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    Charles Ives and His World
    Charles Ives and His World
    Charles Ives and His World
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    Charles Ives and His World

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    This volume shows Charles Ives in the context of his world in a number of revealing ways. Five new essays examine Ives's relationships to European music and to American music, politics, business, and landscape. J. Peter Burkholder shows Ives as a composer well versed in four distinctive musical traditions who blended them in his mature music. Leon Botstein explores the paradox of how, in the works of Ives and Mahler, musical modernism emerges from profoundly antimodern sensibilities. David Michael Hertz reveals unsuspected parallels between one of Ives's most famous pieces, the Concord Piano Sonata, and the piano sonatas of Liszt and Scriabin. Michael Broyles sheds new light on Ives's political orientation and on his career in the insurance business, and Mark Tucker shows the importance for Ives of his vacations in the Adirondacks and the representation of that landscape in his music.


    The remainder of the book presents documents that illuminate Ives's personal life. A selection of some sixty letters to and from Ives and his family, edited and annotated by Tom C. Owens, is the first substantial collection of Ives correspondence to be published. Two sections of reviews and longer profiles published during his lifetime highlight the important stages in the reception of Ives's music, from his early works through the premieres of his most important compositions to his elevation as an almost mythic figure with a reputation among some critics as America's greatest composer.

    LanguageEnglish
    PublisherPrinceton University Press
    Release dateJan 12, 2021
    ISBN9780691223254
    Charles Ives and His World

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      Charles Ives and His World - J. Burkholder

      Preface and Acknowledgments

      Charles Ives had one of the most unusual careers of any of the great composers. After a thorough training in composition and fourteen years as a professional church organist, he gave up music to work in life insurance. He founded one of the most successful insurance agencies in the United States and developed new concepts that are now universal in the industry, such as training for agents and estate planning. He continued to compose, and in the early 1920s introduced himself to the musical world with his Second Piano Sonata (the Concord Sonata) and a book of songs, both of which met with more incomprehension than sympathy. Although he soon stopped composing, over the next three decades he gained a number of devoted advocates who praised, performed, or published his music. His major works were premiered in roughly reverse chronological order, culminating in the premieres of his romantic Second and First Symphonies shortly before his death in 1954. The first book on Ives, a biography and study of his music by his friends Henry and Sidney Cowell, appeared the next year, along with Gilbert Chase's America's Music, which devoted an entire chapter to Ives.¹ The number of performances, recordings, and scholarly considerations of his music has continued to rise over the last four decades. Yet his name and his music have remained less familiar to the musical public than Copland's or Stravinsky's.

      That may be about to change. Ives has attracted more interest in recent years than ever before, even eclipsing the flurry of attention around his 1974 centennial. There are more recordings available of his major orchestral works than ever, from such major orchestras as Chicago, Cleveland, St. Louis, Detroit, and the New York Philharmonic, along with several competing recordings of his string quartets, violin sonatas, piano sonatas, and songs. The years since 1985 have seen the publication of more than twenty new books on Ives—more than half the total number ever published—including two biographies, two guides to research, several analytical surveys of his music, and multiple studies of his piano music, of his musical borrowings, of his aesthetics, and of his place in the American musical tradition. The same years have seen four music festivals focused on Ives: a year-long concert series in 1987-88, Charles Ives and American Music, sponsored by the Westdeutschen Rundfunk and the city of Duisburg, Germany, and an associated symposium at the University of Cologne; an Ives and Copland festival at the University of Northern Colorado in Greeley in October 1993; the BBC Music Festival in London in January 1996; and the Bard Music Festival, for which this book was commissioned, at Bard College in August and at Lincoln Center, New York, in November 1996.

      A faithful follower of the Bard Music Festivals and of the book series that began with Brahms and His World in 1990 and has continued with Mendelssohn, Strauss, Dvorak, Schumann, and Bartók might wonder what Charles Ives has in common with this august company. Much of Ives's early support came from the ultramodernist wing of American music in the 1920s and 1930s, and his iconoclastic attitudes, daring experiments, and use of American tunes have nurtured his image as a musical radical, totally American, who owed nothing to the European tradition. But to characterize Ives in this way is to miss his deep debt to European art music and his close ties to the late-Romantic and early-twentieth-century composers whose music was featured at earlier festivals. Dvorak's New World Symphony was the principal model for Ives's First Symphony, whose scherzo recalls the elfin grace of Mendelssohn's scherzos. Ives modeled his early art songs on songs by Schumann and Brahms, and his Second Symphony borrows several passages and the formal plan for its last two movements from Brahms's First Symphony.² Strauss was the most prominent exponent of the symphonic poem in Ives's lifetime, and Ives absorbed his techniques in his own symphonic poems, while rejecting Strauss's choice of subject matter.³ Bartók was younger than Ives and not well known in the United States while Ives was still composing, but the two show strong parallels in the way they combine national traditions with the German-Austrian tradition of Bach, Beethoven, and Brahms. Ives is in many senses America's Bartók, and his music is just as deeply indebted to the German Romantics and—like all of them—to Beethoven. So it is exactly right and long overdue for Ives to be grouped with Brahms, Mendelssohn, Strauss, Dvorak, Schumann, and Bartók. The subtitle of the Bard Music Festivals is Rediscoveries; in that spirit, placing Ives in this company allows us to rediscover in him a modernist, nationalist composer firmly rooted in the central European Romantic tradition. Once his affinity for their music is clear, his uniqueness comes into even sharper focus.

      The concert programs, pre-concert lectures, and panels of the Bard Music Festival place Ives in the context of music he knew and music that paralleled his own efforts, including his American predecessors and contemporaries. This book places Ives in his context through a series of critical essays, a sampling of his correspondence, a compilation of reviews of his music published in his lifetime, and a selection from the longer critical essays on Ives and his music that began to appear in the last two decades of his life.

      The essays in Part I explore Ives's connections to the musical traditions he knew, especially the European Romantic tradition, and to aspects of the culture and landscape of America that exercised a strong but little-noticed influence on his ideas and his music.

      My essay shows that Ives was a composer equally at home in four distinctive musical traditions: American popular music, Protestant church music, European art music, and experimental music. His mature art music uses elements drawn from the other three traditions, exploiting the familiarity of popular and church music and the unfamiliarity of his experimental techniques to convey specific extramusical meanings. Far from ignoring his audience, as some have argued, Ives sought to please a variety of different audiences at different times and in different works, creating in the process an oeuvre of unparalleled diversity.

      Leon Botstein explores the apparent paradox that Ives used modernist sounds and innovative procedures to celebrate a past remembered from pre-modern, nineteenth-century America. A comparison with Mahler shows that both composers believed that music had a moral role to play in society. Seeking to uphold the virtues of the past as a force to counteract the negative consequences of modern urban life, yet rejecting the routine conservativism of their musical contemporaries as lacking in moral force, they wrote music that used radical means to reclaim past values. Thus, in the works of both composers, musical modernism emerged from profoundly antimodern sensibilities.

      David Michael Hertz reveals unsuspected parallels between one of Ives's most famous pieces, the Second Piano Sonata, Concord, Mass., 1840-1860, and piano works of his predecessors and contemporaries. Motives, textures, and procedures in Ives's sonata resemble and reinterpret passages from Beethoven's Hammerklavier Sonata, Liszt's Sonata in B Minor, works by Chopin and Debussy, and Scriabin's sonatas. These references show Ives's close relation to the European pianistic tradition, at the same time that his reworking of his models and his innovative approach to form demonstrate his originality.

      Michael Broyles reexamines Ives's political and social ideas, which inspired many of his compositions, and places them in the context of his times. Ives was neither a populist nor a progressive, as he has been characterized. Rather, he drew on myths about the American preindustrial past that were current in his time, notably the republican concept of personal responsibility and the belief that the New England town meeting was the cradle of American democracy, and absorbed as his own the ideals articulated by insurance industry leaders in the wake of a 1905 scandal that might have threatened Ives's career and reputation.

      Mark Tucker shows the importance for Ives of the Adirondack mountains of upstate New York. This was the favorite vacation area for the Twichell family, and Ives's visits there at the invitation of his college friend David Twichell led to Ives's falling in love both with the landscape and, eventually, with David's sister Harmony, whom he married in 1908. Ives frequently composed on these vacations, and images of hiking up a mountain, sound heard over water, and rugged scenery found their way into the Second String Quartet, the Robert Browning Overture, Mists, and the Universe Symphony, among other works.

      The letters in Part II show Ives in the contexts of his family, his courtship with his future wife Harmony, the search for performance and publication of his music, and his professional friendships. Among the most interesting letters are those that reflect on his music and its effect on the writer, such as the comments from Ives's brother-in-law Joseph H. Twichell about a concert in 1940 of Ives piano music and songs played by John Kirkpatrick:

      I don't know a single thing about music—not a single thing, except that I like it or don't like it; except how it makes me feel. Well, and I'm trying to speak as thoughtfully and carefully as I know how, I enjoyed that afternoon's music more than any other music I remember ever hearing. It seemed to me the most honest music I ever listened to. I don't know what that means; maybe you do. And it was so clean and wholesome. I came out of that place a better man than I went in.⁴

      It is hard to imagine a response to his music that could have pleased Ives more.

      Through the reviews in Part III and the longer profiles and evaluations in Part IV, we can trace the way Ives's music was received during his lifetime. When his mature music began to appear in the 1920s, some reviewers were uncomprehending, mocking, or hostile. But from the start there were those who supported him, and major critics such as Paul Rosenfeld, Olin Downes of the New York Times, and Lawrence Gilman of the New York Herald Tribune praised his music. The reviews of John Kirkpatrick's premiere of the Concord Sonata in 1939 established Ives as a major figure, and reviews and several extended profiles from then until the end of his life often retell the story of his emergence from obscurity to become a candidate for the best composer in the classical tradition the United States has produced.

      The collection closes with a retrospective consideration of Ives published in the year after he died by the distinguished musicologist Leo Schrade, who finds in Ives America's Debussy, committed to the constant renewal of musical form in response to each new artistic intention. Earlier I compared him to Bartók and noted that Leon Botstein's essay compares him to Mahler and David Hertz's essay links him to Debussy and Scriabin; another recent collection contains essays comparing him to Mahler, Schoenberg, Berg, and Stravinsky.⁵ The strong parallels between Ives and his European contemporaries, argued in these essays and audible in the programs of the Bard Music Festival, should lay to rest at last the once common idea that Ives was an American original, totally isolated from currents in the musical mainstream. He was a composer of his time as well as of his place, as much at home in the European musical tradition as in the American. Rediscovering his music in this context will shed new light not only on Ives but on the wider musical world of which he was a part.

      Many people played vital roles in the creation of this book. Thanks are due first of all to Charles Ives himself, for leaving us with such rich music and so many fascinating questions. Special thanks to Leon Botstein, founder of the Bard Music Festival, for devoting the 1996 festival to Ives, asking me to edit a book to join the distinguished series, contributing an essay, and giving me a free hand in shaping the volume. I am grateful to David Hertz, Michael Broyles, and Mark Tucker for their pathbreaking essays, to Tom C. Owens for his cheerful editing of the letters section, and to Geoffrey Block for helping to gather and select the profiles as well as the reviews. Joyce Li and Michael LaBaugh typed the reviews and profiles, and Joyce Li, David Hertz, and Fabienne Meadows helped with the translations of the French reviews. Ginger Shore organized and supervised the production of the book on an astonishingly compact schedule. Paul De Angelis copyedited with elegance and restraint, clarifying many passages and preventing potentially embarrassing errors while preserving the flavor of each writer's style. Juliet Meyers designed the book beautifully and helped with many final details. Mark Loftin guided and aided this project from start to finish. David Ezer helped obtain permissions to reprint the reviews and profiles, for which thanks are given to The New York Times and Time magazine. I am also grateful to Yale University for granting permission to reprint Charles Ives's letters. For Princeton University Press, Elizabeth Powers and Lauren Oppenheim provided guidance and encouragement in the early stages, and Malcolm Litchfield and Heidi Sheehan saw the project through to completion. As always, my deepest personal thanks to my husband, Doug McKinney, for his support and seemingly endless patience.

      —J. Peter Burkholder

      The following copyright holders have graciously given permission to reprint musical excerpts from copyrighted works by Charles Ives. Acknowledgments and copyright notices for some additional works appear under some of the figures.

      Crossing the Bar. © 1974 by Associated Music Publishers, Inc. (BMI). International Copyright Secured. All Rights Reserved. Reprinted by Permission.

      Symphony No. 1. © Copyright 1971 by Peer International Corporation. International Copyright Secured. All Rights Reserved. Used by Permission.

      Scherzo (Over the Pavements). © Copyright 1971 by Peer International Corporation. International Copyright Secured. All Rights Reserved. Used by Permission.

      Second Piano Sonata (Concord Sonata). Copyright © 1947, 1976 by Associated Music Publishers, Inc. (BMI). International Copyright Secured. All Rights Reserved. Reprinted by Permission.

      Symphony No. 2. © Copyright 1951 by Southern Publishing Co., Inc. Copyright Renewed by Peer International Corporation. International Copyright Secured. All Rights Reserved. Used by Permission.

      In the Alley. © Copyright 1958 by Peer International Corporation. International Copyright Secured. All Rights Reserved. Used by Permission.

      Down East. © Copyright 1958 by Peer International Corporation. International Copyright Secured. All Rights Reserved. Used by Permission.

      Third Symphony. Copyright © 1947 (Renewed) by Associated Music Publishers, Inc. (BMI). International Copyright Secured. All Rights Reserved. Reprinted by Permission.

      Fourth Symphony. Copyright © 1965 (Renewed) by Associated Music Publishers, Inc. (BMI). International Copyright Secured. All Rights Reserved. Reprinted by Permission.

      Permission is gratefully acknowledged to reprint letters and photographs from the Charles Ives Papers, Yale University Music Library, copyright © 1996 by the American Academy of Arts and Letters.

      Thanks also to the Yale University Music Library for allowing us to quote from a letter from Carl and Charlotte Ruggles; to Bess Lomax Hawes, to quote from a letter from John A. Lomax; to Frances Mullen Yates, to reprint letters from Peter Yates; and to Nicolas Slonimsky, to quote from a letter of his.

      The copyright holders listed below have graciously given permission to reprint the following copyrighted material:

      Excerpt from Stephen Somervel, Music: Chamber Orchestra of Boston. Copyright © 1931 by The Boston Herald. Reprinted by permission.

      Excerpt from Winthrop Tyron, 'Freischütz' at the Metropolitan—Other Music of a New York Week. Copyright © 1924 by The Christian Science Monitor. Reprinted by permission.

      Henry Cowell, Charles E. Ives. Copyright © 1932 by Disques.

      Henry Bellamann, Reviews: 'Concord, Mass., 1840-1860' (A Piano Sonata by Charles E. Ives). Copyright © 1921 by The Double Dealer.

      Paul Moor, On Horseback to Heaven: Charles Ives. Copyright © 1948 by Harper's magazine. Reprinted by permission.

      Aaron Copland, One Hundred and Fourteen Songs, copyright © 1934; Paul Rosenfeld, Ives's Concord Sonata, copyright © 1939; Elliott Carter, The Case of Mr. Ives, copyright © 1939; Elliott Carter, Ives Today: His Vision and Challenge, copyright © 1944; and Bernard Herrmann, Four Symphonies by Charles Ives, copyright © 1945—by Modern Music.

      Ernest Walker, Review of Second Pianoforte Sonata, Concord, Mass., 1840-1860 and Essays Before a Sonata, by Charles E. Ives. Copyright © 1921 by Music & Letters. Reprinted by permission.

      A. Walter Kramer, A Pseudo-Literary Sonata!!! copyright © 1921; Goddard Lieberson, An American Innovator, Charles Ives, copyright © 1939; excerpt from Robert Sabin, Bernstein Conducts Ives Symphony No. 2, copyright © 1951; and the excerpt from Nicolas Slonimsky, Charles Ives—America's Musical Prophet, copyright © 1954—by Musical America.

      Concord Unconquered, copyright © 1921; Ives, copyright © 1922; and Recent Publications: New Music, January 1929, copyright © 1929—by The Musical Courier.

      T. Carl Whitmer, New Music. Copyright © 1929 by The Musical Forecast.

      Excerpt from Henry Bellamann, Charles Ives: The Man and His Music, copyright © 1933; and Henry Cowell, excerpt from Current Chronicle, copyright 1951—by The Musical Quarterly. Reprinted by permission of Oxford University Press.

      John Sebastian [Goddard Lieberson], Charles Ives at Last. Copyright © 1939 by 77**? New Masses.

      Paul Rosenfeld, Charles E. Ives. Copyright © 1932 by The New Republic. Reprinted by permission.

      Goldstein Completes 'Modernist' Recital at Aeolian Hall, copyright © 1924; an excerpt from Lawrence Gilman, Music, copyright © 1927, and the same author's Music: A Masterpiece of American Music Heard Here for the First Time, copyright © 1939; Francis D. Perkins, Kirkpatrick Plays Program of Ives' Work, copyright © 1939, and an excerpt from the same author's Music, copyright © 1940; excerpt from Lou Harrison, Yaddo Festival, copyright © 1946; excerpts from two articles by Virgil Thomson, Music: Crude but Careful, copyright © 1948, and Music: From the Heart, copyright © 1951; excerpt from Peggy Glanville-Hicks, William Masselos: Pianist Presents Ives Sonata at Y.M.H.A. Hall, copyright © 1949—by The New York Herald Tribune.

      Irving Kolodin, Pianist Plays Work by Ives, copyright © 1939; and Oscar Thompson, Views on an All-Ives Concert: Pianist and Singer Devote Program to Music by American Composer, copyright © 1939—by The New York Sun.

      Excerpts from four articles by Olin Downes—Franco-American Musical Society, copyright © 1925, Music, copyright © 1927, Masselos Pleases in Piano Program, copyright © 1949, and Symphony by Ives Is Played in Full, copyright © 1951—and three full articles by the same author—Concert Devoted to Music by Ives, copyright © 1939, Ives Music Played at Columbia Fete, copyright © 1946, and Tardy Recognition, copyright © 1946; excerpt from Henry Prunières, American Compositions in Paris: Works by Advance Guard of Native Writers Introduced in French Capital at Season's End, copyright © 1931; excerpt from Noel Straus, Symphony by Ives in World Premiere: Composer's Third Featured by Little Symphony Here, With Harrison On Podium, copyright © 1946; and Howard Taubman, Posterity Catches Up with Charles Ives, copyright 1949, by The New York Times. Reprinted by permission.

      Excerpts from two articles by Robert A. Simon: American Music—Swing Drops in—Recitalists, copyright © 1939; and Musical Events: Plenty Going On, copyright © 1942—by The New Yorker. Reprinted by permission.

      Edwin J. Stringham, Ives Puzzles Critics with His Cubistic Sonata and 'Essays.' Copyright © 1921 by The Rocky Mountain News. Reprinted by permission.

      Nicolas Slonimsky, Bringing Ives Alive, copyright © 1948; and Paul Henry Lang, Hearing Things: Charles Ives, copyright © 1946—The Saturday Review of Literature.

      Insurance Man. Copyright © 1939 by Time magazine. Reprinted by permission.

      Leo Schrade, Charles E. Ives: 1874-1954. Copyright © 1955 by The Yale Review. Reprinted by permission.

      NOTES

      1. Henry Cowell and Sidney Cowell, Charles Ives and His Music (New York: Oxford University Press, 1955); Gilbert Chase, America's Music: From the Pilgrims to the Present (New York: McGraw-Hill, 1955).

      2. See J. Peter Burkholder, All Made of Tunes: Charles Ives and the Uses of Musical Borrowing (New Haven: Yale University Press, 1995), 89-95 on the First Symphony, 27-34 on the art songs, and 126-33 on the Second Symphony.

      3. See his critique of Strauss in Charles E. Ives, Essays Before a Sonata, The Majority, and Other Writings, ed. Howard Boatwright (New York: W W. Norton, 1970), 83.

      4. Letter of 26 January 1940 from Joseph H. Twichell to the Ives family, in the Ives Collection, Yale University Music Library, Mss. 14, box 32, folder 10, reprinted in part III below.

      5. Charles Ives and the Classical Tradition, ed. Geoffrey Block and J. Peter Burkholder (New Haven: Yale University Press, 1996).

      Part I

      ESSAYS

      Ives and the Four Musical Traditions

      J. PETER BURKHOLDER

      One of the most salient facts about Ives's music is its diversity. There are marches for band and symphonies for orchestra, popular songs and art songs, sincere sentimental songs and wickedly satirical ones, serious sonatas and musical jokes, programmatic tone poems and purely abstract compositions, winningly attractive melodies and shocking dissonances, pieces that use common-practice harmony and pieces that invent new harmonic systems, pieces that use the same style throughout and pieces that mix widely disparate styles, passages of astonishing complexity and moments of utter simplicity, effects borrowed from Tchaikovsky or Wagner and passages that echo ragtime or Tin Pan Alley, works with musical quotations in almost every measure and works that sound like nothing ever heard before. Behind this great diversity lie Ives's training and experience as a composer working in four different traditions of music, joined with his desire to communicate concrete ideas to a given audience in the most direct and effective manner. His background gave him the capacity to speak many native languages as a composer. Rather than renounce any of them, he developed the flexibility to use the idiom or combination of idioms that was appropriate to the particular audience and purpose for each piece.

      During his career as a performer and composer, Ives worked in four separate and distinct musical traditions and eventually synthesized them all. He grew up in the first of these, American popular music, learning from a young age the repertoire of his father's band and the popular songs of several generations, from Stephen Foster and Civil War songs to the sentimental parlor songs, ragtime, and Tin Pan Alley styles of his own time. His first compositions were in this tradition, and this was also the first tradition whose forms and genres he abandoned as a composer, yet its tunes and sounds permeate his mature music. The second tradition, American Protestant church music, he absorbed as a boy attending church and studied professionally as an organist and young composer. He left this tradition too when still a young man, resigning his last position as a church organist when he was twenty-seven and ceasing to write music for church services, yet hymn tunes and organists' habits are present throughout his later music. The tradition of European classical music is one he began to encounter in his teens but fully assimilated only in his early to middle twenties through his studies with Horatio Parker at Yale and subsequent work on his own. Here too he wrote successful music in the current style and then moved on. Yet his relationship to this tradition is different. Although he moved beyond traditional styles and procedures to develop his own idiom, he continued to write in the genres and with the aesthetic presumptions of the art music tradition; this was where the synthesis of his many musical identities could take place. The final tradition is that of experimental music, works—usually small—that try out a new musical resource or change the rules of composition in an orderly way, in order to test both the new devices and, by implication, the standard conventions of music. Ives is almost certainly the first composer to do this repeatedly and systematically, and he stands at the beginning of a century-long tradition.

      Ives's mature music draws elements from all four of these traditions and synthesizes them in a new modernist idiom within the genres and expectations of European concert music. Individual works continue to vary in style and intention. In about 1923, for example, near the end of his compositional career, Ives wrote Peaks and Yellow Leaves, two songs in a modernist, post-impressionist style; The Celestial Railroad, a programmatic piano fantasy in his mature idiom that mixes fragments of three hymns, two patriotic songs, two Civil War songs, two Stephen Foster songs, ragtime, and a band march with complex dissonances, virtuosic passagework, and Lisztian developmental techniques; Three Quarter-tone Pieces for two pianos tuned a quarter tone apart, an avowedly experimental work intended to test the possibilities for using quarter tones that borrows parts of three patriotic tunes and four of Ives's own works; Psalm 90 for chorus and organ, a sacred work in mature style which incorporates some experimental ideas and refers to several traditional types of church music; and The One Way, a song in a purely tonal, sentimental, retrogressive Romantic style satirizing popular song composers who still used that style.¹ In this group of works, each of the four traditions is still a strong presence, although the mix of influences in each piece is unique.

      This is an extraordinary career. We are unaccustomed to composers who exhibit this kind of diversity. Composers who straddle two traditions, such as Arthur Sullivan, George Gershwin, or Frank Zappa, or who write in a variety of styles during their career, such as Schoenberg or Stravinsky, already challenge our assumption that a composer's body of work will be consistent and coherent. Ives's music is so varied that we do not know what to expect of a piece we have not heard before: it may be composed along conventional lines in any of three different musical traditions; it may be experimental, consistent within itself but operating according to wholly individual rules; or it may draw elements from two, three, or all four of these traditions in an entirely novel synthesis. This lack of consistency between works, and the juxtapositions of diverse styles within most of the works that draw on more than one tradition, have made Ives's music seem incoherent to many listeners and critics.²

      Yet Ives's career and his music are coherent, once one abandons the expectation that coherence requires consistency, sameness, and a single line of development. Other composers have assimilated into their music elements of diverse musical traditions. Bach blended the north German contrapuntal style of his upbringing with the forms, textures, and figurations of Vivaldi's concertos to create fugues and concertos of unparalleled richness. Beethoven infused the conventions and genres of French Revolutionary music into works based in the Viennese idiom of Haydn and Mozart. Bartók imitated composers from Mozart through Brahms in his early compositions, absorbed the influences of Richard Strauss and Debussy in his early twenties, and then changed the style of his works in classical genres through his study of Hungarian, Romanian, and other peasant music. Ives is like these composers in creating a unique synthesis of very disparate traditions. But two things differentiate Ives from these composers. First, they continued to work in the tradition in which they received their early training, blending into it aspects of the traditions they encountered in their twenties. For Ives, it was the reverse: the traditions he grew up in, popular music and church music, were unable to absorb such diversity, and he abandoned them; it was in the tradition he learned in his twenties, European concert music, that his synthesis was achieved. Second, Bach, Beethoven, and Bartók never wrote music in the traditions they absorbed, while Ives wrote marches, parlor songs, and service music that partake fully of those traditions. If we imagine a Bartók who grew up singing and dancing to the peasant music of his region, put in several years as a pianist in a café playing urban popular music, created new music in both traditions, then learned the classical tradition as a young adult studying at the Budapest Conservatory, and ultimately composed music that absorbed the peasant and popular traditions into the classical, we come close to a career like that of Ives.

      Such a career is not incoherent, nor is it entirely unique. William Grant Still, Virgil Thomson, Aaron Copland, Leonard Bernstein, and many younger American composers have blended the popular and religious traditions that surrounded them in their youth with the classical tradition they learned in private music lessons or in college. Nor is Ives's music incoherent, particularly for those who have shared his experience of multiple musical traditions, for Ives's principal subject in his mature works in classical genres is the way popular music and church music are experienced by Americans like himself. Ives is important precisely because he shows a way to bridge the gulfs between the utilitarian music of the church service, the music of popular entertainment, speculative experimental music, and the experience of music as art.

      Ives's reconciliation of these distinctive traditions depended, first, on his command of each of them individually and, second, on his ability to use each as a source for rhetorical effects within pieces whose genre and function place them squarely in the classical tradition. While working in each tradition, he was capable of writing within a single style, and he tailored each piece to its expected audience.³ His later pieces typically combine styles, some borrowed from these traditions and some newly invented, in order to convey his thought most effectively.

      American Popular Music

      Ives's first teacher was his father George, who played the violin and cornet and led the town band in Danbury, Connecticut, where Ives grew up. While George Ives had been trained in classical music, even writing a series of fugues, his main activities were in providing music for popular entertainment.⁴ Thus Charles Ives's first attempts at composition were primarily in the genres of popular music. His first publicly performed piece was apparently the march Holiday Quickstep, scored for piccolo, cornets, violins, and piano and premiered in January 1888, when he was thirteen. It was singled out for praise in an article about the evening in The Danbury Evening News, which said that Master Ives is certainly a musical genius, and the march is worthy a place with productions of much older heads.⁵ The musical style is eminently that of the mid-to-late-19th-century march, as shown in Figure 1.1.

      Figure 1.1: Holiday Quickstep, mm. 60-63

      Indeed, this passage was modeled on the trio of a well-known march that was apparently a favorite of George and Charles Ives's, the Second Regiment Connecticut National Guard March by David Wallis Reeves, one of the leading march composers of the day. Ives's other very early music includes a New Year's Dance in fiddle-tune style, parlor songs, and a Polonaise for two cornets and piano that, like much cornet music of the time, was modeled on the Italian operatic style popular in transcriptions for band or orchestra.⁶ In every piece, Ives conformed to the expected style for a work of its type. It can be assumed that his primary intended audience in these pieces was his father, who was instructing him in composition and whom he would have been anxious to please. But they are also clearly intended to please the Danbury public.

      Ives continued to write music in popular genres throughout his teens and his college years at Yale in 1894-98, achieving a high enough level of polish and professionalism to have some pieces published. He wrote about a dozen marches, including the March Intercollegiate, which was published in Philadelphia in 1896 and performed at the 1897 inauguration of President William McKinley.⁷ In 1896 Ives had also written a campaign song for McKinley, published by a firm in New York.⁸ In December of that year, the Yale Courant published A Scotch Lullaby, an earnest parlor song in an up-to-date style, one of several such songs from Ives's late teens and twenties.⁹ While in college, he wrote several works for male chorus, some of which were sung by the Yale Glee Club. Three were published: For You and Me! in 1896 by the New York publisher George Molineux, A Song of Mory's in a February 1897 issue of the Yale Courant, and The Bells of Yale in a 1903 collection titled Yale Melodies.¹⁰ He also wrote music for several fraternity shows while at Yale. Most of this music is lost; what survives are high-spirited or satirical songs in a popular style.¹¹ In all of these pieces, Ives sought to entertain his listeners without challenging their assumptions, and the performances and publications are a sign of his success. That he stopped writing music in popular genres after graduating from Yale and moving to New York in 1898 is less a sign of discontent with the styles he had learned than of a shift of his aspirations from music intended merely for entertainment to church music and music in the classical tradition.

      Protestant Church Music

      Ives attended the Methodist church regularly with his parents, studied the organ with several teachers, and occasionally substituted at services even before his fourteenth birthday. In February 1889, only fourteen years of age, he became the regular organist at the Second Congregational Church in Danbury. Later that year he moved to the Baptist Church, and he continued to serve as organist at churches in New Haven, Bloomfield (New Jersey), and New York until resigning from his last position in June 1902 after thirteen years as a professional organist.¹² Throughout this period, Ives was writing music for use in the services. If entertainment music served one social need, church music served another, seeking not merely to divert its listeners but to elevate their thoughts in worship. As Ives once commented, he was careful to suit his music to the appropriate state of mind for worship and thus felt constrained to use only those styles and idioms to which the congregation was accustomed.¹³

      Gayle Sherwood has recently discerned three overlapping stages of development in the choral music Ives wrote for use in religious services during his years as an organist.¹⁴ Her insight extends to his other church music as well. The first genre Ives mastered as a child in church and as an organist was the hymn, and he recalled his father leading the hymn singing at the camp-meeting revivals outside Danbury with his voice and arms or playing the cornet, French horn, or violin.¹⁵ Accordingly, Ives's early church music is hymn-based, as in the choral works Psalm 42 (ca. 1892) and Search Me, O Lord (ca. 1892-93), whose texts are taken from hymns and whose music follows in many respects the style, phrasing, and form of hymns.¹⁶ The same can be said of his religious songs of this period, Abide With Me (ca. 1890-92) and Rock of Ages (ca. 1891 or 1892).¹⁷ The influence of hymns at this early stage is also evident in Ives's two sets of variations, both of which are on hymn tunes: the Fantasia on Jerusalem the Golden (1888 or 1889) and the Variations on America (1891-92).

      The second stage in Ives's church music, from about 1893, is marked by the influence of Dudley Buck, a prominent organist and composer of service music and anthems, and of Buck's student Harry Rowe Shelley.¹⁸ Their organ works, organ transcriptions, and choral anthems were part of Ives's performing repertoire and library from about 1890 on, and Ives studied organ with both in the spring of 1894. Buck's choral music was particularly suited to the quartet choir then standard in Protestant churches, an amateur choir led by a paid quartet of soloists and section leaders. His music was rewarding for amateurs to sing, lyrical, of only moderate difficulty, and of sufficient quality to interest the congregation, in a style that was colored by the close voicings and chromatic harmony of the contemporary secular style now associated with barbershop quartet singing. Ives's Benedictus (ca. 1893-94) and Crossing the Bar (ca. 1894) for chorus and organ show the strong influence of this style, with more varied rhythm, flexible phrasing, chromaticism, and changes of texture than in the earlier hymn-based works, including a cappella passages suited to the solo quartet. A passage from Crossing the Bar in Figure 1.2 illustrates these characteristics.

      As with Ives's music in popular genres, these works show a determined effort to please his listeners. He also sought to please his employers. From May 1893 through April 1894, while studying at Hopkins Grammar School in New Haven to prepare for the Yale entrance examinations, Ives was organist at St. Thomas Episcopal church in New Haven. Here Ives encountered the practice of pointing chant, in which the congregation chants a psalm, canticle, or liturgical formula in free rhythm while the organist supplies an accompaniment in sustained chords. His Nine Experimental Canticle Phrases from this period show his attempts to assimilate this practice, and his Communion Service sets the main texts of the Episcopal liturgy.

      The third main influence on Ives's choral music was Horatio Parker, his teacher at Yale.¹⁹ Ives apparently audited Parker's courses in music history and harmony during his first two years in college, and then took counterpoint, composition, and two years of instrumentation from Parker as a junior and senior.²⁰ Parker's influence enters gradually into the music of Ives's Yale years but is most strongly felt after September 1897, when he enrolled in Parker's composition course. In his ideals for church choral music Parker disdained both the gospel hymns Ives learned in his youth and the chromatic, popular style of Buck. Accordingly, the music Ives wrote for the choir at Centre Church in New Haven, where he served as organist from fall 1894 through spring 1898, gradually changed from settings of hymn texts in a style derived from that of Buck and Shelley to settings of religious poetry in a more restrained and elevated style, as in The Light That is Felt and The All-Forgiving (both ca. 1898).

      Figure 1.2: Crossing the Bar, mm. 44-60

      The capstone of Ives's choral music was his cantata The Celestial Country (1898-99), in a style that blended aspects of Buck's and Parker's approaches. Ives's efforts to make this work appeal to its intended audience and his success in most respects are made clear by the kind of praise it received from reviewers on the occasion of its premiere in April 1902. The New York Times reviewer called it scholarly and well made but also spirited and melodious, and the Musical Courier, after introducing Ives as a Yale graduate and pupil in music of Professor Parker and noting that the work shows undoubted earnestness in study and talent for composition, praised the interweaving of appropriate themes that are anticipated and recalled throughout the cantata, the lyric grace of the solo movements, the intermezzo for strings (full of unusual harmonies and pleasing throughout), and the finale, which shows some original ideas, many complex rhythms and effective part writing.²¹ The aspects of the piece that won the attention of both reviewers are its conformity to the accepted rules and conventions for works of this sort, its pleasing lyricism, and its introduction of novelties that interest the listener without leaving the bounds of good taste and decorum.

      Soon after the premiere of his cantata in April 1902, Ives left his last position as an organist and ceased writing music for religious services, making this the second musical tradition he had learned, practiced, and abandoned. His career as a composer of church music, like his composing in popular genres, shows Ives eager to assimilate the prevailing styles and forms as he encountered them and to give his listeners what they wanted to hear. This is hardly surprising for a composer working in traditions where music served a specific social function and audience response was immediate and crucial to his success.

      European Classical Music

      European art music served a different sort of purpose. This was not music in the service of entertainment or social conviviality, as was the popular music of Ives's youth. Nor did it serve religious devotion. Rather, art music asked to be listened to for its own sake, with focused attention, and its purpose was to convey an artistic experience from the composer to the individual listener. In this tradition, audience reaction was less important than the intrinsic value of a piece as judged by its authenticity, depth, integrity, and durability. Ives encountered European art music in Danbury, in his lessons and recital pieces and in occasional concerts, but his first real compositions in the European tradition stem from his Yale years and his classes with Parker.²² After leaving Yale, Ives continued for the next four years to work independently in the same genres and styles he had studied with Parker until he completed his first major, multi-movement works, the First Symphony and the First String Quartet.

      In a favorite assignment of Parker's, Ives wrote a number of art songs to German texts previously set by Schubert, Schumann, Franz, Brahms, and other composers, using the original setting as a model but seeking a completely different musical interpretation of the same text. For example, Peter Cornelius's Ein Ton represents its text's central image, the tone the poet hears sounding in his heart, through a vocal line that repeats a single tone throughout. Ives's setting of the same poem from about 1898 uses the Cornelius as a model for its style and structure but places the repeated tones in the piano and the melody in the voice, reversing their respective roles. Schumann's Ich grolle nicht is relatively fast and loud, with a pounding piano accompaniment that conveys the defiance and wounded pride of a jilted lover; Ives's setting, again modeled on its predecessor in structure and details, is slower, softer, more lyrical, and more varied in figuration, creating an entirely different mood.²³ These and other settings from ca. 1898-1902 fully adopt the ethos of the Romantic art song, in which the music's purpose is to deepen the emotions in the poem and to capture its imagery, conveying what words cannot. But they also show Ives attempting to assimilate the methods of European composers and to create something of his own in the classical tradition.

      Parker also introduced Ives to some of the major genres of classical instrumental music. In his instrumentation class, Ives transcribed a Beethoven sonata movement for string quartet, and piano works by Schubert and Schumann for orchestra, apparently his first experience with such ensembles.²⁴ His first works for orchestra, a Postlude in F and an unfinished Overture in G, date from his last year at Yale and were probably exercises for his classes with Parker. His First Symphony and First String Quartet were both apparently begun while at Yale, perhaps under Parker's supervision, and were completed by 1902.²⁵ The First Symphony is modeled closely on Dvorak's New World Symphony, most noticeably in the slow second movement with an English horn theme paraphrased from Dvorak's. Figure 1.3 shows the opening of Ives's scherzo movement, which by key, imitative texture, and melodic contour evokes the scherzo of Beethoven's Ninth Symphony and by grace and lightness recalls Mendelssohn's scherzos. Other movements include strong echoes of the first movement of Schubert's Unfinished Symphony and the march in Tchaikovsky's Pathétique Symphony, showing Ives's determination to place his work next to some of the most popular symphonies of the nineteenth century.²⁶ At the same time, Ives's fondness for orchestration that juxtaposes and combines choirs of like instruments and reserves the full orchestra for endings and climaxes betrays his experience as an organist with alternating and mixing stops.

      Figure 1.3: First Symphony, third movement, mm. 1-20

      Ives's art songs and orchestral works throughout this period from his last years at Yale to 1902 show that he quickly became fluent in the late Romantic style and in the genres of European art music, making this the third distinctive musical tradition he assimilated. While he would ultimately develop a highly individual musical idiom, he never abandoned the genres and ethos of art music, as he had abandoned first American popular music and then Protestant church music. His mature works are in the standard concert genres of the symphony, overture, symphonic poem, string quartet, piano trio, violin sonata, piano sonata, art song, and choral work with orchestral accompaniment. Like the Romantic composers he had taken as models, Ives adopted a conception of music as an art practiced for its own sake, in which the experience of the individual listener was paramount, rather than a communal experience of entertainment or worship. A composition was expected to reflect authentically the composer's nationality and personality, rather than conform to the conventions of a universally accepted style. It was in the tradition of art music that Ives found both his highest aspiration and the means to weave together the diverse strands of his own musical life.²⁷

      Experimental Music

      The fourth tradition Ives practiced, experimental music, is one he seems to have invented. All of the pieces discussed so far were intended for public performance and designed to please listeners familiar with the sounds and procedures of a particular musical tradition. But Ives was also accustomed to writing compositional exercises designed to practice a certain technique, from early exercises in part-writing to the three-part invention and fugues he wrote for Parker's classes at Yale. These were private, intended only to develop procedures that then might be used less strictly in concert works. Apparently as a spin-off from these compositional exercises, Ives began while still a teenager to write sketches and short pieces whose main or only purpose was to try out, not a conventional procedure, but a new means of organizing pitch or rhythm. After his studies with Parker, these experimental works became more finished and polished, producing a series of astonishing compositions that, anticipated the experimental music of Henry Cowell, John Cage, Conlon Nancarrow, and many later composers.²⁸ While those of his teen years and early twenties are mostly short sketches for keyboard, the experiments of ca. 1898-1902 are mostly for chorus or chorus and organ, reflecting his position as an organist with potential access to a choir and soloists for reading through his music. Those after 1902 are mostly for chamber ensembles, and some may have been tried out by musicians he knew. Ives made no effort to have his experimental works performed in public or published until late in his life, when Cowell and other ultramodern composers became interested in them; for Ives, these pieces seem to have been laboratories for trying out new effects, as private as his compositional exercises in traditional procedures, or perhaps intended only to be shared privately with friends such as his flatmates in his apartment in New York.²⁹ Most of the devices he first tried in these small experiments were later used in a less strict manner in his concert music, in almost exact parallel to the more conventional procedures he had learned in his other compositional exercises.³⁰

      In Ives's early experiments, he typically preserves most rules of traditional music theory but changes one or more to see what happens. In this way, the music serves not only as a test of new procedures, but as a critique of traditional ones.³¹ Several early works from ca. 1890-1902 are polytonal, with the melody in one key and the accompaniment in another, as in the setting of London Bridge Is Falling Down (between 1892 and 1898) with the melody in F and the accompaniment in Gb, or in the Fugue in Four Keys on The Shining Shore (ca. 1902), which has fugal entrances in the keys of C, G, D, and A. As Ives comments in his Memos, if you can play a tune in one key, why can't a feller, if he feels like [it], play one in two keys?³² That is, what happens if one preserves the way that music is traditionally composed but changes the rule that all parts have to be in the same key at any one time? This is an experimental approach, akin to the biologist who seeks to find out the role of a particular gene in a fruit-fly by changing that gene and seeing what happens. Later in the Memos, Ives asks, if you can have two 3rds, major or minor, in a chord, why can't you have another one or two on top of it, etc.³³ Four little organ interludes from ca. 1898-1902 harmonize phrases of hymn tunes with parallel eight-note chords of stacked thirds, such as D-Ft-A-C-E^-G-B^-DI,.³⁴ The opening of Psalm 67 for unaccompanied chorus (ca. 1898-1902) appears to be polytonal, but is actually based on transpositions of a five-note sonority of stacked thirds. Processional for chorus and organ (first sketched ca. 1902) presents over a C pedal point a series of chords, each a stack of one or two harmonic intervals in a gradually expanding sequence: from a unison to major and minor seconds, then thirds, then fourths, fourths mixed with tritones, fifths, minor sixths, mixed minor and major sixths, major sixths, minor sevenths, mixed minor and major sevenths, and major sevenths, increasing in size and dissonance level until it resolves in octaves at the end of the phrase.³⁵ There are a dozen other experimental choral works, most of them settings of psalms first sketched in ca. 1898-1902 and revised or completed later.

      As the experimental works before 1902 often explore issues of pitch organization and tonality, those after 1902 often focus on rhythmic combinations and superimposed independent musical layers. From the Steeples and the Mountains (ca. 1902-7) includes four sets of bells in three different keys (high bells in C and B and low bells in D|, and C) that play descending scales in canon, each successive scale in shorter note values from half notes to sixteenth notes, and then reverse the process, producing a wave of gradually increasing and decreasing rhythmic density.³⁶ All the Way Around and Back (ca. 1906) for chamber ensemble is an almost perfect palindrome, gradually building up layers until at the climax units of one, two, three, five, seven, and eleven

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