ives occasionally referred to his vocal and instrumental works as "songs with or without words." He thought that the idea stemmed from a method of teaching that his father 68

APPENDIX F used with singers, and he wrote that:

Father would play, on his horn, . . . a song better than many singers could sing it--he often taught songs and parts to singers or choirs etc. by playing. But he always insisted that the words should be known and thought of while playing (Memos, p. 127).

Ives also used this idea when writing instrumental works that were adapted from his vocal scores. A solo instrument replaced the voice part, but he still included the text underneath the solo instrumental line.

Ives's Songs are an important contribution to the musical world. The Cowells stated the following:

The 114 Songs forms the most original, imaginative, and powerful body of vocal music that we have from any American, and the songs have provided the readiest path to Ives's musical thinking for most people (Charles Ives and His Music, p. 80).

Abide With Me (Lyte), 1890. In 13 Songs and (12) Sacred Songs.

Aeschylus and Sophocles (Landor), 1922. In 18(19) Songs. Accompaniment for piano and string quartet. From Greek Fugue, (1897?) and Pre-Second String Quartet, 1905.

Afterglow, S, 39 (James Fenimoore Cooper, Jr.), 1919. In 34 Songs.

Allegro, S, 95 (H. T. I.), 1900. In 13 Songs. From Sehnsucht, N.P., (Christian Winther), 1900, and Rosenzweige, N.P., (Karl Steiger), (1900?). from "Amphion", S, 106* (Tennyson), 1896. In 10 Songs. From In April-tide, N.P., (Clinton Scollard), (1895?).

Ann Street, 8, 25 (Maurice Morris), 1921. In 34 Songs.

At Parting (Frederick Peterson), 1889. In 34 Songs.

At the River, S, 45 (Robert Lowry), 1916. In 34 Songs. From Fourth Violin Sonata, sketches, 1906 or completion, 1916, and a cornet and violin quartet piece, 1905. Borrowed Material: Shall We Gather at the River? (hymn-tune) 69

APPENDIX F

At Sea, S, 4* (Robert Underwood Johnson), 1921. In 34 Songs. From a score-sketch of (1912?) and a song for organ and violin (1902?).

August, S, 35 (Folgore da San Geminiano, an early Italian Poet, translated14 by D. G. Rossetti), 1920. In 12 Songs.

Autumn, S, 60 (H. T. I.), 1908. In 9 Songs. From Autumn in D-flat, N.L., 1902.

Berceuse, S, 93* (Ives), 1900. In 13 Son 5. From Wiegenlied (lst stanza: des Knaben Wunderhorn; 2nd; G. Sherer), (1900?).

The Cage, S. 64 (Ives), 1906. In 14 Songs. From Set for Theater or Chamber Orchestra, In the Cage, 1906.

The Camp Meeting, S, 47 (Ives quoting Charlotte Elliott), 1912. In 13 Songs and (12) Sacred Songs. From Third Symphony, 1904, and a Communion Service, N.L., 1886-87.

Canon (Thomas Moore), 1894. In 18(19) Songs. From Canon, N.P., with different words, 1893.

Chanson de Florian, S. 78 (J. P. Claris de Florian), 1901. One of "4 French Songs."

Charlie Rutlage, S, 10*, 1920-21. Text from "Cowboy Songs" collected by John A. Lomax, M.A. (University of Texas), The Macmillan Company, New York. In 7 Songs.

The Childrens' Hour, S, 74* (Longfellow), 1901. In 34 Songs.

Christmas Carol (words and tune by Edith Osborne Ives, 1924), accompaniment by Ives, 1925. In 11 Songs and 2 Harmoniza- tions.

A Christmas Carol, S, 100* (Ives), before 1898. In 18(19) Songs.

The Circus Band, 8, 56* (Ives), 1894. In 10 Songs. From the march for piano or band of the same title. One of "5 Street Songs and Pieces." Borrowed Material: Fragments and parodies of college songs such as: Here's to Good Old Yale Omega Lambda Chi A Son of a Gambolier

The Collection, S, 38 (Kingsley and another hymn writer), 1920. In 13 Songs and (12) Sacred Songs. From an anthem, N.L., (1892?).

4Translated will now be abbreviated as (tr.). 70

APPENDIX F

Cradle Song, S, 33* (Augusta L. Ives), 1919. In 18(19) Songs.

December, S, 37 (Folgore, tr. by Rossetti), 1920. In 34 Songs. From a score-sketch, 1912-13. Male unison chorus, woodwinds, and brass, 1912-13.

Die Lotosblume, S, 97* (Heine), 1899 and The South Wind (tr. by H. T. 1.), 1908. In 34 Songs.

Disclosure, S, 7* (Ives), 1921. In 12 Songs and (12) Sacred

Songs.

Down East, S, 55 (Ives), 1919. In 13 Songs and (12) Sacred Songs. One of "5 Street Songs and Pieces." Possibly from a Down East Overture, N.L., (1897?).

Dreams, S, 85 (Baroness Porteous, tr. by whom?), 1897. In 9 Songs. One of "8 Sentimental Ballads."

Duty, S, 9a* (Emerson), 1921. In 34 Songs and 4 Songs. From Two Slants or Christian and Pagan, N.P., a score-sketch, 1911, 12, or 13. Male unison and divisi chorus, and orchestra, before 1914.

An Election, S, 22, 1921, see Nov. 2. 1920, below.

Elégie, S, 77* (Louis Gallet), 1901. In 9 Songs. One of "4 French Songs.”

Evening, S, 2* (Milton), 1921. In 7 Songs.

Evidence, S, 58 (Ives), 1910. In 9 Songs. From Wie Melodien zieht es, N.P., (Klaus Groth), (1898?).

A Farewell to Land (Byron), 1925. In 18(19) Song_.

Far From My Heav'nly Home (Lyte), (1890-92?). In 11 Songs and 2 Harmonizations.

Feldeinsamkeit, S, 82* or In Summer Fields, (Almers and tr. by Chapman), 1900. In 18(19) Songs.

Flag Song (Henry Strong Durand, Yale, 1881), 1898. From music by Ives, N.L. Published in 1968, by Peer International, after the other collections were already published.

Forward into Light, S, 99 ("Alford, from St. Bernard"), 1869. In 14 Songs and (12) Sacred Songs. From a cantata, The Celestial Country, 1898-99. 71

APPENDIX F

General William Booth Enters Into Heaven (Vachel Lindsay), 1914. In 18(19) Songs. Mixed chorus (SATB) or baritone solo voice, originally with brass band, 1914. Arranged for chamber orchestra by Dr. John J. Becker, 1934. Borrowed Material: Cleansing Fountain Golden Slippers Onward, Upward Reveille

God Bless and Keep Thee (Author unknown to composer), before 1897. In 11 Songs and 2 Harmonizations.

Grantchester, S, 17* (Rupert Brooke), 1920. In 9 Songs. Borrowed Material: . Debussy's Prelude to the Afternoon of a Faun

The Greatest Man, S, 19* (Anne Timoney Collins), 1921.

Harpalus (An Ancient Pastoral), S, 73 (from Percy's "Reliques"), 1902. In 34 Songs.

He Is There! (Ives), 1917. In 1942, he rewrote the words after the Second World War, and changed the title to They Are There! A War Song March, for mixed chorus (SATB), orchestra, full brass, and drum corps, 1917. One of "3 Songs of the War." Borrowed Material: Battle Cry of Freedom Columbia, the Gem of the Ocean Marching through Georgia Tenting Tonight

Hells Bells, N.L., (1897). Ives wrote the music for the songs and show, Hells Bells, a Delta Kappa Epsilon show written by F. G. Hinsdale, S. R. Kennedy and Wadsworth for 28 May 1897. Hinsdale wrote the words to this song for the close of the Third Act, to which the audience was invited to join in the chorus.

His Exaltation, S, 46 (Robert Robinson), 1913. In 9 Songs and (12) Sacred Songs. From Second Violin Sonata, 1903. Borrowed Material: His Exaltation (hymn-tune)

The Housatonic at Stockbridge, S, 15 (Robert Underwood Johnson), 1921. In 12 Songs. From Movement III of First Orchestral Set, Three Places in New England, before 1911. See also Appendix B, ORCHESTRAL MUSIC, Symphony or Large Orchestra, First Orchestral Set, 1903-1914. 72

APPENDIX F

Hymn, S, 20* (Tersteegan, tr. by John Wesley}. 1921. In 34 Songs. From Largo cantabile, Hymn, 1904 for string quaEEet, basso' (male voice) or solo cello. See also Appendix E, STRING MUSIC, SEE, Hymn, 1904.

Ich Grolle Nicht, S, 83 (Heine), 1899. In 34 Songs. One of "4 German Songs."

Ilmenau, S, 68* (Goethe, and tr. by H. T. 1., Over All the Treetops), 1902.

Immortality, S, 5* (Ives), 1921. In 34 Songs. from the "Incantation," S, 18 (Byron), 1921. In 34 Songs. From Allegretto sombreoso, Incantation, for trumpet, flute, three violins, and piano, before 1910.

The Indians, S, 14* (Charles Sprague), 1921. In 7 Songs. From Adagio, The Indians, for English or basset horn or trumpet, bassoon, strings, piano, and Indian drum, 1912.

In Flanders Fields, S, 49 (John Mc Crae), 1917-19. In 14 Songs. From a March for Dewey Day, N.L., 1899. One of 3 Songs of the War."

The Innate, S, 40 (Ives), 1916. In 18(19) Songs. From Adagio cantabile, The Innate, for string quartet and piano, 1908. See also Appendix E, STRING MUSIC, Set, The Innate, 1908.

In Summer Fields, S, 82*, 1900, see Feldeinsamkeit, above.

In the Alley, S, 53 (Ives), 1896. In 13 Songs. One of "5 Street Songs and Pieces."

In the Mornin' (a negro spiritual, before 1850, accompaniment by Ives, 1929). In 11 Songs and 2 Harmonizations.

I travelled among unknown men, S, 75* (Woodworth), 1901. In 10 Songs. From Frﬁhlingslied, N.P., (Heine), 1896.

It strikes me that, S, 22, 1921, see Nov. 2. 1920, below.

Judges' Walk, N.P., (Arthur Symons), (1893-98?). A song which became Rough Wind, S, 69, 1902.

Kgren, S, 91* (Parmo Carl Ploug, tr. by Clara KappeY). 1894 or 1895. In 12 Songs. One of "8 Sentimental Ballads."

La Fede, S, 34* (Ariosto, an early Italian poet), 1920. In 18(19) Songs.

The Last Reader, S, 3* (Oliver Wendell Holmes), 1921. In 34 Songs. From Andante cantabile, The Last Reader, for English horn or clarinet, strings, and two flutes, 1911. 73

APPENDIX F

The Light that is Felt, S, 66* (Whittier), 1904. From an anthem version, (1895?).

Like a sick eagle, S, 26* (Keats), 1920. In 34 Songs. From Largo molto, Like a sick eagle, for English oribasset horn, voice ad lib., strings, and piano, 1909. from ”Lincoln, the Great Commoner," S, 11 (Markam), 1921. From Lincoln, the Great Commoner, for mixed chorus (SAATB) and large orchestra, 1912. Borrowed Material: America Battle Hymn of the Republic Columbia, the Gem of the Ocean Hail Columbia The Star-Spangled Banner When Johnny Comes Marching Home

Luck and Work, S, 21 (Robert Underwood Johnson), 1920. In 34 Songs and 4 Songs. From A11egro——Andante, Luck and Work, for English or basset horn, flute, violins, piano, and drum, 1916.

Maple Leaves, S, 23 (Thomas Bailey Aldrich), 1920. In 7 Songs.

Majority or The Masses, S, 1 (Ives), 1921. In 18(19) Songs. From Majority or The Masses, for mixed unison chorus and orchestra, 1915.

Marie, S, 92* (Gottschall, tr. by Elisabeth Rﬁcker), 1896. In 14 Songs. One of "8 Sentimental Ballads."

Memories A,-Very Pleasant, S, 102 (Ives), 1897. In 10 Songs. B,-Rather Sad

Mirage, S, 70* (Christina Rossetti), 1902. In 10 Songs. From Like Unfathomable Lakes, N.P., (whose words?), (5 November 1892?).

Mists, S, 57* (H. T. I.), 1910 (second of two settings). In 34 Songs.

My Native Land, S, 101 (Heine, tr. by whom?), 1897. In if Songs. Second setting by Ives, 1901.

Nature's Way, S, 61* (Ives), 1908. In 14 Song_. From Holder klingt der Vogelsang (Ludwig H51ty), (1892?).

Naught that Country Needeth, S, 98* ("Alford, from St. Bernard"), 1899. In 14 Songs and (12) Sacred Song_. Aria for Baritone, from a cantata, The Celestial Country. 74

APPENDIX F

The New River, S, 6* (Ives), 1921. In 34 Songs. From a score sketch, once titled The Ruined River, 1906, and The New River, for mixed chorus (SATB) and chamber orchestra, 1912. from "Night of Frost in May," S, 84* (Meredith), 1899. In 18(19) Songs. From Ein Ton, N.P., (Cornelius), (1895?).

A Night Song, 8, 88 (Thomas Moore), 1895. From an unfinished song-sketch, (1894?). For small orchestra, 1943, arranged by Amedeo de Filippi. One of "8 Sentimental Ballads."

A Night Thought, S, 107* (Thomas Moore), 1895. In 34 Son 3. From In My Beloved's Eyes, N.P., (W. M. Chauvenet), (1895?).

No More (William Winter), 1897. In 11 Songs and 2 Harmoniza- tions.

Nov. 2. 1920, S, 22 or An Election or It strikes me that (Ives), 1921. In 18(19) Songs. Male voice or male unison chorus, with orchestra or piano, 1920. From Lincoln, the Great Commoner, 1912. See also Appendix B, ORCHESTRAL MUSIC, Symphony or Large Orchestra, Lincoln, the Great Commoner, 1912.

An Old Flame, 8, 87 (Ives), 1896. In 13 Songs. One of "8 Sentimental Ballads."

Old Home Day, S, 52* (Ives quoting Virgil), 1920. In 13 Songs. The chorus part is also scored for Obligato (ad lib.) fife, violin or flute, only with second verse.

The Old Mother, S, 81 (Vinje, German-tr. by Lobendanz, English- tr. by Corder), 1900. In 13 Song_. One of "4 German Songs."

Omens and Oracles, S, 86 (Author unknown to composer), about 1900. In 10 Songs. One of "8 Sentimental Ballads."

"1,2,3." S, 41 (Ives), 1919. In 4 Songs. From a sketch, Rube trying to walk 2 to 3, 1906.

The One Way (Ives), (1923?). In 11 Songs and 2 Harmonizations.

On the Antipodes (Ives), 1915-1923. In 18(19) Songg. Accompan- iment for one piano, four hands, and organ pedal at the end.

On the Counter, S, 28 (Ives), 1920. In 14 Songs.

from "Paracelsus," S, 30* (Browning), 1921. In 18(19) Songs. From Browning Overture, 1908-1912.

Peaks (Henry Bellamann), (1923?). In 11 Songs and 2 Harmoniza- tions. 7 5

APPENDIX F

Pictures (Monica Peveril Turnbull and H. T. I.), 1906. In 11 Songs and 2 Harmonizations.

The Pond, S, 12*, 1921, see Remembrance, 1921, below.

Premonitions, S, 24 (Robert Underwood Johnson), 1921. In 34 Songs. From Premonitions, for voice or mixed unison chorus, with flute, oboe, clarinet, horn, strings, piano, and drums, 1917.

Qu'il m'irait bein (Author unknown to composer, tr. by Moreau Delano), 1901. In 12 Songs.

The Rainbow or So May It Be!, S, 8 (WOrdsworth), 1921. In 34 Songs. From Andante con spirito, The Rainbow, for flute, basset or English horn, strings, and piano, 1914.

Religion, 3, 16* (Quotation from Dr. James T. Bixby's "Modern Dogmaticism in his "Essays," as taken from a poem by Lizzie York Case), 1920. In 12 Songs and (12) Sacred Songs.

Rememberance or The Pond, S, 12* (Ives), 1921. In 12 Son 5. From Largo sostenuto, The Pond, for flute, harp, two violins, viola, cello, bass, piano, and medium voice, 1906.

Requiem (Robert Lewis Stevenson), 1911. In 18(19) Songs.

Resolution, S, 13* (Ives), 1921. In 18(19) Songs.

Rock of Ages (Augustus Montague Toplady), (1889-1892?). In 11 Songs and 2 Harmonizations.

Romanze (di Central Park), S, 96 (Leigh Hunt), 1900. In 14 Songs.

De la drama: Rosamunde, S, 79 (Wilhelmina von Chezy, tr. by Belanger). 1898. In 14 Songs.

Rough Wind, S, 69 (Shelley), 1902. In 34 Songs. From Judges' Walk, N.P., 1893-98, a theme in an early symphony, probably the First Symphony, 1898.

A Scotch Lullaby, S, 116 (Charles E. Merrill, Jr.), 1898. In 11 Songs and 2 Harmonizations.

A Sea Dirge (Shakespeare, "The Tempest," Act 1, Scene 2), 1925. In 11 Songs and 2 Harmonizations.

The See'r, S, 29 (Ives), 1920. In 7 Songs. From sketches for a projected Beecher Overture, (1904?), and Scherzo, the See'r, for clarinet, trumpet, alto horn, piano, and drum, 1913. 76

APPENDIX F

September, S, 36 (Folgore, tr. by Rossetti), 1920. In 34 Songs.

Serenity, A unison chant, S, 42 (Whittier), 1919. In 7 Songs. From a score-sketch, before 1911. Arranged for orchestra by Amedeo de Filippi, 1943. Borrowed Material: There is a Green Hill Far Away

The Side Show, S, 32 (Ives quoting Pat Rooney). 1921. In 12 Songs. From a sketch for clarinet and piano, 1896.

Slow March, S, 114 (the family and L. D. Brewster), 1888. Borrowed Material: Handel's "Death March" from Saul

Slugging a Vampire (Ives), 1902. In 18(19) Songs. From Tarrant Moss, 1902, see below.

Soliloquy (Ives), 1907. Accompaniment meant for four hands. In 34 Songs.

So May It Be!, S, 8, 1921, see The Rainbow, above.

A Song——for Anything, S, 89 (Ives), 1892. In 14 Songs.

Song for Harvest Season (G. Phillimore), 1894 (1893?). In 34 Songs. Accompaniment for instruments or organ.

Songs my Mother taught me, S, 108* (Adolf Heyduk, tr. by Natalie Macfarren), 1895. In 14 Songs.

A Son of a Gambolier ("Traditional," Irish?), 1895. In 2 Songs. One of "5 Songs and Pieces." From a march for piano and orchestra, and at the end, kazoo chorus, flutes, fiddles, and flageolots, (1892-95?). Borrowed Material: A Son of a Gambolier

The South Wind, S, 97* (tr. by H. T. I.), 1908, see Die Lotosblume, 1899, above.

Spring Song, S, 65* (H. T. I.), 1904. In 12 Songs. From a song of 4 July 1903, N.L.

Sunrise (Ives), 1922-27. In 11 Songs and 2 Harmonizations.

from The Swimmers, S, 27 (Louis Untermeyer), 1915-1921. In 34 Songs. 77

APPENDIX F

Tarrant Moss, S, 72 (Kipling), 1902 (1898?). In 13 Songs. Permission to use Kipling's "Tarrant Moss" was not given right away, so Ives wrote a second verse, using the first line as a second title, Slugging a Vampire.

There is a certain garden (Author unknown to composer), 1893. In 11 Songs and 2 Harmonizations.

There is a Lane, S, 71* (H. T. I.), 1902. In 9 Songs. From Widmung, N.P., (Wolfgang Muller), (1897?).

They Are There! A War Song March (Ives), 1917. In 9 Songs, see He Is There!, S, 50, 1917, above.

The Things Our Fathers Loved (and the greatest of these was Liberty), S, 43 (Ives), 1912. In 14 Songs. From a score- sketch, N.L. of about 1905.

Thoreau, S. 48 (Ives quoting Thoreau), 1915. In 34 Songs. From Second Piano Sonata, 1910-15.

Those Evening Bells, S, 63 (Thomas Moore), 1907. In 14 Songs. From an earlier song, first entitled the Sea of Sleep, N.P., (author unknown), 1903.

To Edith, S, 112* (H. T. I.), 1919. In 10 Songs. From a song of 1892, N.L.

Tolerance, S, 59 (from a quotation in President Hadley's lec- tures, as taken from Kipling's "The Fires"), 1909. In 34 Songs. From a score-sketch, A Lecture, 1906, and a piece for orchestra composed to the words in or before 1906.

Tom Sails Away, S, 51 (Ives), 1917. In 18(19) Songs. From a rejected sketch, N.L., for the Third Violin Sonata. One of "3 Songs of the War."

Two Little Flowers, S, 104* (H. T. I.), 1921. In 18(19) Songs. The two little flowers are Edith Osborne Ives (Charles and Harmony Ives's adopted daughter) and her friend Susanna Minturn.

Vita, S, 9b* (Manlius), 1921. In 34 Songs and 4 Songs. From Two Slants or Christian and Pagan, N.P., a score-sketch, 1911, 12, or 13, and from part of the Pre-second String Quartet, 1905.

Vote for Names (Ives), 1912. Accompaniment for three pianos. An incomplete sketch. Published in 1968 by Peer Internation- al, after the other collections were already published. 78

APPENDIX F

The Waiting Soul, S, 62* (William COWper), 1908. From The Ending Year, N.P., (whose words?), 1902. From a song, N.L., (1898?).

Walking, S, 67* (Ives), 1902. In 7 Songs. From a score- sketch, 1913.

Waltz, S, 109 (Ives), 1895. In 12 Songs.

Watchman!, S, 44* (John Bowring). 1913. In 14 Songs and (12) Sacred Songs. From First Violin Sonata, 1907, and an organ and soprano song, N.L., 1901. Ives states from the Second Violin Sonata, but because both were written around the same time, Ives sometimes referred to the Second, as the First. Borrowed Material: Watchman, Tell Us of the Night (hymn-tune)

Weil' auf mir, S, 80 (Lenau, and tr. by Westbrook), 1902. In 14 Songs. One of "4 German Songs."

West London (A Sonnet), S, 105* (Matthew Arnold), 1921. In 34 Songs. From a Matthew Arnold Overture, N.L., 1912.

When Stars are in the Quiet Skies, S, 113* (Bulwer-Lytton), 1891. In 34 Songs. From Country Celestial, N.P., (Neale, from Bernard of Cluny, 1891?). Developed into Du bist wie eine Blume, N.P., (Heine), after 1896.

Where the Eagle, S, 94 (Monica Turnbull), 1900. In 13 Songs and (12) Sacred Songs. From Grace, N.P., (whose words?), 1899.

The White Gulls, S, 103* (from the Russian, Maurice Morris), 1921. In 34 Songs.

William Will (S. B. Hill), 1896. Published by Willis Woodward and Company, 1896, but out of print.

The World's Highway, S, 90 (H. T. I., 1906?), 1893. In 4; Songs.

The World's Wanderers, S, 110* (Shelley), 1895. In 10 Son 3. From Leise zieht durch mein Gemﬁth, N.P., (Heine), (1895?).

Yellow Leaves (Henry Bellaman), (1923?). In 11 Songs and 2 Harmonizations.

APPENDIX G

MISCELLANEOUS ENSEMBLE MUSIC

The following works do not fall into any of the categories previously listed, and will, therefore, be presented as miscellaneous ensemble music.

Adagio, The Indians, N.P., 1912. English or basset horn or trumpet, bassoon, strings, piano, and Indian drum. Voice or piano, S, 14*, 1921.

Adagio sostenuto, At Sea, before 1914. String quartet, English horn or flute, and piano. May be derived from a song for organ and violin, 1902. Voice and piano, S, 4*, 1921.

Allegro, From the Steeples and the Mountains, 1901. Two sets of (church) bells, each with a high and low part (piano may be substituted), trumpet, and trombone.

A11egro——Andante, Luck and Work, N.P., 1916. English or basset horn, flute, violins, piano, and drum. Voice and piano, S, 21, 1920.

Allegretto sombreoso, Incantation, before 1910. Trumpet, flute, three Violins, and piano. Voice and piano, S, 18, 1921.

Andante cantabile, The Last Reader, 1911. English horn or clarinet, strings, and two flutes. Voice and piano, S, 3*, 1921.

Andante con spirito, The Rainbow, 1914. Flute, basset or English horn, strings, and piano. Voice and piano, S, 8, 1921, The Rainbow or So May It Be!

Ann Street, 1921. Trumpet, flute, trombone, or baritone born or baritone saxophone, and piano. See also Appendix D, PIANO MUSIC, Piano Trios, Set for trumpet, saxophone, and piano. Voice and piano, S, 25, 1921.

Autumn Landscape from Pine Mountain, 1904. Strings, woodwind, and cornet.

79 80

APPENDIX G

Fugue in Four Keys, or Song for Harvest Season (C, F, B-flat, E-flat), 1893. Tuba, trombone, cornet, and voice. Voice and piano, 1894, in 34 Songs.

Gyp the Blood, 1887, see Songs Without Voices, below.

Largo molto, Like a sick eagle, N.P., 1909. English or basset horn, voice or unison voices ad lib., strings, and piano. Voice and piano, S, 26*, 1920.

On the Antipodes, 1915-1923. Two pianos, organ, and string orchestra. Voice and piano, 1915-1923, in 18(19) Songs. The score indicates voice with an accompaniment for one piano, four hands, and organ pedal at the end.

Scherzo, The See'r, N.P., before 1930. Clarinet, trumpet, alto horn, piano, and drum.

Songs Without Voices, before 1913. A set for trumpet, or cornet or voices, which included The New River, The Indians, and Gyp the Blood or Hearst. All of these are also scored for trumpet (con voce ad lib.), flute, two violins, and piano, or for small orchestra, trumpets or English horn solos. The New River, S, 6* and The Indians, S, 14* are also for voice and piano, 1921. BIBLIOGRAPHY BIBLIOGRAPHY

Books

Cowell, Henry and Sidney. Charles Ives and HislMusic. New York: Oxford University Press, 1955. 245p.

Hitchcock, H. Wiley. Music in the United States: A Histories; Introduction. 2nd ed. New Jersey: Prentice-Hall, 1974. pp. 149-172.

Ives, Charles E. Essays Before A Sonata and Other Writings. Edited by Howard Boatwright. New York: W. W. Norton, 1961. 258p.

. Memos. Edited by John Kirkpatrick. New York: W. W. Norton, 1972. 355p.

Perlis, Vivian. Charles Ives Remembered. New Haven and London: Yale University Press, 1974. 237p.

Perry, Rosalie Sandra. Charles Ives and the Amegican Mind. The Kent State University Press, 1974. 137p.

Wooldridge, David. From the Steeples and Mountains. New York: Alford A. Knopf, 1974. 342p.

Articles

Boatwright, Howard. "The Songs." Music Educators Journal, October 1974, pp. 42-47.

Buechner, Alan. "Ives in the Classroom," Music Educators Journal, October 1974, pp. 67-70.

Burk, James M. "Ives Innovations in Piano Music." Clavier, October 1974, pp. 14-16.

Echols, Paul C. "The Music for Orchestra." Music Educators

Journal, October 1974, pp. 29-41.

Gratovich, Eugene. "The Violin Sonatas." Music Educators Journal, October 1974, pp. 58-61.

81 82

Henderson, Clayton W. "Ives' Use of Quotation." Music Educators Journal, October 1974, pp. 24-28.

Kumlien, Wendell C. "The Music for Chorus." Music Educators Journal, October 1974, pp. 48-52.

McCrae, Elizabeth. "The Piano Music." Music Educators Journal, October 1974, pp. 53-57.

Marshall, Dennis. "Charles Ives' Quotation: Manner or Substance?" Perspectives of New Music, Spring--Summer 1968, PP. 45-56.

Schonberg, Harold C. "Natural American, natural rebel, natural avant gardist." New York Times Magazine, April 1974, pp. 12, 71-83.

Stover, Harold. "Charles Ives and Us." The Diapason, October 1974, p. 2.