![]() ![]() ![]() These attacks may have been psychological in origin rather than physical. In 1907, Ives suffered the first of several "heart attacks" (as he and his family called them) that he had through out his lifetime. In his spare time he composed music and, until his marriage, worked as an organist in Danbury and New Haven, Connecticut as well as Bloomfield, New Jersey and New York City. Myrick formed their own insurance agency called Ives & Co., which later became Ives & Myrick, where he remained until he retired. In 1907, upon the failure of Raymond & Co., he and his friend Julian W. Raymond & Co., where he stayed until 1906. In 1899 he moved to employment with the agency Charles H. He continued his work as a church organist until as late as 1906. ![]() In 1898, after his graduation from Yale, he accepted a position as an actuarial clerk at Mutual Life Insurance Company of New York that paid $5 weekly, and moved into a bachelor apartment in New York shared with several other men. 1 as his senior thesis under Parker's supervision. His works Calcium Light Night and Yale-Princeton Football Game show the influence of college on Ives' composition. He was a member of Delta Kappa Epsilon and Wolf's Head, a secret society, and sat as chairman of the Ivy League Committee. Ives undertook the standard course of study at Yale, studying a broad array of subjects, including Greek, Latin, mathematics and literature. On November 4, 1894, Charles's father died, a crushing blow to the young composer, who idealized his father, and to a large degree continued the musical experimentation begun by him. Here he composed in a choral style similar to his mentor, writing church music and even an 1896 campaign song for William McKinley. Then, in September 1894, Ives went to Yale University, studying under Horatio Parker. Ives moved to New Haven, Connecticut in 1893, graduating from the Hopkins School. Ives became a church organist at the age of 14 and wrote various hymns and songs for church services, including his Variations on 'America'. It was from his father that Charles Ives also learned the music of Stephen Foster. Charles would often sing a song in one key, while his father accompanied in another key. George Ives took an open-minded approach to musical theory, encouraging his son to experiment in bitonal and polytonal ]. George Ives' unique music lessons were also a strong influence on Charles. A strong influence of Charles's may have been sitting in the Danbury town square, listening to his father's marching band and other bands on other sides of the square simultaneously. The influence of one's personal faith on one's creative endeavors can be found through the annals of music history, and in this regard, Ives was not unlike Johann Sebastian Bach, George Frideric Handel, Ludwig van Beethoven, Anton Bruckner and a legion of other composers whose religious convictions would influence their work in profound ways.Ĭharles was born in Danbury, Connecticut, the son of George Ives, a United States Army band leader during the American Civil War, and his wife Mollie. Many of theses "old time" hymn tunes would find their way into his compositions and he often wrote music based on inherently Christian themes. X.Ives' upbringing was imbued with religious music and he would often attend revival meetings in which Christian hymns were central to the worship service. The catalogue also provides musical incipits for all Ives’s extant works, seven appendixes (covering his work lists, “Quality Photo” lists, his songbooks, a chronology of his life, recordings made by Ives, and his private publications and commercial publishers), three concordances, and four extensive indexes (addresses, names, titles, and musical borrowings). Whenever possible, each entry includes the main title and any other titles the composer may have used the forces required the duration headings of movements publication history citation of the first known performance and first recording the derivation of the work, listing music on which it may be modeled or from which it may borrow material the principal literature treating the piece and commentary on these and other matters. Ives’s works are arranged alphabetically by title within genres. It completes the work begun by musicologist John Kirkpatrick in 1955, when Ives’s music manuscripts were deposited in the Yale Music Library. James Sinclair’s book presents new information produced by recent Ives scholarship and generous commentary on each of Ives’s compositions. This information-packed catalogue of the music of Charles Ives contains 728 entries covering all of the prolific composer’s works. ![]()
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