Charles Ives space landscape message. Biography of Ives, Charles. For other compounds

CHARLES IVES

ASTROLOGICAL SIGN: LIBRA

NATIONALITY: AMERICAN

MUSICAL STYLE: MODERNISM

ICONIC WORK: “THE UNANSWERED QUESTION”

WHERE COULD YOU HEAR THIS MUSIC: AS THE THEME MUSIC OF THE GERMAN FILM “RUN Lola RUN” (1998)

WORDS OF WISDOM: “IT IS AS EASY TO SPEAK THE WORD “BEAUTY” AS THE WORD “DEGRADATION” AND BOTH THINGS ARE VERY BETTER WHEN THEY EITHER AGREE WITH YOU OR NOT.”

The age of the United States is rarely remembered, except when one thinks about how much time must pass for a new state to develop its own art - then one realizes how young the United States is. During the time of Bach and Haydn classical music did not exist in America. Only after the war between North and South opera houses and orchestras became a more or less stable phenomenon, and long years Most of the performers were Europeans, and the music generally remained entirely European.

Nevertheless, the true American is clearly visible in the first major American composer. Instead of getting into European tradition, Charles Ives called classicism “girls’ music” and European musicians “sluts.” Instead of being educated at a French or German conservatory, as was then customary, he entered Yale University. And instead of earning money as a conductor, he sold insurance.

It is impossible to imagine a more American man than Charles Ives: he played baseball, smoked cigars, advertised his work and, in general, “made himself.” His music echoes such distinctly American phenomena as hymn singing at Christian tent gatherings and brass bands at Fourth of July parades. In addition, his music is certainly unique and unlike anything else.

But perhaps this is also very American.

CAN ALSO FEEL DISSONANCE

The Ives family had deep roots in the town of Danbury, Connecticut, where members were involved in business, represented in local government, and generally considered pillars of the community. But young George Ives was considered something of an eccentric. At seventeen, George ran away from home to take part in Civil War as conductor of a military orchestra. Returning to Danbury, he led brass bands, played in local churches, and enjoyed amateur productions of popular operas. In general, they treated him well, but they wondered: when will he finally put an end to all this musical nonsense and get down to business?

FEW WOULD HAVE GUESSED THAT AN ORDINARY APPEARING INSURANCE AGENT FROM THE FIRM OF IVES AND MYRICK WAS WRITING MUSIC AT NIGHT, AND NOT ANYTHING BUT ATONAL.

George married Molly (Mary Elizabeth) Parmelee, and the couple produced two boys, Charles Edward and Joseph Moss. George soon realized that young Charlie shared his love of music. An avid experimenter himself, George never stopped his son from creating according to his own understanding. If Charlie struck a chord that was not imaginable in the classical tradition, George applauded his ingenuity. A little time passed, and Charlie was already composing musical pieces, and George performed them with one of his orchestras. At the age of fourteen, Charlie took the place of organist in the local church. As a teenager, Charlie lived at breakneck speed: he was either running to school, or rushing to a baseball game, or flying home to practice piano, or walking to church for choir rehearsal. According to tradition, the boys from the Ives family graduated from Yale University, and, after studying at a private school in order to improve their academic performance, in 1894 Charlie entered Yale.

At home in Danbury, Dad George made the fateful decision to leave music because his irregular income was unable to pay for the university education of his two sons. George got a job at the Danbury Savings Bank and told his son not to get involved with music: they say, music can be a hobby, but not a profession. Apparently, young Ives interpreted his father's instructions in his own way, because at the university he enrolled in a music course, where he was surprised to discover that the strict traditionalists of the department did not approve of experimentation at all. When Charlie showed Professor Horatio Parker one of his songs, Parker circled a chordal dissonance, which, contrary to any rules commanded by the great Bach, was not followed by a second chord resolving the first into consonance. “This is a grave mistake,” Parker snapped. Charlie complained about the professor in a letter to his father, and George did not flinch, but showed full strength of spirit. “Tell Parker,” he wrote back, “that not every dissonance must be resolved if he does not feel inclined to do so.” Their correspondence soon ended. Instead of another message from his father, sad news came from Danbury: George Ives died, struck by a stroke at forty-nine years old.

DISSONANCE LOVES HARMONY

Ives was deeply affected by the death of his father, but did not become disheartened, and Charlie’s university daily routine was even more stressful than in school years. His friends nicknamed him Hurricane. He still loved sports; his coach said that Charlie could have become a champion sprinter if he had not spent so much time at the piano. Ives was vying for invitations to exclusive university fraternities and sororities, and despite his shyness, he attended the parties dear guest, because it didn’t cost him anything to sit down at the piano and play a popular song. Friends had no idea that Ives took music very seriously.

After graduating from university, Ives took his father's advice and went into insurance business. Together with a friend, he opened the Ives and Myrick agency in New York in a building near Wall Street. Ives' marketing savvy made the company a success, and their firm became the most prosperous insurance agency in the country. Ives became rich. And yet every evening, returning home, he composed music.

In 1905, Ives fell in love with a girl whose name was - you really can’t imagine it on purpose! - Harmony. Harmony Twitchell was the daughter of a New England minister; her brothers attended university with Ives. Deeply devout Harmony trained as a nurse and worked among the urban poor. She met Ives back in his student years- and even was his companion at the ball of penultimate year students - but they only became flaming with feelings for each other when they met again in 1905. Charlie and Harmony were married in June 1908.

Harmony became pregnant almost instantly, but then suffered a miscarriage with complications so severe that doctors had to remove her uterus. For the spouses it was a terrible blow; they dreamed of big family. In 1915, Ives and his wife invited a poor New York family to spend the summer at their cottage in Connecticut. One of the guests' daughters, Edith (aged just over a year), was constantly ill. The girl had been ill all summer, and Mrs. Ives suggested that her parents leave Edie in the village, where a registered nurse, Harmony, could nurse her. The inevitable happened: Charles and his wife fell in love with the blond baby. They decided to adopt her - not the easiest idea, considering that both Edith's parents were alive and well. However, Ives had enough money to settle any conflict. Subsequently, Edith's family regularly extorted specie from Ives.

GO YOUR OWN WAY, AND EVERYTHING ELSE... - FOLLOW THE DRUM!

Years passed, but few people heard the music written by Ives. Since he had nothing to follow except his own inclinations, he interpreted every aspect of writing in a very unique way. His consonances would have given Haydn a heart attack, and his rhythms would have given Brahms a headache. Ives did not understand why an orchestra should play in the same key - or even adhere to a single rhythm. In Ives' work, one group of instruments may play a marching rhythm while another performs a waltz; for some it's orchestral works It even requires more than one conductor.

Ives's favorite technique was to include in his works popular songs and the melodies are like an early version of hip-hop. He quoted church hymns (“Nearer, Lord, to Thee,” “In a Wonderful Future”), marches (often written by John Philip Sousa) and well-known tunes (“Turkey in the Straw,” “London Bridge is Falling”), sometimes the same tune invaded another or sounded over another. In addition, Ives had, so to speak, musical feeling humor. He loved to create musical effects that "sang" real world. In "The Country Marching Band," written in homage to amateur brass bands, a hapless trumpet player plays two bars longer than his comrades. "Fourth of July", one of the movements of the Fifth Symphony (" Holidays") by Ives, ends with fireworks that set the town hall on fire, and in the song "Runaway Horse on Main Street" musical means it depicts exactly what the title says - a runaway horse and a street. From time to time, Ives showed his work to professional musicians, but at best he encountered genuine misunderstanding.

MUSIC BY MAIL

First World War awakened the composer political activity. He joined the campaign for a constitutional amendment that would turn the United States into a direct democracy, with the country's entry into any military conflict decided by popular vote. (The activists did not get very far along this path.) Ives then decided that the war required his direct participation, and at forty-four he enlisted in the army for six months as an ambulance driver.

He was about to leave for France for the theater of war when the astonishing intensity with which Ives lived every moment of his life suddenly ricocheted. He collapsed with a massive heart attack. A close encounter with death changed Ives. He realized that at any moment he could go to the next world, and therefore, in the remaining limited time, he must solve the two most important tasks in his life: to ensure the financial security of his family (a natural priority for an insurance salesman) and to make sure that his music is finally heard.

The first task presented no difficulties. Ives had already amassed a considerable fortune, and in the 1920s he increased it. However, the second task was not so simple. To begin with, Ives was resolutely unwilling to suck up to classical music societies and orchestras for their approval; He called these official musical figures nothing more than “angry, obsessed weaklings.” Ives was a firm believer that music should become more American, more masculine, and musical societies society women and pampered men were often in charge - Ives was not at all eager to impress this kind of audience. Macho Ives was so furious that he branded the melodic, harmonious music of Mendelssohn, Debussy and Ravel with the epithet “girlish”. “To recoil from dissonance - is that a manly thing?” - he asked.

So how did Ives solve the problem? He took his music straight to the people. He printed the scores at his own expense and mailed them to modernist composers, adventurous conductors, and sympathetic critics. This tactic worked. Gradually, a few fans became interested in Ives modern music, and even if not immediately and with great difficulty, he still achieved the performance of his works in concert hall. The responses were mostly negative - although the most insightful listeners fully appreciated the unique, purely American style composer.

The recognition with which he was finally awarded did not excite Ives any more than his former rejection. When he was awarded the Pulitzer Prize in 1947 for his Third Symphony (written thirty-seven years earlier), he said: “Prizes are for boys, but I’ve grown up a long time ago!”

Since 1926, Ives essentially stopped composing music, and in January 1930 he left the firm of Ives and Myrick. He suffered numerous heart attacks and was forced to remain on bed rest for months. In the spring of 1954 he was operated on for a hernia; the operation seemed to be successful, but then he suffered a stroke. Charles Ives died on May 19th.

Ives paved the way for many trends in the music of modernism and even postmodernism. Polyrhythm, polyharmony, polytonality, atonality, clusters, dissonant counterpoint - all this is presented in his work. We classify Ives as a modernist, but in fact he does not fit into any category, remaining entirely himself to the end - the embodiment of American individualism.

NOT MY GAME

When George Ives decided to play his young son's "Holiday Quickstep" with the orchestra, Charlie was both delighted and scared. He usually played snare drum in his father's band, but this time Charlie was so worried that he stayed home. And when the band marched down Main Street past the Ives house, Charlie didn't stick to the window facing the street - he ran into the backyard and started throwing a baseball at the barn door.

Ives, in principle, did not want hometown knew how musically gifted he was. If he was asked: “What do you play?” - he invariably answered: “Not with anything, but with something - baseball.”

MUSIC, IT IS MUSIC

The military band conducted by Father Ives was considered the best in the army, and this fact did not escape the attention of the commander in chief, President Lincoln. Lincoln, arriving at the location of General Grant's Army of the Potomac during the siege of Petersburg, noted:

Good orchestra.

Grant just shrugged.

There's no point in talking to me about this. I know only one tune - “Yankee Doodle”, and about everything else I know that it is not “Yankee Doodle”.

IVES IVES DIFFERENCE

Perhaps as you read this chapter you kept thinking, “Wait, isn’t that the Ives who sang “Merry Christmas to you?” Not that one, but it's another case of name confusion in the music world.

Burl Ives (1909–1995) was an Academy Award-winning actor and popular singer in folk style. He played in theaters on Broadway, acted in films; role Big Daddy in the play "Cat on a Hot Tin Roof" Tennessee Williams wrote specifically for him. But most of all, this Ives became famous for voicing the snowman Sam in the cartoon “Rudolph the Red-Nosed Reindeer,” which is so popular on television. As for Charles Ives, he belonged to other areas - the insurance business and musical composition.

SHIPS CAME INTO MARK HARBOR...

Harmony Twitchell's father, Joe, was a close friend of Mark Twain. They traveled together in Europe, and it was Joe Twitchell who encouraged Twain to write a novel about his life on the Mississippi. When Harmony and Ives got engaged, the girl naturally introduced her fiancé to an old family friend.

So, - Mark Twain drawled when the couple entered the door, - everything seems to be fine with the bow, now turn it around, let's see what kind of stern it has.

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Probably, if the musicians of the early 20th century. and on the eve of the First World War they learned that the composer Charles Ives lived in America and heard his works, they would have treated them as a kind of experiment, a curiosity, or even would not have noticed at all: so original was he himself and the soil on which which he grew up. But no one knew Ives then - very for a long time he did nothing at all to promote his music. Ives's "discovery" occurred only in the late 30s, when it turned out that many (and, moreover, very different) methods of the latest musical writing were already tested by the original American composer in the era of A. Scriabin, C. Debussy and G. Mahler. By the time Ives became famous, he had not composed music for many years and, seriously ill, cut off ties with outside world. One of his contemporaries called Ives’s fate an “American tragedy.” Ives was born into the family of a military conductor.

When “imagining” music, I usually imagine some kind of brass band with wings in the back of my mind.

Ives Charles

His father was a tireless experimenter - this trait passed on to his son. (For example, he instructed two orchestras going towards each other to play different works.) From his childhood and youth spent in a patriarchal environment, Ives’s “hearing” of America began. the “openness” of his work, which probably absorbed everything that sounded around him. Many of his compositions contain echoes of Puritan religious hymns, jazz, and minstrel theater. As a child, Charles was brought up on the music of two composers - J. S. Bach and S. Foster (a friend of Ives's father, the American "bard", author popular songs and ballads). With his serious attitude to music, alien to any vanity, and sublime structure of thoughts and feelings, Ives would later resemble Bach.

The fabric of existence weaves itself into a whole.

Ives Charles

Ives wrote his first works for a military band (he played the percussion instruments), at the age of 14 he became a church organist in his hometown. But besides this, he played the piano in the theater, improvising ragtime and other plays. After graduating from Yale University (1894-1898), where he studied with H. Parker (composition) and D. Buck (organ), Ives works as a church organist in New York. He then served as a clerk for an insurance company for many years and did so with great enthusiasm. Subsequently, in the 20s, moving away from music, Ives became a successful businessman and a prominent insurance specialist (author of popular works). Most of Ives's works belong to the genres of orchestral and chamber music. He is the author of five symphonies, overtures, program works for orchestra (Three Villages in New England, Central Park in the Dark), two string quartets, five sonatas for violin, two for piano, pieces for organ, choirs and more than 100 songs. Most of their major works Ives wrote for a long time, over several years. In the Second Piano Sonata (1911-15), the composer paid tribute to his spiritual predecessors. Each of its parts depicts a portrait of one of the American philosophers: R. Emerson, N. Hawthorne, G. Topo; the entire sonata bears the name of the place where these philosophers lived (Concord, Massachusetts, 1840-1860). Their ideas formed the basis of Ives's worldview (for example, the idea of ​​merging human life with the life of nature). Ives's art is characterized by a high ethical spirit; his discoveries were never of a purely formal nature, but were a serious attempt to identify the hidden possibilities inherent in the very nature of sound.

Uncertainty is sometimes an indication of proximity to perfect truth.

Ives Charles

Before other composers, Ives came to many of the modern expressive means. From his father's experiments with different orchestras goes straight the path to polytonality (the simultaneous sound of several keys), volumetric, “stereoscopic” sound and aleatorics (when the musical text is not rigidly fixed, but arises from a set of elements each time anew, as if by chance). Ives's last major project (the unfinished "World" Symphony) envisaged the placement of orchestras and choirs in the open air, in the mountains, in different points space. Two parts of the symphony (Music of the Earth and Music of the Sky) were supposed to sound... simultaneously, but twice, so that listeners could alternately fix their attention on each. In some works, Ives, before A. Schoenberg, came almost close to the serial organization of atonal music.



Plan:

    Introduction
  • 1 Biography
  • 2 Creativity
  • 3 Essays
  • 4 Lyrics
  • 5 Literature about the composer

Introduction

Charles Edward Ives, 1913

Charles Edward Ives(English) Charles Edward Ives; October 20, 1874, Danbury, Connecticut - May 19, 1954, New York) - American composer.


1. Biography

Ives circa 1899

The son of a military bandmaster, who introduced his son to music early. Beginning at age 13, Ives served as church organist for many years. He graduated from Yale University (1894-1898) with a degree in composition, studied composition with H. Parker and playing the organ with D. Buck. Since 1899, he has been a church organist in New York and other cities. Later he served in various insurance companies, organized his own company, and made a number of innovations in the field of real estate insurance. He achieved significant success in business, which allowed him to support his family without pursuing music professionally. After 1907, he began to experience heart ailments, to which diabetes and other ailments were added over the years. From 1926 he practically stopped composing, and in the 1930s he left the service. He was friends with many famous US composers (including Karl Ruggles).


2. Creativity

In shaping Ives's work important role the patriarchal environment of his childhood and youth played a role; in the provinces he constantly heard folk music, was a participant in rural musical holidays. The roots of his work are in folk songs and religious hymns, in wind music performed by village musicians ( early writings Ives written for brass band, in which he played percussion instruments). Ives developed his own musical style, combining elements of traditional everyday music with unusual, sharp harmonies and original instrumentation. Ives's work is characterized by lyricism and humor, a penchant for philosophical content along with the rationalism of musical language. In a number of works, Ives sought to reflect the life of his homeland. Thus, in the episodes from the 2nd sonata for violin and piano, sharp collisions of different intonation and rhythmic elements reproduce pictures of noisy village festivities.

Ives began writing music in the 90s of the 19th century, but his compositions were not known until the late 30s of the 20th century. The music of Ives, who developed American folk, religious and popular motifs, but was also prone to experimentation, was rarely performed during his lifetime. The situation began to change only in the 1940s, when Ives received high praise from Arnold Schoenberg and won the Pulitzer Prize (1947) for the 3rd Symphony, written in 1911. Ives received real recognition posthumously when American musicians discovered in his artistic heritage the features of an original creative individuality of a clearly national character and proclaimed Ives the founder of a new American school. In 1951, Leonard Bernstein conducted the premiere of Ives's Second Symphony (1907-1909). Currently, Ives is recognized as one of the most significant composers in the United States.

Most famous works Ives - 2nd piano sonata ("Concord", 1909-15), 3rd and 4th symphonies, overture No. 2 - are replete with sharp techniques of dissonant atonal and polytonal writing. Techniques of sound imaging are characteristic of the style of the 4th sonata for violin and piano "Children's day at the camp meeting", 1915). In some compositions, Ives used the unique technique of serial writing that he discovered, as well as quarter-tone means systems (“Three quartertone piano pieces” for two fp., 1903-24). Ives owns essays and articles on quartertone music (“Some quartertone impressions”, 1925, etc.).

Ives is the author of six symphonies (the sixth, “World”, 1915-1928, was not completed), the cantata “Heavenly Country”, two string quartets, five sonatas for violin and piano, many chamber works For different compositions, collection “114 songs” (1922), etc.

A crater on Mercury is named after Ives.


3. Essays

  • Cantata Celestial country, 1899.
  • For orchestra - 5 symphonies (1898-98, 1897-1902, 1901-04, 1910-16, 5th, Holidays, 1904-13), Universe (Universe symphony - fragments of a symphony, 1911-16), Central park in the dark (Central park in the dark, 1898-1907), Three villages in New England (Three places in New England, 1903-14) and other program plays, overtures (1901-12), pieces for a large symphony and chamber orchestras, Ragtime dances (Ragtime dances, 1900-11) for theater orchestra.
  • String quartet (1896) and other chamber instrumental ensembles.
  • 2 piano sonatas.
  • 5 violin sonatas.
  • Works for organ.
  • Pieces for various instruments.
  • Works for choir, song cycles based on poems by American poets (114 songs, 1884-1921).

4. Lyrics

  • Memos/ John Kirkpatrick, ed. New York: W. W. Norton, 1972

5. Literature about the composer

  • Ivashkin A. Charles Ives and music of the twentieth century. Moscow: Soviet composer, 1991.
  • Shneerson G. M. Ives Charles Edward // Music Encyclopedia in 6 volumes, TSB, M., 1973 - 1982, T. 1, p. 74-75.
  • Rakhmanova M. Charles Ives, "SM", 1971, no. 6, p. 97-108.
  • Cowell H. Cowell S. R. Charles Ives and His Music. New York: Oxford UP, 1955.
  • Rossiter F. R. Charles Ives and his America. New York: Liveright, 1975.
  • Block G. Charles Ives: a bio-bibliography. New York: Greenwood Press, 1988.
  • Burkholder J.P. All Made of Tunes: Charles Ives and the Uses of Musical Borrowing. New Haven: Yale UP, 1995.
  • Charles Ives and His World/ J. Peter Burkholder, ed. Princeton: Princeton UP, 1996.
  • Swafford J. Charles Ives: A Life with Music. New York: W. W. Norton, 1996.
  • Sherwood G. Charles Ives: a guide to research. New York: Routledge, 2002.
  • Copland A. The Ives case in our new music, N.Y., 1941.
  • Letters from Ch. Ives to N. Slonimsky, in the book: Slonimsky N., Music since 1900, N. Y., 1971, p. 1318-48.
Charles Edward Ives

Style

Ives's work was greatly influenced by folk music, which he listened to in his rural provincial childhood - folk songs, spiritual and religious hymns. Ives's unique musical style combines elements of folklore, traditional everyday music with complex, sharp, dissonant atonal and polytonal harmony, and sound imaging techniques. He developed original equipment serial writing, used the quarter-tone system.

Essays

  • Cantata “Celestial country” (Celestial country, 1899).
  • For orchestra - 5 symphonies (1898-98, 1897-1902, 1901-04, 1910-16, 5th, Holidays, 1904-13), Universe (Universe symphony - fragments of a symphony, 1911-16), " Central park in the dark (1898-1907), Three places in New England (1903-14) and other program plays, overtures (1901-12), pieces for a large symphony and chamber orchestras, Ragtime dances (Ragtime dances, 1900-11) for theater orchestra.
  • String Quartet (1896) and other chamber instrumental ensembles, including “The Unanswered Question” (1906, later an orchestral version was created)
  • 2 piano sonatas (including the second piano sonata - “Concord”, 1909-15).
  • 5 violin sonatas (including the fourth sonata for violin and piano - “Children’s day at the camp meeting”, 1915).
  • Works for organ.
  • Pieces for various instruments (including “Three quartertone piano pieces” for two pianos, 1903-24).
  • Works for choir, song cycles based on poems by American poets (114 songs, 1884-1921).
  • Articles on quarter-tone music (including “Some quartertone impressions”, 1925).

Lyrics

  • Memos/ John Kirkpatrick, ed. New York: W. W. Norton, 1972

Memory

Literature about the composer

  • Ivashkin A. Charles Ives and the music of the twentieth century. Moscow: Soviet Composer, 1991.
  • Shneerson G. M. Ives Charles Edward // Musical encyclopedia in 6 volumes, TSB, M., 1973-1982, Vol. 1, p. 74-75.
  • Rakhmanova M. Charles Ives, SM, 1971, no. 6, p. 97-108.
  • Cowell H. Cowell S. R. Charles Ives and His Music. New York: Oxford UP, 1955.
  • Rossiter F. R. Charles Ives and his America. New York: Liveright, 1975.
  • Block G. Charles Ives: a bio-bibliography. New York: Greenwood Press, 1988.
  • Burkholder J.P. All Made of Tunes: Charles Ives and the Uses of Musical Borrowing. New Haven: Yale UP, 1995.
  • Charles Ives and His World/ J. Peter Burkholder, ed. Princeton: Princeton UP, 1996.
  • Swafford J. Charles Ives: A Life with Music. New York: W. W. Norton, 1996.
  • Sherwood G. Charles Ives: a guide to research. New York: Routledge, 2002.
  • Copland A. The Ives case in our new music, N.Y., 1941.
  • Letters from Ch. Ives to N. Slonimsky, in the book: Slonimsky N., Music since 1900, N. Y., 1971, p. 1318-48.

Links

Categories:

  • Personalities in alphabetical order
  • Musicians in alphabetical order
  • Born on October 20
  • Born in 1874
  • Born in Danbury
  • Died May 19
  • Died in 1954
  • Deaths in New York
  • Composers by alphabet
  • US composers
  • Composers of the 20th century
  • Yale alumni
  • Organists of the USA
  • Academic musicians of the USA
  • Pulitzer Prize Winners
  • Grammy Award Winners

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Mizrahi

(1954-05-19 ) (79 years old)

Style

Ives's work was heavily influenced by the folk music he listened to in his rural provincial childhood - folk songs, spiritual and religious hymns. Ives's unique musical style combines elements of folklore, traditional everyday music with complex, sharp, dissonant atonal and polytonal harmony, and sound imaging techniques. He developed an original technique of serial writing and used the quarter-tone system.

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Literature about the composer

  • Ivashkin A. Charles Ives and the music of the twentieth century. Moscow: Soviet Composer, 1991.
  • Shneerson G. M. Ives Charles Edward // Musical encyclopedia in 6 volumes, TSB, M., 1973-1982, Vol. 1, p. 74-75.
  • Akopyan L. O. Music of the 20th century: an encyclopedic dictionary / Scientific editor Dvoskina E. M. - M.: “Praktika”, 2010. - P. 21-23. - 855 s. - 2500 copies.
  • Rakhmanova M. Charles Ives, SM, 1971, no. 6, p. 97-108.
  • Cowell H. Cowell S. R. Charles Ives and His Music. New York: Oxford UP, 1955.
  • Rossiter F. R. Charles Ives and his America. New York: Liveright, 1975.
  • Block G. Charles Ives: a bio-bibliography. New York: Greenwood Press, 1988.
  • Burkholder J.P. All Made of Tunes: Charles Ives and the Uses of Musical Borrowing. New Haven: Yale UP, 1995.
  • - ISBN 978-5-89816-092-0.
  • Swafford J. Charles Ives: A Life with Music. New York: W. W. Norton, 1996.
  • Sherwood G. Charles Ives: a guide to research. New York: Routledge, 2002.
  • Copland A. The Ives case in our new music, N.Y., 1941.
  • Letters from Ch. Ives to N. Slonimsky, in the book: Slonimsky N., Music since 1900, N. Y., 1971, p. 1318-48.

Links

  • Charles Ives and his world, ed. by J. Peter Burkholder. Princeton (NJ): Princeton University Press, 1996 (collection of articles).

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Excerpt characterizing Ives, Charles
“Everything depends on upbringing,” said the guest.
“Yes, your truth,” continued the Countess. “Until now, thank God, I have been a friend of my children and enjoy their complete trust,” said the countess, repeating the misconception of many parents who believe that their children have no secrets from them. “I know that I will always be the first confidente [confidant] of my daughters, and that Nikolenka, due to her ardent character, if she plays naughty (a boy cannot live without this), then everything is not like these St. Petersburg gentlemen.
“Yes, nice, nice guys,” confirmed the count, who always resolved issues that were confusing to him by finding everything nice. - Come on, I want to become a hussar! Yes, that's what you want, ma chere!
“What a sweet creature your little one is,” said the guest. - Gunpowder!
“Yes, gunpowder,” said the count. - It hit me! And what a voice: even though it’s my daughter, I’ll tell the truth, she will be a singer, Salomoni is different. We hired an Italian to teach her.
- Oh, no, it’s so early! - said the count. - How did our mothers get married at twelve thirteen?
- She’s already in love with Boris! What? - said the countess, smiling quietly, looking at Boris’s mother, and, apparently answering the thought that had always occupied her, she continued. - Well, you see, if I had kept her strictly, I would have forbidden her... God knows what they would have done on the sly (the countess meant: they would have kissed), and now I know every word she says. She will come running in the evening and tell me everything. Maybe I'm spoiling her; but, really, this seems to be better. I kept the eldest strictly.
“Yes, I was brought up completely differently,” said the eldest, beautiful Countess Vera, smiling.
But a smile did not grace Vera’s face, as usually happens; on the contrary, her face became unnatural and therefore unpleasant.
The eldest, Vera, was good, she was not stupid, she studied well, she was well brought up, her voice was pleasant, what she said was fair and appropriate; but, strangely, everyone, both the guest and the countess, looked back at her, as if they were surprised why she said this, and felt awkward.
“They always play tricks with older children, they want to do something extraordinary,” said the guest.
- To be honest, ma chere! The Countess was playing tricks with Vera,” said the Count. - Well, oh well! “Still, she turned out nice,” he added, winking approvingly at Vera.
The guests got up and left, promising to come for dinner.
- What a manner! They were already sitting, sitting! - said the countess, ushering the guests out.

When Natasha left the living room and ran, she only reached the flower shop. She stopped in this room, listening to the conversation in the living room and waiting for Boris to come out. She was already beginning to get impatient and, stamping her foot, was about to cry because he was not walking now, when she heard the quiet, not fast, decent steps of a young man.
Natasha quickly rushed between the flower pots and hid.
Boris stopped in the middle of the room, looked around, brushed specks from his uniform sleeve with his hand and walked up to the mirror, examining his Beautiful face. Natasha, having become quiet, looked out from her ambush, waiting for what he would do. He stood in front of the mirror for a while, smiled and went to the exit door. Natasha wanted to call out to him, but then changed her mind. “Let him search,” she told herself. Boris had just left when a flushed Sonya emerged from another door, whispering something angrily through her tears. Natasha restrained herself from her first move to run out to her and remained in her ambush, as if under an invisible cap, looking out for what was happening in the world. She experienced a special new pleasure. Sonya whispered something and looked back at the living room door. Nikolai came out of the door.
- Sonya! What happened to you? Is this possible? - Nikolai said, running up to her.
- Nothing, nothing, leave me! – Sonya began to sob.
- No, I know what.
- Well, you know, that’s great, and go to her.
- Sooo! One word! Is it possible to torture me and yourself like this because of a fantasy? - Nikolai said, taking her hand.
Sonya did not pull his hands away and stopped crying.
Natasha, without moving or breathing, looked out from her ambush with shining heads. "What will happen now"? she thought.
- Sonya! I don't need the whole world! “You alone are everything to me,” Nikolai said. - I'll prove it to you.
“I don’t like it when you talk like that.”
- Well, I won’t, I’m sorry, Sonya! “He pulled her towards him and kissed her.
“Oh, how good!” thought Natasha, and when Sonya and Nikolai left the room, she followed them and called Boris to her.
“Boris, come here,” she said with a significant and cunning look. – I need to tell you one thing. Here, here,” she said and led him into the flower shop to the place between the tubs where she was hidden. Boris, smiling, followed her.
– What is this one thing? - he asked.
She was embarrassed, looked around her and, seeing her doll abandoned on the tub, took it in her hands.
“Kiss the doll,” she said.
Boris looked into her lively face with an attentive, affectionate gaze and did not answer.
- You do not want? Well, come here,” she said and went deeper into the flowers and threw the doll. - Closer, closer! - she whispered. She caught the officer's cuffs with her hands, and solemnity and fear were visible in her reddened face.
- Do you want to kiss me? – she whispered barely audibly, looking at him from under her brows, smiling and almost crying with excitement.
Boris blushed.
- How funny you are! - he said, bending over to her, blushing even more, but doing nothing and waiting.

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