The compositions of American composer Charles Ives (1874–1954) are mostly modern classical music. Ives was prolific, revised works multiple times, and left ambiguous fragments with no title or notes. A chronology of works is especially difficult because of missing and sometimes misleading dates;[1] as Elliott Carter put it in 1939: "[Ives] has rewritten his works so many times, adding dissonances and polyrhythms, that it is impossible to tell just at what date the works assumed the surprising form we know now."[2]
This list follows James B. Sinclair's A Descriptive Catalogue of the Music of Charles Ives.[3] It does not include fragments or projected works.
Orchestra
editSymphonies
edit- Symphony No. 1 in D minor (1898–1902)
- Symphony No. 2 (1897–1902, revised 1910)
- Symphony No. 3: The Camp Meeting (1901–1904, rev. 1911)
- Symphony No. 4 (1916)
- A Symphony: New England Holidays (1919)
- Universe Symphony (1928, unfinished)
Sets
edit- For orchestra
- Orchestral Set No. 1: Three Places in New England (1912–16, revised 1929)
- Orchestral Set No. 2 (1909–19)
- Orchestral Set No. 3 (fragments only; 1919–26; notes added after 1934)
- For chamber orchestra
- Set No. 1 (1912); includes Calcium Light Night
- Set No. 2 (1912); includes Gyp the Blood, or Hearst? Which Is Worst?
- Set No. 3 (At Sea – Luck and Work – Premonitions, 1917)
- Set No. 4, Three Poets and Human Nature – projected only
- Set No. 5, The Other Side of Pioneering, or Side Lights on American Enterprise – projected only
- Set No. 6, From the Side Hill – projected only
- Set No. 7, Water Colors – projected or lost
- Set No. 8, Songs Without Voices – projected only
- Set No. 9 of Three Pieces (The Last Reader – The See'r – The Unanswered Question, 1934)
- Set No. 10 of Three Pieces (Like a Sick Eagle – Luck and Work – The Indians, 1934)
- Set for Theatre Orchestra (1915)
Overtures
edit- Alcott Overture (1904, inc., but re-used for the third movement of Piano Sonata No.2)
- Emerson Overture for Piano and Orchestra or Emerson Concerto (1911–12, incomplete, but re-used for the first movement of Piano Sonata No.2)
- Matthew Arnold Overture (1912, inc.)
- Overture and March: 1776 (1904, rev. 1910; re-used in "Putnam's Camp" from Three Places in New England and Holidays Symphony)
- Overture in G Minor (1899, inc.)
- Overture: Nationals (1915, inc. sketches; adapted from Overture and March: 1776; )
- Robert Browning Overture (1914, rev. 1942)
Marches
edit- Holiday Quickstep (1887)
- Country Band March ((Sketched 1903), rev. 1912, inc. – used in "Putnam's Camp")
- March No. 2, with Son of a Gambolier (1895?)
- March No. 3 in F and C (1893?, inc.)
- March No. 3, with My Old Kentucky Home (1895?)
- March No. 4 in F and C (1894?, inc.)
- The Circus Band (1898)
Others
edit- Hymn: Largo cantabile, from A Set of Three Short Pieces (1904)
- Central Park in the Dark (1906, rev. 1936)
- Chromâtimelôdtune (1923?)
- Quarter-Tone Chorale for Strings (1914, lost)[4]
- The General Slocum (1910?, inc.)
- The Gong on the Hook and Ladder or Firemen's Parade on Main Street (1911)
- Piece for Small Orchestra and Organ (1905?, mostly lost)
- The Pond (1906, rev. 1913)
- Postlude in F (1899?)
- Three Ragtime Dances (1911, mostly lost)
- Four Ragtime Dances (?)
- Nine Ragtime Pieces (1902?, mostly lost)
- The Rainbow (1914)
- Skit for Danbury Fair (1909, inc.)
- Take-Off No. 7: Mike Donlin–Johnny Evers (1907, inc.)
- Take-Off No. 8: Willy Keeler at Bat (1907, inc.)
- Tone Roads et al. (1915?)
- Tone Roads No. 1 (1911)
- Tone Roads No. 2 (1915?, lost)
- Tone Roads No. 3 (1915)
- The Unanswered Question (1908, rev. 1935)
- Yale–Princeton Football Game (1899, inc.)
Band
edit- Fantasia on Jerusalem the Golden (1888)
- March in F and C, with Omega Lambda Chi (1896)
- March Intercollegiate, with Annie Lisle (1892)
- Runaway Horse on Main Street (1908, inc.)
- Schoolboy March in D and F, Op. 1 (1886, mostly lost)
Chamber/Instrumental
edit- String quartet
- String Quartet No. 1: From the Salvation Army (1900)
- String Quartet No. 2 (1913)
- Violin sonata
- Pre-First Sonata for Violin and Piano (1913)
- Violin Sonata No. 1 (1903-1908)
- Violin Sonata No. 2 (1917?)
- Violin Sonata No. 3 (1905-1914)
- Violin Sonata No. 4: Children's Day at the Camp Meeting (1916)
- Other
- Decoration Day (1919)
- From the Steeples and the Mountains (1901)
- Fugue in B-flat (1895?, inc.)
- Fugue in D (1895?, mostly lost)
- Fugue in Four Greek Modes (1897, inc.)
- Fugue in Four Keys on The Shining Shore (1903?, inc.)
- Hymn: Largo cantabile, from A Set of Three Short Pieces (1904)
- Hallowe'en (1914)
- In Re Con Moto et al. (1916), for violin, viola, bass, and piano, world premiere given in February 1966 at Carnegie Hall[5]
- Largo for Violin and Piano (1901)
- Largo for Violin, Clarinet, and Piano (1934? arrangement of Largo for violin and piano)
- Largo Risoluto No. 1 (1909)
- Largo Risoluto No. 2 (1910)
- An Old Song Deranged (1903)
- Piece in G for String Quartet (1891?)
- Polonaise (1887, inc.)
- Practice for String Quartet in Holding Your Own! (1903)
- Prelude on Eventide (1908)
- Scherzo: All the Way Around and Back (1908)
- Scherzo: Over the Pavements (1910)
- Scherzo for String Quartet (1904)
- A Set of Three Short Pieces (1935?)
- Take-Off No. 3: Rube Trying to Walk 2 to 3!! (1909)
- Trio for Violin, Violoncello, and Piano (1907, rev. 1915)
Keyboard
editWorks for piano
editSonatas
- Three Page Sonata (1905)
- Piano Sonata No. 1 (1909)
- Piano Sonata No. 2 (Concord) (1915)
Studies
- 27 Studies for piano, 8 lost[6][7][8]
- Study No. 1: Allegro (incomplete)
- Study No. 2: Andante moderato–Allegro molto (Varied Air and Variations)
- Study No. 3: (lost)
- Study No. 4: Allegro moderato (incomplete)
- Study No. 5: Moderato con anima
- Study No. 6: Andante (1907–1909)
- Study No. 7: Andante cantabile (1907)
- Study No. 8: Trio (Allegro moderato–Presto) (1907)
- Study No. 9: The Anti-Abolitionist Riots in the 1830s and 1840s
- Study No. 10 (mostly lost)
- Study No. 11: Andante (incomplete)
- Study No. 12: (lost)
- Study No. 13: (lost)
- Study No. 14: (lost)
- Study No. 15: Allegro moderato (incomplete) (1907–1909; 1920s)
- Study No. 16: Andante cantabile (incomplete) (1907–1909; 1920s)
- Study No. 17: (lost)
- Study No. 18: Sunrise Cadenza (Adagio) (incomplete)
- Study No. 19 (incomplete) (1907–1909; 1920s)
- Study No. 20: March (Slow allegro or Fast andante) (1910, 1920s)
- Study No. 21: Some Southpaw Pitching (1918–19)
- Study No. 22: Andante maestoso–Allegro vivace (1909)
- Study No. 23: Allegro (1912–1914; 1920s)
- Study No. 24: (lost)
- Study No. 25: (lost)
- Study No. 26: (lost)
- Study No. 27: Chromâtimelôdtune (incomplete)
Marches
- March No. 1 for Piano, with "Year of Jubilee" (c. 1894–95)
- March No. 2 for Piano, with "Son of a Gambolier" [inc.] (1895)
- March No. 3 for Piano, with "Omega Lambda Chi" (c. 1895–96)
- March No. 5 for Piano, with "Annie Lisle" (c. 1895)
- March No. 6 for Piano, with "Here's to Good Old Yale" (c. 1895–96)
- March in G and C for Piano, with "See the Conquering Hero Comes" (1896–7)
- March for Piano: The Circus Band (c. 1898–99)
Other works
- The Celestial Railroad (c. 1922–25)
- Three Improvisations (1938)
- Invention in D (c. 1898)
- Minuetto, Op. 4 (1886)
- New Year's Dance (1887)
- Piece in G Minor
- Set of Five Take-Offs (c. 1909)
- Four Transcriptions from "Emerson" (c. 1923–27)
- Varied Air and Variations (1920–22)
- Waltz–Rondo (1911)
Two pianos
- Burlesque Storm
- Drum Corps or Scuffle [mostly lost]
- Three Quarter-Tone Pieces
- Ragtime Dances for Two Pianos
Works for organ
edit- Adagio in F
- "Adeste Fideles" in an Organ Prelude (c. 1903)
- Burlesque Postlude in B
- Burlesque Postlude in C
- Canzonetta in F (c. 1893–94)
- Fugue in C Minor (c. 1898)
- Fugue in E (c. 1898)
- Interludes for Hymns (1898–1901)
- Melody in E
- Postlude for Thanksgiving Service [mostly lost]
- Variations on "America", for organ (1891) (arranged for orchestra by William Schuman and also arranged for piano solo by Lowell Liebermann)
- Voluntary in C Minor
- Voluntary in F
Vocal
editSongs
editTitle | (Incipit) | in 114 Songs | Collections | Words | Comments |
---|---|---|---|---|---|
Abide with me | |||||
Aeschylus and Sophocles | 19 Songs | ||||
Afterglow | At the quite close | 39 | James Fenimore Cooper Jr. | ||
Allegro | By morning's brightest beam | 95 | H. or Ch. Ives | ||
The All-Enduring | |||||
Amphion (from "Amphion") | The mountain stirred | 106 | Tennyson | ||
Ann Street | Quaint name… | 25 | Maurice Morris | ||
At Parting | |||||
At Sea | Some things are undivined | 4 | R. U. Johnson | ||
At the River | Shall we gather | Robert Lowry | arr. from Violin Sonata 4 | ||
Atalanta | |||||
August | For August, be your dwelling | 35 | D. G. Rossetti, after San Geminiano | ||
Autumn [II] | Earth rests | 60 | H. or Ch. Ives | ||
Because of You | |||||
Because Thou Art | |||||
Berceuse | O're the mountain | 93 | H. or Ch. Ives | ||
The Cage | A leopard went around | 64 | H. or Ch. Ives | ||
The Camp Meeting | Across the summer meadows | 47 | Charlotte Elliot | from Symphony No. 3 | |
Canon [I] | Oh, the days are gone | 111 | 19 Songs | Moore | |
Canon [II] | |||||
Chanson de Florian | Ah! s'il est dans votre village | 78 | Claris de Florian | ||
Charlie Rutlage | Another good cowpuncher | 10 | Cowboy Songs | ||
The Children's Hour, from | Between the dark | 74 | Longfellow | ||
A Christmas Carol | Little town of Bethlehem | 100 | 19 Songs | "traditional" | |
The Circus Band | All summer long | 56 | H. or Ch. Ives | ||
The Collection | Now help us, Lord | 38 | "stanzas from old hymns" | ||
The Coming of the Day | |||||
Country Celestial | |||||
Cradle Song | Hush thee | 33 | 19 Songs | A. L. Ives | |
December | Last, for December | 37 | D. G. Rossetti, after San Geminiano | ||
Disclosure | Thoughts, which deeply rest | 7 | Ch. or H. Ives | ||
Down East | Songs! Visions of my home | 55 | Ives | ||
Dream Sweetly | |||||
Dreams | When twilight comes | 85 | Porteous[9] | German version? | |
Du alte Mutter / My dear old mother | |||||
Du bist wie eine Blume | Heinrich Heine | ||||
Ein Ton / I hear a tone | |||||
Elégie | O doux printemps | 77 | Gallet | ||
The Ending Year | |||||
Evening | Now came still Evening | 2 | Milton | ||
Evidence | There comes o're the valley | 58 | Ives | ||
Far from my heav'nly home | |||||
Far in the wood | |||||
A Farewell to Land | 19 Songs | ||||
La Fède | La fede mai non debe | 34 | 19 Songs | Ariosto | |
Feldeinsamkeit / In Summer Fields | Ich ruhe still / Quite still I lie | 82 | 19 Songs | Allmers (tr. Chapman) | |
Flag Song | |||||
Forward into Light | 99 | Alford after St Bernard | from "The Celestial Country" | ||
Friendship | |||||
Frühlingslied | |||||
General William Booth Enters into Heaven | Booth led boldly | 19 Songs | Vachel Lindsay | ||
God Bless and Keep Thee | |||||
Grace | |||||
Grantchester | would I were in Grantchester | 17 | Rupert Brooke | ||
The Greatest Man | My teacher said | 19 | Anne Timoney Collins[10] | ||
Gruss | |||||
Harpalus (An Ancient Pastoral) | Oh, Harpalus! | 73 | Thomas Percy | ||
He Is There! | Fifteen years ago | 50 | Ives | also a WW2 sequel | |
Her Eyes | |||||
Her gown was of vermilion silk | |||||
His Exaltation | For the grandeur | 46 | Robert Robinson | from Violin Sonata No. 2 | |
The Housatonic at Stockbridge | Contented river! | 15 | R. U. Johnson | ||
Hymn | Thou hidden love | 20 | James George Walton after Tersteegen | quoted by O. W. Holmes | |
Hymn of Trust | |||||
I knew and loved a maid | |||||
I travelled among unknown men | I travelled among unknown men | 75 | Wordsworth | ||
Ich grolle nicht / I'll not complain | 83 | Heine | w/o English in 114 | ||
Ilmenau / Over all the treetops | Über allen Gipfeln/Over all the hilltops | 68 | Goethe (tr. Harmony Twitchell Ives) | ||
Immortality | Who dares to say | 5 | |||
In a mountain spring | |||||
In April-tide | |||||
In Autumn | |||||
In Flanders Fields | In Flanders Fields | 49 | McCrae | ||
In My Beloved's Eyes | |||||
In the Alley | On my way to work | 53 | Ives | ||
from the "Incantation" | When the moon | 18 | Byron | ||
Incomplete song [I] | |||||
Incomplete song [II] | |||||
The Indians | Alas! for them | 14 | Charles Sprague | ||
The Innate | Voices live in every finite being | 40 | 19 Songs | Ives | |
Kären | Do'st remember child! | 91 | unknown | ||
The Last Reader | I sometimes sit | 3 | O. W. Holmes | ||
The Light That Is Felt | A tender child | 66 | Whittier | ||
Like a Sick Eagle | The spirit is too weak | 26 | Keats | ||
Lincoln, the Great Commoner | And so he came | 11 | Edwin Markham | ||
Longing | |||||
Die Lotosblume / The Lotus Flower | Die Lotosblume ängstigt | Heine | see The South wind | ||
The Love Song of Har Dyal | |||||
Luck and Work | While one will search | 21 | R. U. Johnson | ||
Majority | The Masses | 1 | 19 Songs | Ch. Ives | |
Maple Leaves | October turned my maple's leaves | 23 | Th. B. Aldrich | ||
Marie | Marie, I see thee | 92 | Gottschall | ||
Memories: a. Very Pleasant; b. Rather Sad | We're sitting in the opera house/ From the street a strain | 102 | |||
Minnelied | |||||
Mirage | The hope I dreamed of | 70 | Ives | ||
Mists [I] | Low lie the mists | 57 | Ives | ||
Mists [II] | |||||
My Lou Jennine | |||||
My Native Land [I] | My Native Land now meets my eye | 101 | Traditional | ||
My Native Land [II] | Farewell to land? | ||||
My Task | |||||
Nature's Way | When the distant evening | 61 | Ives | ||
Naught that country needeth | 98 | Alford after St Bernard | from "The Celestial Country" | ||
The New River | Down the river | 6 | Ch. or H. Ives | ||
Night of Frost in May (from) | There was the lyre of earth | 84 | Meredith | ||
A Night Song | The young May moon | 88 | Moore | ||
A Night Thought | How oft a cloud | 107 | Moore | ||
No More | |||||
Nov. 2, 1920 (An Election) | It strikes me that | 22 | 19 Songs (An Election) | Ch. Ives? | |
An Old Flame | When dreams enfold me | 87 | Ives | ||
Old Home Day | Go my songs! | 52 | Ives | ||
The Old Mother/ Du alte Mutter | Du alte Mutter/My dear old mother | 81 | Cordier, after Vinje | set by Grieg "Du gamle Mor!" | |
Omens and Oracles | Phantoms of the future | 86 | 'unknown' [ Robert Bulwer-Lytton ] | ||
On Judges' Walk | |||||
On the Antipodes | 19 Songs | 2 pianos & organ pedal | |||
On the Counter | Tunes we heard | 28 | Ch. Ives? | ||
"1, 2, 3" | |||||
The One Way | |||||
The Only Son | |||||
Paracelsus (from) | For God is glorified | 30 | 19 Songs | Browning | from latter part of sc. v |
Peaks | |||||
A Perfect Day | |||||
Pictures | |||||
Premonitions | There's a shadow | 24 | R. U. Johnson | ||
Qu'il m'irait bien | Qu'il m'irait bien | 76 | Moreau Delano | ||
The Rainbow (So May It Be!) | My heart leaps up | 8 | Wordsworth | ||
Religion | There is no unbelief. | 16 | James T. Bixby | ||
Remembrance | The sound of a distant horn | 12 | Ch. Ives | untitled in 114; "The Pond" in orchestral version | |
Requiem | 19 Songs | ||||
Resolution | Walking stronger | 13 | 19 Songs | Ch. or H. Ives | |
Rock of Ages | |||||
Romanzo (di Central Park) | Grove, Rove, Night, Delight | 96 | parody, attr. Leigh Hunt | ||
Rosamunde (De la drama:) | J'attends, helas! | 79 | Bélanger | ||
Rosenzweige | |||||
Rough Wind | Rough wind that moanest loud | 69 | Shelley | ||
Runaway Horse on Main Street | |||||
A Scotch Lullaby | |||||
A Sea Dirge | |||||
The Sea of Sleep | |||||
The See'r | An old man | 29 | Ch.Ives? | ||
Sehnsucht | |||||
September | And in September | 36 | D. G. Rossetti, after San Geminiano | ||
Serenity | O Sabbath rest of [sic] | 42 | Whittier | ||
The Side Show | Is that Mister Riley | 32 | Ives | ||
Slow March (Inscribed to the Children's Faithful Friend) | One evening just at sunset | 114 | H. or Ch. Ives | after the dead march in Saul | |
Slugging a Vampire | 19 Songs | Ives | see Tarrant Moss, replaced for copyright reasons | ||
Smoke | |||||
Soliloquy | |||||
A Son of a Gambolier | Come join my humble ditty | 54 | Ives? | ||
Song | |||||
A Song—For Anything: | a. When the waves softly sigh; b. Yale, Farewell!; c. Hear My Prayer, O Lord | 89 | |||
Song for Harvest Season | |||||
The Song of the Dead [lost] | |||||
Song without words [I] | |||||
Song without words [II] | |||||
Song without words [III] | |||||
Songs my Mother Taught Me | 108 | Heyduk 'tr. adapted' | |||
The South Wind / Die Lotosblume | When gently blows | 97 | Ives, substituting Heine | ||
Spring Song | Across the hill of late | 65 | Ives | ||
The Sun shines hot | |||||
Sunrise | |||||
Swimmers (from the) | Then the swift plunge | 27 | Louis Untermeyer | ||
Tarrant Moss | I closed and drew | 72 | Kipling | see Sluggin a Vampire | |
Thee I Love | |||||
There is a certain garden | |||||
There is a lane | There is a lane | 71 | Ives | ||
They Are There! | There's a time in many a life | C.Ives | revised version of He is there! in 1917 | ||
The Things Our Fathers Loved | I think there must | 43 | Ives | ||
Thoreau | He grew in those seasons | 48 | from Piano Sonata 2 | ||
Those Evening Bells | Those Evening Bells! | 63 | Moore | ||
Through Night and Day | |||||
To Edith | So like a flower | 112 | Ives | new words? | |
Tolerance | How can I turn | 59 | Pres. Hadley (actually Kipling[11]) | ||
Tom Sails Away | Scenes from my childhood | 51 | 19 Songs | Ives | |
Two Little Flowers | On sunny days in our backyard | 104 | 19 Songs | H. or Ch. Ives | |
Two Slants (Christian and Pagan): a. Duty; b. Vita | 9 a&b | ||||
Vote for Names! Names! Names! | |||||
The Waiting Soul | Breathe from the gentle South | 62 | Cowper [??] | ||
Walking | A big October morning | 67 | Ives | ||
Walt Whitman | Who goes there? | 31 | Walt Whitman | from LoG stanza 20 | |
Waltz | Round and round | 109 | Ives | ||
Watchman! | Watchman, tell us | 44 | John Bowring | from Violin Sonata 2 | |
Watchman! [II] | |||||
Weil' auf mir / Eyes so dark | Weil auf mir/Eyes so dark | 80 | Lenau/Westbrook | ||
West London | Crouch'd on the pavement | 105 | Matthew Arnold | ||
When stars are in the quiet skies | When stars are in the quiet skies | 113 | Bulwer-Lytton | ||
Where the eagle cannot see | 94 | Monica Peveril Turnbull | |||
The White Gulls (from the Russian) | The White Gulls dip and wheel | 103 | Maurice Morris | ||
Who knows the light | |||||
Widmung | |||||
Wie Melodien zieht es mir | |||||
Wiegenlied | |||||
William Will | |||||
The World's Highway | For long I wander'd happily | 90 | H. or Ch. Ives | ||
The World's Wanderers | Tell me, star | 110 | Shelley | ||
Yellow Leaves |
Choral works
editMulti-movement sacred works
- The Celestial Country (1898–1902)
- Communion Service (c. 1894)
- Three Harvest Home Chorales (c. 1902, c. 1912–15)
Psalms
- Psalm 14 (1902, 1912–13)
- Psalm 24 (1901, 1912–13)
- Psalm 25 (1901, 1912–13)
- Psalm 42 (1891–92)
- Psalm 54 (1902)
- Psalm 67 (1898–99)
- Psalm 90 (1923–24)
- Psalm 100 (1902)
- Psalm 135 (1902, 1912–13)
- Psalm 150 (1898–99)
Other sacred works
- All-Forgiving, look on me
- Anthem: With Hearts Rejoicing Ever
- Be Thou, O God, Exalted High
- Benedictus in E
- Benedictus in G
- Bread of the World
- Nine Canticle Phrases
- Chant, Op. 2, No. 2
- Crossing the Bar
- Easter Anthem
- Easter Carol
- Gloria in excelsis
- Hymn, Op. 2, No. 1
- I Come to Thee
- I Think of Thee, My God
- Kyrie
- Life of the World
- The Light That Is Felt
- Lord God, Thy Sea Is Mighty
- O God, My Heart Is Fixed
- Processsional: Let There Be Light
- Serenity [mostly lost]
- Turn Ye, Turn Ye
Secular chorus with instrumental ensemble
- December
- An Election
- General William Booth Enters into Heaven
- He Is There!
- Johnny Poe
- Lincoln, the Great Commoner
- The Masses (Majority)
- The New River
- Sneak Thief
- They Are There! (A War Song March)
- Two Slants (Christian and Pagan)
- Walt Whitman
Partsongs
- Age of Gold
- The Bells of Yale
- The Boys in Blue
- For You and Me!
- My Sweet Jeanette
- O Maiden Fair
- Partsong in A
- Partsong in B
- Partsong in E
- Serenade
- A Song of Mory's
- The Year's at the Spring
Ballets to the music of Charles Ives
editReferences
edit- ^ Maynard Solomon goes so far as to suggest Ives purposely misdated work in: "Charles Ives: Some Questions of Veracity", Journal of the American Musicological Society, XL/iii (1987), 443–470, goes so far as to suggest Ives did so purposely. Some responses are Carol Baron, "Dating Charles Ives's Music: Facts and Fictions", Perspectives of New Music, XXVIII (1990), 20–56; Gayle Sherwood, "Questions and Veracities: Reassessing the Chronology of Ives's Choral Works", The Musical Quarterly, LXXVIII/iii (1994), 429–447
- ^ Carter, Elliott, "The Case of Mr. Ives", Modern Music (March–April 1939): 172–176.
- ^ Sinclair, James B. (1999). A Descriptive Catalogue of the Music of Charles Ives. Yale University Press. ISBN 9780300076011.
- ^ Gardner Read: 20th-Century Microtonal Notation (New York, Greenwood Press, 1990) p. 76
- ^ "Evenings for New Music, Tuesday February 22, 1966". www.carnegiehall.org. Retrieved 2022-10-21.
- ^ "Charles Ives: List of Compositions". Archived from the original on 22 February 2015. Retrieved 2015-02-15.
- ^ "The Unknown Ives liner notes" (PDF). Archived from the original (PDF) on 1 July 2013. Retrieved 2015-02-15.
- ^ Henderson, Clayton W. (2008). The Charles Ives Tunebook. Indiana University Press. ISBN 9780253350909.
- ^ Anton Strelezki after 'Baroness Porteous'?
- ^ "The Woman behind 'The Greatest Man'" by Kyle Gann, October 22, 2011, kylegann.com
- ^ Ives, who had difficulties with Kipling's executors, identifies the text as a quotation from a lecture. The lines within the quote however originate in Kipling's The Fire