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Hitchcock’s Ives: A New Edition of 129 Songs

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Hitchcock’s Ives: A New Edition of 129 Songs

Auteurs : Peter Dickinson

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Music and Letters [ 0027-4224 ] ; 2006.

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https://api.istex.fr/document/0AB4912BE18485C78386404F484E8137B61CC9FA/fulltext/pdf

DOI: 10.1093/ml/gcl076

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<body><p>H. W<sc>iley</sc>
 H<sc>itchcock has a long history</sc>
 of dedication to the cause of Charles Ives. In the preface to his new edition of <italic>129 Songs</italic>
<xref ref-type="fn" rid="fn1"><sup>1</sup>
</xref>
 he recalls his introduction to the composer in a graduate class at the University of Michigan in 1947, a time when courses on American music were virtually unknown. He listened to a badly recorded amateur performance of some of the songs: ‘I had no problem hearing through the poor recording and uncertain voice to the extraordinary lyric gifts of Ives . . . to this day, for me, not only does Ives remain uniquely significant among American composers of the late nineteenth and early twentieth centuries—his music uniquely gratifying and challenging—but the very heart of his oeuvre is the body of songs, numbering about one hundred eighty, that he composed between the mid-1880s and the mid-1920s’ (p. xiii).</p>

<p>In 1972 Hitchcock became Founding Director of the Institute for Studies in American Music at Brooklyn College of the City University of New York; he revitalized the moribund Charles Ives Society; and he and Vivian Perlis were the guiding spirits behind the comprehensive Centennial Festival–Conference held in 1974 at New York and New Haven, when I was honoured to be invited to represent the United Kingdom. Three years later Hitchcock’s short monograph appeared<xref ref-type="fn" rid="fn2"><sup>2</sup>
</xref>
 and the proceedings of the conference made a handsome volume with an international cast of contributors.<xref ref-type="fn" rid="fn3"><sup>3</sup>
</xref>
 Then, in ‘Editing Ives’ 129 Songs’<xref ref-type="fn" rid="fn4"><sup>4</sup>
</xref>
 and elsewhere, Hitchcock lifted the curtain on some of the intractable problems that arise in preparing a scholarly edition from sources as complex as those that Ives left behind. I now consider a selection of songs in the new edition, including some where I have had experience as a performer over many years. If this causes me to question some of the actual notes, it must not obscure the prodigious amount of detail provided with this new edition for every aspect of sources and context.</p>

<p>In ‘Editing Ives’ 129 Songs’ Hitchcock took one short song, ‘The Cage’, as an example of the problems he faced. He assumed that nobody ever gave Ives the benefit of professional editorial advice when his <italic>114 Songs</italic>
 was published by Schirmers at his own expense in 1922 and that the firm did not take the work of an amateur composer seriously.<xref ref-type="fn" rid="fn5"><sup>5</sup>
</xref>
 It simply printed what he sent in, but he did have a chance to correct proofs. What Ives’s inconsistencies mean—he enjoyed playing his <italic>Concord Sonata</italic>
 and other piano works differently each time—has always been hard to assess. However, <italic>114 Songs</italic>
 may have been more affected by engraver’s errors than has been admitted.</p>

<p>The one-page song ‘The Cage’ is an unusual case, since it went through three printings as a song for voice and piano and was also printed as <italic>In the Cage</italic>
, a chamber piece that could have come first, and exists in a manuscript sketch riddled with emendations. In the printed versions the chords underneath the voice sometimes fail to match the number of beats in the voice part. That can be corrected, which Hitchcock does discreetly with ties rather than new note values, but the most elaborate of the piano chords, four from the end, is slightly different in the four available sources. It is now clear that the version of this chord in <italic>114 Songs</italic>
 has the sharp in the left-hand component wrongly attached to the D rather than the F—a simple engraver’s error. The other three sources confirm this. Not everything is as easy to adjudicate, but there was nothing obviously wrong about the chord as printed and widely performed. The ‘wrong’ left-hand D♯fits two others in the right hand: the ‘wrong’ F♮is matched two octaves above. But the ‘right’ D♮and ‘right’ F♯add two new pitches to the song’s most complex chord, which must have been carefully planned with a wide frequency range to illustrate the word ‘wonder’. There are further examples where errors like this can be adduced, which shows that pitch-class analysts working on Ives need to proceed with sceptical caution.</p>

<p>Another matter is the look of the printed page of ‘In the Cage’. Hitchcock wonders why Ives drew long vertical stems to his chords across both treble and bass staves and was encouraged to believe that this could even be a visual representation of the cage the leopard is pacing across—so he retains them. These and further issues raised by one short song in the new edition illustrate the extent of the editorial decisions that have needed to be taken—and there are 129 songs in it.</p>

<p>The reason for this number is that Hitchcock has taken over from the work of the dedicated Ives scholar and pianist John Kirkpatrick (1905–91). It was he who gave the first full performance of the <italic>Concord Sonata</italic>
 in 1939; he knew the Ives family, and in 1968 he became Curator of the Ives Collection at Yale. In 1960 he produced the first catalogue of Ives’s manuscripts<xref ref-type="fn" rid="fn6"><sup>6</sup>
</xref>
 and then produced some important editions.<xref ref-type="fn" rid="fn7"><sup>7</sup>
</xref>
 All of these were first publications whereas the <italic>129 Songs</italic>
 have all appeared in print before, apart from two <italic>Songs without Words</italic>
 and an early version of ‘My Native Land’. However, this is their first critical edition, prepared according to the editorial guidelines of the Charles Ives Society.<xref ref-type="fn" rid="fn8"><sup>8</sup>
</xref>
</p>

<p>Hitchcock details the publishing history of each song. Before this new edition performers were confronted with various obstacles. For example, until three publishers came together to reissue <italic>114 Songs</italic>
 in facsimile in 1975<xref ref-type="fn" rid="fn9"><sup>9</sup>
</xref>
 it was necessary to locate a rare copy of the first edition in a library, although some songs were reprinted in several smaller sets published during the 1950s (listed on p. xxi).</p>

<p>A discovery in one of these collections, <italic>Thirteen Songs</italic>
, was ‘Abide with Me’, written when Ives was 16 but not published until 1958. The emotional focus of the song is completely secure, even at this stage, justifying Hitchcock’s claims for Ives as a songwriter. This was memorably demonstrated in the recording made by Dietrich Fischer-Dieskau in 1976.<xref ref-type="fn" rid="fn10"><sup>10</sup>
</xref>
 The setting is in a clear G major, but there are some individual features that are surprising for 1890. There is a decorated leading-note motif, which appears three times and functions cadentially. In the original printing this motif is not found in the piano part at all, but Hitchcock’s edition provides the option of doubling it in the piano part (it might be better left out) and it appears once there on its own. Hitchcock provides some extra bass notes, which are an enrichment. The harmony is preoccupied with tonic and dominant, sometimes with added notes, until the climax arrives at ‘Help of the helpless’. Then Ives moves to the subdominant minor and, via a chromatic inflection, makes the voice reach up a seventh to end pianissimo on a root position tonic. This anticipation of the tonic so near the end of the song could have been a weak gesture, but it sounds masterly. The repeated high Ds in the piano are left on their own between verses and at the end, like a sanctuary bell. Few of the early songs are of this quality, although the very first, ‘Slow March’, with its quotation from the Dead March in Handel’s <italic>Saul</italic>
, is equally felt and achieved.</p>

<p>There have been problems about the texts Ives set—Hitchcock gives their origins and usefully provides them complete in the last forty pages of this volume. Sometimes Ives changed his sources, and at other times he was just quoting from memory, as he habitually did with other people’s tunes. For example, instead of ‘Silence is pleased’, which is what Ives sets at the end of ‘Evening’, Milton actually wrote ‘Silence was pleased’. An ossia is provided. Ives had his own problems when Kipling’s representative failed to answer his request for permission to use ‘Tarrant Moss’. In <italic>114 Songs</italic>
 and later printings Ives puts just the first four words followed by dots, enabling the rest of the text to be inserted, which Hitchcock has done. When Ives found he was not free to use Kipling’s poem he made up a text of his own, which he cynically called ‘nice poetry’, about a violent incident that looks like a description of a roughhouse, with a gangster who managed to get away. The ‘Tarrant Moss’ version is marked ‘Allegro Maestoso’ whereas Ives’s own, called ‘Slugging a Vampire’, is labelled ‘Allegro con fuoco (or as fast and hard as possible)’, almost as if Ives’ anger at not being able to use the poem spilt over into his alternative version.</p>

<p>This is odd, because Ives did set another poem by Kipling in ‘Tolerance’. Hitchcock provides two versions for much of this song—first from <italic>114 Songs</italic>
 and then revised for <italic>34 Songs</italic>
, published by Henry Cowell’s periodical <italic>New Music</italic>
 in 1933. He points out, significantly, that Ives was not ‘jacking up’ (Elliott Carter’s phrase) the dissonance in the second version but simply reflecting more of the detail derived from the chamber work on which the original song was based, but elsewhere Hitchcock disallows Ives’s published revisions.</p>

<p>‘Mists’ is a magically atmospheric song to a poem by Ives’s wife, Harmony, who was not a published poet. The whole-tone chords evoke the clouded visibility of the scene. Most of what is indicated as Hitchcock’s editorial note at the bottom of the page comes from Ives himself, so it has to be respected, but its option of removing the upper right-hand chords and doubling the left hand seems inferior. Anyone used to <italic>114 Songs</italic>
 and <italic>34 Songs</italic>
 may find Ives’s use of mixed sharps and flats (from b. 13)—for which he had his own idiosyncratic reasons—more convincing than the new edition.<xref ref-type="fn" rid="fn11"><sup>11</sup>
</xref>
</p>

<p>It is instructive to look at the number of current recordings of songs by Ives as indicated in the REDmuze Classical Catalogue 2006 (the American Schwann/Opus has been discontinued). This shows that there are more recordings of ‘The Side Show’ than of any other song by Ives. There are eleven different versions, and the runners-up are ‘Serenity’ and ‘Tom sails away’, with seven each. ‘The Circus Band’ and ‘The Things our Fathers loved’ come next with six, and there are five recordings of several including that essential Ives document ‘General William Booth enters into Heaven’.<xref ref-type="fn" rid="fn12"><sup>12</sup>
</xref>
</p>

<p>It seems ironic that ‘The Side Show’ is the most popular, since Ives borrowed more material for it than in most of his songs. He apparently derived this one from a novelty number for clarinet and piano, now lost, written for a Delta Kappa Epsilon show at Yale. The details are laid out by Peter Burkholder, including the connection with a popular song that was widely sung by Pat Rooney (1844–92) and registered as his copyright in the USA in 1882.<xref ref-type="fn" rid="fn13"><sup>13</sup>
</xref>
 Rooney was a vaudeville performer and ‘Is that Mr Reilly?’ is about a hotelkeeper called O’Reilly (also spelt Riley). There was also a version by the burlesque team Ned Harrigan and Tony Hart, but in 1915 it became a smash-hit patriotic song, this time called ‘Are you the O’Reilly? (Blime Me, O’Reilly, You Are Lookin’ Well)’, and cited as a ‘new version by P. Emmett’, copyright Leo Feist, New York, acknowledging the New York publisher F. Harding as ‘the original copyright holder’. According to <italic>Variety</italic>
 (28 May 1915) this song replaced ‘It’s a long, long way to Tipperary’ in the affections of the combined armies fighting Germany.</p>

<p>But there is another side to this story. ‘Is that you, O’Riley’ also exists as a song by the highly successful British composer of musicals and popular songs Leslie Stuart (1864–1928). His copyright date for the song is also 1915 with the London publisher Francis, Day & Hunter. I am indebted to Andrew Lamb for information going further back, which suggests that there were competing British origins for the song.<xref ref-type="fn" rid="fn14"><sup>14</sup>
</xref>
 Stuart’s daughter, May, gave a BBC talk about her father probably in the 1940s, and the undated script survives. She tells how, from his house in Regent’s Park, London, during the First World War, her father heard some Canadian troops whistling a song he recognized as one he wrote in his youth when he was playing at the Slip Inn, an Irish pub in Manchester.<xref ref-type="fn" rid="fn15"><sup>15</sup>
</xref>
 Stuart was absolutely certain that this was his song, which had somehow crossed the Atlantic. Since he detested piracy, it is unlikely that he would have laid claim without good cause. When he copyrighted it in 1915 he made two versions—the original song ‘Is that Mr Riley?’ (text: Lester Barrett) and the First World War song, ‘Is that you, O’Riley?’ (text: Stuart). However, Douglas Gilbert recognized that during the War a controversy raged over the origin of the song ‘Is that Mr Riley?’.<xref ref-type="fn" rid="fn16"><sup>16</sup>
</xref>
 When Tony Staveacre devised a BBC TV programme on Leslie Stuart he included ‘Is that you, O’Riley?’.<xref ref-type="fn" rid="fn17"><sup>17</sup>
</xref>
 This song must have given currency to the phrase ‘Life of Riley’, but the earliest established reference seems to have been in another song, one by Pease called ‘My Name is Kelly’ (1919), which contains the phrase ‘I’m living the life of Reilly just the same’.</p>

<p>Since ‘The Side Show’ originated in music Ives composed at Yale, his borrowing goes back to the Rooney version. But he might also have been responding to patriotic fervour in 1915—he wrote his own jingoistic war song ‘He is there!’ when the United States entered the war in 1917 (p. 254, b. 11, lacks an E♮in the right hand). It would have been typical of his technique to conflate the wartime hit with the tune from his student days, quite apart from the other associations operating here.</p>

<p>Ives’s song (the characteristically sketchy manuscript is illustrated by Hitchcock as Pl. 6) is also depicting the musical outcome of the activity of the unsound old horse on the trotting track of the merry-go-round. The animal’s laborious progress is represented by insistent tonic chords, a jerky rhythm within the bar, as well as uneven bars alternating three and two beats. This total of five beats neatly anticipates the ‘Russian dance’ by Tchaikovsky quoted four bars from the end—the waltz from the ‘Pathétique’ Symphony. The extraordinary achievement of ‘The Side Show’ and many more of these songs is to pack so many references into so short a space—only twenty-two bars in this case.</p>

<p>The difficulties facing Hitchcock can also be seen by looking at Ives’s manuscript of ‘Requiem’ (Pl. 8), which must have been what was given to his long-suffering copyist with the result seen at Plate 9. From bar 8 onwards there are five bars of parallel octaves in the left hand, so it looks as if the single C♮making an isolated major seventh in bar 9 could be another error. Not so—there are plenty of sources for this song and no doubt about Ives’s intention.</p>

<p>Ives’s quirky humour emerges frequently in the songs. ‘Romanzo (di Central Park)’ is a joke in terms of the way he sets Leigh Hunt’s poem, consisting of nothing but conventional end-rhyming words. He uses this to satirize both love poetry and an unnamed composer (Victor Herbert was the name that Ives later inserted into one of his copies). The idea is comic but, in spite of this, a performance can be nostalgically beautiful.<xref ref-type="fn" rid="fn18"><sup>18</sup>
</xref>
 However, the melody in the piano part is remarkably close to the <italic>più lento</italic>
 second theme in the scherzo of Chopin’s Sonata in B flat minor, Op. 35. The first three notes are identical, and then the fourth note leaps up a fifth rather than Chopin’s sixth. Although, as far as I am aware, this has not been regarded as a quotation, perhaps it should be. Both the mood and piano layout of the main theme are close to Chopin, whom Ives despised in terms unacceptable to modern ideas of political correctness.<xref ref-type="fn" rid="fn19"><sup>19</sup>
</xref>
 Is it possible that Ives took the scherzo as a source? His chromatic slides drop downwards—what Burkholder calls an ‘overblown Chopinesque ooze’<xref ref-type="fn" rid="fn20"><sup>20</sup>
</xref>
—whereas, in the second section of the scherzo, Chopin’s reach relentlessly upwards.</p>

<p>‘The See’r’ is another brilliant epigrammatic miniature, also used in instrumental versions including—weirdly—the second of the <italic>Three Quarter-tone Pieces for Two Pianos</italic>
. Accidentals seem to be missing towards the end. My comments are based on differences between the new edition and the printings in both <italic>114 Songs</italic>
 and <italic>Seven Songs</italic>
, supported by internal consistency, which does operate even with Ives. It looks as if the Es in the right hand, at bars 31 and 32 should all three be sharp, not just one of them: the equivalent place, with the material a semitone down, is at bars 7–11, where these occurrences are consistent. In bar 33 the right hand should surely have D♯s (cf. b. 13 onwards), and its chord in the next bar needs to be clarified as C major.</p>

<p>‘Thoreau’ is an important song, not least because of its use of wonderfully atmospheric material arranged from the last movement of the <italic>Concord Sonata</italic>
, entitled ‘Thoreau’—an uncanny representation of Walden Pond and Thoreau’s life there in the woods. In the piano work, what starts as the transformed Stephen Foster melody (the chorus of ‘Massa’s in de Cold Ground’) over the ostinato is a tone lower. Hitchcock adds a note: ‘All uninflected pitches are natural except those tied back to inflected pitches.’ This works here, but there could be a query about four semiquavers inside one crotchet beat—page 229, middle line, right hand, one beat from the end. Ives has A♭, B♭, then A and G. The same passage in the <italic>Concord Sonata</italic>
 (last page, penultimate system, third beat) has the equivalent of the second A marked flat, whereas Hitchcock reads it as natural. It looks as if Ives intended the A♭to stand through the group of semiquavers, as in the sonata. The new edition of ‘Thoreau’ lays out the spoken text at the beginning far better—the original was too small.</p>

<p>‘At the River’ (the arrangement of Lowell Mason’s hymn) has been given a key signature of E flat major not present in the original printings: this is logical but it has led to a misplaced accidental and therefore a C minor rather than C major chord, page 237, second system, third beat of the last bar. The earlier setting of this melody in the last movement of the Fourth Violin Sonata confirms this (so do <italic>114 Songs</italic>
 and <italic>34 Songs</italic>
) and, further, offers C sharp major, not minor, three chords earlier, making the whole sequence one of major chords. A more perplexing example can be found in the left-hand descending line in octaves on the last two beats in bar 11: the song has B♭–A♭–G♭–F♭but the sonata (AMP edn., p. 21, last bar) has B–A♭–G♮–F♮, so it seems that the flat is missing from the B and that the redundant naturals given to G and F should be flats. Hitchcock makes no comparisons between these sources. The sonata score seems unreliable, since by 1942, when it was published, Ives’s eyesight would have been too poor for proofreading. (‘At the River’ is badly laid out, with an unnecessary page turn; there are a few other such examples in the volume.)</p>

<p>‘Afterglow’ is an impressionistic masterpiece with overlapping chords throughout the soft, saturated piano texture. It was printed in <italic>114 Songs</italic>
, and again eleven years later in <italic>34 Songs</italic>
 with a few changes. In spite of the fact that Ives himself made the changes, Hitchcock has categorized some of these revisions throughout this edition as ‘arbitrary added dissonance’ and has removed them. This is the most controversial aspect of his editorial technique. Ives explained the situation in a letter to Copland in 1933: ‘The trouble with some of my songs is that they were not originally written as such . . . Several were arranged when the book [<italic>114 Songs</italic>
] was [to be] published and some of these were reduced & weakened in the process [of transcription].’<xref ref-type="fn" rid="fn21"><sup>21</sup>
</xref>
 So might he have seen <italic>34 Songs</italic>
 as an opportunity to correct matters? Taking ‘Afterglow’ as an example, the penultimate piano chord is an arpeggiated diminished seventh on B acting as a kind of dominant to a tonic on E with fifth, minor seventh, minor ninth, and sharp fourth. In his revision Ives turns the central F into an F♯, thus frustrating the bland diminished seventh and enriching the texture in a way that is completely in keeping with what has gone before. This was Ives’s intention, and it could be considered an improvement.</p>

<p>In ‘Afterglow’ and elsewhere there are places where Ives indicates left hand over in the right-hand piano stave. Like the famous exchanges in the second movement of Webern’s Piano Variations, these tell pianists how to approach the notes and affect the phrasing. In Ives’s piano writing this technique was an idiosyncratic way of coping with large spreads right across the keyboard. Some of these left-hand indications (e.g. on p. 276, halfway through the first system) are missing in ‘Afterglow’.</p>

<p>‘Granchester’, originally subtitled by Ives ‘with a quotation from Debussy’, has its own editorial problems, especially with accidentals, since there are no bar-lines. Hitchcock again specifies uninflected pitches as natural unless tied back to inflected pitches. Ives includes the opening motif from the <italic>Prélude à l’après-midi d’un faune</italic>
 but uses none of Debussy’s harmonizations. However, his second chord under the piano quotation (p. 280, first system, last chord) is not credible, even though it has been in print since 1922. No manuscript sources survive, but it looks as if this ought to have been a dominant major ninth and not the dissonant collection with C♯ and C♮ superimposed. In <italic>114 Songs</italic>
 this chord, there given to the right hand, has a redundant sharp against the G and an unnecessary natural attached to the C. I suggest that this was an engraver’s error reversing the two accidentals. The natural makes sense with the G and the sharp with the C. Ives was reflecting Debussy’s style—a study in itself in this passage—from the top of page 280 for two if not three lines, but, as usual when he referred to other music, not quoting exactly.</p>

<p>At the beginning of the second system, in the left hand, Hitchcock inserts precautionary D♯s in editorial brackets. In <italic>114 Songs</italic>
 the engraver seems to have made another mistake since there is a redundant sharp to the F (second chord, left hand, in Hitchcock) and Ives then marked the D as natural in the third chord contributing to a decorated dominant seventh, ninth, and thirteenth. The natural would not have been necessary had the previous D not been sharp. Did the engraver put the sharp against the F rather than the D? So it looks as if Ives intended the D♯s to be maintained until that decorated dominant, but Hitchcock’s presumed F♮ in the second chord should surely still be sharp.</p>

<p>In many songs throughout this edition decisions have been affected by Ives’s emendations on his own printed copies. Hitchcock makes a number of changes in ‘Ann Street’, which has been partly rebarred. In <italic>114 Songs</italic>
 it looks as if Ives assumed that accidentals applied to the whole bar; in <italic>34 Songs</italic>
 he added a footnote: ‘In this and some of the other songs, all notes are natural unless otherwise marked, except those immediately following an accidental.’ Taking page 347, bar 10 as an example, this means that the right-hand grace notes are all sharp. Ives keeps to his own rules in his two editions, but Hitchcock is inconsistent, with some sharps left out, and he has removed some of Ives’s own additions to the right-hand chords in the next bar. Further, the sharps to the Cs in the right hand at bars 17 and 18 must be missing.</p>

<p>‘The White Gulls’ is another song where Ives has not been allowed his revisions. Barring and spread chords have been usefully rationalized but the few extra notes Ives added hardly seem serious enough to come under the category of ‘arbitrary added dissonance’ and to warrant removal. In ‘Aeschylus and Sophocles’ there is no problem with added dissonance since this remarkably experimental and rarely performed piece is so uniformly dissonant. Hitchcock has helpfully laid out the string quartet on four staves instead of the crowded two used by Ives in <italic>Nineteen Songs</italic>
. Understandably there have been few recordings of this song.<xref ref-type="fn" rid="fn22"><sup>22</sup>
</xref>
</p>

<p>‘On the Antipodes’ is another strenuous study, this time with accompaniment for piano duet plus optional low C organ pedal (inadequately delivered synthetically on the Continuum recording), which completes the collection apart from two above-mentioned <italic>Songs without Words</italic>
, here printed for the first time. This is a literal title and not a reference to Mendelssohn’s piano solo genre. The manuscripts of these pieces in Ives’s early salon style contain voice parts with no words attached, so performers are invited to supply their own—or, presumably, to locate the actual texts which Ives never managed to write in.</p>

<p>In outlining his editorial method, Hitchcock writes: ‘This is a critical edition, but one intended for performers’ use as well as scholars and students’ uses.’ It is obviously important to direct performers to this new edition—or at least to the websites—and, although 527 pages long, this expensive paperback will sit on the piano rack. There was no alphabetical index in <italic>114 Songs</italic>
, and the index in the new edition is not at the end but comes as Table 4 within Hitchcock’s introduction, ‘Ives as Songwriter and Lyricist’, at pages xxiv–xxvi, where the songs are indicated by number and not by page in the volume. As would be expected, the seventy-page introduction from such an authority is of the greatest interest, with informative discussion of Ives’s choice of texts as its starting point.</p>

<p>It may seem an intimidating task for performers to find their way through such copious documentation, and there are still comparisons to be made with earlier publications. All the same Hitchcock’s edition must be regarded as the most significant publishing event for Ives’s vocal output since <italic>114 Songs</italic>
 in 1922. If neither publication is flawless, this may have to be accepted as reflecting the position of Ives himself—a flawed but essentially great composer.</p>
</body>

<back>

<fn-group>

<fn id="fn1">

<label>1</label>

<p>Charles Ives, <italic>129 Songs</italic>
, ed. H. Wiley Hitchcock. Music of the United States of America, 12. (A–R Editions, Middleton, Wis., 2004, $250. ISBN 0-89579-524-8.)</p>
</fn>

<fn id="fn2">

<label>2</label>

<p>H. W. Hitchcock, <italic>Ives</italic>
 (New York and London, 1977), repr. with additions as <italic>Ives: A Survey of the Music</italic>
 (Brooklyn, 1983).</p>
</fn>

<fn id="fn3">

<label>3</label>

<p>H. Wiley Hitchcock and Vivian Perlis (eds.), <italic>An Ives Celebration: Papers and Panels of the Charles Ives Centennial Festival-Conference</italic>
 (Urbana, 1977).</p>
</fn>

<fn id="fn4">

<label>4</label>

<p>In J. Philip Lambert (ed.), <italic>Ives Studies</italic>
 (New York, 1997). 57–76.</p>
</fn>

<fn id="fn5">

<label>5</label>

<p>Charles E. Ives, <italic>114 Songs</italic>
 (Redding, Conn., 1922).</p>
</fn>

<fn id="fn6">

<label>6</label>

<p>John Kirkpatrick, <italic>A Temporary Mimeographed Catalogue of the Music Manuscripts and Related Materials of Charles Edward Ives (1874–1954)</italic>
 (New Haven, 1960).</p>
</fn>

<fn id="fn7">

<label>7</label>

<p>Id., <italic>Eleven Songs and Two Harmonizations</italic>
 (New York, 1968); <italic>Sunrise</italic>
 (New York, 1977); and <italic>Forty Earlier Songs</italic>
 (New York, 1993), with a foreword by Hitchcock.</p>
</fn>

<fn id="fn8">

<label>8</label>

<p>The full version of Hitchcock’s voluminous ‘Notes and Critical Commentaries’ is deposited in key libraries and is available on Ives Society and MUSA websites.</p>
</fn>

<fn id="fn9">

<label>9</label>

<p><italic>114 Songs by Charles E. Ives</italic>
, Associated Music Publishers (New York), Peer International Corporation (New York), and Theodore Presser Company (Bryn Mawr).</p>
</fn>

<fn id="fn10">

<label>10</label>

<p>Charles Ives (1974–1954) Songs—Lieder—Chansons, Deutsche Grammophon 2530 696.</p>
</fn>

<fn id="fn11">

<label>11</label>

<p>In 1944 Ives, through his wife, wrote to Sol Babitz and Ingolf Dahl, who had edited his Third Violin Sonata for publication: ‘He is rather sorry that some flats and sharps have been changed into each other. Mr. Ives usually had a reason technically, acoustically or otherwise, for using sharps and flats. If a D flat is in one part and C sharp in another on the same beat, it was mainly due to some acoustical plan . . .’. J. Peter Burkholder (ed.), <italic>Charles Ives and his World</italic>
 (Princeton, 1996), 249–50.</p>
</fn>

<fn id="fn12">

<label>12</label>

<p>First recorded as early as 1934 by the California-based Radiana Pazmor with Genevieve Pitot and issued in Henry Cowell’s <italic>New Music Recordings</italic>
, Vol. 2 No. 4. The next commercial recording was twenty years later by Helen Boatwright and John Kirkpatrick, on Overtone 7, a strong performance on a vinyl LP that has aged badly.</p>
</fn>

<fn id="fn13">

<label>13</label>

<p>J. Peter Burkholder, <italic>All Made of Tunes: Charles Ives and the Uses of Musical Borrowin</italic>
g (New Haven, 1995), 76–9.</p>
</fn>

<fn id="fn14">

<label>14</label>

<p>Andrew Lamb, <italic>Leslie Stuart: Composer of Florodora</italic>
 (London, 2002), 236–7.</p>
</fn>

<fn id="fn15">

<label>15</label>

<p>Some sources have ‘Ship Inn’, but ‘Slip’ is correct. See Leslie Stuart, <italic>My Bohemian Life</italic>
, ed. Andrew Lamb (Croydon, 2003), 17.</p>
</fn>

<fn id="fn16">

<label>16</label>

<p>Douglas Gilbert, <italic>American Vaudeville: Its Life and Times</italic>
 (New York, 1941).</p>
</fn>

<fn id="fn17">

<label>17</label>

<p>Tony Staveacre, <italic>The Songwriters</italic>
, 15 June 1978, but see also his book <italic>The Songwriters</italic>
 (London, 1980).</p>
</fn>

<fn id="fn18">

<label>18</label>

<p>The recording by Henry Herford and Robin Bowman makes this clear. See their excellent, long deleted <italic>Charles Ives Songs</italic>
, 2 vols., Unicorn-Kanchana DKP (CD) 9111/9112 (1991).</p>
</fn>

<fn id="fn19">

<label>19</label>

<p>Charles Ives, <italic>Memos</italic>
, ed. John Kirkpatrick (New York, 1972), 135.</p>
</fn>

<fn id="fn20">

<label>20</label>

<p>Burkholder, <italic>All Made of Tunes</italic>
, 273.</p>
</fn>

<fn id="fn21">

<label>21</label>

<p><italic>129 Songs</italic>
, p. 400.</p>
</fn>

<fn id="fn22">

<label>22</label>

<p>Cheryl Studer with Continuum now on Naxos American Classics 8.559194 (2005), originally Musical Heritage Society; and Henry Herford with Ensemble Modern on EMI’s <italic>A Portrait of Charles Ives</italic>
, CDC 7 54552 2 (1992), an excellent anthology that was rapidly deleted.</p>
</fn>

</fn-group>

</back>

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