My writings on Charles Ives’s Concord Sonata on this blog are now so scattered around that I’ve decided I should index them for those who may be trying to do research, or who simply came late to the party. I’ll expand this as I add more.
The Concord itself:
– MIDI version of the Concord‘s opening
– Some early analytical insights upon looking into Ives
– A more rational ten-part division of the Hawthorne movement
– “Angel” notes in Hawthorne notated
– Analysis of the Alcotts movement
– Ives as reviser
More general aspects:
– Ives’s polytonal chord complexes in the manuscripts
– Transcriptions of Ives’s improvisations on the Emerson material
On the Essays Before a Sonata:
– In search of Lizzy Alcott’s spinet piano
– Ruskin’s influence on the Essays Before a Sonata
– Tolstoy and Hegel in the Essays Before a Sonata
– George Meredith’s relation to Ives
– Corrections to the Howard Boatwright edition of Essays Before a Sonata
What’s wrong with Ivesian musicology, an ongoing series:
– What’s wrong with Ivesian musicology part 1
– What’s wrong with Ivesian musicology part 2
– What’s wrong with Ivesian musicology part 3
– What’s wrong with Ivesian musicology part 4
More miscellaneous thoughts:
– Why we need a new performing edition of the Concord
– Divergences among recordings of the Concord
– Geographical birthplace of the Concord
– A John Kirkpatrick comment about Ives
The First Sonata:
– Geographic origins of the First Sonata
– Compositional technique in the First Sonata
– Ives’s fallible rhythmic notation in the First Sonata
More general Ivesiana:
– Ives, caught between two caricatures
– My keynote address to the Ives song festival
– Refuting charges of Ives’s homophobia
– Refuting once and for all charges of Ives’s homophobia
I’m SO glad you thought to do this. I’ve been bookmarking Concord posts like mad, but I’m certain I’ve missed some, and every one I’ve read has been fully-loaded with interesting information.