Ives, Charles (Edward)

J. Peter Burkholder, James B. Sinclair and Gayle Sherwood Magee

https://doi.org/10.1093/gmo/9781561592630.article.A2252967
Published in print: 26 November 2013
Published online: 16 October 2013
This version: 30 July 2020

Updated in this version

media added

Charles Ives.

Lebrecht Music and Arts

(b Danbury, CT, Oct 20, 1874; d New York, NY, May 19, 1954). American composer. His music is marked
by an integration of American and European musical traditions, innovations in rhythm, harmony, and
form, and an unparalleled ability to evoke the sounds and feelings of American life. He is regarded as
the leading American composer of art music of the early 20th century.

Page 1 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an
individual user may print out a single article for personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

1. Unusual aspects of Ives’s career.

Ives had an extraordinary working life. After professional training as an organist and composer, he
worked in insurance for 30 years, composing in his free time. He used a wide variety of styles, from
tonal Romanticism to radical experimentation, even in pieces written during the same period, and in
his mature music frequently used multiple styles within a single work as a formal and expressive
device. His major works often took years from first sketch to final revisions, and most pieces lay
unperformed for decades. His self-publications in the early 1920s brought a small group of admirers
who worked to promote his music. Around 1927 he ceased to compose new works, focusing instead on
revising and preparing for performance the works he had already drafted. By his death he had
received many performances and honors, and much of his music had been published. His reputation
continued to grow posthumously, and by his centenary in 1974 he was recognized worldwide as the
first composer to create a distinctively American art music. Since then his music has been frequently
performed and recorded and his reputation has broadened further, resting less on his innovations or
nationality and more on the intrinsic merits of his music.

The unique circumstances of Ives’s career have bred misunderstandings. His work in insurance,
combined with the diversity of his output and the small number of performances during his composing
years, led to an image of Ives as an amateur. Yet he had a 14-year career as a professional organist and
thorough formal training in composition. Since he developed as a composer out of the public eye, his
mature works seemed radical and unconnected to the past when they were first published and
performed. However, as his earlier music has become known, his deep roots in 19th-century European
Romanticism and his gradual development of a highly personal modern idiom have become clear. The
first of Ives’s major works to appear in performance and publication, such as Orchestral Set no.1:
Three Places in New England, the Concord Sonata, and movements of the Symphony no.4 and A
Symphony: New England Holidays, were highly complex, incorporated diverse musical styles, and
made frequent use of musical borrowing. These characteristics led some to conclude that Ives’s music
could be understood only through the programmatic explanations he offered and was not organized on
specifically musical principles. Yet by analyzing his techniques in depth and tracing their evolution
through his earlier works, scholars have demonstrated the craft that underlies even seemingly chaotic
scores and have shown the close relationship of his procedures to those of his European predecessors
and contemporaries.

One result of Ives’s unusual path is that the chronology of his music is difficult to establish beyond
general outlines. His practice of composing and reworking pieces over many years often makes it
impossible to assign a piece a single date. That he worked on many compositions and in many idioms
simultaneously makes the chronological relationships between works still more complex. There is often
no independent verification of the dates Ives assigned to his works, which can be years or decades
before the first performance or publication. It has been suggested that he dated many pieces too early
and concealed significant revisions in order to claim priority over European composers who used
similar techniques (Solomon, C1987) or to hide from his business associates how much time he was
spending on music in the 1920s (Swafford, C1996). Recent scholarship, however, has established
firmer dates for the types of music paper Ives used and refined estimated dates for various forms of his
handwriting, allowing most manuscripts to be placed within a brief span of years (Sherwood, C1994
and E1995, building on Kirkpatrick, A1960, and Baron, C1990). These methods have often come to
support Ives’s dates, confirming that he did indeed develop numerous innovative techniques before his

Page 2 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an
individual user may print out a single article for personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

European counterparts, including polytonality, tone-clusters, chords based on 4ths or 5ths, atonality,
and polyrhythm. Where a discrepancy exists—in the case of several longer works for example—this
may well result from his practice of dating pieces by their initial conception, the first ideas worked out
at the keyboard or in sketches now lost. The dates provided here are, then, estimates based on the
manuscripts when extant, supplemented by contemporary documents and Ives’s testimony.

2. Youth, 1874–94.

The Iveses were one of Danbury’s leading families, and they were prominent in business and civic
improvement and active in social causes, such as the abolition of slavery. Ives’s father George E. Ives
(1845–94) was an exception in making music a career. He took lessons on the flute, violin, piano, and
cornet, following which, during 1860–62, he studied harmony, counterpoint, and orchestration with the
German-born musician Carl Foeppl in New York. After Civil War service as the youngest bandmaster in
the Union Army and two more years in New York, he returned to Danbury and pursued a variety of
musical activities, performing, teaching, and leading bands, orchestras, and choirs in and near
Danbury, and sometimes touring with traveling minstrel shows. He also worked in businesses
connected to the Ives family. He married Mary (“Mollie”) Elizabeth Parmalee (1850–1929) on 1 January
1874, and Charles was born on 20 October the same year, followed by J. Moss (1876–1939), who
became a lawyer and judge in Danbury.

As a youth Ives was exposed to the entire range of music-making in Danbury, from the band music and
gospel hymns he associated with his father to the cultivated repertoire fostered by the local school of
music. He studied the piano and organ from a young age with a series of teachers and was playing in
recitals by his early teens. He became an accomplished performer in three musical traditions:
American vernacular music, Protestant church music, and European classical music. Additionally, he
was an avid athlete and was captain of several baseball and football teams.

Ives played the drums with his father’s band, and the spirit of band performance echoes in many works
of his maturity. He wrote marches for piano, band, and theater orchestra, several of which adopt the by
then longstanding practice of setting a popular song in one section of the march. His first publicly
performed piece may have been the march Holiday Quickstep, written when he was 13; despite the
work’s somewhat old-fashioned style, the review in the Danbury Evening News of the January 1888
premiere called him “certainly a musical genius” and declared “we shall expect more from this
talented youngster in the future.”

At the age of 14 he became the youngest salaried church organist in the state, and he worked regularly
as one until 1902. He wrote anthems and sacred songs for church services, at first using hymn texts
and a hymn-like style, as in Psalm 42. The hymns he knew from church, and the gospel hymns he knew
from camp-meeting revivals where his father sometimes led the singing with his cornet, he later
regularly borrowed or reworked as themes in sonatas, quartets, and symphonies. He heard some
classical music in concert performances in Danbury, New York, and Chicago (at the 1893 World’s Fair)
and learned rather more through his own study and performance of works by Bach, Handel,
Beethoven, Rossini, Schubert, Mendelssohn, Wagner, John Knowles Paine, and others on the piano or
organ, including many transcriptions. His virtuoso Variations on “America” (1891–2) shows just how
skilled an organist Ives was while still in his late teens. Many of the distinctive features of Ives’s
mature music stem from his experience as an organist, including his penchant for improvisation,

Page 3 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an
individual user may print out a single article for personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

virtuosic demands on performers, orchestration with layering or juxtaposition of contrasting timbres
(akin to contrasting ranks of pipes on the organ’s different keyboards), spatial effects (based on
alternating Great and Swell keyboards), and frequent use of pedal points, fugal textures, and hymn
tune elaborations, all characteristics of the organ repertoire (Burkholder, D2002).

Although he had many teachers for performance, his father taught him harmony and counterpoint and
guided his first compositions. Several of these take existing works as models, following the traditional
practice of learning through imitation, such as the Polonaise for two cornets and piano (c1887–9),
modeled on the sextet from Donizetti’s Lucia di Lammermoor. At the same time, Ives’s father had an
open mind about musical theory and practice and encouraged his son’s experimentation. Bitonal
harmonizations of London Bridge, polytonal canons and fugues, and experiments with whole-tone
pieces, triads in parallel motion, and chromatic lines moving in contrary motion to create expanding or
contracting wedges, all dating from the early 1890s, show Ives’s interest in testing the rules of
traditional music by trying out alternative systems, as if the rules of music theory were as arbitrary as
those of baseball (whose rules changed several times during his youth). Many of Ives’s experiments
derive from extending European classical precedents: for example, the fugue in four keys (C, F, B♭, E♭)
that opens his Song for Harvest Season was modeled on a fugal modulating sequence in the same keys
in Mendelssohn’s organ Prelude and Fugue in C Minor, op.37, no.1, which Ives played in church and in
recital. At the time, Ives apparently conceived of such experimentation merely as playing with music
theory, a private activity shared primarily with his father, rather than regarding these new systems as a
serious basis for composing concert music. On still another musical plane, it was his father whom he
credited with teaching him the songs of Stephen Foster, whose tunes he would later borrow and whose
simple diatonic lyricism informs many of Ives’s own melodies.

Ives moved to New Haven in early 1893 to attend Hopkins Grammar School and prepare for entrance
examinations at Yale. He pitched for the Hopkins baseball team and led them to victory over the Yale
freshmen in April 1894 for only the second time in the school’s history. He was the organist at St.
Thomas’s Episcopal Church for a year, and then moved to Center Church on the Green in September
1894, the same month he matriculated at Yale. Just six weeks later, on 4 November, his father died
suddenly of a stroke. Leaving home, starting university, and especially the death of his principal
teacher and supporter marked a sharp break from the past and the end of his youth.

Page 4 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an
individual user may print out a single article for personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

Charles Ives manuscript, "Fourth of July."

3. Apprenticeship, 1894–1902.

Ives began his time at Yale as a virtuoso organist and an experienced composer of popular and church
music but with limited exposure to classical music. He continued to compose vernacular works
including songs, marches, and glee club and fraternity-show numbers. Several works were published,
including three glees, a march, and an 1896 presidential campaign song for William McKinley. His
church music also grew in maturity. The choirmaster at Center Church, John Cornelius Griggs, was a
supportive colleague and mentor and became a lifelong friend. For the Center Church choir, which was
led by a quartet of paid soloists, Ives wrote anthems such as Crossing the Bar in a chromatic late-
Romantic style modeled on the anthems of Dudley Buck, the leading composer of music for quartet
choir, with whom he briefly studied the organ around 1895. Later, he gradually adopted the elevated
choral style of his teacher at Yale, Horatio Parker, in works such as All-Forgiving, look on me.

But it was in classical music that Ives learned the most. For the first time, he had regular access to
chamber and orchestral concerts. He audited Parker’s courses in harmony and music history during his
first two years, and then studied counterpoint, instrumentation, and strict composition with Parker. In
his senior year he took the capstone course in free composition (as an unregistered student because he
lacked one prerequisite); Parker’s willingness to admit him to the class shows his high esteem for
Ives’s potential as a composer. Ives assimilated the German lied by resetting texts from well-known

Page 5 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an
individual user may print out a single article for personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

examples, typically incorporating some aspects of the model’s structure or contour while seeking a
different figuration and mood. He later recalled that his Feldeinsamkeit earned the praise of Parker’s
teacher George Chadwick for taking “a more difficult and almost opposite approach” that was “in its
way almost as good as Brahms” and “as good a song as [Parker] could write.” Comparison of Ives’s
earlier exercises with the works of his last term at Yale shows how much he learned from Parker,
whose thorough instruction provided the firm foundation he needed in theory and composition.

Ives began his Symphony no.1 under Parker, and later recalled that the second and fourth movements
were accepted as his final thesis, although he continued to work on it after graduation. In this work
there are strong echoes of the symphonic masterpieces he used as models, especially Schubert’s
“Unfinished” in the first movement, Dvořák’s “New World” in the slow movement and the work as a
whole, Beethoven’s Ninth Symphony in the scherzo, and the third movement of Tchaikovsky’s
“Pathétique” in the finale. Yet even the most direct references are reworked in fresh and interesting
ways. Ives owed to Parker his new-found skills in counterpoint, thematic development, orchestration,
and composing large forms, along with the concept, foreign to the utilitarian music of Danbury, of
music as an experience to be savored for its own sake. The simultaneous citation of the familiar and
assertion of an individual personality is a distinguishing Ives trait, evident even in the music he wrote
in a late-Romantic style. This work also set the pattern for Ives’s later symphonies and for many of his
sonatas in linking movements through the cyclic repetition of themes.

Although he studied music diligently, Ives may not have intended to make music his career. He took the
usual round of Greek, Latin, German, French, mathematics, history, and political science, and he
remembered especially fondly his English and American literature courses with William Lyon Phelps,
who helped to form Ives’s taste in poetry. A Yale education was regarded as a preparation for success
in business, and much of the social life on the all-male campus was organized around groups through
which one could develop friendships and potentially useful connections. Ives was no great scholar
outside his music courses, but he was well-regarded and socially successful, chosen as a member of the
Delta Kappa Epsilon fraternity and of Wolf’s Head, one of Yale’s elite secret senior societies. Songs of
both groups figure in later works recalling his college days, such as Calcium Light Night and the
middle movement of the Trio for Violin, Violoncello, and Piano. One of his best friends was David
Twichell, who invited him to Keene Valley in the Adirondacks for a family vacation in August 1896;
there Ives met his future wife, David’s sister Harmony (1876–1969).

After graduation in 1898, he moved to New York, living for the next decade in a series of apartments,
all wryly dubbed Poverty Flat, with other bachelors with Yale connections. Through his father’s cousin,
Ives gained a position in the actuarial department of the Mutual Insurance Company. In early 1899 he
moved to Charles H. Raymond and Co., agents for Mutual, where he worked with sales agents and
developed ways to present the idea of insurance. There he met Julian Myrick (1880–1969), who would
later become his partner.

While working in insurance, Ives did not give up all hope of a musical career. He continued to serve as
an organist, first in Bloomfield, New Jersey (where for the first time he was also choirmaster), and then
from 1900 at the Central Presbyterian Church in New York, a prestigious post. After university, he
ceased writing vernacular music and sought to consolidate his training as a composer of church music
and art music in the Parker mold. He continued to write lieder to established texts and composed a

Page 6 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an
individual user may print out a single article for personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

seven-movement cantata, The Celestial Country, modeled in its format on the quartet choir cantatas of
Buck and in specific details on Parker’s oratorio Hora novissima, whose 1893 premiere had established
Parker’s reputation.

Ex.1 Opening theme of String Quartet no.1, 3rd movt, and its source

Page 7 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an
individual user may print out a single article for personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

He also pursued some new avenues. Parker had focused on German music; now Ives wrote French
chansons, modeled on those of composers such as Massenet. He reworked some of the German songs
with new English texts; it would become characteristic of him to reshape older pieces into newer ones,
often in different media. In similar fashion, he developed what may have been church service music
from his Yale years into a string quartet that used paraphrased hymn tunes as themes. The opening
theme of the First Symphony had used elements of two hymns, but the String Quartet no.1 established
the pattern for many later works in that it derived virtually every one of its themes from a hymn tune
source. Unaltered hymn tunes were too predictable and repetitive in rhythm, melody, and harmony to
serve well as themes for movements in classical forms, so Ives ingeniously reshaped them into
irregular, Brahmsian themes ripe for development, while preserving a hymn-like, American character.
Ex.1 shows the derivation of the opening theme of the third movement from its source, the hymn-tune
Nettleton (“Come, Thou Fount of Ev’ry Blessing”). With this work Ives began to integrate the different
traditions he had learned, bringing the spirit and sound of Protestant hymnody into the realm of art
music.

Most remarkably, Ives’s experimentation took on a new seriousness. Armed with techniques learned
from Parker and perhaps inspired by compositional systems of the Middle Ages and Renaissance that
Parker described in his music history lectures, such as organum, counterpoint, and rhythmic
stratification, Ives began to produce, not mere sketches or improvised “stunts,” but finished pieces
that explore new procedures. Most significant is a series of sacred choral works, mainly psalm-settings,
that Ives may have tried out with singers where he was organist, although no performances are
registered. Psalm 67 uses transformations of a five-note chord (arranged to create the impression of
bitonality) to harmonize a simple melody in a style resembling Anglican chant. Psalm 150 features
parallel triads that are dissonant against sustained triads. Psalm 25 deploys angular, dissonant two-
voice canons over pedal points and includes a whole-tone passage that expands from a unison to a
whole-tone cluster spanning almost three octaves. In Psalm 24 the outer voices move in contrary
motion, expanding from a unison in each successive phrase and moving first by semitones (often
displaced by octaves), then by whole tones, 3rds, 4ths, 4ths and tritones, and finally 5ths; after the
golden section of the work, there is a contraction, phrase by phrase, using the same intervals in
reverse order, to make an approximate palindrome.

Each piece finds new ways to establish a tonal center, create harmonic motion and resolution, and
regulate counterpoint. The technique chosen often responds to the text; for example, the central image
of Processional: Let There Be Light is perfectly conveyed by the procession of chords formed of 2nds,
3rds, 4ths, and 5ths, through increasingly dissonant chords of 6ths and 7ths, to pure octaves. In these
systematic experiments in compositional method, Ives established what was to become a 20th-century
tradition of experimental composition, one that included the work of Henry Cowell, Charles Seeger,
Ruth Crawford Seeger, John Cage, and many later composers. These experimental works remained
distinct from his concert music, which continued to use the language of European Romanticism.

The climax of Ives’s apprenticeship was the premiere of The Celestial Country at the Central
Presbyterian Church in April 1902, his most ambitious piece to be performed up to that point. It
received pleasant, if mild, reviews from the New York Times and Musical Courier. Yet soon after, Ives
resigned as organist, the last professional position in music he was to hold. He recalled that he left
behind much of his church music, which was later discarded by the church, so that what survives of his
anthems, songs, and organ music for services is only part of what may have been a much larger body

Page 8 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an
individual user may print out a single article for personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

of work. Ives apparently concluded that he did not want or would not achieve a career like that of
Parker, who survived as a composer by serving as a church organist and teaching at Yale. Ives would
later ironically describe this as the time he “resigned as a nice organist and gave up music.”

4. Innovation and synthesis, 1902–8.

Having abandoned music as a career, Ives cast his lot with insurance. However, in 1905 the New York
state legislature launched an investigation of scandals in the insurance business, with Mutual and the
Raymond agency as particular targets. Although Ives was not implicated, higher executives were,
including two of Ives’s relatives, and the agency was ultimately dissolved. The investigation coincided
with two bouts of illness for Ives in the summer of 1905 and late 1906, diagnosed as neurasthenia
(nervous exhaustion) with irregular heartbeat, a condition associated at the time with overwork,
especially among upper-class businessmen (Magee, C2001). The usual prescribed remedy was a rest
cure. Ives spent the late summer of 1905 at Saranac Lake in the Adirondacks with David Twichell and
family, including Harmony, by then a registered nurse. While recuperating from the second, more
serious illness over Christmas 1906 at Old Point Comfort, Virginia, Ives finalized plans with Myrick to
launch an agency affiliated with Washington Life, which had begun as a Mutual subsidiary; it appears
that Mutual’s management helped with the arrangements. Ives & Co. opened on 1 January 1907, with
Myrick as Ives’s assistant. The two became central figures of the generation that professionalized the
insurance business and cleaned up its image after the 1905 scandals. The ideals Ives stated and
pursued as a businessman were, ironically, those articulated at the New York legislature’s hearings by
the president of Mutual: that life insurance was not a scheme for profit, but a way for each
policyholder to provide for his family while “participating in a great movement for the benefit of
humanity at large” through mutual assistance.

The year 1905 also began the other key partnership of Ives’s adulthood, as he renewed his
acquaintance with Harmony Twichell. Their courtship was slow, hindered by long absences, infrequent
times together, and Ives’s shyness. She wrote poems, some of which he set to music in a tonal,
Romantic style meant to please her and her family, and they planned an opera that never materialized.
Their friendship grew in intensity until they professed their love for each other on 22 October 1907.
They were married on 9 June 1908 by Harmony’s father, the Rev. Joseph Twichell, at his
Congregational church in Hartford, and settled in New York.

Harmony rekindled Ives’s interest in composition after three years in which he had composed little.
Without a church position, he had evenings and weekends free for composition, and forgoing regular
performance allowed Ives freedom to explore without having to please anyone but himself. No longer a
Parker apprentice, nor a composer of popular or sacred music, Ives entered a period of innovation and
synthesis.

Ives now sought increasingly to integrate vernacular and church style into his concert music. In his
Second Symphony (begun by 1902, completed c1907–9), the major work of this period, he introduced
for the first time both hymn tunes and American popular songs into a piece in the classical tradition.
The framework is still European, a cyclic five-movement symphony in late Romantic style with direct
borrowings from Bach, Brahms, Wagner, Dvořák, and Tchaikovsky; the final two movements are
modeled on the finale of Brahms’s First Symphony. But the themes are all paraphrased from American
melodies, reshaped to suit sonata and ternary forms. Like many symphonies that employ national

Page 9 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an
individual user may print out a single article for personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

material, the work celebrates the nation’s music while conforming to an international style. What is
especially striking is that the national material is not primarily folk music (only three fiddle tunes fit
that category) but rather types of popular music, including Stephen Foster songs, patriotic songs,
popular songs, gospel songs, and hymn tunes. From this time on, most of Ives’s major works would
integrate sounds and melodies of popular music into classical genres. This was a radical departure
from the traditional focus on privileging folk material, but it was a choice that represented his own
experience and that of many urban Americans, who were more familiar with popular music from
several generations than with any folk music.

In other pieces, such as the improvisations and sketches that became the Ragtime Dances, Ives began
to create a more modern and individual idiom that drew on American melodic and rhythmic
characteristics, including ragtime, the currently popular style. Ives had grown familiar with ragtime at
Yale and in New York, primarily East Coast performing styles and Tin Pan Alley ragtime songs, and he
was one of the first composers to integrate its gestures into classical genres. In such works, Ives was
writing music about music, evoking the sounds and spirit of American music-making, placing both
himself and his listeners in the role of spectators. The many guises the Ragtime Dances would
eventually assume—from a set of dances for theater orchestra to movements in his Piano Sonata no.1,
Set for Theatre Orchestra, and Orchestral Set no.2, and passages in his second Quarter-Tone Piece for
two pianos—illustrate again his penchant for reworking his own music into new forms.

Ex.2 Scherzo: All the Way Around and Back, bars 17–18

Page 10 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an
individual user may print out a single article for personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

He continued experimenting, especially now in chamber music, whose greater range of sonorities
allowed him to extend traditional counterpoint and increase the independence between the parts to
create an effect of separate layers. Works such as the Fugue in Four Keys on “The Shining Shore,”
From the Steeples and the Mountains, and The Unanswered Question display polytonal and atonal
canons, multiple layers distinguished by rhythm, pitch content, and sonority, and the combination of
atonal and tonal planes, often with a program to explain the unusual musical procedures. For example,
Scherzo: All the Way Around and Back gradually builds up six distinct layers, subdividing each bar into
1, 2, 3, 5, 7, and 11 equal divisions respectively, over which a bugle plays fanfares in common time (Ex.
2); the piece is palindromic, swelling to a climax and returning in an exact retrograde, a musical
analogue to “a foul ball [in baseball]—and the base runner on 3rd has to go all the way back to 1st.”
Several of his experimental works use such images from baseball, which became a proving ground for
musical ideas as it had been for his athletic abilities in his teens (Johnson, D2004). In works like this
Ives developed approaches using interval cycles, pitch class sets, and other organizing principles that
he later used to great effect in his mature music.

5. Maturity: modernist nationalism, 1908–18.

Ives’s wife Harmony played a crucial role in his development. As he noted in his Memos, her
unwavering faith in him gave him confidence to be himself, although she did not claim to understand
all of his music. Moreover, she helped him to find the purpose and the subject matter for his mature
work. She wrote to him in early 1908 stating that

inspiration ought to come fullest at one’s happiest moments—I think it would be so satisfying to
crystallize one of those moments at the time in some beautiful expression—but I don’t believe it’s often
done—I think inspiration—in art—seems to be almost a consolation in hours of sadness or loneliness &
that most happy moments are put into expression after they have been memories & made doubly
precious because they are gone.

This upholds the Romantic idea of music as an embodiment of individual emotional experience, but
adds two elements that were to become characteristic of Ives’s mature music: capturing specific
moments that are individual and irreplaceable, and doing so through memory. Her interest in Ives’s
father and family revived his own, and several pieces over the next decade recall the town band
(Decoration Day, The Fourth of July, Putnam’s Camp), the American Civil War (The “St Gaudens” in
Boston Common), camp meetings (Symphony no.3, Violin Sonata no.4, The Rockstrewn Hills Join in the
People’s Outdoor Meeting), and other memories Ives connected to his father. Harmony’s interest in
literature rekindled his, which had apparently lain dormant since college, and he produced a series of
works on Emerson, Browning, Hawthorne, Thoreau, and others. Her sense of idealism about America
echoed in him, stimulating a rush of pieces on American subjects. The socially committed Christianity
of the Twichells reinforced that of the Ives family, as Ives took up subjects from Matthew Arnold’s West
London to the movement to abolish slavery (Study no.9: the Anti-Abolitionist Riots in the 1830s and
40s). Although her influence and support were crucial, Harmony was of course not his only inspiration;
some pieces respond to current events or set poetry he read in newspapers, and several works begun
in the mid-1910s focus on war or memorials to war, inspired by the 1911–15 50th anniversary of the
Civil War and by the events of World War I.

Page 11 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an
individual user may print out a single article for personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

Ives’s successes in insurance must also have bolstered his self-confidence. After Washington Life was
sold in 1908, he took Myrick into full partnership in an agency with Mutual, launched on 1 January
1909. Within a few years, they were selling more insurance than any agency in the country, during a
time of dramatic expansion in the industry. Their secret lay in recruiting a wide network of agents to
sell policies for them and in preparing detailed guidelines for selling insurance, summarizing the best
arguments to be made. Ives established the first classes for insurance agents at Mutual and helped to
devise and promote “estate planning,” a method still used to calculate the amount of life insurance one
should carry based on a family’s expected expenses and income should they lose their main
breadwinner. His pamphlet The Amount to Carry became a classic of its kind. He composed during the
evenings, at weekends and on vacations, finding particular inspiration at a weekend cabin on Pine
Mountain in Connecticut and during family vacations in the Adirondacks. Family letters suggest that
Harmony chose these getaways, at rural locations suitable for rest cures, as part of Ives’s ongoing
treatment for neurasthenia, but increasingly composition seems to have played a role as a relief from
the pressures of business.

The works of 1908–18 have been aptly described as examples of modernist nationalism (Magee,
C2008), using modernist techniques to ruminate on American music and culture. Ives continued to use
American melodies as themes, but turned from the traditional ternary and sonata forms of the First
Quartet and Second Symphony to a new pattern that has been called cumulative form. In the outer
movements of the Symphony no.3, most movements of the four violin sonatas and the Piano Sonata no.
1, and several other works from c1908–17, the borrowed hymn tune used as a theme appears complete
only near the end, usually accompanied by a countermelody (often paraphrased from another hymn).
This is preceded by development of both melodies, including a statement of the countermelody alone.
The harmony may be dissonant, and the key is often ambiguous until the theme appears, but the music
remains essentially tonal. Cumulative form drew on traditional sources, including thematic
development and recapitulation; the 19th-century conventions of a large work culminating with a
hymn-like theme and of combining themes in counterpoint; and the church organist practice of
preceding a hymn with an improvised prelude on motives from the hymn. Indeed, Ives commented that
many of these movements developed from organ preludes he had played or improvised in church, all
now lost. However, Ives’s synthesis was new. The avoidance of large-scale repetitions, inherent in older
forms, allowed him to use hymns essentially unaltered as themes, for the rhythmic and melodic
plainness and lack of harmonic contrast that made them unsuitable for the opening theme of a sonata
form were perfect for the culmination of a movement. The process of developing motives and gradually
bringing them together in a hymn paralleled, on a purely musical level, the experience Ives
remembered of hymn-singing at the camp-meetings of his youth, as individuals joined in a common
expression of feeling. The combination in many of these works, such as the Third Symphony, of source
tunes from the camp-meeting repertoire with hymns from middle-class mainline churches, all in a
compositional framework derived from European symphonies and sonatas, embodies a reconciliation of
rural and urban, lower- and middle-class, and American and European traditions.

Page 12 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an
individual user may print out a single article for personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

Ex.3 The Housatonic at Stockbridge

Page 13 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an
individual user may print out a single article for personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

In other works, Ives sought to capture American life, especially American experiences with music, in a
more directly programmatic way. The Housatonic at Stockbridge (Ex.3) evokes a walk by the river Ives
and his wife shared soon after their marriage. The main melody (given to second violas, horn, and
English horn), harmonized with simple tonal triads (in the lower strings and brass, notated
enharmonically), suggests a hymn wafting from the church across the river, while repeating figures in
distant tonal and rhythmic regions (upper strings), subtly changing over time, convey a sense of the
mists and rippling water. Like this work, most of Ives’s music about life experiences is composed in
layers, distinguished by timbre, register, rhythm, pitch content, and dynamic level, to create a sense of
three-dimensional space and multiple planes of activity; here the earlier experiments in layering bear
rich fruit. Central Park in the Dark pictures the noises and music of the city against the background
sounds of nature, rendered as a soft series of atonal chords in parallel motion. In From Hanover
Square North, background ostinatos represent city noises in New York, over which commuters on a
train platform gradually come together to sing a hymn for those lost in the sinking of the Lusitania that
morning. When suggesting a memory of his youth, as in Putnam’s Camp,The Fourth of July, and
Washington’s Birthday, Ives often infused the background with a collage of tunes related by motif or
genre to his main theme, evoking the way one memory will summon up others in a stream of
consciousness. Songs such as “The Last Reader” and “The Things Our Fathers Loved” suggest a similar
fount of memory through a patchwork of fragments from songs of the past. These collages and
patchworks present a multiplicity of references, but they build on Ives’s experience with more
traditional forms of borrowing.

These programmatic pieces and songs mix tonality with atonality, traditional with experimental
procedures, direct quotation with paraphrases and original melodies. Having developed an impressive
range of tools, Ives used them all in his mature works, choosing whatever was appropriate to fit the
image, event, or feeling he was attempting to convey. Ives wrote in 1925, “why tonality as such should
be thrown out for good, I can’t see. Why it should be always present, I can’t see. It depends, it seems to
me, a good deal—as clothes depend on the thermometer—on what one is trying to do.” Ives’s
willingness to break rules, even his own, for expressive ends places him with the likes of Monteverdi,
Beethoven, Mahler, Strauss, and Berg as an essentially dramatic and rhetorical composer. Like them
he often coordinated diverse styles within a single movement, using the contrasts to delineate sections
and create form as well as for emotional effect. Though this eclecticism has been criticized by those
who value systems, refinement, and homogeneity more than rhetorical power, many others have found
the mix of elements in Ives’s music an apt expression of the heterogeneity of modern, especially
American, life.

In 1912 Ives and his wife bought farmland in West Redding, near Danbury, and built a house, soon
settling into a pattern of spending May to November in West Redding and the rest of the year in New
York. Unable to have children after Harmony miscarried in April 1909 and underwent an emergency
hysterectomy, they found a partial outlet for their parental energies in Moss’s six children, often
hosting one or two of them for extended periods. They opened a cottage on their property to poor
families from the city through the Fresh Air Fund; the second family to visit had a sickly infant
daughter, whom they cared for and eventually adopted as Edith Osborne Ives (1914–56).

From time to time Ives sought out performances or at least readings of his music, and this encouraged
him to have clean scores and parts copied by a series of professional copyists. Walter Damrosch
conducted an informal reading of movements from the First Symphony in March 1910; attempts to
interest him in the Second and Third had no result. Periodically, Ives invited or hired professional

Page 14 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an
individual user may print out a single article for personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

musicians to try out some of his music; the reactions he recorded in his Memos ranged from
incomprehension to apoplectic criticism of its dissonance and complexity. The United States’ entrance
into World War I in April 1917 inspired him to write the song “In Flanders Fields” to a text by a Mutual
medical examiner, and Myrick arranged for a performance at a meeting of insurance executives. Later
the same month David Talmadge (violin teacher to Ives’s nephew Moss White Ives) and Stuart Ross
performed the Third Violin Sonata for an invited audience at Carnegie Chamber Music Hall.

6. Completions and last works, 1919–29.

The war pulled Ives away from composition into work for the Red Cross and Liberty Loan appeals. He
even tried to enlist in 1918 to serve six months in France with the YMCA but did not pass the physical
examination. On 1 October 1918, he suffered a debilitating illness, apparently a serious recurrence of
his cardio neurasthenia, which kept him from work for a year.

Mindful of his mortality, Ives set about finishing and making available the music he had been
composing. Two months in early 1919 were spent on a rest cure at Asheville, North Carolina, where he
completed his Second Piano Sonata, subtitled Concord, Mass., 1840–60, with musical impressions of
Emerson, Hawthorne, the Alcotts, and Thoreau, and wrote most of an accompanying book of Essays
before a Sonata, his most detailed statement of his aesthetics. The importance of transcendentalism in
the sonata and essays has obscured other influences, including those of Beethoven, Debussy, Liszt, and
Skryabin on the sonata (and on much of Ives’s other music) and those of Romantic aesthetics and
liberal Christianity on his philosophy. The famous distinction Ives makes in the essays between
“substance” (more or less, the spiritual content of a work) and “manner” (the means of its expression)
derives largely from a 1912 essay on Debussy by Ives’s friend John C. Griggs. The sonata and the
essays were privately printed in 1920–21 and sent free to musicians and critics whom he hoped to
interest in his music. Most reviews were mocking, and the sonata’s programmaticism and nationalism
were out of step with the postwar mood, but a perceptive notice by Henry Bellamann praised the
sonata’s “loftiness of purpose” and its “elevating and greatly beautiful” moments. Bellamann became
Ives’s first advocate, lecturing and writing on his music, and Ives later set two of Bellamann’s poems.

Page 15 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an
individual user may print out a single article for personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

Ex.4 Resolution

Between 1919 and 1921 Ives gathered most of his songs, including 20 new ones, 20 adapted to new
texts, and 36 newly arranged from works for chorus or instruments, into a book of 114 Songs, privately
printed in 1922. Many of the songs use words by Ives or by Harmony, while others set a wide range of
texts, from the great English and American poets Ives studied with Phelps at Yale to hymns and poems
he found in newspapers, or other such sources. The volume encompasses the diversity of Ives’s output,
from the vast clusters that open Majority and the quartal chords and whole-tone melody of The Cage to

Page 16 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an
individual user may print out a single article for personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

his German lieder and parlor songs from the 1890s. The late songs include a new style for Ives: more
restrained, simpler, and with less overt quotation, although still often dissonant and full of contrasts
used to delineate phrases and highlight the text. This is illustrated in the song Resolution (Ex.4), which
features four distinctive figurations in its brief eight measures, each using a different collection of
pitches and each subtly linked to images in the text: in a, a pentatonic melody with dotted rhythms
recalls American folksong style, associated with rugged strength and the outdoors, while the wide
spacing in voice and piano evokes the spaciousness of “distant skies”; in b, tonal harmonies and
secondary dominants suggest hymnody, representing faith; c mimics the style Ives associated with
sentimental parlor songs, with an undulating melody in dotted rhythm over harmonies tinged with
chromaticism, while the reiterated chords and emphasis on G create a sense of marking place; d is
again diatonic, suggesting Romantic song through a leap and descent; and a returns at the close, as
“journey” harks back to “walking.”

Once again Ives distributed his publication to musicians and critics, hoping to attract some interest,
with little initial success; John Philip Sousa found some songs “most startling to a man educated by the
harmonic methods of our forefathers,” and the Musical Courier called Ives “the American Satie, joker
par excellence.” Nevertheless, several of the songs were given their premieres in recitals in Danbury,
New York, and New Orleans, between 1922 and 1924, and were apparently well received. Ives also
completed or revised many other works between 1919 and the early 1920s, including the First Piano
Sonata, the Second Violin Sonata, and most movements of A Symphony: New England Holidays,
Orchestral Set no.1: Three Places in New England, Orchestral Set no.2, and the Symphony no.4. Many
of these multi-movement cycles brought together movements first conceived separately, sometimes at
different times. The Second Violin Sonata was first performed in 1924 to respectful reviews, but the
others had to wait.

In 1923 Ives met E. Robert Schmitz, pianist and head of the Franco-American Musical Society, later
renamed Pro-Musica Society. The relationship was mutually beneficial; Ives supported the Society
financially (though anonymously), and Schmitz arranged performances of the newly composed Three
Quarter-Tone Pieces for two pianos in 1925, the first two movements of the recently completed Fourth
Symphony in 1927, and the piano piece The Celestial Railroad in 1928. The symphony was a summation
of all Ives had done, drawing on more than a dozen earlier works and encompassing the range of his
techniques from pure tonality to the most rhythmically complex textures any conductor had ever seen.
It traces a mystical inner journey: the brief opening movement poses “the searching questions of
What? and Why? which the spirit of man asks of life” (in the words of Bellamann’s program note) by
means of a choral setting of the hymn tune “Watchman, Tell Us of the Night”; the second movement,
adapted from The Celestial Railroad, is a dream-like collage based on Hawthorne’s tale of the same
name, a satire of the search for an easy way to heaven; the third movement, based on the first
movement of the First Quartet, depicts religious “formalism and ritualism” through a tonal fugue on
hymn tunes; and after these two false answers to the questioning prelude the finale suggests the truer
path through a meditation on Bethany (“Nearer, My God, to Thee”) in cumulative form. Despite the
work’s novelty and complexity, it won encouraging reviews from Olin Downes of the New York Times
and Lawrence Gilman of the Herald Tribune, two of the leading critics of the day.

Ives stopped composing new works by early 1927; as Harmony later told John Kirkpatrick, “he came
downstairs one day with tears in his eyes and said he couldn’t seem to compose any more—nothing
went well—nothing sounded right.” Theories abound for his cessation, from the psychological effects of
his double life in business and music to the physical illnesses he continued to endure. He may have

Page 17 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an
individual user may print out a single article for personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

exhausted himself from the push to complete the Fourth Symphony and other major works. He had
started no new orchestral compositions since an attempt at a third orchestral set in c1921, which
remained unfinished. The early 1920s had produced a few songs and his choral masterpiece Psalm 90,
essentially rewritten from scratch around 1923. Around the same time he returned to his ambitious
Universe Symphony (begun c1915), the capstone of his exploration of systematic methods of
composition, which features over 20 wholly independent musical strands, each moving in its own
subdivision of a metric unit eight seconds in length. This too would remain unfinished, finally
appearing in three separate realizations in the 1990s. His last new work was the song “Sunrise” in
August 1926, left incomplete. He had still received very few performances, and no professional
publications since the 1890s. Ives may have followed the same steps as most composers—first
conceiving a piece, then drafting, revising, completing and copying it, and seeing it through to
performance and publication—but instead of doing this for each piece in a short span of time, he did it
for dozens of pieces at once, stretched over decades.

7. Revisions and premieres, 1929–54.

After years of health problems, eventually diagnosed as diabetes (for which he was among the first to
receive insulin treatments), Ives retired from business on 1 January 1930. His music was written, but
its public career was just beginning. After Bellamann and Schmitz, Ives found an ever-increasing series
of advocates who promoted and performed his music. Most important was Henry Cowell, whose
activities in support of new American music (including Ives’s own) Ives supported financially. Cowell’s
quarterly New Music, whose first issue in 1927 brought Cowell to Ives’s attention, printed several Ives
works, starting with the second movement of the Fourth Symphony in 1929, and Cowell’s New Music
Society sponsored the premiere of the First Violin Sonata in San Francisco in 1928. In the late 1920s
and 30s, Cowell wrote a series of appreciations of Ives’s music emphasizing its pioneering use of
innovative techniques and reframing Ives as a uniquely American experimentalist composer, one who
created the first truly American art music by using American tunes and representing in art music
distinctively American folk performance traditions. Also at Cowell’s urging, Nicolas Slonimsky
approached Ives for a piece for his Boston Chamber Orchestra, and Ives responded by rescoring Three
Places in New England, which Slonimsky performed in New York, Boston, Havana, and Paris in 1931 to
generally favorable reviews. The combination in this and other works of modernist sounds, nationalist
subjects, and recognizable borrowings from familiar American tunes was well suited to the Depression-
era interest in cultivating a wide audience for modern classical music. That September, Slonimsky
conducted the premiere of Washington’s Birthday at a New Music Society concert in San Francisco,
and the following year he conducted The Fourth of July in Paris, Berlin, and Budapest. In May 1932
Hubert Linscott and Aaron Copland presented seven of Ives’s songs at the first Yaddo Festival of
Contemporary American Music, and Ives began to be seen as a forerunner of the current generation of
American modernists. These seven songs, The Fourth of July, and the Set for Theatre Orchestra were
published in 1932, followed by more songs in 1933 and 1935, Three Places in New England in 1935,
Washington’s Birthday in 1936, and Psalm 67 in 1939. Numerous songs were given premieres in
recitals during the 1930s in New York, San Francisco, Boston, Dresden, Vienna, Paris (with Messiaen
at the piano), and elsewhere. The January 1939 New York premiere of the Concord Sonata by John
Kirkpatrick (who had played the world premiere the previous November in Cos Cob, Connecticut) drew
high praise from Gilman in the Herald Tribune, who called it “exceptionally great music… the greatest
music composed by an American, and the most deeply and essentially American in impulse and

Page 18 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an
individual user may print out a single article for personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

implication.” More premieres followed, including the Fourth Violin Sonata in 1940, the Symphony no.3
and the String Quartet no.2 in 1946, and the Piano Sonata no.1 in 1949, each more than two decades
after its completion. Ives was elected to the National Institute of Arts and Letters in 1945, and the
Symphony no.3 won the Pulitzer Prize in 1947. Bernstein conducted the New York PO in the premiere
of the Symphony no.2 in 1951, over 40 years after its completion, and the Symphony no.1 was finally
performed for the first time in 1953, almost half a century after it was finished.

Throughout this time, Ives continued to work on his music, copying the full score for Thanksgiving
during a year in Europe with Harmony in 1932–3, recording his own piano performances and
improvisations in London and New York, adding a new ending to the Second Symphony, and pulling old
pieces out of his piles of manuscripts. He had photocopies made of his manuscripts and sent them to
those who expressed interest in a work. In the early 1930s he dictated reminiscences about his life and
his music, intended only to provide information for those writing about him, but published four
decades later as Memos. Although in Essays before a Sonata he had seemed a follower of Beethoven, in
Memos he emphasized his experimental works and his invention of novel techniques, presenting
himself as the pioneer Cowell and others seemed to want him to be, and credited so much influence to
his father that he obscured for decades his deep debts to Parker, to the 19th-century Romantic
tradition, and to older contemporaries such as Debussy, Strauss, and Skryabin. He worked for years on
a revised edition of the Concord Sonata, finally published in 1947. His health gradually weakened, and
in May 1954 he died of a stroke while recovering from an operation.

Music continued to appear after his death, and his reputation continued to grow. Harmony Ives gave
his manuscripts to the Library of the Yale School of Music in 1955, and John Kirkpatrick published a
meticulous catalog in 1960. The first biography, by Henry and Sidney Cowell in 1955, was followed by
a steady stream of theses and articles. The Fourth Symphony was finally played in its entirety in 1965.
Memos and other writings appeared in 1972. The Charles Ives Society, which became active in 1973,
has sponsored a series of critical editions of individual works with Kirkpatrick and James B. Sinclair
the most prominent editors. The 1974 centennial brought the first festivals devoted to Ives’s music,
and there have been several since. He is now regarded as one of the leading composers of his time
from any nation, with a secure place in the concert repertoire and a growing body of scholarly studies
of his music and life.

Although the legend of Ives as an isolated, idiosyncratic, and uniquely American figure was useful to
those seeking to promote his music in the 1920s through 1950s, it led to a distorted picture of him. As
a result, much of the scholarship on Ives has been revisionist, correcting earlier misimpressions and
reframing him to suit new perspectives. Influenced by Cold War politics, the Cowells’ 1955 biography
already portrayed Ives differently than Cowell had done in the 1930s, now highlighting his
individualism and links to Transcendentalism. Later biographies by Frank Rossiter (C1975), J. Peter
Burkholder (C1985), Stuart Feder (C1992), Jan Swafford (C1996), and Gayle Sherwood Magee (C2008)
have repeatedly challenged earlier views, revealing an Ives who was very much of his time, influenced
by a variety of intellectual currents beyond Transcendentalism, and much less isolated or idiosyncratic
than he once appeared. Other studies have revealed Ives’s strong links to European composers from
Bach and Beethoven to Debussy and Skryabin, have shown how his techniques from musical borrowing
to pitch organization draw on traditional practices while also developing new innovations, and have
shown how his political views, use of gendered language, and activities both in and outside music
relate to contemporary currents in American life. Successive waves of reconsideration are deepening

Page 19 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an
individual user may print out a single article for personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

our understanding of his unusual career and of the genesis, structure, and meaning of his music. The
picture that is emerging is increasingly well-rounded, embracing the contrasts and contradictions that
both Ives and his music so richly embodied.

Works

A chronological listing of Ives’s works is neither possible nor appropriate as dates for many works are uncertain, and Ives
tended to work on a number of pieces simultaneously, often taking years from first sketch to final revision

This work-list follows the ordering, numbering and title style in James B. Sinclair, A Descriptive Catalogue of the Music of
Charles Ives (New Haven, 1999), grouping works by genre and numerically or alphabetically within each genre. Most
incomplete works, exercises, arrangements of works by others, unidentified fragments, and lost or projected works are
omitted. Dates are of manuscripts when extant; these are based on Gayle Sherwood’s datings of the manuscripts by paper
type and handwriting, and they may not reflect the entire period of composition if the earliest sketches or final revisions do
not survive. Dates in square brackets are from Ives’s own hand but represent pieces or stages of composition for which no
manuscripts are extant. Printed works are published in New York unless otherwise stated (reprints are not listed). For full
details of publication and first performances, see Sinclair.

Orchestral

Symphonies

Page 20 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an
individual user may print out a single article for personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

1 Symphony no.1 c1898–c1902, c1907–8 Washington, DC, 26 April 1953 ed. R. Cordero (1971); crit. edn J. Sinclair (1999)

i. Allegro c1898–c1902, c1908 first theme <318 (itself <339)

rej. ii. Largo c1898–9 inc.; <2/iii

ii. Adagio molto c1898–9, c1907–8

iii. Scherzo: Vivace c1898–9, c1907–8

iv. Allegro molto [1898], c1907–8 part of coda <part of 122/ii

2 Symphony no.2 [1899–1902], c1907–9 New York, 22 Feb 1951 ed. H. Cowell and L. Harrison (1951); corr. edns (1988, 1991); crit.
edn J. Elkus (2007)

i. Andante moderato c1907–8 ?>lost org sonata, lost ov.

ii. Allegro c1908–9 ?>lost ovs.

iii. Adagio cantabile c1908–9 >1/rej. ii; portion <part of 105

iv. Lento (maestoso) c1908 ?>lost ov. or lost org sonata

v. Allegro molto vivace c1907–9, new ending ?>lost ov./ovs.; portions <part of 105
c1950

3 Symphony no.3: The Camp [1904], c1908–11 New York, 5 April 1946 ed. L. Harrison (1947); rev. and corr. edn H. Cowell (1964); crit.
Meeting, small orch edn K. Singleton (1990)

i. Old Folks Gatherin’ c1909–10 >lost org prelude

ii. Children’s Day c1908–10 >lost org postlude

iii. Communion c1909–11 >lost org communion piece; <222

Page 21 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an individual user may print out a single article for
personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

 rej. iv. Allegro c1910 inc.; <9/i

4 Symphony no.4, pf, orch, opt. c1912–18, c1921–5 New York, 26 April 1965 [complete work] (1965)
SATBB

i. Prelude c1916–17, c1923–4 New York, 29 Jan 1927 portion >386 or part of 60/iii

ii. Allegretto c1916–18, c1923–5 New York, 29 Jan 1927 >116 (itself >88/ii, which borrows from 36); ?>lost Hawthorne
Concerto; (San Francisco, 1929)

iii. Fugue c1912–13, c1923–4 New York, 10 May 1933 >57/i

iv. Largo c1915–16, c1921–4 ?>lost slow march; ending>ending of 58/iii

5 A Symphony: New England assembled ?c1917–19 Minneapolis, 9 April 1954 [complete

Holidays work]

i. Washington’s Birthday, small [1909–13], c1915–17 San Francisco, 3 Sept 1931 (San Francisco, 1936); crit. edn J. Sinclair (1991)
orch

ii. Decoration Day [1912–13], c1915–20, Havana, 27 Dec 1931 early version <64; crit. edn J. Sinclair (1989)
rev. c1923–4

iii. The Fourth of July [1912], c1914–18, rev. Paris, 21 Feb 1932 portions > or < parts of 315; portion > trio of 24; (San Francisco
c1930–31 and Berlin, 1932); crit. edn W. Shirley (1992)

iv. Thanksgiving and c1911–16, rev. 1933 ?>lost 1904 version; >lost 1897 org prelude and postlude; crit.
Forefathers’ Day, orch, opt. edn J. Elkus (1991)
SSATTB

6 Universe Symphony 1915–28 Greeley, CO, 29 Oct 1993 [i and iv, ed. D. portions >part of 49/1; chord structures used in 319
Porter]; Cincinnati, 28 Jan 1994 [real. L.
Austin]; New York, 6 June 1996 [real. J.
Reinhard]

Page 22 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an individual user may print out a single article for
personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

 i. Prelude no.1 c1923

ii. Prelude no.2 c1923 inc.

iii. Prelude no.3, lost

iv. Section A 1915–28

v. Section B 1923–8 inc.

vi. Section C 1923–8 inc.

Page 23 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an individual user may print out a single article for
personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

Orchestral sets

Page 24 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an
individual user may print out a single article for personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

7 Orchestral Set no.1: Three Places in New c1912–17,c1919–21 New York, 10 Jan 1931 version for small orch 1929, rev. 1933–5, ed. N. Slonimsky (Boston,
England [small orch version] 1935); crit. edn J. Sinclair, with full orch (Bryn Mawr, PA, 1976,
2/2008)

i. The “St Gaudens” in Boston Common (Col. c1915–17 >version for piano (Black March)
Shaw and his Colored Regiment)

ii. Putnam’s Camp, Redding, Connecticut c1914–15, c1919– >36 and 24

20

iii. The Housatonic at Stockbridge [1908], c1912–17, >early song version; <266
rev. c1921

8 Orchestral Set no.2 assembled c1919 Chicago, 11 Feb 1967 crit. edn J. Sinclair (2001)

i. An Elegy to Our Forefathers c1915–19, c1924–5

ii. The Rockstrewn Hills Join in the People’s c1915–16, c1920– >43/iii, borrows from 43/i and ii
Outdoor Meeting 22

iii. From Hanover Square North, at the End of a 1915–c1916,

Tragic Day, the Voice of the People Again Arose, c1918–19, c1926,
orch, opt. unison vv c1929

9 Orchestral Set no.3 assembled c1921 transcr. of MSS in Porter, 1980

i. c1921–2, c1925–6 Fullerton, CA, 16 March >3/rej. iv

1978 [real. D. Porter]

ii. An Afternoon/During Camp Meetin’ Week— c1912–14, c1921–2 inc.; partly >24; portion >part of 51; borrows from 104
One Secular Afternoon (In Bethel)

iii. c1921 inc.; borrows from 27

Page 25 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an individual user may print out a single article for
personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

Sets for chamber orchestra

Page 26 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an
individual user may print out a single article for personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

10 Set no.1 assembled c1915–
16

i. Scherzo: The See’r [1913], c1915–16 =18/ii; <344; portions reworked in 128/ii

ii. A Lecture [1909], c1915–16 <377

iii. The Ruined River [1912], c1915–16 >or <186 and 308 (itself <14/i and 17/i); portions
reworked in 128/ii

iv. Like a Sick Eagle [1909], c1915–16 =19/i; <288

v. Calcium Light Night [1907], c1915–16 New Haven, 22 Feb 1956 [ed. and portion borrowed from 70, reused in 117/i
arr. H. Cowell]

vi. Allegretto sombreoso c1915–16 New York, 10 May 1951 <280; (1958)

11 Set no.2 assembled c1916– New Haven, 3 March 1974 [ed. K.

17 Singleton]

i. Largo: The Indians [1912], c1916–17 <283 (itself <14/ii and 17/ii), <19/iii; first half <part of
128/ii

ii. “Gyp the Blood” or Hearst!? Which is Worst?! ?1912, c1916–17 ?inc.; crit. edn real. K. Singleton (1978)

iii. Andante: The Last Reader [1911], c1916–17 <18/i, 286

12 Set no.3 assembled c1919 New York, 6 Dec 1962 [arr. G.

Schuller]

i. Adagio sostenuto: At Sea c1918–19 <213; ?<16/i; (1969)

ii. Luck and Work c1919 New York, 10 May 1951 <or>293; <19/ii

Page 27 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an individual user may print out a single article for
personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

 iii. Premonitions c1918–19 <328

13 Set no.4: Three Poets and Human Nature ?c1925–30 not fully orchestrated

i. Robert Browning >324; arr. D. Porter

ii. Walt Whitman >384; arr. G. Smith

iii. Matthew Arnold New Haven, 20 Oct 1974 [real. J. >388

Kirkpatrick]

14 Set no.5: The Other Side of Pioneering, or Side ?after c1925 <17
Lights on American Enterprise

i. The New River =17/i; >308 (itself > or <10/iii and 186)

ii. The Indians =17/ii; >283 (itself >11/i)

iii. Charlie Rutlage New Haven, 3 March 1974 >226; crit. edn K. Singleton (1983)

iv. Ann Street =17/iii; >211; not fully orchd

15 Set no.6: From the Side Hill ?c1925–30

i. Mists New Haven, 3 March 1974 >301 version 2; crit. edn real. K. Singleton (Bryn
Mawr, PA, 1976)

ii. The Rainbow >330 (itself >45)

iii. Afterglow >207

iv. Evening New Haven, 3 March 1974 >244; crit. edn real. K. Singleton (1983)

16 Set no.7: Water Colors ?c1925–30

Page 28 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an individual user may print out a single article for
personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

 i. At Sea >213, ? >12/i; not fully orchd

ii. Swimmers New Haven, 3 March 1974 [real. J. >366

Sinclair]

iii. The Pond New Haven, 3 March 1974 >332; crit. edn real. K. Singleton (1977)

iv. Full Fathom Five >324; orchestration lost

17 Set no.8: Songs without Voices ?c1930 New York, 21 April 1930 [in a version >14
for tpt, pf]

i. The New River =14/i

ii. The Indians =14/ii

iii. Ann Street =14/iv

18 Set no.9 of Three Pieces assembled ?1934

i. Andante con moto: The Last Reader >11/iii (itself <286)

ii. Scherzo: The See’r =10/i

iii. Largo to Presto: The Unanswered Question =50 rev. version

19 Set no.10 of Three Pieces assembled ?1934

i. Largo molto: Like a Sick Eagle =10/iv (itself <288)

ii. Allegro-Andante: Luck and Work >12/ii (itself >293)

iii. Adagio: The Indians >11/i (itself <283, which <14/ii and 17/ii)

Page 29 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an individual user may print out a single article for
personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

20 Set for Theatre Orchestra assembled c1915 New York, 16 Feb 1932 [complete (San Francisco, 1932)
work]

i. In the Cage [1906], c1907–8, <or >221

rev. c1911–12

ii. In the Inn [1904–11], c1915– >43/i and 87/iib; portions reworked in 128/ii
16, rev. c1929–30

iii. In the Night [1906], c1915–16, St. Paul, MN, 7 Dec 1931 >80 and lost choral hymn-anthem
rev. c1929–30

Page 30 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an individual user may print out a single article for
personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

Overtures

Page 31 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an
individual user may print out a single article for personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

22 Emerson Overture for Piano c1910–14, Cleveland, 1 Oct 1998 [real. inc.; portions >90, 91, 97; portion < or >99; portion <part of 107; portions <88/i, 123
and Orchestra rev.c1920–21 D. Porter]

24 Overture and March “1776,” [1903–4]; c1909–10 New Haven, 3 March 1974 outer sections <portions of 7/ii; part of trio <part of 5/iii; partly <9/ii; portion used
small orch in 74; crit. edn real. J. Sinclair (Bryn Mawr, PA, 1975)

25 Overture in G Minor c1899 inc.

27 Robert Browning Overture c1912–14, rev. New York, 14 Oct 1956 portions <portions of 324; borrowed from in 9/iii; ed. H. Cowell and L. Harrison
c1936–42 (1959)

Page 32 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an individual user may print out a single article for
personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

Marches

Page 33 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an
individual user may print out a single article for personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

28 Holiday Quickstep, pic, 2 cornets, pf, 2 vn 1887 Danbury, 16 Jan 1888 > or <lost band Holiday March; <lost org arr.; crit. edn J. Sinclair (Bryn Mawr,
PA, 1975)

29 March no.2, with “Son of a Gambolier,” small 1892, c1895 New Haven, 3 March <or >110; crit. edn K. Singleton (1977)
orch 1974

31 March no.3, with “My Old Kentucky Home,” c1895 New Haven, 19 Oct portion <part of 396; crit. edn K. Singleton (Bryn Mawr, PA, 1975)
small orch 1973

33 March: The Circus Band, chbr orch, opt. c1898–9, early version >115; final version >229 (itself >115); arr. G. Roberts (1969)
SSATTBB arr. c1932–
3

Page 34 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an individual user may print out a single article for
personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

Other orchestral

Page 35 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an
individual user may print out a single article for personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

 Adagio sostenuto: see 12/i

Allegretto sombreoso: see 10/vi

Ann Street: see 14/iv

Calcium Light Night: see 10/v

34 Central Park in the Dark, small orch [1906], c1909, New York, 11 May 1946 crit. edn J.-L. Monod and J. Kirkpatrick (Hillsdale, NY, 1973)
rev. c1936

Charlie Rutlage: see 14/iii

35 Chromâtimelôdtune, small orch c1923 New York, 6 Dec 1962 [real. G. real. and arr. G. Schuller (1963)
Schuller]; New Haven, 3 March 1974
[real. K. Singleton]

36 “Country Band” March, small orch [1905], c1910– New Haven, 3 March 1974 inc.; borrows from 43/i; <part of 7/ii; portions borrowed in 88/ii
11, c1914 (itself <116, which <4/ii) and in 262 (itself <182, 188, 371); crit. edn
real. J. Sinclair (Bryn Mawr, PA, 1974)

Decoration Day: see 5/ii

Evening: see 15/iv

The Fourth of July: see 5/iii

37 The General Slocum [1904], c1909– New York, 29 Nov 1970 [real. G. inc.
10 Schuller]

38 The Gong on the Hook and Ladder/ arr. c1934 New York, 22 April 1934 >70; (San Francisco, 1953); (1960); corr. edn J. Sinclair (1979)
Firemen’s Parade on Main Street, small
orch

Page 36 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an individual user may print out a single article for
personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

 “Gyp the Blood” or Hearst?! Which is
Worst?!: see 11/ii

Holidays Symphony: see 5

Mists: see 15/i

40 The Pond, small orch [1906], c1912– New York, 22 April 1934 <332, 16/iii; crit. edn J.-L. Monod and J. Kirkpatrick (Hillsdale, NY,
13 1973)

41 Postlude in F c1898–9 New Haven, 6 June 1971 >lost org postlude; crit. edn K. Singleton (1991)

43 Four Ragtime Dances, small orch [1902–11], crit. edn J. Sinclair (1990)
c1915–16,
c1920–21

i. no.1 New Haven, 22 April 1976 partly >46; < 87/iib, 20/ii; portions reworked in 8/ii, 36, 128/ii

ii. no.2 New Haven, 21 Oct 1974 partly >46; <87/iia; portions reworked in 8/ii

iii. no.3 New Haven, 25 Feb 1976 <8/ii

iv. no.4 New Haven, 21 Oct 1974 <87/ivb; portion reworked in 128/ii

45 The Rainbow, small orch 1914 Danbury, 11 April 1969 <330, 15/ii; (1959)

46 Skit for Danbury Fair [1902], c1909 West Redding, CT, 17 Aug 1974 [real. inc.; portions <portions of 43/i (itself <87/iib, 20/ii), 43/ii (itself
K. Singleton] <87iia)

47 Take-Off no.7: Mike Donlin—Johnny 1907 West Redding, CT, 17 Aug 1974 [real. inc.
Evers K. Singleton]

48 Take-Off no.8: Willy Keeler at Bat c1907 West Redding, CT, 17 Aug 1974 [real. inc.
K. Singleton]

Page 37 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an individual user may print out a single article for
personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

 Thanksgiving and Forefathers’ Day: see
5/iv

Three Places in New England: see 7

49 Tone Roads et al.

i. Tone Roads no.1 c1913–14 San Francisco, 10 Aug 1950 portion <part of 6; (1949)

ii. Tone Roads no.2 lost

iii. Tone Roads no.3 c1911, c1913– New York, 20 Dec 1963 (1952)
14

50 The Unanswered Question, 4 fl/(2 fl, ob, 1908, rev. New York, 11 May 1946 [rev. version]; rev. version = 18/iii; (Montevideo, 1941); (1953); both versions, crit.
cl), tpt/(ob/eng hn/cl), str orch/str qt c1930–35 New York, 17 March 1984 [first edn P. Echols and N. Zahler (1985)
version]

Washington’s Birthday: see 5/i

51 Yale-Princeton Football Game [1899], c1910– New York, 29 Nov 1970 [real. G. ?inc.; portion <part of 9/ii
11 Schuller]; New Haven, 2 Oct 1976
[real. J. Sinclair]

Page 38 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an individual user may print out a single article for
personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

Band

Page 39 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an
individual user may print out a single article for personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

52 Fantasia on “Jerusalem the Golden” [1888] West Caldwell, NJ, 5 Feb 1972 [arr. K. Brion] only short score extant; arr. K. Brion (1974)

53 March in F and C, with “Omega Lambda Chi” 1895–6 >111; ed. and arr. K. Brion (1974)

54 March “Intercollegiate,” with “Annie Lisle” c1895 Washington, DC, 4 March 1897 >112; (Philadelphia, 1896); ed. and arr. K. Brion (Hackensack, NJ,
1973)

55 Runaway Horse on Main Street c1907– New Haven, 18 Nov 1977 [real. J. Sinclair] inc.; partly <portion of 226
8

Page 40 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an individual user may print out a single article for
personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

Chamber ensemble

String quartets

Page 41 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an
individual user may print out a single article for personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

57 String Quartet no.1: From the Salvation c1897– New York, 17 March 1943 [movts ii–iv only]; New York, 24 April 1957 (1961 and 1963)
Army c1900,c1909 [complete work]

i. Chorale c1897–8 <lost org fugue; <4/iii

ii. Prelude c1900, c1909 ? <lost org prelude

iii. Offertory c1897–8, c1909 >lost org prelude

iv. Postlude c1900, c1909 >lost org postlude

58 String Quartet no.2 c1913–15 New York, 11 May 1946 (1954); corr. edn J.
Kirkpatrick (1970)

i. Discussions [1911], c1913–14

ii. Arguments [1907], c1913–14

iii. The Call of the Mountains [1911–13], c1914– ending <ending of 4/iv
15

Page 42 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an individual user may print out a single article for
personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

Sonatas for violin and piano

Page 43 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an
individual user may print out a single article for personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

59 Pre-First Sonata for Violin and Piano [1901–3], c1908–13 inc.; mostly <61

i. Allegretto moderato [1902–3], c1909–10, rev. c1911–12 >lost org postlude; portion <part of 61/ii

rej. ii. Largo [1901], c1909–10 <73; pubd as Largo for Violin and Piano, ed. P. Zukofsky
(1967)

ii. Largo [1902, 1908], c1911–12 <60/ii

rej. iii. Scherzo c1908–9 inc.; <part 61/ii

iii. Largo–Allegro [1908–10], c1911–13 inc.; <61/i

60 Sonata no.1 for Violin and Piano assembled c1914 or c1917 San Francisco, 27 (1953)
Nov 1928

i. Andante–Allegro vivace [1906], c1910–12, c1914, rev. c1917

ii. Largo cantabile c1914, rev. c1917 >59/ii

iii. Allegro [1909], c1911–12, rev. c1917–18, portion >lost song “Watchman”; <386; used in 4/i
c1924–5

61 Sonata no.2 for Violin and Piano assembled c1914–17 New York, 18 March mostly >59; ed. J. Kirkpatrick (1951)
1924

i. Autumn c1914, rev. c1920–21 >59/iii; ending <265

ii. In the Barn c1914, rev. c1920–21 >59/rej. iii, part of 59/i

iii. The Revival c1915–17, rev. c1920–21 >63/rej. iv

62 Sonata no.3 for Violin and Piano 1914 New York, 22 April ed. S. Babitz and I. Dahl (1951)
1917

Page 44 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an individual user may print out a single article for
personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

 i. Adagio >lost org prelude

ii. Allegro >lost org toccata, lost ragtime piece

iii. Adagio cantabile >lost org prelude

63 Sonata no.4 for Violin and Piano: Children’s assembled c1914–16 New York, 14 Jan (1942)
Day at the Camp Meeting 1940

i. Allegro c1911–12 >lost sonata for tpt and org

ii. Largo–Allegro (conslugarocko)–Andante c1914–15

con spirito–Adagio cantabile–Largo cantabile

iii. Allegro c1916 >lost piece for cornet and str; portion <214

rej. iv. Adagio–Faster [1906, 1909–10], c1915–17 <61/iii

Page 45 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an individual user may print out a single article for
personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

Other chamber

Page 46 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an
individual user may print out a single article for personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

 Adagio cantabile: The Innate: see 84/iii

64 Decoration Day for Violin and Piano arr. c1919 New Haven, 19 Oct >early version of 5/ii
1973

65 From the Steeples and the Mountains, tpt, trbn, 4 sets of bells [1901], c1905–6 Waltham, MA, 26 April (1965)
1963

69 Fugue in Four Keys on “The Shining Shore,” fl, cornet, str c1903 New Haven, 3 March crit. edn real. J. Kirkpatrick (Bryn Mawr, PA, 1975)
1974

70 The Gong on the Hook and Ladder/Firemen’s Parade on Main c1912 <38; portion borrowed in 10/v, 117/i
Street, str qt/str qnt, pf

71 Hallowe’en, str qt, pf, opt. b drum/timp/any drum [1911], c1914 New York, 22 April 1934 (1949)

72 In Re Con Moto et al., str qt, pf [1913], c1915–16, rev. New York, 11 Feb 1970 (1968)
c1923–4

Largo for Violin and Piano: see 59/rej. ii

73 Largo for Violin, Clarinet and Piano arr. ?1934 New York, 10 May 1951 >59/rej. ii; (1953)

Largo cantabile: Hymn: see 84/i

74 Largo risoluto no.1, str qt, pf c1908–9 Washington, DC, 4 May portions < or >parts of 24, 82; (1961)
1958

75 Largo risoluto no.2, str qt, pf c1909–10 Washington, DC, 4 May (1961)
1958

76 An Old Song Deranged, cl/eng hn/1v, hp/gui, vn/va, va, 2 vc arr. c1903 New Haven, 3 March >361
1974

Page 47 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an individual user may print out a single article for
personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

78 Polonaise, 2 ?cornets, pf c1887–9 ?inc.

79 Practice for String Quartet in Holding Your Own!, str qt 1903 <middle section of 84/ii

80 Prelude on “Eventide,” Bar/trbn, 2 vn/echo org, org [by 1902], c1907–8 New Haven, 21 Oct <20/iii
1974

81 Scherzo: All the Way Around and Back, cl/fl, bugle/tpt, bells/hn, c1907–8 (1971)
vn, 2 pf/pf 4 hands

82 Scherzo: Over the Pavements, pic, cl, bn/bar sax, tpt, 3 trbn, c1910, rev. c1926–7 New York, 20 Dec 1963 portions >parts of 85 (also used in 87/iva, 107,
cymbal, b drum, pf 321); portions > or <part of 74, part of 90; (1954)

83 Scherzo for String Quartet 1904 <outer sections of 84/ii

84 A Set of Three Short Pieces assembled ?c1935 Syracuse, NY, 8 Feb

1965

i. Largo cantabile: Hymn, (str qt, db)/str orch [1904], c1907–8 <267; (1966)

ii. Scherzo: Holding Your Own!, str qt assembled c1935 combines 83 and 79; (1958)

iii. Adagio cantabile: The Innate, str qt, pf, opt. db c1908–9 <284; (1967)

85 Take-Off no.3: Rube Trying to Walk 2 to 3!!, cl, bn, tpt, pf c1909 portions <parts of 82, 87/iva, 88/ii, 107, 321

86 Trio for Violin, Violoncello and Piano c1909–10, rev. c1914– Berea, OH, 24 May (1955); crit. edn J. Kirkpatrick (1987)
15 1948

i. Moderato c1909–10

ii. Presto (“TSIAJ” or Medley on the Fence or on the Campus!) c1909–10 “TSIAJ” stands for “This Scherzo Is A Joke”

Page 48 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an individual user may print out a single article for
personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

 iii. Moderato con moto c1909–10, rev. c1914– portions >209
15

Page 49 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an individual user may print out a single article for
personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

Piano

Sonatas

Page 50 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an
individual user may print out a single article for personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

87 Sonata no.1 for Piano assembledc1915–16,c1921 New York, 17 Feb 1949 ed. L. Harrison and W. Masselos (1954); corr. edn (1979);
2nd corr. edn (1990)

i. Adagio con moto–Allegro con moto–Allegro c1909–10, c1915–16, rev. c1921, >lost organ piece
risoluto–Adagio cantabile c1926–7

iia. Allegro moderato– Andante c1915–16, c1920–21 >43/ii

iib. Allegro–Meno mosso con moto (In the Inn) c1915–16, c1920–22 >43/i; <20/ii; portions reworked in 128/ii; (San
Francisco, 1932)

iii. Largo–Allegro–Largo c1915–16, rev. c1921–2

iva. c1921 portion >part of 85 or 82 (also used in 107)

ivb. Allegro– Presto–Slow c1921 >43/iv; portion reworked

in 128/ii

v. Andante maestoso–Adagio cantabile–Allegro– c1920–22, rev. c1926–7 portion >part of 122/iv; borrows from 106
Andante

88 Sonata no.2 for Piano: Concord, Mass., 1840–60 c1916–19; rev. 1920s–40s Cos Cob, CT, 28 Nov (Redding, CT, 1920); edn (1947)
1938 [complete work]

i. Emerson c1916–19 Paris, 5 March 1928 >22; uses portions of 90, 91, 97, 99; portion used in 107;
<123

ii. Hawthorne c1916–17 >lost Hawthorne Concerto; borrows from 36, 85, 262;
<116 (itself <4/ii)

iii. The Alcotts c1916–17 3 Aug 1921 >lost Alcott Overture

iv. Thoreau c1918–19 Hartford, CT, 12 Dec portions <parts of 373

1928

Page 51 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an individual user may print out a single article for
personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

89 Three-Page Sonata [1905], c1910–11, rev. c1925–6 New York, 25 April 1949 ed. H. Cowell (1949); crit. edn J. Kirkpatrick (Bryn Mawr,
PA, 1975); other edns in Joyce (E1970), Baron (D1987)

Page 52 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an individual user may print out a single article for
personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

Studies

Page 53 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an
individual user may print out a single article for personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

90 Study no.1: Allegro c1910–11 New York, 23 March inc.; portion < or >part of 82; portions used in 22, 88/i, 91, 123/i
1968

91 Study no.2: Andante moderato–Allegro molto c1910–11, rev. New York, 23 March borrows part of 90; <part of 22, 123/i; portion used in 88/i; portion =
c1925 1968 117/ii

93 Study no.5: Moderato con anima c1912–13 New York, 23 March crit. edn A. Mandel (Bryn Mawr, PA, 1988)
1968

94 Study no.6: Andante c1912–13 New York, 23 March

1968

95 Study no.7: Andante cantabile c1912–13 New York, 23 March

1968

96 Study no.8: Trio (Allegro moderato–Presto) c1912–13 New Haven, 21 Nov 1966 borrows from 125

97 Study no.9: The Anti-Abolitionist Riots in the c1912–13 New York, 3 April 1950 <parts of 22, 123/i; portions used in 88/i; ed. H. Cowell (1949)
1830’s and 1840’s

99 Study no.11: Andante c1915–16 inc.; > or <part of 22; portion <part of 88/i, part of 123/iv

100 Study no.15: Allegro moderato c1917–18 New York, 23 March inc.
1968

101 Study no.16: Andante cantabile c1917–18 Middletown, CT, 19 April inc.; real. J. Kirkpatrick and D. Berman (with 103)
1991

103 Study no.19: Andante cantabile c1914 Middletown, CT, 19 April inc.; real. J. Kirkpatrick and D. Berman (with 101)
1991

104 Study no.20: March (Slow Allegro or Fast c1917–19 New York, 23 March portion borrowed in 9/ii; crit. edn J. Kirkpatrick (Bryn Mawr, PA, 1981)
Andante) 1968

Page 54 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an individual user may print out a single article for
personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

105 Study no.21: Some Southpaw Pitching c1918–19 New York, 3 April 1950 >parts of 2/iii and 2/v; ed. H. Cowell (1949); crit. edn J. Kirkpatrick
(Bryn Mawr, PA, 1975)

106 Study no.22: Andante maestoso–Allegro vivace c1918–19, c1922– portion borrowed in 87/v; ed. H. Cowell (San Francisco, 1947); crit.
3 edn J. Kirkpatrick (Bryn Mawr, PA, 1973)

107 Study no.23: Allegro c1920–22 New York, 23 March portion >part of 85 or 82 (also used in 87/iva); portions >part of 22,
1968 part of 88/i; portion used in 123/ii; crit. edn J. Kirkpatrick (Bryn Mawr,
PA, 1990)

Page 55 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an individual user may print out a single article for
personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

Marches

Page 56 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an
individual user may print out a single article for personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

109 March no.1 for Piano, with “Year of Jubilee” [1890],c1894–5 <lost chbr orch arr.

110 March no.2 for Piano, with “Son of a Gambolier” 1895 inc.; > or <29; <353

111 March no.3 for Piano, with “Omega Lambda Chi” c1895–6 <53

112 March no.5 for Piano, with “Annie Lisle” c1895 <54

113 March no.6 for Piano, with “Here’s to Good Old Yale” c1895–6 New York, three versions, first and third inc., third without borrowed tune;
16 Feb second <lost chbr orch arr.
1975

114 March in G and C for Piano, with “See the Conquering Hero Comes” c1896–7

115 March for Piano: The Circus Band c1898–9 <229, 33 (early version)

Page 57 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an individual user may print out a single article for
personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

Other works

Page 58 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an
individual user may print out a single article for personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

116 The Celestial Railroad c1922–5 Albany, NY, 30 Oct 1928 >88/ii (which borrows from 36), ?>lost Hawthorne Concerto; <4/ii

117 Three Improvisations 1938 recorded New York, 11 May 1938 transcr. from recording and ed. G. and J. Dapogny (1983)

i. Improvisation I borrows from 10/v or 70

ii. Improvisation II =part of 91

iii. Improvisation III borrows from 96 or 125

118 Invention in D c1898 New York, 16 Feb 1975

119 Minuetto, op.4 1886

120 New Year’s Dance 1887 ?inc.

Three Protests: see 124

122 Set of Five Take-Offs c1909 New York, 23 March 1968 crit. edn J. Kirkpatrick (1991)

i. The Seen and Unseen?

ii. Rough and Ready et al. borrows part of 1/iv coda

iii. Song without (good) Words/The Good

& the Bad (new & old)

iv. Scene Episode portion <part of 87/v

v. Bad Resolutions and Good WAN!

123 Four Transcriptions from “Emerson” c1923–4, New York, 12 March 1948 [complete
c1926–7 work]

Page 59 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an individual user may print out a single article for
personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

 i. Slowly c1923–4, New York, 6 Jan 1931 >part of 88/i, part of 22; borrows from 90, 91, 97
c1926–7

ii. Moderato c1926–7 >part of 88/i, part of 22; borrows from 107

iii. Largo c1926–7 >part of 88/i, part of 22

iv. Allegro agitato– Broadly c1926–7 >part of 88/i, part of 22; borrows from 99

124 Varied Air and Variations c1920–22 New Haven, 18 May 1967 portions ed. as Three Protests (San Francisco, 1947); ed. J. Kirkpatrick
and G. Clarke (Bryn Mawr, PA, 1971)

125 Waltz-Rondo 1911 Syracuse, NY, 8 Feb 1965 crit. edn J. Kirkpatrick and J. Cox (1978); portions borrowed in 96, 117/
iii

Page 60 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an individual user may print out a single article for
personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

Two pianos

Page 61 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an
individual user may print out a single article for personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

128 Three Quarter-Tone Pieces 1923–4 ed. G. Pappastavrou (1968)

i. Largo New York, 14 Feb 1925 or 9 April 1929

ii. Allegro New York, 14 Feb 1925 reworks parts of 308 [or 10/iii or 186], 283 [or 11/i], 344 [or 10/i], 43/i [or 87/iib or 20/ii],
43/iv [or 87/ivb]

iii. Chorale New York, 8 Feb 1925 >lost quarter-tone chorale for str, reconstructed by A. Stout (1974)

Page 62 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an individual user may print out a single article for
personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

Organ

Page 63 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an
individual user may print out a single article for personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

131 “Adeste Fideles” in an Organ Prelude [1898], c1903 ed. E.P. Biggs (1949)

134 Canzonetta in F c1893–4 New Haven, 21 Oct 1974

135 Fugue in C Minor c1898 New Haven, 21 Oct 1974 ?inc.

136 Fugue in E♭ c1898 New Haven, 21 Oct 1974

137 Interludes for Hymns c1898–1901 New Haven, 21 Oct 1974

140 Variations on “America” 1891–2, additions c1909–10, rev. c1949 Brewster, NY, 17 Feb 1892 polytonal interludes added c1909–10; ed. E.P. Biggs (1949)

Page 64 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an individual user may print out a single article for
personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

Choral

Sacred (more than one movement)

Page 65 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an
individual user may print out a single article for personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

143 The Celestial Country (H. Alford), T, Bar, 2 vocal qts (both S, A, T, B), SATB, 1898–1902, New York, 18 org part lost; ed. J. Kirkpatrick (1973) [org
tpt, euphonium, timp, org, str qt/str orch additionsc1912–13 April 1902 part reconstructed]

Introduction before no.1 added c1912–13

i. Prelude, Trio, and Chorus >inc. or lost anthem

Prelude before no.2 added c1912–13

ii. Aria for Baritone <307

iii. Quartet

Interlude before no.4 added c1912–13

iv. Intermezzo for String Quartet

Interlude after no.4 added c1912–13

v. Double Quartet, a cappella

vi. Aria for Tenor <252

Introduction to no.7 added c1912–13

vii. Chorale and Finale

144 Communion Service, SATB, org c1894

i. Kyrie three settings, the first inc.

ii. Gratias agimus

iii. Gloria tibi

Page 66 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an individual user may print out a single article for
personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

 iv. Sursum corda

v. Credo inc.

vi. Sanctus two settings

vii. Benedictus

viii. Agnus Dei

145 Three Harvest Home Chorales, SATB divisi, 4 tpt, 3 trbn, tuba, org c1902, c1912–15 New York, 3 ed. H. Cowell (1949)
March 1948

i. Harvest Home (G. Burgess) c1902, c1915

ii. Lord of the Harvest (J.H. Gurney) c1915

iii. Harvest Home (Alford) c1912–15

Page 67 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an individual user may print out a single article for
personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

Psalms

Page 68 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an
individual user may print out a single article for personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

146 Psalm 14, SATB, SATB c1902, rev.c1912–13 crit. edn J. Kirkpatrick (Bryn Mawr, PA, 1995)

147 Psalm 24, SSAATTBB c1901, rev. c1912– (1955)

13

148 Psalm 25, SSAATTBB, org c1901, rev. c1912– Washington, DC, 24 org part inc.; crit. edn J. Kirkpatrick and G. Smith (Bryn Mawr, PA, 1979) [org part
13 Oct 1967 reconstructed]

149 Psalm 42, T, SATB, org c1891–2 org part inc.

150 Psalm 54, SSATBB c1902 Los Angeles, 18 April ed. J. Kirkpatrick and G. Smith (Bryn Mawr, PA, 1973)
1966

151 Psalm 67, SSAATTBB c1898–9 New York, 6 May 1937 (1939)

152 Psalm 90, SSAATTBB, bells (4 1923–4 Los Angeles, 18 April ed. J. Kirkpatrick and G. Smith (Bryn Mawr, PA, 1970)
players), org 1966

153 Psalm 100, SSAATTBB, boys’ choir c1902 Los Angeles, 18 April ed. J. Kirkpatrick and G. Smith (Bryn Mawr, PA, 1975)
(TrTrAA), opt. bells, opt. vns/org 1966

154 Psalm 135, SSAATTBB, tpt, trbn, c1902, rev. c1912– crit. edn J. Kirkpatrick and G. Smith (Bryn Mawr, PA, 1981)
timp, drums, org 13

155 Psalm 150, SSAATTBB, boys’ choir c1898–9 Los Angeles, 18 April ed. J. Kirkpatrick and G. Smith (Bryn Mawr, PA, 1972) [org part added by ed.]
(TrTrAA), opt. org 1966

Page 69 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an individual user may print out a single article for
personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

Other sacred

Page 70 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an
individual user may print out a single article for personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

156 All-Forgiving, look on me (R. Palmer), SATB, c1898–9 ?org part lost

159 Benedictus in E, T/S, SATB, org c1894

161 Bread of the World (R. Heber), unison vv, org c1896–7 inc.

164 Crossing the Bar (A. Tennyson), SATB, org c1894 org part inc.; ed. J. Kirkpatrick (1974) [org part reconstructed]

165 Easter Anthem, SATB, org c1890–91 inc.

166 Easter Carol, S, A, T, B, SATB, org c1896, rev. c1901 New York, 7 crit. edn of rev. version J. Kirkpatrick (1973)
April 1901

167 Gloria in Excelsis, A, unison vv, org c1893–4 inc.

169 I Come to Thee (C. Elliott), SATB, ?org c1896–7 no org in sources; opening figure reused in 219; crit. edn J. Kirkpatrick
(1983) [org part added by ed.]

170 I Think of Thee, My God (J.S.B. Monsell), SATB c1895–6 inc.; <375

173 The Light That Is Felt (J. Whittier), B, SATB, org c1898 inc.; <287

174 Lord God, Thy Sea Is Mighty, SATB, org c1900–01 org part mostly missing; crit. edn J. Kirkpatrick (1983) [org part
reconstructed]

176 Processional: Let There Be Light (J. Ellerton), (TTBB c1902–3, rev. Danbury, 25 choral/kbd reduction (1955); full score (1967); first version for SATB, org
and/or 4 trbn)/SSAATTBB, org/str orch, org/4 vn c1912–13, late March 1966
1930s

178 Turn Ye, Turn Ye (J. Hopkins), SATB, org c1896 org part inc.; (1952); crit. edn J. Kirkpatrick (Bryn Mawr, PA, 1973) [org
part reconstructed]

Page 71 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an individual user may print out a single article for
personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

Secular works for chorus and ensemble

Page 72 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an
individual user may print out a single article for personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

179 Dec (D.G. Rossetti, after Folgore), unison male vv, pic, 2 cl, 2 c1914, rev. 1934 New York, 15 April 1934 > or <234; ed. N. Slonimsky (1963)
hn, 3 tpt, 3 trbn, tuba

180 An Election (Ives), unison male vv divisi, orch [1920], c1923 New York, 16 Oct 1967 < or >313; borrows part of 184 or 289

181 General William Booth Enters Into Heaven (V. Lindsay), unison arr. 1934 Los Angeles, 18 April 1966 arr. of 255 by J.J. Becker under Ives’s
vv divisi, chbr orch supervision

182 He Is There! (Ives), unison vv, orch c1918–21 Norwalk, CT, 19 Oct 1959 >262 (itself partly >187 and borrowing from 36);
<188, 371

183 Johnny Poe (B. Low), TTBB, orch c1927–9 Miami, 20 Oct 1974 inc.; crit. edn real. J. Kirkpatrick (1978)

184 Lincoln, the Great Commoner (E. Markham), unison vv divisi, c1922–3 New York, 16 Oct 1967 >289; (San Francisco, 1932)
orch

185 The Masses (Majority) (Ives), unison vv divisi, orch c1916, rev. New York, 16 Oct 1967 <294
c1920–21

186 The New River (Ives), unison vv divisi, orch c1915 New York, 15 April 1934 > or <10/iii, 308 (itself <14/i and 17/i); portions
reworked in 128/ii; (1971)

187 Sneak Thief (Ives), unison vv divisi, tpt, pf 1914 New Haven, 21 Oct 1974 inc.; portion reworked in 262

188 They Are There! (A War Song March) (Ives), unison vv, orch adapted 1942 Danbury, 25 March 1966 [with >182 and 371 (themselves >262); ed. L. Harrison
pf]; New York, 16 Oct 1967 [with (1961)
orch]

189 Two Slants (Christian and Pagan) c1912–14, Los Angeles, 18 April 1966 <380
c1916–17

i. Duty (R.W. Emerson), unison male vv, orch

ii. Vita (Manilius), unison vv, org

Page 73 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an individual user may print out a single article for
personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

190 Walt Whitman (W. Whitman), SATB, chbr orch c1914–15, rev. Los Angeles, 18 April 1966 inc.; >384 and lost earlier version
c1920–21

Page 74 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an individual user may print out a single article for
personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

Secular partsongs

Page 75 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an
individual user may print out a single article for personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

192 The Bells of Yale (H. Mason), Bar, unison male c1897, rev.c1900– South Norwalk, CT, 1 Dec three versions, first two for Bar, TTBB, vc [one adds bells, pf]; third
vv, pf, vn 01 1897 version (1903)

193 The Boys in Blue, TTBB c1895–6 New Haven, 21 Oct 1974

194 For You and Me!, TTBB/SATB ?1895–6 (1896); ed. and arr. C.G. Richter (Hackensack, NJ, 1973)

195 My Sweet Jeanette, TTBB c1900 ?inc.

196 O Maiden Fair, Bar, TTBB, pf c1900 inc.

200 Serenade (H. Longfellow), SATB c1895–6 New Haven, 14 Oct 1973

201 A Song of Mory’s (C.E. Merrill jr), TTBB c1896 New Haven, 21 Oct 1974 (New Haven, 1897)

202 The Year’s at the Spring (R. Browning), SATB c1892

Page 76 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an individual user may print out a single article for
personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

Songs

Editions

A 114 Songs (Redding, CT, 1922, 2/1975)

A* in A and also in 50 Songs (Redding, CT, 1923, from plates of A)

B Seven Songs (1932)

C Thirty-Four Songs (San Francisco, 1933)

D Nineteen Songs (San Francisco, also as Eighteen [sic] Songs)

E Four Songs (1950)

F Ten Songs (1953)

G Twelve Songs (1954)

H Fourteen Songs (1955)

J Nine Songs (1956)

K Thirteen Songs (1958)

L Sacred Songs (1961)

M Eleven Songs and Two Harmonizations, ed. J. Kirkpatrick (1968)

N Three Songs (1968)

P Forty Earlier Songs, crit. edn J. Kirkpatrick (1993)

Q 129 Songs, crit. edn H.W. Hitchcock (Middleton, WI, 2004)

Page 77 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an
individual user may print out a single article for personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

205 Abide with me (H.F. Lyte) c1890–91, rev. c1921 New York, 11 April 1962 new acc. added c1921; K, L, Q

206 Aeschylus and Sophocles (W.S. Landor), 1v, pf, str qt/str orch 1922–c1924 Los Angeles, 2 April >inc. Fugue in Four Greek Modes; D, Q
1951

207 Afterglow (J.F. Cooper jr) 1919 New York, 6 Feb 1933 <15/iii; A, C

208 Allegro (Ives) adapted after c1902–3 Danbury, 25 March 1966 >345; A, K, Q

209 The All-Enduring c1898–c1900 ? >lost TTBB version; <parts of 86/iii; P

210 Amphion (Tennyson) adapted after c1896–7 >275; A*, F, Q

211 Ann Street (M. Morris) 1921 New York, 6 Feb 1933 <14/iv, 17/iii; A, C, Q

212 At Parting (F. Peterson) c1897–c1900 Milwaukee, 28 March ?>lost earlier version; C, Q
1950

213 At Sea (R.U. Johnson) arr. 1921 New York, 17 Nov 1936 >12/i; <16/i; A*, C, Q

214 At the River (R. Lowry) arr. [1916] Vienna, 15 Feb 1935 >part of 63/iii; A, C, Q

216 Aug (D.G. Rossetti, after Folgore) 1920 A, G, Q

217 Autumn (H. Twichell) c1907–8 New York, 24 Feb 1939 A, J, Q

Ballad from Rosamunde: see 337 (1st version)

218 Because of You 1898 P

219 Because Thou Art c1901–2 opening figure >169; P

No. Title and instrumentation Dates First known Remarks and editions
performance

Page 78 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an individual user may print out a single article for
personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

220 Berceuse (Ives) adapted c1920 New York, 24 Feb 1939 >395; A*, K, Q

221 The Cage (Ives) [1906] Philadelphia, 1 Nov > or <20/i; A, (San Francisco, 1932), H, Q
1962

222 The Camp Meeting (Ives, C. Elliott) arr. [1912] >3/iii; A, K, L, Q

223 Canon [I] [1893], c1895–6 <224; P

224 Canon [II] (T. Moore) adapted after c1895–6 New York, 19 April 1942 >223; A, D, Q

225 Chanson de Florian (J.P.C. de Florian) c1898 New York, 27 Dec 1949 A, (1950), Q

226 Charlie Rutlage (D.J. O’Malley, as collected by J.A. Lomax) 1920/1921 New Orleans, 17 Jan partly >portion of 55; <14/iii; A*, B, Q
1924

227 The Children’s Hour (Longfellow) c1912–13 Vienna, 15 Feb 1935 A*, C, Q

228 A Christmas Carol (Ives) before 1898 Los Angeles, 1 Feb 1942 A*, D, Q

229 The Circus Band (Ives) adapted ?c1899 or ? New Haven, 5 Nov 1966 >115; <33; A*, F, Q
c1920–21

230 The Collection (J. Edmeston) 1920 A, K, L, Q

232 Country Celestial (J.M. Neale, after Bernard of Cluny) c1895–8 >or <240; <389; P

233 Cradle Song (A.L. Ives) 1919 New York, 5 Feb 1965 A*, D, Q

234 Dec (D.G. Rossetti, after Folgore) c1913–14 <or >179; A, C, Q

235 Disclosure (Ives) 1921 A*, G, L, Q

No. Title and instrumentation Dates First known Remarks and editions
performance

Page 79 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an individual user may print out a single article for
personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

236 Down East (Ives) 1919 New York, 24 Feb 1939 A, K, L, Q

238 Dreams (Baroness Porteous, trans. A. Streleski) [1897] A, J, Q

239 Du alte Mutter (A.O. Vinje, Ger. trans. E. Lobedanz) [Eng. [1900], c1902 New York, 28 Nov 1922 second setting of Eng. version [see 316]; A, K, Q
version My dear old mother (trans. F. Corder)]

240 Du bist wie eine Blume (H. Heine) c1896–7 >or <232; <389; P

Duty: see 380/a

241 Ein Ton (P. Cornelius) [Eng. version I hear a tone (trans. C.H. c1900 <309; P
Laubach)]

An Election: see 313

242 Elégie (L. Gallet) c1901–2 Danbury, 17 March 1967 A*, J, Q

243 The Ending Year 1902 ?>lost song, arr. J. Kirkpatrick as 357; <382; P

244 Evening (J. Milton) 1921 Saratoga Springs, NY, 1 <15/iv; A*, B, Q
May 1932

245 Evidence (Ives) adapted [1910] >394; A, J, Q

Eyes so dark: see 387

246 Far from my heav’nly home (Lyte) c1893–4 M

247 Far in the wood c1900 <310; P

248 A Farewell to Land (Byron) c1909–10 Minneapolis, 18 Jan D, Q

1944

Page 80 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an individual user may print out a single article for
personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

No. Title and instrumentation Dates First known Remarks and editions
performance

249 La Fede (Ariosto) 1920 A*, D, Q

250 Feldeinsamkeit (H. Allmers) [Eng. version In Summer Fields c1897–8 Los Angeles, 12 Nov A*, D, Q
(trans. H.C. Chapman)] 1946

251 Flag Song (H.S. Durand) [1898], c1900 (1968), Q

252 Forward into Light (H. Alford) 1902 >143/vi; A, F, L, Q

253 Friendship c1898–9 P

254 Frühlingslied (Heine) c1898 <270; P

255 General William Booth Enters into Heaven (V. Lindsay) 1914, rev. c1933 San Francisco, 26 Sept ?>lost version for unison male vv, band; <181; D, Q
1933

256 God Bless and Keep Thee c1898, c1901–2 M

257 Grace c1900–03 <390; P

258 Grantchester (R. Brooke) 1920 New York, 13 Nov 1933 A*, J, Q

259 The Greatest Man (A.T. Collins) 1921 New York, 28 Feb 1924 A*, C, N, Q

260 Gruss (Heine) c1898–9, c1902–3 <398; P

261 Harpalus (anon., coll. T. Percy) adapted [1902] or Houston, 3 May 1943 >323; A, C, Q
c1920

262 He Is There! (Ives), 1v/vv, pf, opt. vn/fl/fife 1917 Danbury, 18 Jan 1940 portion >part of 187; borrows from 36; <182, 371,
188; portion borrowed in 88/ii; A, Q

Page 81 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an individual user may print out a single article for
personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

 Hear My Prayer, O Lord: see 355c

No. Title and instrumentation Dates First known Remarks and editions
performance

263 Her Eyes c1898 <299; P

264 Her gown was of vermilion silk 1897 P

265 His Exaltation (R. Robinson) arr. [1913] >ending of 61/i; A, J, L, Q

266 The Housatonic at Stockbridge (R.U. Johnson) arr. 1921 New York, 11 May 1946 >7/iii, early song version; A, G, Q

267 Hymn (J. Wesley, after G. Tersteegen) arr. 1921 San Francisco, 26 Sept >84/i; A*, C, Q
1933

268 Hymn of Trust (O.W. Holmes sr), 1v, org/pf adapted c1899–c1900 inc.; >312; P [org part added by ed. J. Kirkpatrick]

I hear a tone: see 241

269 I knew and loved a maid c1898–9, c1901–2 P

270 I travelled among unknown men (W. Wordsworth) adapted [1901] >254; A*, F, Q

271 Ich grolle nicht (Heine) [Eng. version I’ll not complain (trans. c1898–9, rev. c1900–01 Milwaukee, 28 March A, C, Q [latter two incl. Eng. version]
J.S. Dwight)] 1950

272 Ilmenau (J.W. von Goethe) [Eng. version Over all the treetops c1903 Danbury, 8 June 1922 A*, (1952), Q
(trans. H. Twichell)]

273 Immortality (Ives) 1921 Vienna, 15 Feb 1935 A*, C, Q

275 In April-tide (C. Scollard) c1896–7 <210; P

276 In Autumn c1896 P

Page 82 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an individual user may print out a single article for
personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

277 In Flanders Fields (J. McCrae) 1917, rev. 1919 New York, 15 April 1917 A, H, Q

No. Title and instrumentation Dates First known Remarks and editions
performance

278 In My Beloved’s Eyes (W.M. Chauvenet) c1899 <311; P

In Summer Fields: see 250

279 In the Alley (Ives) [1896] Danbury, 18 Jan 1940 A, K, Q

280 The “Incantation” (Byron) arr. 1921 >10/vi; A, C, Q

283 The Indians (C. Sprague) arr. 1921 Saratoga Springs, NY, 1 >11/i (itself <19/iii); <14/ii and 17/ii; first half <part
May 1932 of 128/ii; A*, B, Q

284 The Innate (Ives) arr. [1916] Paris, 5 March 1936 >84/iii; A, D, Q

285 Kären (P.K. Ploug, trans. C. Kappey) c1900, c1905–6 New Haven, 1 March A*, G, Q
1968

286 The Last Reader (O.W. Holmes) arr. 1921 New York, 2 Nov 1942 >11/iii, 18/i; A*, C, Q

287 The Light That Is Felt (Whittier) adapted c1899–1900, New Haven, 7 Sept 1961 >173; A*, (1950), Q
[1903–4], c1919–20

288 Like a Sick Eagle (J. Keats) arr. 1920 New York, 6 Feb 1933 >10/iv (itself <19/i); A*, C, Q

289 Lincoln, the Great Commoner (E. Markham) c1919–20 New York, 27 Dec 1949 <184; portions borrowed in 313 (itself <180); A,
(1952), Q

291 Die Lotosblume (Heine) [Eng. version The Lotus Flower] c1897–8, rev. c1900–01 <362; pubd as alternative text for 362 in A*, C, Q
and c1908–9

292 The Love Song of Har Dyal (R. Kipling) c1899–c1900, c1902–3 P

Page 83 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an individual user may print out a single article for
personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

293 Luck and Work (R.U. Johnson) c1919–20 Dallas, 7 Feb 1965 > or <12/ii (itself <19/ii); A, C, E, Q

294 Majority (Ives) arr. 1921 Paris, 5 March 1936 >185; A, D, Q

No. Title and instrumentation Dates First known Remarks and editions
performance

295 Maple Leaves (T.B. Aldrich) 1920 Saratoga Springs, NY, 1 A, B, Q

May 1932

296 Marie (R. Gottschall) [Eng. version trans. E. Rücker] [1896], c1901–2, second first version in P; second version A*, H
version c1903–4

297 Memories: a. Very Pleasant, b. Rather Sad (Ives) [1897] Pittsburgh, 29 April A, F, Q
1949

298 Minnelied (L.H.C. Hölty) c1901 <306; P

299 Mirage (C. Rossetti) adapted [1902] Minneapolis, 29 May >263; A*, F, Q
1955

300 Mists [I] (H.T. Ives) 1910, c1912–13 <301

301 Mists [II] (H.T. Ives) c1912–13, rev. c1920 Vienna, 15 Feb 1935 >300; <15/i; first version inc., second version in A*,
C, Q

My dear old mother: see 239, 316

302 My Lou Jennine c1894 P

303 My Native Land [I] (after Heine) c1897–c1900 ?first setting; A, G, Q

304 My Native Land [II] (after Heine) c1900–01 ?second setting; P

Page 84 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an individual user may print out a single article for
personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

306 Nature’s Way (Ives) adapted [1908], c1909– >298; A*, H, Q
10

307 Naught that country needeth (H. Alford) c1898–9, rev. 1902 >143/ii; A*, H, L, Q

308 The New River (Ives) 1914–15, ?rev. 1921 Dresden, 11 March 1932 > or <10/iii, 186; <14/i, 17/i; portions reworked in
128/ii; A*, C, Q

309 Night of Frost in May (G. Meredith) adapted [1899] or New York, 30 March >241; A*, D, Q
c1920 1940

No. Title and instrumentation Dates First known Remarks and editions
performance

310 A Night Song (T. Moore) adapted ?c1920 New York, 10 Feb 1950 >247; A, (1952), later printings of K, Q

311 A Night Thought (Moore) adapted c1916 New York, 28 Nov 1922 >278; A*, C, Q

312 No More (W. Winter) 1897 New Haven, 22 Feb <268; M

1956

313 2 Nov 1920 (An Election) (Ives) c1921 Bennington, VT, 17 > or <180; borrows part of 184 or 289; A, D, (1949),
June 1959 Q

314 An Old Flame (Ives) c1898, c1901 New York, 15 May 1901 A, K, Q

315 Old Home Day (Ives), 1v, pf, opt. vn/fl/fife c1920 London, 17 June 1965 portions> or <parts of 5/iii; A*, K, Q

316 The Old Mother (Vinje, trans. Corder) ?1898, c1902 first setting: see also 239; P

317 Omens and Oracles (O. Meredith) [1899], c1902 Danbury, 17 March 1967 A, F, Q

318 On Judges’ Walk (A. Symons) c1901–2 New Haven, 7 Sept 1961 >first theme of 1/i; <339; P

319 On the Antipodes (Ives), 1v, pf 4 hands c1922–3 New York, 11 May 1963 chords derived in part from 6; D, Q

Page 85 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an individual user may print out a single article for
personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

320 On the Counter (Ives) 1920 modeled on 355; A, H, Q

321 “1, 2, 3” (Ives) 1921 Philadelphia, 23 April portion >part of 85 or 82; A, E, Q

1940

322 The One Way (Ives) c1922–3 M

323 The Only Son (Kipling) c1898–9 <261; P

Over all the treetops: see 272

No. Title and instrumentation Dates First known Remarks and editions
performance

324 Paracelsus (Browning) 1921 Paris, 5 March 1936 portions >parts of 27; <13/i; A*, D, Q

325 Peaks (H. Bellamann) c1923–4 M

326 A Perfect Day 1902 P

327 Pictures (M.P. Turnbull) 1906 Germantown, PA, 11 M

Oct 1963

328 Premonitions (R.U. Johnson) arr. 1921 San Francisco, 15 Feb >12/iii; A, C, Q
1934

329 Qu’il m’irait bien (trans. M. Delano) c1897–9 A, G, Q

330 The Rainbow (So May It Be!) (Wordsworth) arr. 1921 New York, 27 Dec 1949 >45; <15/ii; A, C, Q

331 Religion (L.Y. Case) arr. c1910–11 >lost anthem; A*, G, L, Q

332 Remembrance (Ives) arr. 1921 >40; <16/iii; A*, G, Q

333 Requiem (R.L. Stevenson) 1911 Paris, 5 March 1936 D, Q

Page 86 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an individual user may print out a single article for
personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

334 Resolution (Ives) 1921 Paris, 5 March 1936 A*, D, Q

335 Rock of Ages (A.M. Toplady), 1v, pf/org c1892 ? Danbury, 30 April 1893 M

336 Romanzo (di Central Park) (L. Hunt) [1900], c1911 Bennington, VT, 17 A, H, Q
June 1959

337 Rosamunde (H. von Chézy, Fr. paraphrase by Bélanger) c1898–9, c1901–2 first version (Ger. only) in P; Fr. text substituted in
second version in A, H, Q

338 Rosenzweige (K. Stieler) c1902–3 >345; <208; P

No. Title and instrumentation Dates First known Remarks and editions
performance

339 Rough Wind (P.B. Shelley) adapted [1902] New York, 1 March 1932 >318 (itself >first theme of 1/i); A, C, Q

341 A Scotch Lullaby (Merrill) 1896 (New Haven, 1896), M

342 A Sea Dirge (W. Shakespeare) 1925 New Haven, 22 Feb <16/iv; M
1956

343 The Sea of Sleep 1903 <374; P

344 The See’r (Ives) c1914–15, arr. 1920 Saratoga Springs, NY, 1 >10/i; portions reworked in 128/ii; A, B, Q
May 1932

345 Sehnsucht (C. Winther, Ger. trans. E. Lobedanz) c1902–3 <338, 208; P

346 Sept (D.G. Rossetti, after Folgore) c1919–20 New York, 11 May 1963 A, C, Q

347 Serenity (Whittier) arr. [1919] New York, 15 March >inc. or lost choral version; A, B, Q
1929

348 The Side Show (Ives) adapted 1921 New York, 24 Feb 1939 >lost piece for 1896 college show; A, G, Q

Page 87 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an individual user may print out a single article for
personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

349 Slow March (L. Brewster, Ives family) c1887, rev. 1921 A, F, Q

350 Slugging a Vampire (Ives) adapted [1902] or New York, 21 Feb 1947 >367; D, Q
c1920

So May It Be!: see 330

352 Soliloquy (Ives) c1916–17 Philadelphia, 1 Nov C, Q

1962

353 A Son of a Gambolier, 1v, pf, opt. fls/vns/other insts arr. c1919–21 >110; A, J, Q

354 Song (H. Coleridge) c1897 P

No. Title and instrumentation Dates First known Remarks and editions
performance

355 A Song—For Anything c1921 A, H, Q; 355c reused for 355a and 355b; in
assembling 114 Songs Ives combined all three
texts to make 355; used as model for 320

a. When the waves softly sigh (?Ives) [1892]

b. Yale, Farewell! (?Ives) c1898–9

c. Hear My Prayer, O Lord (N. Tate, N. Brady) c1889–90

356 Song for Harvest Season (G. Phillimore), 1v (cornet/tpt, trbn, 1894, rev. c1932–3 Minneapolis, 18 Jan C, Q
b trbn/tuba)/org 1944

357 The Song of the Dead (Kipling) ?1898 conjectured first text for music of 243 (itself <382);
arr. J. Kirkpatrick, P

361 Songs my mother taught me (A. Heyduk, Eng. trans. N. [1895], c1899–c1901 Danbury, 17 March 1967 <76; A*, H, Q
Macfarran)

Page 88 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an individual user may print out a single article for
personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

362 The South Wind (H. Twichell) adapted 1908 >291; A*, C, Q

363 Spring Song (H. Twichell) 1907 Danbury, 8 June 1922 ?>lost song; A*, G, Q

365 Sunrise (Ives), 1v, pf, vn 1926 New Haven, 7 Sept 1961 crit. edn J. Kirkpatrick (1977)

366 Swimmers (L. Untermeyer) [1915], ?rev. 1921 San Francisco, 26 Sept <16/ii; A, C, Q
1933

367 Tarrant Moss (Kipling) c1902–3 New Haven, 2 June <350; A, K, Q

1960

369 There is a certain garden [1893], c1896–8 New Haven, 22 Feb M

1956

370 There is a lane (Ives) adapted [1902] or >393; A*, J, Q

c1920

371 They Are There! (Ives), 1v/vv, pf, opt. vn/fl/fife, opt. 2nd pf adapted 1942 New Haven, 19 Oct 1973 >182, 262 (which borrows from 187 and 36); <188;
J, Q

372 The Things Our Fathers Loved (Ives) 1917 New York, 15 March >inc. or lost orch work; A, H, Q
1929

373 Thoreau (Ives, after H. Thoreau) arr. c1920 Poughkeepsie, NY, 19 portions >parts of 88/iv; A, C, Q
April 1934

374 Those Evening Bells (T. Moore) adapted [1907] >343; A, H, Q

No. Title and instrumentation Dates First known Remarks and editions
performance

375 Through Night and Day (after J.S.B. Monsell) adapted c1897–8 >170; P

376 To Edith (H.T. Ives) 1919 ?>lost song; A*, F, Q

Page 89 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an individual user may print out a single article for
personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

377 Tolerance (R. Kipling) arr. 1921 Minneapolis, 18 Jan >10/ii; A, C, Q
1944

378 Tom Sails Away (Ives) 1917 New York, 11 May 1963 A, D, Q

Ein Ton: see 241

379 Two Little Flowers (C. Ives, H.T. Ives) 1921 New York, 24 Feb 1939 A*, D, N, Q

380 Two Slants (Christian and Pagan) Dallas, 7 Feb 1965 >189; A*, C, E, Q
[complete work]

a. Duty (Emerson) arr. 1921 Dallas, 7 Feb 1965

b. Vita (Manilius) arr. 1921 Boston, 22 April 1934

381 Vote for Names! Names! Names! (Ives), 1v, 3 pf 1912 inc.; (1968); ed. N. Schoffman, CMc, no.23 (1977);
Q

382 The Waiting Soul (J. Newton) adapted [1908] >243; A*, G, L, Q

383 Walking (Ives) c1912 Saratoga Springs, NY, 1 >inc. or lost anthem; A*, B, Q
May 1932

384 Walt Whitman (Whitman) c1920–21 Poughkeepsie, NY, 19 >lost early version of 190; <190, 13/ii; A*, C, Q
April 1934

385 Waltz (Ives) c1894–5, rev. 1921 A, G, Q

386 Watchman! (J. Bowring) adapted [1913] >lost early song version or part of 60/iii; <part of 4/
i; A*, H, L, Q

387 Weil’ auf mir (N. Lenau) [Eng. version Eyes so dark (trans. [1902] A, H, Q
after E. Rücker and W.J. Westbrook)]

Page 90 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an individual user may print out a single article for
personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

388 West London (M. Arnold) 1921 Colorado Springs, CO, >inc. Matthew Arnold Overture; <13/iii; A*, C, Q
28 April 1939

No. Title and instrumentation Dates First known Remarks and editions
performance

389 When stars are in the quiet skies (E.G. Bulwer-Lytton) adapted c1899–c1900 Oxford, OH, 14 May >240 or 232; A*, C, Q
1950

When the waves softly sigh: see 355a

390 Where the eagle cannot see (M.P. Turnbull) adapted c1906 Saratoga Springs, NY, 1 >257; A, (1935), early printings of K, L, N, Q
Oct 1933

391 The White Gulls (M. Morris, after Russian poem) c1920–21 Danbury, 8 June 1922 A*, C, Q

393 Widmung (W.M. von Königswinter) ?1898 <370; P

394 Wie Melodien zieht es mir (K. Groth) c1898–1900 <245; P

395 Wiegenlied (Des Knaben Wunderhorn) c1906 Germantown, PA, 11 <220; P

Oct 1963

396 William Will (S.B. Hill) 1896 portion >part of 31; (1896), P

397 The World’s Highway (H. Twichell) 1906/1907 A, K, Q

398 The World’s Wanderers (Shelley) adapted after c1898–9 Danbury, 17 March 1967 >260; A*, F, Q

Yale, Farewell!: see 355b

399 Yellow Leaves (Bellamann) 1923 New Haven, 22 Feb M

1956

Page 91 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an individual user may print out a single article for
personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

Arrangements

Page 92 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an
individual user may print out a single article for personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

439 Beethoven: Adagio in F from Piano Sonata op.2 no.1, str qt c1898 New Haven, 21 Oct 1974 439

440 E. Ives: Christmas Carol, 1v, pf, opt. bells 1924/1925 New York, Dec 1925 M

441 In the Mornin’, 1v, pf 1929 M

Page 93 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an individual user may print out a single article for
personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

Writings
Essays Before a Sonata (New York, 1920/R)

“Some ‘Quarter-tone’ Impressions,” Franco-American Music Society Bulletin (25 March 1925)

“Music and its Future,” American Composers on American Music, ed. H. Cowell (Stanford, CA,
1933/R)

Essays Before a Sonata and Other Writings, ed. H. Boatwright (New York, 1962, rev. 2/1970 as
Essays Before a Sonata, The Majority, and Other Writings)

Memos, ed. J. Kirkpatrick(New York, 1972)

Selected Correspondence of Charles Ives, ed. T.C. Owens (Berkeley, 2007)

Bibliography

A: Catalogs, bibliographies, and reference works

J. Kirkpatrick: A Temporary Mimeographed Catalogue of the Music Manuscripts and Related
Materials of Charles Edward Ives 1874–1954 (New Haven, CT, 1960)

R. Warren: Charles E. Ives: Discography (New Haven, CT, 1972)

V. Perlis, ed.: Charles Ives Papers (New Haven, CT, 1983)

G. Block: Charles Ives: a Bio-Bibliography (New York, 1988)

W. Rathert: Charles Ives (Darmstadt, 1989, 2/1996)

C.W. Henderson: The Charles Ives Tunebook (Warren, MI, 1990, 2/2008)

J.B. Sinclair: A Descriptive Catalogue of the Music of Charles Ives (New Haven, CT, 1999; rev.
2/2010, available at <http://hdl.handle.net/10079/fa/music.mss.0014.1 <http://hdl.handle.net/
10079/fa/music.mss.0014.1>>)

G. Sherwood: Charles Ives: a Guide to Research (New York, 2002; rev. 2/2010 by G.S. Magee as
Charles Ives: a Research and Information Guide)

J.M. Burk and M.J. Budds: A Charles Ives Omnibus (Missoula, MT, 2008)

B: Collections of articles
H.W. Hitchcock and V. Perlis, eds: An Ives Celebration (Brooklyn, NY, and New Haven, CT, 1974)
[incl. articles by R.M. Crunden, F.R. Rossiter, N. Bruce, R.P. Morgan, A. Forte, W. Brooks]

Charles Ives und die amerikanische Musiktradition bis zur Gegenwart: Cologne 1988 [incl.
articles by J.P. Burkholder, D. Kämper, R.P. Morgan, W. Rathert]

Page 94 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an
individual user may print out a single article for personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

G. Block and J.P. Burkholder, eds: Charles Ives and the Classical Tradition (New Haven, CT,
1996) [incl. articles by G. Block, A. Buchman, J.P. Burkholder, P. Lambert, R.P. Morgan, N.E.
Tawa, K.C. Ward]

J.P. Burkholder, ed.: Charles Ives and his World (Princeton, NJ, 1996) [incl. articles by L.
Botstein, M. Broyles, J.P. Burkholder, D.M. Hertz, and M. Tucker, with selected correspondence
1881–1954, reviews 1888–1951, profiles 1932–55]

P. Lambert, ed.: Ives Studies (Cambridge, 1998) [incl. articles by L. Austin, G. Block, J.P.
Burkholder, S. Feder, H.W. Hitchcock, P. Lambert, R.P. Morgan, W. Rathert, G. Sherwood, J. Tick]

H.-W. Heister and W. Kremp, eds: Charles Ives, 1874–1954: Amerikanischer Pionier der neuen
Musik (Trier, 2004) [incl. articles by J. Barnieck, R. Flender, T. Giebisch, P. Gläfcke, H.-W. Heister,
H. Henck, H. Lück, F. Mehring, H.-C. Müller, T. Phelps, W. Rathert, L. Schmidthals, M. Tischer]

U. Tadday, ed.: Charles Ives [Musik-Konzepte 123] (Munich, 2004) [incl. articles by L. Fenner, D.
Gail, W. Rathert, G. Schubert, D. Schulz, D. Von Glahn]

C: Life and works

H. Cowell: “Charles Ives,” MM, x (1932–3), 24–33

H. Bellamann: “Charles Ives: the Man and his Music,” MQ, xix (1933), 45–58

H. Cowell: American Composers on American Music (Stanford, CA, 1933/R), 128–45

H. and S. Cowell: Charles Ives and his Music (New York, 1955, 2/1969)

J. Bernlef and R. de Leeuw: Charles Ives (Amsterdam, 1969); partial Eng. trans. in Student
Musicologists at Minnesota, vi (1975–6), 128–91

L. Wallach: The New England Education of Charles Ives (diss., Columbia U., 1973)

V. Perlis: Charles Ives Remembered: an Oral History (New Haven, CT, 1974/R)

R.S. Perry: Charles Ives and the American Mind (Kent, OH, 1974)

G. Vinay: L’America musicale di Charles Ives (Turin, 1974)

D. Wooldridge: From the Steeples and Mountains: a Study of Charles Ives (New York, 1974);
repr. as Charles Ives: a Portrait (London, 1975)

F.R. Rossiter: Charles Ives and his America (New York, 1975)

S. Feder: “Charles and George Ives: the Veneration of Boyhood,” Annual of Psychoanalysis, ix
(1981), 265–316; repr. in Psychoanalytic Explorations in Music, ed. S. Feder, R.L. Karmel and
G.H. Pollock (Madison, CT, 1990), 115–76

P.J. Conn: “Innovation and Nostalgia: Charles Ives,” The Divided Mind: Ideology and Imagination
in America, 1898–1917 (Cambridge, 1983), 230–50

M.S. Harvey: Charles Ives: Prophet of American Civil Religion (diss., Boston U., 1983)

J.P. Burkholder: Charles Ives: the Ideas Behind the Music (New Haven, 1985)
Page 95 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an
individual user may print out a single article for personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

J.J. Gibbens: Debussy’s Impact on Ives: an Assessment (diss., U. of Illinois, 1985)

M.S. Moore: Yankee Blues: Musical Culture and American Identity (Bloomington, IN, 1985)

K.C. Ward: Musical Idealism: a Study of the Aesthetics of Arnold Schoenberg and Charles Ives
(diss., Northwestern U., 1985)

J. Maderuelo: Charles Ives (Madrid, 1986)

D. Rostkowski: Ives (Gdańsk, 1987)

M. Solomon: “Charles Ives: some Questions of Veracity,” JAMS, xl (1987), 443–70 [response: J.P.
Lambert, JAMS, xlii (1989), 204–9; counter-response: M. Solomon, JAMS, xliii (1989), 209–18]

R.N. Bukoff: Charles Ives: a History and Bibliography of Criticism (1920–1939), and Ives’
Influence (to 1947) on Bernard Herrmann, Elie Siegmeister, and Robert Palmer (diss., Cornell
U., 1988)

J.P. Burkholder: “Charles Ives and his Fathers: a Response to Maynard Solomon,” Institute for
Studies in American Music Newsletter, xviii/1 (1988), 8–11

C.K. Baron: “Dating Charles Ives’s Music: Facts and Fictions,” PNM, xxviii/1 (1990), 20–56

A. Ivashkin: Charlz Aivz i muzïka XX veka [Charles Ives and Twentieth-Century Music] (Moscow,
1991)

C.K. Baron: “Georges Ives’s Essay in Music Theory: an Introduction and Annotated Edition,”
American Music, x (1992), 239–88

S. Feder: Charles Ives, “My Father’s Song”: a Psychoanalytic Biography (New Haven, CT, 1992)

R.V. Wiecki: “Two Musical Idealists, Charles Ives and E. Robert Schmitz: a Friendship
Reconsidered,” American Music, x (1992), 1–19

J. Tick: “Charles Ives and Gender Ideology,” Musicology and Difference: Gender and Sexuality in
Music Scholarship, ed. R.A. Solie (Berkeley, 1993), 83–106

G. Sherwood: “Questions and Veracities: Reassessing the Chronology of Ives’s Choral Works,”
MQ, lxxviii (1994), 429–47

D.V.G. Cooney: Reconciliation: Time, Space and the American Place in the Music of Charles Ives
(diss., U. of Washington, 1995)

L. Kramer: “Cultural Politics and Musical Form: the Case of Charles Ives,” Classical Music and
Postmodern Knowledge (Berkeley, 1995), 174–200

J. Swafford: Charles Ives: a Life with Music (New York, 1996)

J.P. Burkholder: “Ives and Yale: the Enduring Influence of a College Experience,” College Music
Symposium, xxxix (1999), 27–42

S. Feder: The Life of Charles Ives (Cambridge, 1999)

Page 96 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an
individual user may print out a single article for personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

T.C. Owens: Charles Ives and His American Context: Images of “Americanness” in the Arts (diss.,
Yale U., 1999)

P.K. Fairfield: Representations of Gender and Sexuality in the Music and Writings of Charles Ives
(diss., Brandeis U., 2000)

G. Sherwood: “Charles Ives and ‘Our National Malady’,” JAMS, liv (2001), 555–84

B. Marshall: Charles Ives and the Absent Presences of Life and Work (diss., U. of Wales, 2003)

C.K. Baron: “Efforts on Behalf of Democracy by Charles Ives and His Family: Their Religious
Contexts,” MQ, lxxvii (2004), 6–43

M. Broyles: Mavericks and Other Traditions in American Music (New Haven, 2004)

T.A. Johnson: Baseball and the Music of Charles Ives: a Proving Ground (Lanham, MD, 2004)

D.C. Paul: “From American Ethnographer to Cold War Icon: Charles Ives through the Eyes of
Henry and Sidney Cowell,” JAMS, lix (2006), 399–457

D. Massey: “The Problem of Ives’s Revisions (1973–1987),” JAMS, lx (2007), 599–645

G.S. Sherwood: Charles Ives Reconsidered (Urbana, IL, 2008)

D. Nicholls: “‘The Unanswered Question of Her Son’s Biography’: New Thoughts on Mollie
Ives,” Journal of the Society for American Music, v (2011), 95–111

D.C. Paul: Charles Ives in the Mirror: American Histories of an Iconic Composer (Urbana, IL,
2013)

D: Studies of the music

H. Bellamann: “The Music of Charles Ives,” Pro-Musica Quarterly, v/1 (1927), 16–22

P. Rosenfeld: Discoveries of a Music Critic (New York, 1936/R), 315–24

W. Mellers: “Realism and Transcendentalism: Charles Ives as American Hero,” Music in a New
Found Land: Themes and Developments in the History of American Music (London, 1964/R), 38–
64

D. Marshall: “Charles Ives’s Quotations: Manner or Substance?,” PNM, vi/2 (1967–8), 45–56;
repr. in Perspectives on American Composers, ed. B. Boretz and E.T. Cone (New York, 1971), 13–
24

C.W. Henderson: Quotation as a Style Element in the Music of Charles Ives (diss., Washington U.,
1969)

J.M. Rinehart: Ives’ Compositional Idioms: an Investigation of Selected Short Compositions as

Microcosms of his Musical Language (diss., Ohio State U., 1970)

R.P. Morgan: “Rewriting Music History: Second Thoughts on Ives and Varèse,” Musical
Newsletter, iii (1973), no.1, pp.3–12; no.2, pp.15–23, 28

Page 97 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an
individual user may print out a single article for personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

C. Ward: Charles Ives: the Relationship Between Aesthetic Theories and Compositional
Processes (diss., U. of Texas, 1974)

H.W. Hitchcock: Ives (London, 1977, 3/1988)

L. Starr: “Charles Ives: the Next Hundred Years: Towards a Method of Analyzing the Music,” MR
, xxxviii (1977), 101–11

N.S. Josephson: “Charles Ives: intervallische Permutationen im Spätwerk,” Zeitschrift für

Musiktheorie, ix/2 (1978), 27–33

R.P. Morgan: “Ives and Mahler: Mutual Responses at the End of an Era,” 19CM, ii (1978–9), 72–
81; repr. in Charles Ives and the Classical Tradition, ed. G. Block and J.P. Burkholder (New
Haven, CT, 1996), 75–86

C. Ballantine: “Charles Ives and the Meaning of Quotation in Music,” MQ, lxv (1979), 167–84

S.S. Pavlyshyn: Charlz Aivz (Moscow, 1979)

N. Schoffman: “Serialism in the Works of Charles Ives,” Tempo, no.138 (1981), 21–32

J.P. Burkholder: The Evolution of Charles Ives’s Music: Aesthetics, Quotation, Technique (diss.,
U. of Chicago, 1983)

L.L. Gingerich: Processes of Motivic Transformation in the Keyboard and Chamber Music of
Charles E. Ives (diss., Yale U., 1983)

L. Starr: “The Early Styles of Charles Ives,” 19CM, vii (1983–4), 71–80

L.L. Gingerich: “A Technique for Melodic Motivic Analysis in the Music of Charles Ives,” Music
Theory Spectrum, viii (1986), 75–93

T.D. Winters: Additive and Repetitive Techniques in the Experimental Works of Charles Ives
(diss., U. of Pennsylvania, 1986)

C.K. Baron: Ives on his Own Terms: an Explication, a Theory of Pitch Organization, and a New
Critical Edition for the “3-Page Sonata” (diss., CUNY, 1987)

H.W. Davies: The Correlation Between Source and Style in the Music of Ives (diss., U. of Wales,
Cardiff, 1987)

Y. Sakae: “Charles Ives no ongakukozo ni okeru de-composition” [De-composition in the

structure of Ives’s music], Ongaku-gaku, xxxiv/2 (1988), 97–111

J.P. Lambert: “Ives’s ‘Piano-Drum’ Chords,” Intégral, iii (1989), 1–36

J.P. Burkholder: “The Critique of Tonality in the Early Experimental Music of Charles Ives,”
Music Theory Spectrum, xii (1990), 203–23

J.P. Lambert: “Aggregate Structures in Music of Charles Ives,” JMT, xxxiv (1990), 29–55

J.P. Lambert: “Interval Cycles as Compositional Resources in the Music of Charles Ives,” Music
Theory Spectrum, xii (1990), 43–82

Page 98 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an
individual user may print out a single article for personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

D. Nicholls: American Experimental Music, 1890–1940 (Cambridge, 1990)

C.K. Baron: “Meaning in the Music of Charles Ives,” Metaphor: a Musical Dimension, ed. J.C.
Kassler (Sydney, 1991), 37–50

J.P. Lambert: “Ives and Counterpoint,” American Music, ix (1991), 119–48

W. Rathert: The Seen and Unseen: Studien zum Werk von Charles Ives (Munich, 1991)

L. Starr: A Union of Diversities: Style in the Music of Charles Ives (New York, 1992)

T. Giebisch: Take-Off als Kompositionsprinzip bei Charles Ives (Kassel, 1993)

D.M. Hertz: Angels of Reality: Emersonian Unfoldings in Wright, Stevens, and Ives (Carbondale,
IL, 1993)

J.P. Lambert: “Toward a Theory of Chord Structure for the Music of Ives,” JMT, xxxvii (1993), 55–
83

T.M. Brodhead: “Ives’s Celestial Railroad and his Fourth Symphony,” American Music, xii (1994),
389–424

A.B. Scott: “Medieval and Renaissance Techniques in the Music of Charles Ives: Horatio at the
Bridge?,” MQ, lxxviii (1994), 448–78

J.P. Burkholder: All Made of Tunes: Charles Ives and the Uses of Musical Borrowing (New Haven,
CT, 1995)

P. Lambert: The Music of Charles Ives (New Haven, CT, 1997)

D. Metzer: “‘We Boys’: Childhood in the Music of Charles Ives,” 19CM, xxi (1997–8), 77–95

J.P. Burkholder: “The Organist in Ives,” JAMS, lv (2002), 255–310

M.E. Johnson: “Charles Ives’s (Utopian, Pragmatist, Nostalgic, Progressive, Romantic,

Modernist) Yankee Realism,” American Music, xx (2002), 188–231

M. Betz: “The Voice of the City: New York in der Musik von Charles Ives,” AMw, lxi (2004), 207–
25

M.J. McDonald: Translating Experience, Transcending Time: Temporal Procedures and Their
Expressive Meanings in the Music of Charles Ives (diss., Yale U., 2004)

L. Fenner: Erinnerung und Entlehnung im Werk von Charles Ives (Tutzing, 2005)

H.-C. Liao: The Evolving Perception of Charles Ives and His Music (diss., U. of West Virginia,
2006)

J.P. Burkholder: “Stylistic Heterogeneity and Topics in the Music of Charles Ives,” Journal of
Musicological Research, xxxi (2012), 166–99

Page 99 of 103
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an
individual user may print out a single article for personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

E: Studies of individual works or genres

Orchestral
D. Eiseman: Charles Ives and the European Symphonic Tradition: a Historical Reappraisal (diss.,
U. of Illinois, 1972)

W. Brooks: “Unity and Diversity in Charles Ives’s Fourth Symphony,” YIAMR, x (1974), 5–49

N.S. Josephson: “Zur formalen Struktur einiger später Orchesterwerke von Charles Ives (1874–
1954),” Mf, xxvii (1974), 57–64

S. Feder: “Decoration Day: a Boyhood Memory of Charles Ives,” MQ, lxvi (1980), 234–61

D. Porter: The Third Orchestral Set of Charles Edward Ives (thesis, California State U., 1980)

A. Maisel: “The Fourth of July by Charles Ives: Mixed Harmonic Criteria in a Twentieth-Century
Classic,” Theory and Practice, vi/1 (1981), 3–32

W. Rathert: “Charles Ives: Symphonie Nr.4, 1911–1916,” Neuland, iii (1982–3), 226–41

M.D. Nelson: “Beyond Mimesis: Transcendentalism and Processes of Analogy in Charles Ives’
‘The Fourth of July’,” PNM, xxii/1–2 (1983–4), 353–84

W. Brooks: “A Drummer-Boy Looks Back: Percussion in Ives’s Fourth Symphony,” Percussive

Notes, xxii/6 (1984), 4–45

N.S. Josephson: “The Initial Sketches for Ives’s St. Gaudens in Boston Common,” Soundings
[Cardiff], xii (1984–5), 46–63

L. Austin: “Charles Ives’s Life Pulse Prelude for Percussion Orchestra: a Realization for Modern
Performance from Sketches for his Universe Symphony,” Percussionist, xxiii/6 (1985), 58–84

R. Pozzi: “Polemica antiurbana ed isolamento ideologico in Central Park in the Dark di Charles
Ives,” NRMI, xix (1985), 471–81

W. Rathert: “Paysage imaginaire et perception totale: l’idée et la forme de la symphonie

Universe,” Contrechamps, no.7 (1986), 129–54

W. Shirley: “Once More Through The Unanswered Question,” Institute for Studies in American
Music Newsletter, xviii/2 (1989), 8–9, 13

W. Shirley: “‘The Second of July’: a Charles Ives Draft Considered as an Independent Work,” A
Celebration of American Music: Words and Music in Honor of H. Wiley Hitchcock, ed. R.A.
Crawford, R.A. Lott and C.J. Oja (Ann Arbor, 1990), 391–404

J.B. Roller: An Analysis of Selected Movements from the Symphonies of Charles Ives Using
Linear and Set Theoretical Analytical Models (diss., U. of Kentucky, 1995)

D.V.G. Cooney: “A Sense of Place: Charles Ives and ‘Putnam’s Camp, Redding, Connecticut’,”
American Music, xiv (1996), 276–312

Page 100 of 103

Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an
individual user may print out a single article for personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

D.V.G. Cooney: “New Sources for The ‘St. Gaudens’ in Boston Common (Colonel Robert Gould
Shaw and his Colored Regiment),” MQ, lxxxi (1997), 13–50

D. Von Glahn: “From Country to City in the Music of Charles Ives,” in The Sounds of Place:
Music and the American Cultural Landscape (Boston, 2003), 64–109

C.H. Garrett: “Charles Ives’s Four Ragtime Dances and ‘True American Music’,” Struggling to
Define a Nation: American Music and the Twentieth Century (Berkeley, CA, 2008), 17–47

D. Von Glahn: “Charles Ives at ‘Christo’s Gates’,” Twentieth-Century Music, v (2008), 157–78

D. Gail: Charles E. Ives’ Fourth Symphony: Quellen—Analyse—Deutung (Hofheim, 2009)

M.A. Zobel: The Third Symphony of Charles Ives (Hillsdale, NY, 2009)

Band
J. Elkus: Charles Ives and the American Band Tradition: a Centennial Tribute (Exeter, 1974)

Chamber
E. Gratovich: The Sonatas for Violin and Piano by Charles Ives: a Critical Commentary and
Concordance of the Printed Editions and the Autographs and Manuscripts of the Yale Ives
Collection (diss., Boston U., 1968)

U. Maske: Charles Ives in seiner Kammermusik für drei bis sechs Instrumente (Regensburg,
1971)

A. Forte: “The Diatonic Looking Glass, or An Ivesian Metamorphosis,” MQ, lxxvi (1992), 355–82
[on Sonata no.2 for violin and piano, 3rd movement]

Piano
S.R. Clark: The Evolving “Concord Sonata”: a Study of Choices and Variants in the Music of
Charles Ives (diss., Stanford U., 1972)

S.R. Clark: “The Element of Choice in Ives’s Concord Sonata,” MQ, lx (1974), 167–86

B.E. Chmaj: “Sonata for American Studies: Perspectives on Charles Ives,” Prospects: an Annual
of American Cultural Studies, iv (1978), 1–58

M.J. Alexander: The Evolving Keyboard Style of Charles Ives (New York, 1989)

F. Meyer: “The Art of Speaking Extravagantly”: eine vergleichende Studie der “Concord Sonata”
und der “Essays before a Sonata” von Charles Ives (Berne, 1991)

G. Block: Ives: Concord Sonata (Cambridge, 1996)

W. Rathert: “‘Sonate, que me veux-tu?’: Die Concord Sonata von Charles Ives als musikalische
Utopie,” Bayerische Akademie der Schönen Künste Jahrbuch, xxii (2008), 160–74

C. Bruhn: “The Transitive Multiverse of Charles Ives’s ‘Concord’ Sonata,” JM, xxviii (2011), 166–
94

Page 101 of 103

Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an
individual user may print out a single article for personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

Choral
W.C. Kumlien: The Sacred Choral Music of Charles Ives: a Study in Style Development (diss., U.
of Illinois, 1969)

G. Sherwood: The Choral Works of Charles Ives: Chronology, Style, Reception (diss., Yale U.,
1995)

G. Sherwood: “‘Buds the Infant Mind’: Charles Ives’s The Celestial Country and American
Protestant Choral Traditions,” 19CM, xxiii (1999), 163–89)

Songs
P.E. Newman: The Songs of Charles Ives (diss., U. of Iowa, 1967)

L. Starr: “Style and Substance: ‘Ann Street’ by Charles Ives,” PNM, xv/2 (1976–7), 23–33

N. Schoffman: The Songs of Charles Ives (diss., Hebrew U. of Jerusalem, 1977)

L. Kramer: “‘A Completely New Set of Objects’,” Music and Poetry: the Nineteenth Century and
After (Berkeley, 1984), 171–202

K.O. Kelly: The Songs of Charles Ives and the Cultural Contexts of Death (diss., U. of North
Carolina, 1988)

L. Whitesell: “Reckless Form, Uncertain Audiences: Responding to Ives,” American Music, xii
(1994), 304–19

T.A. Johnson: “Chromatic Quotations of Diatonic Tunes in Songs of Charles Ives,” Music Theory
Spectrum, xviii (1996), 236–61

H.W. Hitchcock: “‘A grand and glorious noise!’: Charles Ives as Lyricist,” American Music, xv/1
(1997), 26–44

A. Houtchens and J.P. Stout: “‘Scarce Heard amidst the Guns Below’: Intertextuality and
Meaning in Charles Ives’s War Songs,” JM, xv (1997), 66–97

H.W. Hitchcock: “Ives’s 114 [+ 15] Songs and What he Thought of them,” JAMS, lii (1999), 97–
144

Page 102 of 103

Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an
individual user may print out a single article for personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021

External references

The editorially selected link below is provided by our partner Alexander Street Press (ASP)
and requires a subscription to their site. If you or your institution are not a subscriber or
are not logged into the site, you will be taken to a login page. If you subscribe to ASP but
not to the module that includes a particular link, you may receive an error message.
Otherwise you will go directly to the example. If you experience any problems with the
links, please contact us <https://www.oxfordmusiconline.com/page/contact-us>.

Symphony No. 2. Charles Ives, composer. Nurnberg Symphony Orchestra. Ives: Symphony No.
2 / Barber: Knoxville: Summer of 1915, Op. 24 / Cowell: Symphonic Set, Op. 17 (Claves Records:
1998). Audio. <http://muco.alexanderstreet.com/view/1114121 <http://
muco.alexanderstreet.com/view/1114121>>

More on this topic

Ives, Charles <http://oxfordmusiconline.com/grovemusic/view/10.1093/gmo/
9781561592630.001.0001/omo-9781561592630-e-0000014000> in Oxford Music Online <http://
oxfordmusiconline.com>

Page 103 of 103

Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an
individual user may print out a single article for personal use (for details see Privacy Policy).

Subscriber: Universidade Federal da Bahia (UFBA); date: 18 October 2021