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