Charles Ives

Charles Edward Ives (; October 20, 1874May 19, 1954) was an American modernist composer, one of the first American composers of international renown. His music was largely ignored during his early career, and many of his works went unperformed for many years. Later in life, the quality of his music was publicly recognized through the efforts of contemporaries like Henry Cowell and Lou Harrison, and he came to be regarded as an "American original". He was also among the first composers to engage in a systematic program of experimental music, with musical techniques including polytonality, polyrhythm, tone clusters, aleatory elements, and quarter tones. His experimentation foreshadowed many musical innovations that were later more widely adopted during the 20th century. Hence, he is often regarded as the leading American composer of art music of the 20th century.

Sources of Ives's tonal imagery included hymn tunes and traditional songs; he also incorporated melodies of the town band at holiday parade, the fiddlers at Saturday night dances, patriotic songs, sentimental parlor ballads, and the melodies of Stephen Foster.

Biography

Ives was born in Danbury, Connecticut, on October 20, 1874, the son of George (Edward) Ives (August 3, 1845 – November 4, 1894), a US Army bandleader in the American Civil War, and his wife, Mary Elizabeth Ives (née Parmelee, January 2, 1849 or 1850 – January 25, 1929). The Iveses were one of Danbury’s leading families, and they were prominent in business and civic improvement. They were similary active in progressive social movements of the last century, including the abolition of slavery.

George Ives directed bands, choirs, and orchestras, and taught music theory and a number of instruments. Charles got his influences by sitting in the Danbury town square and listening to his father's marching band and other bands on other sides of the square simultaneously. His father taught him and his brother (Joseph) Moss Ives (February 5, 1876 – April 7, 1939) music, teaching harmony and counterpoint and guided his first compositions; George took an open-minded approach to theory, encouraging him to experiment in bitonal and polytonal harmonizations. It was from him that Ives also learned the music of Stephen Foster. He became a church organist at the age of 14 and wrote various hymns and songs for church services, including his '' Variations on "America"'', which he wrote for a Fourth of July concert in Brewster, New York. It is considered challenging even by modern concert organists, but he famously spoke of it as being "as much fun as playing baseball", a commentary on his own organ technique at that age..

Ives moved to New Haven, Connecticut in 1893, enrolling in the Hopkins School, where he captained the baseball team. In September 1894, Ives entered Yale University, studying under Horatio Parker. Here he composed in a choral style similar to his mentor, writing church music and even an 1896 campaign song for William McKinley.. On November 4, 1894, his father died, a crushing blow to him, but to a large degree he continued the musical experimentation he had begun with him. His brother Moss later became a lawyer.

At Yale, Ives was a prominent figure; he was a member of HeBoule, Delta Kappa Epsilon (Phi chapter) and Wolf's Head Society, and sat as chairman of the Ivy Committee. He enjoyed sports at Yale and played on the varsity American football team. Michael C. Murphy, his coach, once remarked that it was a "crying shame" that he spent so much time at music as otherwise he could have been a champion sprinter. His works '' Calcium Light Night'' and ''Yale-Princeton Football Game'' show the influence of college and sports on Ives's composition. He wrote his Symphony No. 1 as his senior thesis under Parker's supervision.

Ives continued his work as a church organist until May 1902. Soon after he graduated from Yale in 1898, he started work in the actuarial department of the Mutual Life Insurance company of New York. In 1899, Ives moved to employment with the insurance agency Charles H. Raymond & Co., where he stayed until 1906. In 1907, upon the failure of Raymond & Co., he and his friend Julian Myrick formed their own insurance agency Ives & Co., which later became Ives & Myrick, where he remained until he retired.. During his career as an insurance executive and actuary, Ives devised creative ways to structure life-insurance packages for people of means, which laid the foundation of the modern practice of estate planning. His ''Life Insurance with Relation to Inheritance Tax'', published in 1918, was well received. As a result of this he achieved considerable fame in the insurance industry of his time, with many of his business peers surprised to learn that he was also a composer. In his spare time he composed music and, until his marriage, worked as an organist in Danbury and New Haven as well as Bloomfield, New Jersey and New York City.

In 1907, Ives suffered the first of several "heart attacks" (as he and his family called them) that he had throughout his life. These attacks may have been psychological in origin rather than physical. Following his recovery from the 1907 attack, Ives entered into one of the most creative periods of his life as a composer.

In 1908 he married Harmony Twichell, daughter of Congregational minister Joseph Twichell and his wife Julia Harmony Cushman. The young couple moved into their own apartment in New York.

Ives had a successful career in insurance. He also continued to be a prolific composer until he suffered another of several heart attacks in 1918, after which he composed very little. He wrote his last piece, the song "Sunrise," in August 1926. In 1922, Ives published his ''114 Songs'', which represents the breadth of his work as a composer—it includes art songs, songs he wrote as a teenager and young man, and highly dissonant songs such as "The Majority".

According to his wife, one day in early 1927 Ives came downstairs with tears in his eyes. He could compose no more, he said; "nothing sounds right".. There have been numerous theories advanced to explain the silence of his late years. It seems as mysterious as the last several decades of the life of Jean Sibelius, who stopped composing at almost the same time. While Ives had stopped composing, and was increasingly plagued by health problems, he continued to revise and refine his earlier work, as well as oversee premieres of his music.

After continuing health problems, including diabetes, in 1930 he retired from his insurance business. Although he had more time to devote to music, he was unable to write any new music. During the 1940s he revised his '' Concord Sonata'', publishing it in 1947 (an earlier version of the sonata and the accompanying prose volume, ''Essays Before a Sonata'' were privately printed in 1920)..

Ives died of a stroke in 1954 in New York City. His widow, who died in 1969 at age 92, bequeathed the royalties from his music to the American Academy of Arts and Letters for the Charles Ives Prize.

Musical career

Ives's career and dedication to music began when he started playing drums in his father's band at a young age. Ives published a large collection of songs, many of which had piano parts. He composed two string quartets and other works of chamber music, though he is now best known for his orchestral music. His work as an organist led him to write '' Variations on "America"'' in 1891, which he premiered at a recital celebrating the Fourth of July.

In 1906, Ives composed the first radical musical work of the twentieth century, '' Central Park in the Dark''. He composed four numbered symphonies as well as a number of works with the word 'Symphony' in their titles, as well as '' The Unanswered Question'' (1908), written for the unusual combination of trumpet, four flutes, and string quartet. ''The Unanswered Question'' was influenced by the New England writers Ralph Waldo Emerson and Henry David Thoreau.

Around 1910, Ives began composing his most accomplished works, including the '' Holiday Symphony'' and ''Three Places in New England''. ''The Piano Sonata No. 2, Concord, Mass.'', known as the '' Concord Sonata'', was one of his most notable pieces. He started work on this in 1911 and completed most of it in 1915. However, it was not until 1920 that the piece was published. His revised version was not released until 1947. This piece contains one of the most striking examples of his experimentation. In the second movement, he instructed the pianist to use a piece of wood to create a massive cluster chord. The piece also amply demonstrates Ives's fondness for musical quotation: the opening bars of Ludwig van Beethoven's Symphony No. 5 are quoted in each movement. Sinclair's catalogue also notes less obvious quotations of Beethoven's ''Hammerklavier'' Sonata and various other works.

Another notable piece of orchestral music Ives completed was his Symphony No. 4. He worked on this from 1910 to 1916. This four-movement symphony is notable for its complexity and vast orchestra. A complete performance of the work was not given until 1965, half a century after it was completed and over a decade after Ives's death.

Ives left behind material for an unfinished '' Universe Symphony'', which he was unable to complete despite two decades of work. This was due to his health problems as well as his shifting ideas of the work.

Reception

Ives's music was largely ignored during his life, particularly during the years in which he actively composed. Many of his published works went unperformed even many years after his death in 1954. However, his reputation in more recent years has greatly increased. The Juilliard School commemorated the fiftieth anniversary of his death by performing his music over six days in 2004. His musical experiments, including his increasing use of dissonance, were not well received by his contemporaries. The difficulties in performing the rhythmic complexities in his major orchestral works made them daunting challenges even decades after they were composed.

Early supporters of Ives's music included Henry Cowell, Elliott Carter, and Aaron Copland. Cowell's periodical ''New Music'' published a substantial number of Ives's scores (with his approval). But for nearly 40 years, Ives had few performances of his music that he did not personally arrange or financially back. He generally used Nicolas Slonimsky as the conductor. After seeing a copy of Ives's self-published ''114 Songs'' during the 1930s, Copland published a newspaper article praising the collection.

Ives began to acquire some public recognition during the 1930s, with performances of a chamber orchestra version of his ''Three Places in New England'', both in the US and on tour in Europe by conductor Nicolas Slonimsky. The Town Hall (New York City) premiered his ''Concord Sonata'' in 1939, featuring pianist John Kirkpatrick. This received favorable commentary in the major New York newspapers. Later, around the time of Ives's death in 1954, Kirkpatrick teamed with soprano Helen Boatwright for the first extended recorded recital of Ives's songs for the obscure Overtone label (Overtone Records catalog number 7). They recorded a new selection of songs for the Ives Centennial Collection that Columbia Records published in 1974.

In the 1940s, Ives met Lou Harrison, a fan of his music who began to edit and promote it. Most notably, Harrison conducted the premiere of the Symphony No. 3, ''The Camp Meeting'' (1904) in 1946. The next year, it won Ives the Pulitzer Prize for Music. He gave the prize money away (half of it to Harrison), saying "prizes are for boys, and I'm all grown up".

Ives was a generous financial supporter of twentieth-century music, often financing works that were written by other composers. This he did in secret, telling his beneficiaries that his wife wanted him to do so. Nicolas Slonimsky said in 1971, "He financed my entire career".

At this time, Ives was also promoted by Bernard Herrmann, who worked as a conductor at CBS and in 1940 became principal conductor of the CBS Symphony Orchestra. While there, he championed Ives's music. When they met, Herrmann confessed that he had tried his hand at performing the ''Concord Sonata''. Ives, who avoided the radio and the phonograph, agreed to make a series of piano recordings from 1933 to 1943. One of the more unusual recordings, made in New York City in 1943, features Ives playing the piano and singing the words to his popular World War I song "They Are There!", which he composed in 1917. He revised it in 1942–43 for World War II.

Ives's piano recordings were later issued in 1974 by Columbia Records on a special LP set for his centenary. New World Records

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