Charles Ives


Also found in: Dictionary, Thesaurus, Wikipedia.

Ives, Charles

(īvz), 1874–1954, American composer and organist, b. Danbury, Conn., grad. Yale, 1898; pupil of Dudley Buck and Horatio Parker. He was an organist (1893–1904) in churches in Connecticut, New Jersey, and New York. In the insurance business from 1898 to 1930, Ives was concurrently composing music that was extremely original, iconoclastic, and advanced in style, anticipating some of the innovations of Schoenberg and Stravinsky, but not influencing musical trends because most of his works were not published as they were written. They were little known until 1939, when performance of his second piano sonata, Concord (1911–15), won him wide recognition. In 1947 his Third Symphony was awarded the Pulitzer Prize. Ives's compositions include four numbered symphonies, orchestral suites, sonatas, organ pieces, choral works, a great deal of chamber music, and about 150 songs. His works are frequently dissonant, harmonically dense, and lushly scored with complexly layered themes, textures, and rhythms. In addition, he often uses vernacular American music, e.g., folk music, hymns and spirituals, marches, dances, rags, blues, and parlor songs, in his compositions, evoking the spirit of such aspects of American life as revival meetings and brass-band parades.

Bibliography

See his Essays before a Sonata (new ed. 1962) and his Memos, ed. by J. E. Kirkpatrick (1972); biographies by H. and S. Cowell (rev. ed. 1969) and S. Budiansky (2014); V. Perlis, Charles Ives Remembered (1974); R. S. Perry, Charles Ives and the American Mind (1974); H. W. Hitchcock, Ives (1977).

Ives, Charles (Edward)

(1874–1954) composer; born in Danbury, Conn. An organ prodigy, he was first trained by his bandmaster father, who also instilled a penchant for musical experiment. At Yale (1894–98) he learned much from the conservative Horatio Parker, but in view of his advanced musical ideas he decided not to pursue a career in music. After college he entered the insurance business in New York and over the next three decades he would rise nearly to the top of that profession. At the same time, after leaving his last church-organist job in 1902, he began a perhaps unprecedented period of creative isolation for a major composer; for twenty years, in his spare time, he composed prolifically and with growing confidence and maturity, although during those years his music was rarely heard in public. His important works, all marked by a unique blend of prophetic experiment and familiar American material, include the Concord Sonata, Three Places in New England, the Holidays Symphony, and the Fourth Symphony. Following a serious heart attack in 1918, his health and productivity declined; his last new pieces date from the mid-1920s. He lived his last decades as an invalid in New York City and West Redding, Conn., promoting his music as best he could and revising pieces; meanwhile, various enthusiasts gradually spread his music into the world.
References in periodicals archive ?
Thus we should be hugely grateful to the Charles Ives Society in general, and in the case of 129 Songs to Hitchcock in particular, for bringing into the public domain authoritative sources for Ives's music.
What: The American Symphonia Chamber Orchestra, conducted by James Paul, plays music by Stephen Paulus, John Adams and Charles Ives.
Since its original Yale University Press publication in 1974 and the subsequent 1976 Norton Library edition, Vivian Penis's Charles Ives Remembered: An Oral History has demonstrated what oral history can achieve, as well as what it can enable.
Cowell's book Charles Ives and His Music (New York: Oxford, 1955), written with his wife Sidney, did much to elevate Ives to the status and prominence in modem American musi c that Ives enjoys today.
Seven composers, all productive during the late nineteenth and early twentieth centuries, are given special prominence: chapter 6 surveys the work of John Knowles Paine and George Whitefield Chadwick; chapter 7, the music of Horatio Parker, Arthur Foote, and Edward MacDowell; and chapter 8, that of Amy Beach and Charles Ives.
Bernard Herrmann ("Four Symphonies by Charles Ives," Modern Music 22 [1945]: 216; reprinted in Charles Ives and His World, 395) and Jan Swafford (Charles, Ives [New York: W.
It should be noted here that Sinclair's catalog has been published with the financial assistance of -- among others--the Charles Ives Society, which has for the last quarter-century played a crucial role in bringing to the public critical editions of Ives's works.
That context includes the objectivists Henry Thoreau, William Carlos Williams, Louis Zukofsky, and Cage himself on the one hand, and the projectivists Ralph Waldo Emerson, Charles Ives, Charles Olson, and Robert Creeley on the other.
With the first ever complete cycle by a British orchestra of all four symphonies by Charles Ives at its core, the CBSO began a season of exploration of a good cross-section of the American composer's music with a strongly-projected reading of his Symphony No.
One immediately questions the need for a collection of essays on Charles Ives published within a year of similar volumes, especially when so many of the same contributors reappear.
Ballet 5:8's dramatic adaptation pairs original choreography by Ballet 5:8 Artistic Director Julianna Rubio Slager and a score by American modernist composer Charles Ives, with spoken word created by Chicago artist Kylla Pate and film elements directed by Preston Miller.
The Gilmore Music Library will use its grant to preserve approximately 335 hours of unique noncommercial audio, predominantly from 1937-1956, featuring music by Charles Ives.