Charles Ives
Charles Ives | |
---|---|
Born | Danbury, Connecticut, US | October 20, 1874
Died | May 19, 1954 New York City, US | (aged 79)
Occupation(s) | Actuary, businessman, composer |
Spouse |
Harmony Twichell (m. 1908) |
Charles Edward Ives (/aɪvz/; October 20, 1874 – May 19, 1954) was an American actuary, businessman, and modernist composer.[1] Ives was amongst the earliest American internationally renowned composers to achieve recognition on a global scale.[2] His music was largely ignored during his early career, and many of his works went unperformed for many years. Later in life, the quality of his music was publicly recognized through the efforts of contemporaries like Henry Cowell and Lou Harrison, and he came to be regarded as an "American original".[3][4][5] He was also among the first composers to engage in a systematic program of experimental music, with musical techniques including polytonality, polyrhythm, tone clusters, aleatory elements, and quarter tones.[6] His experimentation foreshadowed many musical innovations that were later more widely adopted during the 20th century. Hence, he is often regarded as the leading American composer of art music of the 20th century.[7]
Sources of Ives's tonal imagery included
Biography
Ives was born in Danbury, Connecticut, on October 20, 1874,[8] the son of George (Edward) Ives (August 3, 1845 – November 4, 1894),[9] a US Army bandleader in the American Civil War, and his wife, Mary Elizabeth Ives (née Parmelee, January 2, 1849 or 1850 – January 25, 1929).[10] The Iveses were one of Danbury’s leading families, and they were prominent in business and civic improvement. They were similarly active in progressive social movements of the nineteenth century, including the abolition of slavery.[7]
George Ives directed bands, choirs, and orchestras, and taught
Ives moved to New Haven, Connecticut in 1893, enrolling in the Hopkins School, where he captained the baseball team. In September 1894, Ives entered Yale University, studying under Horatio Parker. Here he composed in a choral style similar to his mentor, writing church music and even an 1896 campaign song for William McKinley.[16] On November 4, 1894, his father died, a crushing blow to him, but to a large degree, he continued the musical experimentation he had begun with him. His brother Moss later became a lawyer.
At Yale, Ives was a prominent figure; he was a member of HeBoule, Delta Kappa Epsilon (Phi chapter) and Wolf's Head Society, and sat as chairman of the Ivy Committee.[16] He enjoyed sports at Yale and played on the varsity American football team. Michael C. Murphy, his coach, once remarked that it was a "crying shame" that he spent so much time at music as otherwise he could have been a champion sprinter.[17] His works Calcium Light Night and Yale-Princeton Football Game show the influence of college and sports on Ives's composition. He wrote his Symphony No. 1 as his senior thesis under Parker's supervision.[16] Ives continued his work as a church organist until May 1902.
Soon after he graduated from Yale in 1898,
In 1907, Ives suffered the first of several "heart attacks" (as he and his family called them) that he had throughout his life. These attacks may have been psychological in origin rather than physical. Stuart Feder questions the legitimacy of these heart attacks, as he couldn't find any medical confirmation of them in previous reports. According to Feder, "For the only reliable information tells us that he suffered from palpitations, not pain, the cardinal symptom of heart attack."[22] Following his recovery from the 1907 attack, Ives entered into one of the most creative periods of his life as a composer.
In 1908, he married Harmony Twichell, daughter of Congregational minister Joseph Twichell and his wife Julia Harmony Cushman.[20] The young couple moved into their own apartment in New York.
Ives had a successful career in insurance. He also continued to be a prolific composer until he suffered another of several heart attacks in 1918, after which he composed very little. He wrote his last piece, the song "Sunrise", in August 1926.[20] In 1922, Ives published his 114 Songs, which represents the breadth of his work as a composer—it includes art songs, songs he wrote as a teenager and young man, and highly dissonant songs such as "The Majority".[20]
According to his wife, one day in early 1927, Ives came downstairs with tears in his eyes. He could compose no more, he said; "nothing sounds right".[23] There have been numerous theories advanced to explain the silence of his late years. It seems as mysterious as the last several decades of the life of Jean Sibelius, who stopped composing at almost the same time. While Ives had stopped composing, and was increasingly plagued by health problems, he continued to revise and refine his earlier work, as well as oversee premieres of his music.[20]
After continuing health problems, including diabetes, in 1930 he retired from his insurance business. Although he had more time to devote to music, he was unable to write any new music. During the 1940s, he revised his Concord Sonata, publishing it in 1947 (an earlier version of the sonata and the accompanying prose volume, Essays Before a Sonata[24] were privately printed in 1920).[25] Ives died of a stroke in 1954 in New York City. His widow, who died in 1969 at age 92, bequeathed the royalties from his music to the American Academy of Arts and Letters for the Charles Ives Prize.[26]
Musical career
Ives's career and dedication to music began when he started playing drums in his father's band at a young age. Ives published a large collection of songs, many of which had piano parts. He composed two
He composed four numbered symphonies as well as a number of works with the word 'Symphony' in their titles, as well as The Unanswered Question (1908), written for the unusual combination of trumpet, four flutes, and string quartet. The Unanswered Question was influenced by the New England writers Ralph Waldo Emerson and Henry David Thoreau.
Around 1910, Ives began composing his most accomplished works, including the
Another notable piece of orchestral music Ives completed was his Symphony No. 4, which he worked on this from 1910 to 1916, with further revisions in the 1920s. This four-movement symphony is notable for its complexity and vast orchestra. A complete performance of the work was not given until 1965, half a century after it was completed and over a decade after Ives's death.
Ives left behind material for an unfinished
Reception
Ives's music was largely ignored during his life, particularly during the years in which he actively composed. Many of his published works went unperformed even many years after his death in 1954. However, his reputation in more recent years has greatly increased. The Juilliard School commemorated the fiftieth anniversary of his death by performing his music over six days in 2004. His musical experiments, including his increasing use of dissonance, were not well received by his contemporaries. The difficulties in performing the rhythmic complexities in his major orchestral works made them daunting challenges even decades after they were composed.
Early supporters of Ives's music included Henry Cowell, Elliott Carter, and Aaron Copland. Cowell's periodical New Music published a substantial number of Ives's scores (with his approval). But for nearly 40 years, Ives had few performances of his music that he did not personally arrange or financially back. He generally used Nicolas Slonimsky as the conductor.[25] After seeing a copy of Ives's self-published 114 Songs during the 1930s, Copland published a newspaper article praising the collection.
Ives began to acquire some public recognition during the 1930s, with performances of a chamber orchestra version of his Three Places in New England, both in the US and on tour in Europe by conductor Nicolas Slonimsky. The Town Hall (New York City) premiered his Concord Sonata in 1939, featuring pianist John Kirkpatrick. This received favorable commentary in the major New York newspapers. Later, around the time of Ives's death in 1954, Kirkpatrick teamed with soprano Helen Boatwright for the first extended recorded recital of Ives's songs for the obscure Overtone label (Overtone Records catalog number 7). They recorded a new selection of songs for the Ives Centennial Collection that Columbia Records published in 1974.
In the 1940s, Ives met Lou Harrison, a fan of his music who began to edit and promote it. Most notably, Harrison conducted the premiere of the Symphony No. 3, The Camp Meeting (1904) in 1946.[28] The next year, it won Ives the Pulitzer Prize for Music. He gave the prize money away (half of it to Harrison), saying "prizes are for boys, and I'm all grown up".[29]
Ives was a generous financial supporter of twentieth-century music, often financing works that were written by other composers. This he did in secret, telling his beneficiaries that his wife wanted him to do so.[30] Nicolas Slonimsky said in 1971, "He financed my entire career".[31]
At this time, Ives was also promoted by
Ives's piano recordings were later issued in 1974 by Columbia Records on a special LP set for his centenary. New World Records issued 42 tracks of his recordings on CD on April 1, 2006, as Ives Plays Ives.
In Canada in the 1950s, the expatriate English pianist Lloyd Powell played a series of concerts including all of Ives's piano works, at the University of British Columbia.[32]
Recognition of Ives's music steadily increased. He received praise from Arnold Schoenberg, who regarded him as a monument to artistic integrity, and from the New York School of William Schuman. Shortly after Schoenberg's death (three years before Ives died), his widow found a note written by her husband. The note had originally been written in 1944 when Schoenberg was living in Los Angeles and teaching at UCLA. It said: "There is a great Man living in this Country – a composer. He has solved the problem how to preserve one's self-esteem and to learn [sic]. He responds to negligence by contempt. He is not forced to accept praise or blame. His name is Ives."[33]
Ives reportedly also won the admiration of Gustav Mahler, who said that he was a true musical revolutionary. Mahler was said to have talked of premiering Ives's third symphony with the New York Philharmonic, but he died in 1911 before conducting this premiere. The source of this account was Ives; since Mahler died, there was no way to verify whether he had seen the score of the symphony or decided to perform it in the 1911–12 season.[34] Ives regularly attended New York Philharmonic concerts and probably heard Mahler conduct the Philharmonic at Carnegie Hall.
In 1951, Leonard Bernstein conducted the world premiere of Ives's Symphony No. 2 in a broadcast concert by the New York Philharmonic. The Iveses heard the performance on their cook's radio and were amazed at the audience's warm reception to the music. Bernstein continued to conduct Ives's music and made a number of recordings with the Philharmonic for Columbia Records. He honored Ives on one of his televised youth concerts and in a special disc included with the reissue of the 1960 recording of the second symphony and the "Fourth of July" movement from Ives's Holiday Symphony.
Another pioneering Ives recording, undertaken during the 1950s, was the first complete set of the four violin sonatas, performed by Minneapolis Symphony concertmaster Rafael Druian and John Simms. Leopold Stokowski took on Symphony No. 4 in 1965, regarding the work as "the heart of the Ives problem". The Carnegie Hall world premiere by the American Symphony Orchestra led to the first recording of the music. Another promoter of his was choral conductor Gregg Smith, who made a series of recordings of his shorter works during the 1960s. These included the first stereo recordings of the psalm settings and arrangements of many short pieces for theater orchestra. The Juilliard String Quartet recorded the two string quartets during the 1960s.
In the early 21st century, conductor
The Scottish baritone
American singer and composer Frank Zappa included Charles Ives in a list of influences that he presented in the liner notes of his debut album Freak Out! (1966). Ives continues to influence contemporary composers, arrangers and musicians. Planet Arts Records released Mists: Charles Ives for Jazz Orchestra. Ives befriended and encouraged a young Elliott Carter. In addition, Phil Lesh, bassist of the Grateful Dead, has described Ives as one of his two musical heroes.[36] Jazz musician Albert Ayler also named Charles Ives as an influence in a 1970 interview with Swing Journal.
American microtonal musician and composer Johnny Reinhard reconstructed and performed Universe symphony in 1996.[37][38]
The Unanswered Ives is an hour-long film documentary directed by Anne-Kathrin Peitz and produced by Accentus Music (Leipzig, Germany). This was released in 2018 and shown on Swedish and German television stations; it features interviews with Jan Swafford, John Adams, James Sinclair and Jack Cooper.[39]
In 1965, Ives won a
Igor Stravinsky praised Ives. In 1966 he said: "[Ives] was exploring the 1960's during the heyday of Strauss and Debussy. Polytonality; atonality; tone clusters; perspectivistic effects; chance; statistical composition; permutation; add-a-part, practical-joke, and improvisatory music: these were Ives’s discoveries a half-century ago as he quietly set about devouring the contemporary cake before the rest of us even found a seat at the same table."[41]
John Cage expressed his admiration for Ives in "Two Statements on Ives", writing "I think that Ives's relevance increases as time goes on"[42] and stating that "his contribution to American music was in every sense 'not only spiritual, by also concretely musical.' Nowadays everything I hear by Ives delights me."[43] Cage recalled that during the 1930s, he was "not interested in Ives because of the inclusion in his music of aspects of American folk and popular material".[44] but that once he began to focus on indeterminacy, he "was able to approach Ives in an entirely different... spirit."[44] Cage noted that Ives "knew that if sound sources came from different points in space that that fact was in itself interesting. Nobody before him had thought about this..."[44] and stated that "the freedom that he gave to a performer saying Do this or do that according to your choice is directly in line with present indeterminate music."[45] Cage also expressed his interest in what he called the "mud of Ives",[46] by which he meant "the part that is not referential..."[46] from which arises a "complex superimposition [of] lines that makes a web in which we cannot clearly perceive anything..."[46] leading to "the possibility of not knowing what's happening..."[46] Cage wrote that "more and more... I think this experience of non-knowledge is more useful and more important to us than the Renaissance notion of knowing A B C D E F..."[46] Cage also praised Ives's "understanding... of inactivity and of silence..."[46] and recalled having read an essay in which:
[Ives] sees someone sitting on a porch in a rocking chair smoking a pipe looking out over the landscape which goes into the distance and imagines that as that person who is anyone is sitting there doing nothing that he is hearing his own symphony. This I think is for all intents and purposes the goal of music. I doubt whether we can find a higher goal namely that art and our involvement in it will somehow introduce us to the very life that we are living and that we will be able without scores without performers and so forth simply to sit still to listen to the sounds which surround us and hear them as music."[46] (Cage refers to the essay as the one "which [Ives] wrote that follows his One Hundred and Thirteen Songs", probably referring to the "Postface to 114 Songs".[47])
Conductor Gustavo Dudamel and the Los Angeles Philharmonic won a Grammy Award for Best Orchestral Performance for Ives's Complete Symphonies (Deutsche Grammophon, recorded in 2020).[48]
There is evidence that Ives backdated his scores to sound more modern than he really was. This was first proposed by Maynard Solomon, an advocate of Ives' music.[49] This has, in turn generated some controversy and puzzlement.[50][51]
Compositions
Note: Because Ives often made several different versions of the same piece, and because his work was generally ignored during his life, it is often difficult to put exact dates on his compositions. The dates given here are sometimes best guesses. There have also been controversial speculations that he purposefully misdated his own pieces earlier or later than actually written.
- Variations on "America" for organ (1892)
- The Circus Band (a march describing the Circus coming to town)
- Psalm settings (14, 42, 54, 67, 90, 135, 150) (1890s)[52]
- String Quartet No. 1, From the Salvation Army (1897–1900)
- Symphony No. 1 in D minor (1898–1901)
- Symphony No. 2 (Ives gave dates of 1899–1902; analysis of handwriting and manuscript paper suggests 1907–1909)[13]
- Symphony No. 3, The Camp Meeting (1908–10)
- Central Park in the Dark for chamber orchestra (1906, 1909)
- The Unanswered Question for chamber group (1908; rev. 1934)
- Piano Sonata No. 1 (1909–16)
- Emerson Concerto (1913–19)
- The Gong on the Hook & Ladder (Firemen's Parade on Main Street) for orchestra, Kv 28
- Tone Roads for orchestra No. 1, 'All Roads Lead To the Center' KkV38
- A set of 3 Short Pieces, A, Kk W15, No 1 'Largo Cantabile – Hymn' for string quartet & double-bass
- Hallowe'en for string quartet, piano, & bass drum, Kw11
- Piano Trio (c. 1909–10, rev. c. 1914–15)
- Violin Sonata No. 1 (1910–14; rev. c. 1924)
- Violin Sonata No. 4, Children's Day at the Camp Meeting (1911–16)
- A Symphony: New England Holidays (1904–13)
- "Robert Browning" Overture (1911–14)
- Symphony No. 4 (1912–18; rev. 1924–26)
- String Quartet No. 2 (1913–15)
- Pieces for chamber ensemble grouped as "Sets", some called Cartoons or Take-Offs or Songs Without Voices (1906–18); includes Calcium Light Night
- Three Places in New England (Orchestral Set No. 1) (1910–14; rev. 1929)
- Violin Sonata No. 2 (1914–17)
- Violin Sonata No. 3 (1914–17)
- Orchestral Set No. 2 (1915–19)
- Piano Sonata No. 2, Concord, Mass., 1840–60 (1916–19) (revised many times by Ives)
- Universe Symphony (incomplete, 1915–28, worked on symphony until his death in 1954)
- 114 Songs (composed various years 1887–1921, published 1922.)
- Three Quarter Tone Piano Pieces (1923–24)
- Orchestral Set No. 3 (incomplete, 1919–26, notes added after 1934)
Politics
Ives proposed in 1920 that there be a 20th Amendment to the U.S. Constitution which would authorize citizens to submit legislative proposals to Congress. Members of Congress would then cull the proposals, selecting 10 each year as referendums for popular vote by the nation's electorate. He even had printed at his own expense several thousand copies of a pamphlet on behalf of his proposed amendment. The pamphlet proclaimed the need to curtail "THE EFFECTS OF TOO MUCH POLITICS IN OUR representative DEMOCRACY". He planned to distribute the pamphlets at the 1920 Republican National Convention, but they arrived from the printer after the convention had ended.[53]
It is stated in the biographical film A Good Dissonance Like a Man that the first of Ives's crippling heart attacks occurred as a result of a World War I era argument with a young Franklin D. Roosevelt over his idea of issuing of war bonds in amounts as low as $50 each. Roosevelt was chairman of a war bonds committee on which Ives served, and he "scorned the idea of anything so useless as a $50 bond". Roosevelt changed his mind about small contributions as seen many years later when he endorsed the March of Dimes to combat poliomyelitis.[54]
In popular culture
Charles Ives and his wife Harmony (née Twichell) Ives were the subjects of the opera Harmony (2021) by Robert Carl and Russell Banks, which was premiered by the Seagle Festival in August 2021.[55] Charles Ives was played by baritone Joel Clemens and Harmony Twitchell was played by soprano Victoria Erickson.[56]
See also
References
Citations
- ^ Botstein 2001.
- ^ Hitchcock & Perlis 1977, pp. 45–63.[full citation needed]
- ^ Downes, Olin (May 30, 1950). "American Original". The New York Times.
- ^ Taruskin, Richard (May 16, 2004). "Underneath the Dissonance Beat a Brahmsian Heart". The New York Times. Archived from the original on November 17, 2015. Retrieved November 14, 2015.
- ^ Hall 1964, p. 42.
- ^ Burkholder 1995, p. 4.
- ^ ISBN 978-1-56159-263-0.
- ^ "Charles Ives". Music Sales Classical. Archived from the original on July 19, 2013. Retrieved July 17, 2015.
- ^ "George Edward Ives (1845–1894)". Geni.com. June 5, 2009. Archived from the original on June 24, 2018. Retrieved June 24, 2018.
- ^ "Mary Elizabeth Parmelee". Geni.com. Archived from the original on June 24, 2018. Retrieved June 24, 2018.
- ^ ISBN 0-674-01163-5.
- ^ Magee, Gayle Sherwood (2002). Charles Ives: A Research and Information Guide. Routledge. pp. xv–xviii.
- ^ a b Burkholder, Sinclair & Sherwood 2001.[full citation needed]
- ^ Cowell & Cowell 1955, p. 27.
- ^ Burkholder, Sinclair & Sherwood 2001, "Youth, 1874–94".
- ^ a b c d Burkholder, Sinclair & Sherwood 2001, "Apprenticeship, 1894–1902".
- ^ Moor 1996, p. 411.
- ^ Symphony no. 1. 1898. Archived from the original on December 30, 2019. Retrieved August 5, 2017.
- ^ Gill 2013, p. 24.
- ^ a b c d e Burkholder, Sinclair & Sherwood 2001, "Maturity, 1908–18".
- ^ Karolyi 1996, p. 10.
- ^ Feder, Stuart (1999). The life of Charles Ives. Cambridge University Press.
- ^ Burkholder, Sinclair & Sherwood 2001, "Last works, 1918–1927".
- ^ Ives, Charles (1947). Essays Before a Sonata. Archived from the original on August 15, 2018. Retrieved November 30, 2018.
- ^ a b Burkholder, Sinclair & Sherwood 2001, "Revisions and premières, 1927–54".
- ^ "Awards List". American Academy of Arts and Letters. Archived from the original on December 19, 2015.
- ^ James B. Sinclair (1999). A Descriptive Catalogue of the Music of Charles Ives. Yale University Press.
- ^ Miller & Hanson 2001.
- ^ Lewis 2005, p. 642.
- ^ Slonimsky 1971.[time needed]
- ^ Slonimsky 1971, part 2, after 28:50.
- ^ "Lloyd Powell". The Canadian Encyclopedia. Historica Canada. Archived from the original on February 5, 2016. Retrieved January 4, 2016.
- ^ Ross 2007, p. 143.
- ^ Ross, Alex (February 20, 1996). "Ives and Mahler, Through the Same Lens". The New York Times. Archived from the original on May 18, 2013.
- ^ State of Connecticut, Sites º Seals º Symbols Archived March 14, 2008, at the Wayback Machine; Connecticut State Register & Manual; retrieved on January 4, 2007
- ^ Matt O'Donnell (November 7, 2009). Phil Lesh Interview. Archived from the original on December 25, 2019. Retrieved September 27, 2017.
- ISBN 978-0-415-93764-1
- ISBN 9780520942790
- ^ "The Unanswered Ives, Accentus Music". Archived from the original on October 12, 2018. Retrieved October 12, 2018.
- ^ "Charles Ives". GRAMMY.com. November 19, 2019.
- ^ "Music and the Statistical Age". September 1, 1966.
- ^ Cage 1967, p. 38.
- ^ Cage 1967, p. 40.
- ^ a b c Cage 1967, p. 41.
- ^ Cage 1967, p. 41–42.
- ^ a b c d e f g Cage 1967, p. 42.
- ^ Ives, Charles (1970). "Postface to 114 Songs". In Boatwright, Howard (ed.). Essays Before A Sonata, The Majority, and Other Writings. W. W. Norton. pp. 128–129.
[T]he day will come when every man while digging his potatoes will breathe his own epics, his own symphonies (operas, if he likes it); and as he sits of an evening in his backyard and shirt sleeves smoking his pipe and watching his brave children in their fun of building their themes for their sonatas of their life, he will look up over the mountains and see his visions in their reality, will hear the transcendental strains of the day's symphony resounding in their many choirs, and in all their perfection, through the west wind and the tree tops!
- ^ Kelly, Sharon (March 15, 2021). "Classical News – Gustavo Dudamel Wins Grammy Award for Best Orchestral Performance". udiscovermusic.com. Retrieved March 21, 2021.
- JSTOR 831676.
- ^ Alex Ross (May 30, 2004). "Pandemonium – A celebration of Charles Ives". The New Yorker.
- ^ Henahan, Donal (February 21, 1988). "Music View; Did Ives Fiddle with the Truth?". The New York Times.
- ^ Sinclair 1999, pp. 264–276.
- ^ Broyles 1996, p. 154.
- ^ Timreck 1977.[time needed]
- ^ "2021 Season". Seagle Festival. Retrieved March 14, 2024.
- ^ Considine, Basil. "REVIEW: Harmony Plunges Into The Ives Of Summer (Seagle Festival/Schroon Lake, NY)". Twin Cities Arts Reader. Retrieved March 14, 2024.
Sources
- Grove Music Online.
- Broyles, Michael. "Charles Ives and the American Democratic Tradition". In Burkholder (1996).
- ISBN 978-0-300-05642-6.
- Burkholder, J. Peter, ed. (1996). Charles Ives and His World. The Bard Music Festival. Princeton, New Jersey: Princeton University Press. ISBN 978-0-691-01164-6.
- Burkholder, J. Peter; Grove Music Online.
- Cage, John (1967). A Year From Monday. Wesleyan University Press.
- OCLC 56865028.
- Gill, Ardian (July–August 2013). "Free Agent: Charles Ives' Dual Careers". Contingencies. 25 (4). ISSN 1048-9851. Archived from the originalon June 4, 2020. Retrieved February 4, 2016.
- Hall, David (September 1964). "Charles Ives: an American Original". OCLC 17931951.
- Hitchcock, H. Wiley; ISBN 978-0-252-00619-7.
- ISBN 978-0-8386-3725-8.
- Lewis, Uncle Dave (2005). "Charles Ives". In Woodstra, Chris; Brennan, Gerald; Schrott, Allen (eds.). All Music Guide to Classical Music: The Definitive Guide to Classical Music. Hal Leonard Corporation. ISBN 978-0-87930-865-0.
- Miller, Leta E.; Hanson, Charles (2001). "Harrison, Lou (1917–2003), composer". In Macy, L. (ed.). Grove Music Online.
- Moor, Paul. "On Horseback to Heaven: Charles Ives". In Burkholder (1996). Originally published 1948.
- Peitz, Anne-Kathrin, The Unanswered Ives, DVD documentary Accentus Music/Arte/WDR, 2018
- ISBN 978-0-374-24939-7.
- ISBN 978-0-300-07601-1.
- Slonimsky, Nicolas (December 28, 1971). Nicolas Slonimsky Eats Dinner (mp3). Other Minds – via archive.org.
- Timreck, Theodor W. (producer-director) (1977). A Good Dissonance Like a Man (Vimeo). New York Foundation for the Arts. Reviewed by Weiler, A. H. (April 22, 1977). "A Good Dissonance Like a Man". The New York Times. Archived from the original on February 4, 2016.
Further reading
- Block, Geoffrey (1988). Charles Ives: a bio-bibliography. New York: Greenwood Press. ISBN 978-0-313-25404-8.
- Budiansky, Stephen (2014). Mad Music: Charles Ives, the Nostalgic Rebel. Lebanon, New Hampshire: University Press of New England. ISBN 978-1-61168-399-8.
- Cooper, Jack (1999). Three sketches for jazz orchestra inspired by Charles Ives songs (Thesis). University of Texas at Austin: UMI Publishing. OCLC 44537553.
- ISBN 978-3-515-09033-9.
- Hitchcock, H. Wiley, ed. (2004). Charles Ives: 129 Songs. Music of the United States of America (MUSA). Vol. 12. Madison, Wisconsin: A-R Editions. ISBN 9780895795243.
- Johnson, Timothy (2004). Baseball and the Music of Charles Ives: A Proving Ground. Maryland: The Scarecrow Press. ISBN 978-0-8108-4999-0.
- Kirkpatrick, John (1973). Charles E. Ives: Memos. London: Calder & Boyars. ISBN 978-0-7145-0953-2.
- ISBN 978-0-306-80576-9.
- Sive, Helen R. (1977). Music's Connecticut Yankee: An Introduction to the Life and Music of Charles Ives. New York: Atheneum. ISBN 978-0-689-30561-0.
- ISBN 978-0-393-03893-4.
- Woolridge, David (1974). From the Steeples and Mountains: A Study of Charles Ives. New York: Alfred A. Knopf. ISBN 978-0-394-48110-4.
External links
- Charles Ives's page at Theodore Presser Company
- Free scores by Charles Ives at the International Music Score Library Project (IMSLP)
- The Unanswered Ives: American Pioneer of Music (2018) at IMDb
- Works by Charles Ives at Project Gutenberg
- Works by Charles Ives at LibriVox (public domain audiobooks)
- Works by or about Charles Ives at Internet Archive
- Works by Charles Ives at Open Library
- The Charles Ives Society
- Songs of Charles Ives at Music of the United States of America (MUSA)
- Leicestershire Schools Symphony Orchestra Tippett rehearses Putnam's Camp (short video from 1969).
- The Charles Ives Center for the Arts. Inc
- Art of the States: Charles Ives Three Quarter-Tone Pieces for Two Pianos (1924)
- Charles Ives, Pytheas Center for Contemporary Music
- Concord Sonata Archived February 19, 2012, at the Wayback Machine at La Folia
- Charles Ives Papers, Yale University Music Library
- Charles Ives Rare and Non-Commercial Sound Recordings collection, Yale University Music Library
- Charles Ives oral histories of American Music, Oral History of American Music