Ives: Decoration Day

Charles E. Ives

Decoration Day Second Movement of A Symphony: New England Holidays

Critical Edition

Edited by James B. Sinclair

Peer International Corporation Peer Musikverlag GmbH

New York Hamburg

Contents Preface . . . . . . . . . .

111

Instrumentation . . . . . vi Score . . . . . . . . . . . . 1 Postface . . . . . . . . . . 33 Description of Sources .

34

Critical Commentary .

37

PREFACE

Decoration Day is the second in a set of four pieces titled collectively by lves in various ways, among them A Symphony: "New England Holidays" (though on one sketch he wrote "Symphony, but not called Sym[phony]". Each piece centers on a national holiday: Washington's Birthday, Decoration Day, the Fourth of July, and Thanksgiving.

Decoration Day was the holiday dedicated to the memory of the dead of the Civil War (now become Memorial Day, commemorating all war dead) -the "decoration" being of their graves. lves wrote in his retrospective Memos of 1932 that Decoration Day was started . . . as a brass band overture, but never got very far that way . . . . The middle section (from G to about K before the march starts) was taken from an organ piece written some years before. . . . (The melody of the march before the end is from Reeves's "Second Regiment Quickstep" -as good a march as Sousa or Schubert ever wrote, if not better!).l Although no such organ piece as lves mentions has survived, it may have been one based on the early Slow March {quoting the hymn "Adeste fideles", as does the "middle section" of Decoration Day ). Dated by lves (Memos, p.

148) as 1886 or '87, the Slow March was for brass band, which may explain his reference to the origins of Decoration

Day in a "brass band overture." In any case, it seems clear that when lves started work on Decoration Day, he had at hand or in mind at least two earlier pieces: his youthful march with "Ades.te Fidelis, cantus firmus" and the Second

Regiment Connecticut N[ational] G[uard] March (as it is titled in lves's father's copy of the sheet-music version published in 1877) by David Wallis Reeves (1838-1900), a prominent cornetist and bandmaster in the post-Civil War era.

Though Decoration Day became the second of the New England Holidays, lves began work on it¡last, sketching it in September 1912 while on vacation at Saranac Lake, New York. On the first sheet of his experimental sketching, he laid down enough material (in mm. 5-11 and 39-49 here) to generate the whole first section of the final work (mm.

1-53). Between the middle section with its dirge on "Adeste fideles" (mm. 54-74) and the march (back to town from the cemetery), he probably added newly, as a programmatic link, the section with "Taps" sounding above Lowell Mason's Bethany ("Nearer, My God, to Thee") (mm. 74-81).

Reeves's march -

lves's well-decorated version of the last strain of

the most extended musical quotation in all his works -

revels in the quirky traditions of

vernacular music-making as remembered from his youth.

Although he had already completed orchestral scores or sketches for Thanksgiving (in 1904), Washington's

Birthday (1909), and The Fourth of July (summer 1912), lves headed the first sketches of Decoration Day with an outline of the four holidays as a "sonata" for violin and piano; and his ink copy of the complete movement is for that combination.

Later -

about 1930 -

lves scrawled "arranged from Orchestra Set 'Decoration Day' Holiday

Symphony" at the head of this copy, but it had a,ctually been the other way around; and it remains unclear whether he had originally intended the sonata medium for all four holidays or had come to the idea only when he worked up Decoration Day in that form.

Soon, possibly while at Saranac Lake in 1912, lves abandoned the violin-and-piano plan for Decoration Day and began penciling orchestrational ideas, as well as musical revisions, on the ink copy.

iii

A full orchestra score was

finished "at about the same time that Washington's Birthday was" (Memos p. 101)- perhaps early 1913 -but was then apparently set aside.

In the fall of 1919, lves read in the newspaper of an offer by the New Symphony Orchestra in New York City to give open readings of American orchestral works in manuscript; it may have been then that he had his copyist Greinert produce a clean score and a set of parts for Decoration Day (both now lost), which he submitted for consideration. After some resistance to accepting the work on the grounds of its being too difficult, the orchestra did give it a reading in Carnegie Hall on or about 1 May 1920, under the assistant conductor, Paul Eisler. lves's account (Memos, p. 103) of the ragged clumsiness of the "performance" (his quotation marks) is both amusing and painful to read: the music collapsed at the end of each section, leaving "one little violinist in the back row [as] the only one playing, all the others having dropped by the wayside." (Ives followed the reading with his own manuscript score, using a blue pencil to mark on it his comments about orchestral balances.)

About a decade later, encouraged by performances of Three Places in New England in 1930-31 conducted by Nicolas Slonimsky, lves set about getting others of his orchestral works into better shape. Probably in the summer or fall of 1931, he asked his finest copyist, Emil Hanke, to copy out Decoration Day, taking into consideration a number of new pages of revisions. This resulted in two scores. Only the initial two pages of the first survives (with a new layer of revisions marked on it by lves); the second survives complete, with still more revision, which must reflect lves's h!J.ving thoroughly worked over Hanke's first effort and then having requested from him the second score.

One person impressed by Slonimsky's performance of Three Places in New England in Havana with the Havana Philharmonic Orchestra (18 March 1931) was the Cuban composer-conductor Amadeo Roldan. Using the materials for Decoration Day newly copied by Hanke, Roldan rehearsed the Havana Philharmonic in the work and conducted its public premiere in the Cuban capital on 27 December 1931. Slonimsky subsequently added Decoration Day to

his repertoire and conducted the United States premiere in a concert sponsored by Henry Cowell's New Music Society in San Francisco in December 1932; he later conducted it in Paris, Budapest, and Berlin as well.

Publication of individual movements of Holidays began in 1932 with the New Music edition of The Fourth of July and, in 1936, Washington's Birthday; Decoration Day and Thanksgiving have had to wait until1989-90 to see their way into print. Recordings of Decoration Day, however, began to be made in the early 1960s- first by the Louisville Orchestra under Robert Whitney (recorded in 1961), then the New York Philharmonic under LeonarP, Bernstein (1963) and the Finnish Radio Symphony Orchestra under William Strickland (1964).

*

*

*

Decoration Day held a special place in lves's memory of his childhood 2 , and Reeves's Second Regiment

Connecticut March -

especially in the context of Decoration Day -

held a curiously deep place in lves's heart

throughout his life. His earliest surviving instrumental piece, Holiday Quickstep (December 1887), quotes the march in its final strain; an episode late in his life involving the march is recounted by John Kirkpatrick (in an essay on the composer's wife, Harmony Twichell lves):

iv

. . . Charlotte Ruggles used to tell of the time around 1950 when she and Carl were at 164 [East 74th Street] for lunch, and Charlie and Carl in a burst of enthusiasm for Reeves's Second Connecticut March began to shout the tune and march around the table -

"Those two boys ! -

and there sat Harmony,

perfectly serene, just as if nothing was going on."3 lves himself reveals the deep significance for him of this march in a passage of his Essays Before a Sonata (1920): In the early morning of a Memorial Day, a boy is awakened by martial music - a village band is marching down the street- and as the strains of Reeves's majestic Seventh [sic] Regiment March come nearer and nearer - he seems of a sudden translated - a moment of vivid power comes, a consciousness of material nobility - an exultant something gleaming with the possibilities of this life - an assurance that nothing is impossible, and that the whole world lies at his feet. But, as the band turns the corner, at the soldiers' monument, and the march steps of the Grand Army become fainter and fainter, the boy's vision slowly vanishes - his "world" becomes less and less probable - but the experience ever lies within him in its reality.4 In addition to Reeves's march- and "Adeste fideles", and "Taps" together with Bethany (as mentioned earlier) -

other fragments of music quoted by lves in Decoration Day have been identified (their appearances cited here

only in part): the hymn tune Lambeth (identified by lves himself at m. 24, but there appears to be no related material); Marching Through Georgia (m. 37, in flute, clarinet, and bassoon and m. 39, in horn); a snippet of Yankee

Doodle (m. 46, in violin I); Tenting Tonight on the Old Camp Ground (m. 61, in strings and horns); The Battle Cry of Freedom (m. 65, in violin I); "Taps" in a buried recurrence (beginning vaguely at m. 81 in the extra viola, later joined by low bells); and Battle Hymn of the Republic (m. 126, in oboe and clarinet). The important English horn melody at m. 5 may well be a quotation from a now-forgotten song (perhaps relating to the gathering of flowers, the "early morning flower-song", in lves's scenario).

James B. Sinclair New Haven, Connecticut December 1987

NOTES

1.

2.

3.

4.

Charles E. Ives Memos, ed. John Kirkpatrick (New York: W. W. Norton, 1972), pp. 101-2.

One lves scholar (also a practicing psychiatrist) has argued that in Decoration Day lves not only evoked a cherished memory of the holiday but personally memorialized his father; see Stuart Feder, "Decoration Day: A boyhood Memory of Charles lves," The Musical Quarterly, LXVI/2 (April 1980), 234-61. See also Dr. Feder's "Charles and George lves: The Veneration of Boyhood," The Annual of Psychoanalysis, IX (1981), 265316, and "The Nostalgia of Charles Ives: An Essay in Affects and Music," The Annual of Psychoanalysis, X (1982), 301-32.

Ives Memos, p. 280. 164 East 74 Street was the lves's New York town house.

Charles lves, Essays Before a Sonata and Other Writings, ed. Howard Boatwright (New York: W. W. Norton, 1972), p. 30.

v

INSTRUMENTATION

Piccolo (optional)

2 Flutes 2 Oboes English Horn Eb Clarinet (optional)

2 Bb Clarinets 2 Bassoons 4

F Horns

2

Bb Trumpets (3rd, optional)

3

Trombones Tuba Timpani Snare Drum Bass Drum with rim-mounted Cymbals High Bells (or Celesta) Low Bells [Chimes] Strings

DURATION: about 9 minutes

EDITORIAL NOTE Editorial emendations in the score are enclosed within [square brackets] or are indicated by broken lines for ties, slurs, and dynamic wedges (e.g.,.- -.,and ....::::::: :::::::::: ); these indications are not, however, reproduced in the parts. Editorial emendations are discussed in the critical commentary.

Performance material available from the publisher.

vi

Decoration Day Second Movement of A SYMPHONY: NEW ENGLAND HOLIDAYS

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CHARLES E. IVES

(1912) Edited by James B. Sinclair

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© Copyright 1969, 1989 by PEER INTERNATIONAL CORPORATION International Copyright Secured Printed in U.S.A. All Rights Reserved Including the Right of Public Performance for Profit "WARNING! Any person who copies or arranges all or part of the words or music of this musical composition shall be liable to an action for injunction, dama~res and profits under the United States Copyright Law!' 02-087758-856

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[g) A little faster ( J = I

37~

Fls. II

PJI .---.,;;; P"

tl

Obs.I~~

about 60)

1.

------.::::--~

1'1 t.l'l

Eng:Hn.

'

........--.....

~

Bsns~ ~

PP

nl I~

II

FHns. III

IV

B~Trpts~ ~

ul

pp~

.

II

~

-

N·

--

~

.-

.._..

tl

tl

-eJ

II

Il

Trbs.

--

III

.

,

..,

Bells I!J

II

~·~· PPPP semp1•e

~+..._ ~1·~

__..

~·'--...!'*'

ql

three only, div. ( all harmonics )

ppp

tl

"'

..--..... p

II

"'

-

p

3

-

= about 60)

senza sord.

,

3

-

-

pppp

!!p A little faster (.I tl

..,

(Light Bells or Low Celesta) I 3 3

I~

--

.

~

.--...

senza sord.

.--...

senza sord.

~

senza sord.

...____ ......-'*'

--

Tutti div.

p

·~

-

~ ~

p~

-...;::

!""'-?-

~~~PP

p

[;~ ~

~1t'·

[PJ-

[P]

senza sord.

----

'It~~ .P-1>

"p'-

!¥.-·

1' - - .....

p

A

Vlcs, B A

div. p a reo

Cbs.B p~

'7 ~

plZZ.

v '7

~

v "' p "'

--- p

..7

r

"'

~

II "'

~

v

-..

'7

p

'7

p

'

u

Obs.III

-

.

I

~

~•

1.

'r;..':' [AJ

1'--

~;.

a.2

.•

f

It; .tf

E~.Hn. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

- ---

"

II

.

• q~

i

q[i

"]•

{

i~

A

-->~.~

q~

JJ

(jJ

-

>

~

>

>

~

!.._......~

f.f f.f

f;.

[::ot-J•

f;.

~

f~l

a

Bells Ill-

a

-

'1~

a

a

-

.......

a

5

- Pitl

6

-

-

-

mosso

-1tff >

i

11Jf

;'--+

WI

>

~]

f!.tf] ""

P..

[ senza sord. ]

. ["tf.J

~-

··~·

---

fft"::S_..,

~. .

>.~

>

... >

r~··>

-

urns.!,~

A

Vlcs. B

["'f] A

Cbs.B [!)'jl

- I

[~

I

t2

..,

atlli/J.

J€1'

II

l

I Obs. 11

[li] Poco meno mosso (a little slower)

•••

45'A

Pice.

. , ft1

tt~!·

w~ .. ~

•

ff

:ff

-~'

~t~·

'

..,

.,.--........ .,.---.

~

>

~

11

11

III

IV

>

.:>~>

,.> >>

;..

t

=-

.....

>,.-

t1

>

~~~

II

~::

t

>>

>

>

tl

I!!!'!!!!!!!!!!>

II ·~

'1Tif

r

11!1"''·->. -

I'

..,

~•>•->•>"""

II

ll

Trbs.

_A_,.--....

mp oJ,>>>

II

FHns.

==--

-~·

.,.,.--.......

mp

~· I=

.ff

>

===--

~·

Eng.Hn.

:f

~m·

1.~1!:

.,.. . > , .

'»if

III II

Bells

.., ~

Ex.Vln.

Vlns

.1:~

Vla.s.

B

II

5

-

tl

".

~~""·

II

-

...>-

-

-

-

.,~-- ~--

:>:->>..-!-...

Jill!";::.. > ..-

,,:;:!.

>

,..>..-

tJ II

Jfqj'':l-_.,.

,,4,

>

,..>..-

"'

Jl

:>:

,..>....... !--.

>

.,..>

"

"'

.f.fqt '>

.........,

A

ff>>o

~

If'

f

Cbs.B

,..

>

>

:;:o.,.

>:::.-

..

>

.--'16

Jfqt'~~>-

>

.,~

-

>

~~ ''>

>>

:>

:t~t ">

> >

div.J ... ~

,. .,

:>

01.~

.,

,. .,

I

3

I

>

- ·~·-- ... "*-;

5

I

-

[H) Poco meno mosso

.

':'

>

•qj"~

{:

~~

~~ >

"' "

VIes. B A

I

9

-

II

··~-'~ { A

I

-

(a little slowet)

.-----......

~ ~p ·~

P~f'

5

-

----

JL

~

I

8.

.....--.

-,. .r

p~

.........

......

~

....._...,

p~

.........

-.....

~

•....p~

Cunis.] /"i'..... .....-,.

u~~ ,L--'

t71Parco

:P'

+!..-"*"

r-d'~

p"""'

-·

/li ..... .....-..

f3

49

~ Menomosso

II

[p

"' Obs.I~) Eng.Hn.

l __..-.....

II

BbClars~)

~

n(

,,.,.

1::-.

/

"';t-_

/

-~.

lr'•.

...

/(

Jr-_ •

f!J

1

-

I II

FHns.

....._

'P'

)

u(

===--

pp

tJ

Bsns.

--.----.

-

X

~

1f---

•

"*

.......__~

!f'•

IT

.,

l

I)

III

IV I

BbTrpts.

)

II

(

I II

I

Trbs.

ill

6

II

Bells

+ Ex.Vin

-@1

-

'-'

6

6

-

-

6

6

- -

- -

-

-

'-'

Meno mosso Strings (arco) slide gradually down through "a1f4 tone," just touching the semi-tone below,

A

~

fl

Vlns.IB

p'b:::bt::f

I!J

att~~:;j;ft~ases. m arco/piZZ.* ~ ppp=--

~

'PPP

arco/ pizz. *

tJ

...

'P'-.~

....... _,

JYPPr

arco/pizz.• I.----.,...._~

I~

'P.........._ !;;;t-'

"'

-,.

'PPP

. . . . -·

..

A

a.:--

:

L{" A

~

~

"I

[~m~~~ 1-------f\ ~1.

::::

.~

,:1: ~~

*

IT-

'

"f

" ¥

'f

'P'P'P

.ah .....

:Phj -~·

~~

~-J\ ......_ L

!\

'P'P'P

~

arco/ptzz. *

r .........

'PPP

'P~

K

"

r

[sim~~ 1-----

'PP'P

arco/pizz.*

div.

y

~~v·_:4 (all arco)

Cbs.B

[sim.J(

.. 1~_h

~

......_

b.:..-~

'P'P'P

'PP'P

..,h

'PPP Vlcs.B

r

.. JCT:::il

PP'P

.,

1

PP.P"

J~J\

arco/pizz.*J

Csim.J 1

1\1'~

'PPP arco;pizz.:

'PPP

t-,~~

1.----.,.....~

II

[s=~~.-;::::::::::;J:l,- hi.;l.

I

~~

o1

-~

-~

Ll

.... !!!!

~

i

~

"

a:

~

i !ti

IT'

:;::

*HI Vins. and Vias. divided into 3 parts, eaeh Vz atco and Vz pizz. Vies. A-B both arco and both divided. Cb. A V2 arco, V2 pizz., B the same.

14

[!];Slowly (Maestoso) (about J =50) ~~;ill 5~ rJ ~

! "'

pp·

I

•..:,r

.{1_

a

I I

(.h

a

?jl

I ..---,--.

ii

1i

1"J

==--

1'PP

•,JI :=-

~

(Flutes as lightly as possi ~le)

II

Obs. 11

=-

r----:a~l I

==--

""

II

Eog.Hn.

"'II ~

""

.....:.!

pp

7__./

t}*ppr

f~r

lll"f

~~

.t

l

-

7l

_II

II FHns. I

III IV

II

3.

"'*'PP.-:J "

-

f ...;t

r_.......r

r-___r OJ

1>7~:t

r

-

~>•____:....•

f

~

i>?J-

~ .v

I~

II

Trbs.

III

Timp.

~(or onE through mes. 74) Bells** &Ex.Vln.

6

II

--

ti""'

--

6

--

-

[!] Slowly (Maestoso) (about J = 50) A

6

-

OJ

.___.,

p

"

_A Iarco tutti I

.v p 11 Jarco tutti[

"'

p

~...__/

"

~

~...__/

"

~

--

[arfo tutti I

..--_

Vlcs. ~

p A

unis. pizz.

Cbs.B

mp•tr.

.

.

_b_

r-r--,

.

.,...

-

__,....

[arco tutti[

p

--

~

------

11 [arco tutti I

Vlns.I B

6

-

....-...

....--.

....-....

*"~-

~,_

L •

.

~

fJse]Horn 1 only, unless the string orchestra is large. In either case three horns play in measures[62 and 63.1 **A piano or very light bells may play with S[hadow] P[art] Viol[ in] from here on; better for bell[s].

h.;

"""'"

I,,.

of9o

~.

!,.;

·.~.

. .

f5

It!

~J\

I

r.J

5811

I I

;._h

I

...

-_;

===--

:-))· rJ

~· .::11

poco rit. [ A tempo]

~~

===--

~~

irk

==--

===--

PP'P .::::::::-

I ~

fJ

~

Bsns. I II

l

...

-

---

..

~-mp

-

1\

I{ ...

II F Hns.

fJ

III IV

tJ

r

r

1

f___,r

r--~

?F

~

~~

~--·}

.t_~·

-

r.

--

----- ~Rirr rr

i

·~

-

~-!

~?}

-

....

---- wi' :i -J!7-

l··

I B~Trpts.

II

4!

r II

Trbs.

III

I -

Timp.

tJ

6

ll

Bells &Ex. Vln.

........

-

-

~

~

""FF.""T

-

--.

ums.

Vlns.I B tJ

·--- --

1\

~ ...

Vlns.IIAB (

.

...

.

...

fJ

tJ

--

A

!...:. .;,..

.". .

1,.;

it-

~it-

;.

..;.-_·--·

mp

~

_!!.."..._:

•. l •

-

·.__:

poco cresc.

trem.

1. ••

.

ar{o

..

-·

poco cresc.

:::::

..: 1..:.

:.......·

poco cresc.

mp

-·

*"

p oco cresc.

poco cresc.

mp _..-..._

-

mp

-

.

Via•:{ VIes. B

mp._

....__

..___,

-

~

poco rit. [A tempo J div.n~

7

fJ

6

ll

A

A Cbs.B

-

..

-If •

.

PP

poco cresc.

trem•

w--...

poco cresc.

16

,.j)'

6211

I Pls.II I

A-

PPP===--

tJ II

I Obs. 11

Eng.Hn.

,.,_

~

J

~

I B~Clarli.

II

J

~

<tJ

Bsns.

II

I II

FHnli.

l

T

.JY

{. ~~ ~ II

_fl

Ill IV

pp-:11 "!

1!1

I

B~Trpts.

II

I II

l'rbs.

I~

A

Vlns.IB

...

~-

~

~

I

:

f.-::

._..

7

~~~

Bells &Ex. Vln.

-:;:

..._.....-

Ill

Timp.

o4f ...~...

pp

._..

1!1

•

P'P 7.

-

7

7

-

one

1--,

tJ

-

p~

WP

;iif";

tJ

.

,., ..._

:._;

II

,.,

tJ

:._.,

:._;

..._

..._

..._

._.,

-.

~,m~

,.....___....

~4f ~ ~ ~

-

'PP

ppp

ppp

PP'P [fppt:-..;.-:<"

--,

ppp

f."-

,.-

PP

~

-.....-

all I

pp

one only

all

tn.]

pp

"'-----"

PP

....-

-

PP

...

:

A

...

all

2only

fl

VIes. B

J

_wq_

- -

'-"'

~

1'1

llWl

-.,

If

!t"'

~~

P'P

A

Cbs.B

"

[~

If

.

~

lf"'

wl

~·

!!

div.

lt;

v~t

t7

~

66

-

Timp.

7

A

Bells & Ex.VIn

tJ

-

-

[0

A Vlns.l B

il

Vlns.II

.__.,

B

"

~ ·. "

A

A

IV

A

7

. . . ~":"..._. of!- ~·

-

... ,--.9-~

-9~

~

A

.--9-

~·"~

..

•

-

= pp~

,._

...._..

,_

.._..

_.

"""""""' ~-

.lo!

-

div.

q~,__~ ~·

A

-

A

A

..

......._.......

6

;~

=

~ ~ ~ ~

:PP...__,

·-

~~ [~~

.J.

Vlcs. B :p li

I

f:F

"' ~

.1!

T

·~·

-

=F

f:F

unis. =F

-

=F

6

6

-

unis.

-

n

A

---

A

Vlcs.B

A Cbs. B

div.3 II

:mtrr~u:rtmrrm llf" UMIJJ~LcmnmuuY "'---

t8

.

rit

72-~~

B~Trpt~j

n(

Off-stage, or muted (as in the distance)

~

:p:p:p

tJ

-

Timp.

II

Bells &Ex.Vln. I t1

6

A

-

- --

-

II

Vlaa.I B

.4.

R

-

[1j

ltl

rit.

~.

"

II

till

~·

IIJ

....

·-

LIJJ"'

•

.

~

LrrWJ!:!O~

75ul\

B~Trpt!.l

I! :

~

·--::r.: 1-4-

~~bf¥gn

WllliLWlUt UtWietrru:.rt r!ftiJ.[ ~ U!t

Very slowly

.

~

till

II tJ

Timp.

___All~• (or on F#, or C, through mes. 80) II

Bells &Ex.Vln.

A

tJ

ppp

Very slowly

ll

~j

Vlns.I B

ppijii

IIJ

A Vlns.II B

II f)

A VIas. B

PpP:j; pplt~.

PPP~(L· PP1Hif

R-

8

-

-

-

lit --Jl1~~

·-- -~ ----

~~

:1!

"i

.h ...

!:!=

:..

~

~-;

-t

~-~

~ ~

!i

:p

' ,.

6

-

~9

~

!1:":1:

~ ~

-f~;

...

b. .e

jloo

•

!i

:it. ;i

iF

~

T

~(L •

!!"'-

iF

fill-

pppfl:l-

~-

[!!]

fir-

~~~~c~ ....... • •••••

... .

........

' .....

.

'

...

. . ...

_........~

'

.

*The higher octave string parts here may not be needed if the Trumpet can be off-stage. ·

...... '

.J.

.,r--

. ~ .IE

_...,'U'_

T.*" ~

...._;i ~~

~

00

;.

ol:

-j-

'~'*'-

(!!]

div.

~

1tf

div. II!!

A Vlcs. 8

.tl

...

I~"'·

q~

-

-

-

#J-.r:tj~ 1-----~ ~

'

~

. ~~- . .*

6

as

-

--

. .. .... ..-'U'-. .......... ' ......-... ........... ......

19

IJEl (From here, gradually louder and faster, ~

79

BPTrpt!.~ 1!,"*

-

u(

Timp.

,.,

WPP

-

6

-

el

A Vlnsl B

A Vlnsll B.

IJ .1-:- -~~

-

..

-

lt"'.

fJ 1.

+tf

f'

00

J.

..... F q·•-(: div.

6

-

1!1

:f

'

.1-J

VIes.~

~ lt-~~~

[~]

-pp

:

._...._

.

......... ..... ..... ..

'

))pV fJ

II

v

.,....

'I':'_

cresc. e accel. poco a poco

_":'

":'

#q1

J

(dh<)"

-·"

b

-P

~-

·~

·~

.~

~

.-

.........................P.PP ..., (or on C through mes 88)

t-

-

Bells IV

t-

unis.

1(diy.l

. ....... ..... .... .

__..

~it.

trem. sempre

'FPP~-

slight accent in roll

Timp.

A

~+w:;-- -;;;;-!. p}Jpp

' ".

-rit

83

tt•em. sempt•e

.,......- --.,.. .,

~IL·

A Vlas. B

-

C1'6~

1111•

+t ,-..:;..

Ex.2VIns..

Ex.I1JVla..

3

-

-ppp

I..-..~ :1

: ,!1! ·-~a:.

1!1

.PPP[onA] .3

6

Bells fJ

mo · t March or QUIC-Spl · k te fme)

v

Vcresc.V

-

~

r

~

r

~

r

r

~

-

-

-

... r

-

not all

VIns.I B

1!1

Vl~J~

l

II

1!1

11

p;t!

~~

~

u

t~

t)

_fj_

Ex.2Vlns. otJ ~tt_

Jiil'oo..

VIes.:

PP'-"

\.....~ ~

......

p~ ~

P'-"

--

,.., ...._.

~r

~·

r

~

'-9!

/t

t

~I

q~·

__..

_tt 3

~

•[Or tongued. See notes.]

LPJ

....

~ J:::oo..

fP~ ·~

mp'-"

~

lo.

A

Cbs.B .PPfl

}f'

_,

~

..... _.

-:~-

\E!"

3

d~

.....

'""~

~ _u-_

.-it.

---.PP\.....~

[~

all

nota.U

... mp

\...._~

... ft

"f

~

f'f

~

v

fv

v

v

~

......_.

J.

~,

1 p v A

~ Allegro (Quick-step time)

8~

J=iot

Inthe a.bsenoe of E~Cla.r.both Flutes play the 2 114 Fl. pari a.nd Piccolo ta.ys ~ wriUen. (W"IthEll Clar. pIaymg, . l'"f> ~ t he Piccolo d oes not p Iay )r ft ~E 6/s until measure 129) ~.

-

Pice.

(lld lib.)

I

Fls. II

"

J:f

.

l.

J..J::'Sr •.•~

Obs. 11

"f'J

.....-: :::::....

~

E~ Clar (lldlib.)

I B~Cla.rs)I (

"

f

I

llsns.

II

.

J.l-· ""-' .,.. ,.. : ,.. ,i~~

l I~ l

I

FHns. III IV I

II

Trbs.

III

~-

- -

--

....-:: ~

l

.

---- -fi

:-·~ i ~~>

·-

-

fl'

r ''-.......__.;

ff!

'~

[ a 2]_.

f"

v

\'

'!'

~

t•

'::::::.

Lf' A A

A

v v v

!

:

:

(

n * ....... tJ

3

t

- ~·

mp

-

......

A

A

I

qe:

A

A

.,

r

~I

I

,.

unis. • .

-~

'-'

-·~ltr ~

f'J

......

..

ff

A

ffv

v

A

"

(]

'V

"

....

e;, f,f.~·

...

~-

..

ff

_-&_

1!

~-

>>::>

>>:>

r"""'l:l! r

I

I

r

I

r~u

~~t

~-

r~;.;.

~~

~-

r--,_

'

~

---

-8---

H--

1'.l'

*

Ex.ft>Vla..

A

A

A

Vla.s. ~ ·~

if

A

:

ff"

A

"A

tt:.

ff 4 [Parts

h;.

appear in equivalent

~

g.J

-:.bl'

#!

mp

,..:

ff unis.

ffv"

v

-

:--:-

II ~

I

A A A

10~

-.J

-

.......ma;:;_

~!">

---·

L

~

fs

v v v

div. .,.:;

IT

>

fs

.If

U!,F8-_

>

3

i~E

Ex.2 V!ns. tJ

-

.

~

r

7

Vlns.I B

.tf'

~·

-· ,..........,

f·

[!QJ Allegro (Quick-step ~me)

"!'

.

-

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.

.

.

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.

~

1->

lJ

..,.....

" .....

-

[div.]::oo-~-

r

ff

....

.

~~-I v L

A Vlcs.B

,_

f A Cbs.B

a.rco

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>-

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fl

Ex.2Vlns.

lo.>

~=r

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.

,.

,,. [>]

--b-l:-:-----....

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....

r

r

~.

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-

r

r-,..

-hJ.

. .. [if]---- .

.,..._

~ 1... ~- ' L?'J

28

Somewhat hurried here . __________________--·-------, IN) 133 II

Pice.

'

tT..;;;

I

r b.

II

I

..Ito.

A~

~··~··

..,

fjJ~J ~

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IV

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JJ

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--,_.

JJ_

[r

J-1:-,..

it.~

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>]

-

I

-

li,.

-

_./~.

=:--

I II

:

Tuba.

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>

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"lr' -

• I'

,

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Vlns.II

~

Ex.~Vl.n s.

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_il

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...

tT

-- ....

.!(

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il

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p

>

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....

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1.~

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. Somewhat

unis.

• >

>•

OJ

1 I "'J_

p

I

~~~~~4 ~~

........--;--..-

fl;e::~~

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=

,

il_

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t

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9

>1

..

>-

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p~~ ._qgitato ~

i

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~)-- h=ft,;..;, [ pizz.J

Cbs.B

ff

;;>

+ Tpt. 3 (ad lib.)

piuagitato

ffr:t1 '

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f.f~ • -.>•

--.

ur

?"

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JJ

'J.-_hums.~~ ,!'unied ~

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tr

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r

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Bells

>.....-

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>

if

-

(J

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~

it...-

:

Timp Bs.Dr.&Oymb.

;;>

...

.ff-

,',I -.

Trbs.

!k-.1-....._ -

>

rff~

t;j-r-...,

;;>

'Poiiwgilato ;;

'-*....;!:f "' )

y

[~

1

II- III

.

--

l'i agitato~J-.. f-....

...,~

11. _,

tT

~

~ :p

~n.b~

.!.I ., ..

BbTrp

It ~!

-

~ ~~~

..,

f'J

.t.J

~

.ITP''1 agitalf!

~;:

UYJ

..,

[~ ~

- 'V r-, ~---

'~:.

~-.-.

FHn S,I III

l

fl.#c~--

fj

fj

i~~ #(

11ff0

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t)

;, I I

-

fl.--;---.. .. t:.~

......~,..bl

=

rc~/

BI>Clarsii

Bsns

..

piif agilalo

IJ'

J-=J ~ E~ Clar.

fl-~ !~ .~-~~ ~~

..

~-

I~:~

•·n

~.a.~

IJ'

.., ,J..J Ob

-.11.

I'

[ff]

....:.__

29

Pice.

Fls

~

.1'.

a2

_.,.

":'

-y

-=-

,.

.

r.:

~~~

>

> >

>

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>

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>

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-= v v 1 :.

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-~ . .f7"J~.rr:J

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Bells

VIes.~

..,

-

~resc;)

rT"':I

A

;;· k

[! • >

! "> ! >

>

>~ >)

[;l ':"•-=1~

30

14!

Pice.

v

':.

Fls.

**

"'"'"'"'8•························ ....................................................................,

A

II

I

B~-;··············· ·······-;_:f!.~.~!'!.!:!~'!.:................................~:·1

A

~

~

~r

~-!

.,,,.,

II

....$.

~ I Obs. II • Eng.Hn.

I" v

I RbClars-n

~

m.

--

t··

JJJ

~-·

-

-·

~~-

: L-'.lt ...

fff

J_J,

~J

II

Eb Clar

J

*(preferably oU·stage)

to

-~-·

!:

u!

~:

~-

JJJ

b..

I Bsns. 11

_____

.~:~_Ill"-:

~=

~~-

-··

Tuba

I

J:J: Bells ~~

.j non dect•esc.

!ilondiv. ~ r:-A----i::::i A Vlns.I B

II:

i:--

~

_4:

**

!!:· ;,

--~

~--- ~.

.a.

JJJJ"

nondiv.

v

Ex.(i)Vla

Jl 0)

r-- h---' J-J.:"rl.JJJ

-

non div.

Vlas.

"""

l

.

"

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" "

t----.

--" I

-

nondiv.

A Vlcs.B fv

.

v

"

[1»'.1

~

---

1-L....

Cbs. A B

"

-~i-

r--·

~~·-

~-JJJJ

"Solo Viola:

_,.

J.

-··

v-~··.;;:

. ,"_

• sord. sord.

r-

" div.J:

-J.

7

J¥HI'r-

·_..-1---J

r-

-::;

P.PPP

:::1.

~.ji:=., Sord.

JJJJr=

SoloCb.

A

"

tt•v

·2---.

._

-

Solo VIc.

v

~

~:

~

h.

" ~

l~

JJJJ

J-J. Ex. 2Vln s.

i~

Fl'PP'

"'

JJJJ;.:...__-_r v

~n_o_n_d~e-"-e-sc-.---------

*If the English Hom cannot be played offstage or so that it may give the effect of distance, one violin (con sord.) or viola (possibly a flute), may take this part. **The exact time indicated need not be kept here. TheOJ'.Y'should be held until the strings playing the refrain can adjust and start their chord.

31

Very slowly (as in the beginning)

146 II

poco rit

Slower

Pice. tl

---

IJ

Eng.Hn. e)

-.........

....._,.

-

---

~

II E~Clar

~ tl

Bsns.I l II

II FHns.I III IV

II

~

~~~

·~~

I

BbTrpts.l

~~~

II

II Trbs. I

'

~

.

III

--

*

II

Be Us

.

·-..._·

tJ

'PPPP poco

ten.

Very slowly (as in the beginning)

11

A

Vlns. I B tl

-~~

·w

tJ

J,~

II

Slower two, both sord.

r - c : ; g ,,

*J~

one only So rd.

II

A Vlns.II B

LJ

poco rit.

. ~~-----:J ~~ ~

PFP~

(':\

PPP

~~~~

....

div. 3 or 6

div. 2 or 4 l-

rit.==--

I

"r----r

..

---------~1':

ppp

one So rd.)

Ex.Vln. tJ

ppp

(one, so rd.)

Ex.Vla div.

~upper: only in lieu of Bell~

two~ -.;

.

-

SoloVla.

Solo VIc.

:

Solo C.b.

f:-.:__

~

---

----

~---

r-:;-.

-

pocorit.

d -_.

"

1

on eel

'\,~

, qu

c-' .

.

1'~p--:..-~

1r

pppp<--.:

-·-·

--·

*Use the Bells in this measure only if they may be touched lightly enough or offstage. Otherwise, another viollal or a piano, if available, may play here.

**

[A source indicates an alternative bowing.]

33

POSTFACE

[Ives appended the following "postface" (in typescript) to the full score (second try) copied out by Emil Hanke. It is given here with only the lightest editing of orthographic details and clarification of punctuation.]

In the early morning the garden and woods about the village are the meeting places of those who, with tender memories and devoted hands, gather the flowers for the day's memorial. During the forenoon, as the people join each other on the green, there is felt at times a fervency and intensity -

a shadow, perhaps, of the fanatical

harshness -reflecting old abolitionist days. It is a day, Thoreau suggests, when there is a pervading consciousness of "Nature's kinship with the lower order- man."

After the town hall is filled with the spring's harvest of lilacs, daisies, and peonies, the parade is slowly formed on Main Street.

First come the three marshals on plough horses (going sideways); then the warden and

burgesses (in carriages!!), the village comet band, the G.A.R. two by two, and the militia (Company G), while the volunteer fire brigade, drawing the decorated hose-cart with its jangling bells, brings up the rear swarm of small boys following.

the inevitable

The march to Wooster Cemetery is a thing a boy never forgets.

muffled drums and "Adeste fideles" answer for the dirge.

The roll of

A little girl on the fencepost waves to her father and

wonders if he looked like that at Gettysburg.

After the last grave is decorated, "Taps" sounds out through the pines and hickories, while a last hymn is sung.

Then the ranks are formed again, and we all march back to town to a Yankee stimulant- Reeves's inspiring Second

Regiment- though to many a soldier the somber thoughts of the day underlie the tunes of the band. The march stops, and in the silence the shadow of the early morning flower-song rises over the town, and the sunset behind West Mountain breathes its benediction upon the day.

(2nd Movement from a set of 4 pieces for orchestra "Holidays in a Connecticut Country town" [or, as on an earlier typescript:] "New England Holidays in the early eighties")

34

DESCRIPTION OF SOURCES

In the descriptions, photo reproduction numbers follow the citation of each page - first, the negative photostat number(s), preceded by "n" or "Q", and second, the microfilm frame number, preceded by the letter "f".

xl

=

Experimental sketches toward version for violin and piano.

One page (n1583/f0710), mm.5-16, 39-40, 42-49, 52(-59), 60(-67), 63 "Emerson"; title:

appearing on back of sketches for

"N.E. Holidays 2nd movement Decoration Day"; upper R corner:

Washington's Birthday (Snow Bound)

"Sonata -

1.

f fast 2. Decoration Day p slow, f fast, slow 3. 4th of July, mostly if

fast ... 4. Thanksgiving, religious old anthems"; above. "(beginning gather flowers)".

x2

=

Experimental jottings, on a copy of Reeves's "Second Regiment Connecticut N[ational] G[uard] March" (New Haven, C.M. Loomis, 1877). p.5 (- /f0703 ), jottings relating to mm. 89, 104, 116-117 p.6 ( - /f0704), jottings relating to mm. 121-127, 129-134, 139

s

=

Pencil sketch, toward version for violin & piano; complete up to m. 136. p.[1) (n0845/f0705), mm. 1-25

title:

"Il[nd mvt.] N[ew] E[ngland] H[olidays) Decor. D."; the title

"Abolitionists" was added (perhaps first of all, by mistake) and crossed out; large portion of upper R margin and staves are torn away, losing part of mm. 7 & 11. p.[Z] (n0964/f0706), mm. 26-36, 39-53 Stowell in Hartsdale -

memo below (and continuing onto p.l): "Played these over for Eddie

He did not like them -

said too much discord. People don't like strange sounds

[I] should learn to write more 'Geiger musik' style -

he says. E. S. is a good man. But a musical

mollycoddle = emasculated art." p.[3] (n0~46/f0707), mm.54-(79), 81-88 Page actually numbered "8"; at bottom: "[to] top of p(9)"; tear away (as on p.Z) loses parts of mm.54, 61b, 62, 66a. p.[4] (n0855/f0708), mm. 87-120 top R corner torn away, losing part of m.92; mm.103 & 110 badly eaten by silverfish; above (probably added later):

"Arrangement for V & Pia. last march up Main [Street]

Decoration Day"; below:

Please just copy bass part & leave Vla to me. C. E. lves. 37

"Mr. Greinert -

Liberty St. [NYC]". p.[5] (n0856/f0709), mm.121-136 torn corner (as on p.4) loses part of m.121; bottom 7 staves are patches for mm.34-42 (see pl below). p 1 = Patches for s

p.[a] (n0856/f0709), mm. 34-36, 39-42

appearing on bottom 7 staves of s-p.5

p.[b] (n1566+31 72/f0711), mm.74â&#x20AC;˘81 appearing on sketch for "Emerson"; title (probably added much later): "Scetches Decoration Day Saranac Lake NY Sep 1912".

35 S = Pencil sketch of version for violin & piano, with copious revisions and orchestrational annotations toward M; bottom margin trimmed off on each page. p.l (n0857/0712), mm.l-17

title: "II 'Decoration Day' Sonata #5 'N. E. Holidays"'; above (added later):

"for Vio. & Piano (arranged from 'Orchestral Set 'Decoration Day' Holiday Symphony -

but not called

Sym as 1st theme is not inC & 2nd

"

" G So Rollo!

(see score in safe 37 Liberty)". p.2 (n0858/f0713), mm.18-29a

memo by 24: "Tune 'Lambeth"'

p.3 (n0859/f0714), mm.29b-36, 39-47 p.4 (n0860/f0715), mm.48-72

memo at 54: "for ex[ample] (see page 8)"

p.5 (n0861/f0716), mm.73-98

bottom 2 staves of 93-98 are trimmed off leaving only solo violin line.

p.6 (n0862/f0717), mm.99-122 p.7 (n0863/f0718), mm.123-149 p2

=

memo above 39-42: "see ossias for these 4 meas. on page 8"

bottom 2 staves of 117-122 are trimmed off. bottom L comer cut away, leaving only a little treble material for 142-145.

Patches for S, used for revisions toward M; p.[a] (n0864/f0719), mm.37-43a, 54-57[rejected] appearing on S-p.8; above 37: "'Ossias' for 3rd staff {page 3)"; above 54: "(from p.4 2nd staff''. p.[b] (n0865/f0721), mm.24-25, 33-36, 39-42, "2nd way?", 37-42 "3rd way? which"; above: "ossias Inserts for 'Decoration Day"'; above 24: "page 2 3rd staff''; above 33: "page 3 2nd staff''; above 39: "page 3 3rd staff''.

rl = Patches for S as revisions toward M; on verso of p2.

One page (n2836/f0720), mm.33-36, 54-69

title [mistaken]: "Gong on hook & ladder"; above 33: "from

p.3[of S]"; above 54: "try". r2 = Score sketch revision, apparently to demonstrate a separation of "shadow" part; barring and musical text differ with SMT; in 8-stave from, including lines for "Fl., B[assoon], Hom, I, Shdow (V) part, II, V[iola}, C[ello] [&] B[ass]".

One page (n084 7/f0722), mm.1 0-1 7

M

=

Full pencil score; lves refers to this as "old lead pencil score"; oblong with most top & bottom margins cut off; notes chosen for "Extra Violin" (shadow part) are done over in green ink in mm.3-100; memos throughout in blue pencil indicate that lves used this score in listening to the live orchestral reading ca. 1 May 1920 by New Symphony Orchestra (NYC), Paul Eisler conducting; viola staves use treble or bass clef throughout.

Title page (n0866/f0723 ), above:

"IV Symphony [crossed out] IV {or Set for Orches #1)"; mid-page:

"II

'Decoration Day' {In New England 1880) from 'Set New England 'Holidays' {Symphony #4) [latter crossed out]"; listing: "Score, 2 Fl, 2 Ob/EH, Bb 2 Clar, 2 B[assoons], 4 F Hm, 2 Trump Bb, 2 Trombone, 1 Bass [Trombone], (A) Tym, Sn + B[ass Drums] Cy[mbals], la/b, Ila/b, V a/b, C a/b, B[asso] arco/pizz." (actual scoring in M includes Tuba); below R: "Chas. E. lves. 38 Nassau St. [NYC]" p.1 (n0867/f0724), mm.l-7; p.2 (n0868/f0725), mm.8-14; p.3 (n0869/f0726), mm.15-20; p.4 (n0870/f0727), mm.21-26; p.5 (n0871/f0728), mm.27-31; p.6 (n0872/f0729), mm.32-36 [no 36a]; p.7 (n0873/f0730), mm.37-42; p.8 (n0874/f0731), mm.43-48; p.9 (n0875/f0732), mm.49-55; p.10 (n0876/f0733), mm.56-63; p.11 (n0877/f0734), mm.62-71; p.12 (n0878/f0735), mm.72-79; p.13 (n0879/f0736), mm.80-87; p.14 (n0880/f0737), mm.88-96; p.15

36 (n0881/f0738), mm.97-105; p.l6 (n0882/f0739), mm.106-114; p.l7 (n0883/f0740), mm.llS-123; p.18 (n0884/f0741), mm.124-132; p.19 (n0885/f0742), mm.133-140; p.ZO (n0886/f0743), mm.141-149.

Q = Missing score, copied by Greinert (see references on s-p.4 & R-p.4 & 20).

R

=

Revised score pages for use by Hanke in preparing T, in ink (circa early 1930's), with memos referring toM as basic text. p.l4 ( - /f0744), rom. 89-96 Pic & Fl staves complete; Ob & Eb Cl rom. 89-90 only; above: "use my lead pencil (old score) !1Q1 copied one, for here" p.[14a] (n0849/f0745), mm.89-93a above: "(showing general plan of score for march) Mr Hanke: Use my old score (lead pencil) from here on. (have copied out places that looked especially indistinct C.E.I.)" p.[l4a, obverse], (n0850/f0746), memo: "Mr. Hanke- in this please go by enclosed- & not scoring in old lead pencil score. The changes are mostly only [for in]clussion in Strings & Bells." p.20 (n0853/f0747), mm.141·145 [correctly p.20] -

strings staves are cut off; above:

"(This is a better copy of my p. 16

lead pencil score (don't use Greinert copy after first part."

p.20[a] (n0854/f0748), mm.144-149

low string staves are cut off; above: "Mr. Hanke: If you have papers

with enough lines, or can get, I think it might be well on last pages (#20) to have separate staves for the Eng. H. & Strings playing the refrain something like this-" t

First attempt at full ink score copied by Emil Hanke; much edited and revised by Ives; Ives used t to break the .long 10 & 12-beat measures into 3's & 4's etc., then marking M to correspond; only one leaf extant. p.l (n0851/f0749), mm.S-7 mm.l-4 are cut off; above:" ... go over (ex. Viol. (shadow part) with Green ink see my copy make extra staff for optional parts in copy"; below: "[ret]um to Chas E. Ives 37 Liberty St. NY" p.2 (n0852/f0750), mm.8-lla, following measures cut off.

T

Second full ink score copied by Emil Hanke, with careful addenda by Ives (mostly of dynamic and accent markings); title (ilt bottom of p.28): "2nd Movement -·-'Decoration Day' in a Set of Pieces for Orchestra -· 'Holidays in a Connecticut Town' Chas. E. lves.

46 Cedar St. New York, N.Y."

p.l-28 (Q4167-94/f0751-80), mm.l-149 (including m.36a) p.29 (Q4195/- ), postface & four footnotes for music Typed page [a] ( -/f0779}, postface, text crossed out; differing slightly with p.29 text; title:

"'Decoration

Day' [crossed out and mistakenly changed to:] 'Washington Birthday"'; below: "(2nd Mov:ement from a set of pieces for orchestra 'New England Holidays in the early eighties'.)"

Typed page [b] ( -

/f0780), postface, practically identical with

p~29

text (but without footnotes to music);

.below: "(2nd Movement'from a set of 4 pieces for orchestra 'Holidays in a Connecticut Country town".

37

CRITICAL COMMENTARY Pc Fl Ob EH Cl Bn Ww Hn Tp Tb Tu

=

= =

Dr Bl Tm Vnl Vn1/a

piccolo flute oboe English horn clarinet bassoon woodwinds horn trumpet trombone tuba

Vn2 Vns ExVn Va Vc

=

=

drums bells timpani 1st violin 1st violin, upper group 2nd violin violins extra violin viola cello

Db Str Comp Orch Dyn 3. )l

=¡

=

l.b Lh/Rh Reh

double bass strings composition orchestration dynamics 3rd eighth-note or value (etc,) 1st beat (etc.) left/right-hand or staff rehearsal letter

Pitches are designated in italics: CC (the lowest C on the piano), C, c, c1 ("middle" C), c2 , c3 , c4 , c5 (the highest pitch on the piano); all pitches are referred to at concert (sounding) pitch. Chord pitches are grouped by the + sign, spelled from bottom up. For linear strands, pitches are connected by a dash. bar 1 Tempo: .sS have "very slowly"; M has "Slowly"; T as here, with "(Moho Largo)".

2-3

Str: Tie across barline appears only in T.

3

ExVn: MT lack "sord."marking; memosonMat37 andonr2 at lOconfirm the obvious, that ExVn is''sord." throughout.

4

Str, 1. b: Fermata appears only in T.

5

Vn2, last

5

Tempo: On T lves added "Running between 80-84 92= )l ?"[crossed out], and "poco rit." above 6-7.

6

Vnl, 3. )l : tT lack "ten."; SM have it; s has " piu ten" above 3-6. )l (perhaps meant for 6. )l ?); x 1 has nothing.

7

Tempo: "poco piu moto" added by lves on t; S has "piu animando, faster not louder"; sM have nothing.

8

Vn1: S has decresc. wedge [used here].

8-9

Ob: Mt have this line doubled by Cll, crossed out on t.

9

Va, Vc: M has "piu cresc .... " above 1-2. b, (lves's switching of poco for piu is common and as here is silently corrected).

11

Va/a, 8-10. )l: r 2 has d1 )l -e 1

12

Comp: M has memo over meter "can be made 5/4".

13

ExVn: r 2 has this in Vn1 with ExVn 1/2tone lower; SMT as here, M was altered to agree with r 2 then changed back.

16

Vnl, 1.

)l.:

x 1sMT lack dot; St have it.

J

J (like a shadow to Vn2/a); SMT as here.

17

Jl: ~has db 1 ; sSMT as here.

Va, 5-7. J : M slurs 5-6. J as here (matching with Vns); ST slur 5-7. J .

18

Bn1: S has A minor chord withd# {& G# ) added later; Mappears tohavec# ; TfollowsM butd# [as here] seems correct.

19

Str: M has mp, then changed to mf except in Vc [error?, perpetuated in T, but corrected here].

20

Vnl, 5-8.

21

Hn, 4. )l: S has b [as here]; MT have a [error].

21

ExVn, 3-4.

21

Va:

22

Dyn, 4. )l: S has mf for Vn1 & Vc, p for Vn2 & Va.

22

Tp, 5.

Jl:

S slurs 2 & 2; MT slur4 together.

J : SM have J J ; T has J [as here].

T originally had Va/a 3. J a# 1 and Va/b 2. J e1,

23

)l: M has g [error]; T has a [as here].

Va/b, 2. )l : On T lves added c2 J

23

Vn2/a: T has 1.

Jl,c [error]; SM as here.

Tie of 4-5.

then altered by lves as here.

Jl and accents on 1-2. il: from S.

38 24

Bn2, 5. )\: T has c1 [error].

24

Hn, 3.

25

Dyn, 1. b: This sudden drop in dynamics appears only in T; Fl is marked f [error?]; SM have [f]

25

ExVn, 5. )\: M has b tied to 26,l.b (apparently purposefully omitted in T).

28

Tempo: T also has "with more animation" above Str staves.

29

Tempo: S has "slower" on 2. )\ , "hold back" under 2.b.

30

Tempo: M,has "(with a little more animation)".

31

Dyn: T has cresc. wedge under Fl3-4.b; S has general cresc. 30-32; M has nothing in 31-32.

32

Bn 1 & Va/a: S has c ~ 1 in parens; M has t ~ 1 in Bn 1 crossed out in favor of Bn2 b ; T has only b in Bn but changed by Ives to c q1 , and c1 added in Va/a.

32

Vn1, 1-2.

33

Dyn: T has decresc. wedge above Fl2-4.b, and same above Str 4-8. )) [used here as "decresc." in Ww, Str & Tb].

33

Bn1, last )\: T has flat forb; no other source supports this anomaly [omitted here].

33

Vc, Db, 1-2. b: T mistakenly retains an earlier version seen on p 2 ; M shows that Vc & Db should agree with new version in Bn & Tb; S is altered to agree with M.

34

Comp: M memo has "can be 3/4" and indication that last )) could be

34

Db: T has area

36

Tempo: S has "gradually slower and lighter".

36a

Comp: This meas. must have been added tot or the missing Greinert copy.

37

Tempo: S has "(evenly and quietly."; M has "a little faster (about 80=

37

Fl: T Dyn is p; M has pp (twice) [used here].

37

ExVn: M has "from here to End 1 V[iolin] Sor[dino] takes Shadow part 1/7 below ... "

38

Vn2, Va, 4.b: M has "(senza sordini)" here, while T has same at 37, l.b (impractical for Vn2). [Here it seems best also to keep Va muted in 38, then "senza" with Vn2].

39

Hn: M Dyn was mp, changed to mf; lves entered pp on T.

39

Bl: Only T shows Bl entering here; SM begin Blat 54. lves must have revised this part on

39

ExVn: s has "etc shadow part", revealing that this line was planned even before the orchestral conception.

40

Vn2 /a, 4-5. )\ : T has f2 [error]; M has d2 [as here].

41

Fl, Cl: M has Dyn as f.

41

Vn1: At the 1920 orchestral reading lves marked on M "too heavy".

42

Str, 4.

42

Vn1, 3.

43

Tp, 3.b: M has same figure shifted )., earlier, apparently changed on t.

43

ExVn, S-6. )) : T has

45

V ns, Va, 6-7. )) : M has

46

Hn1 & 2, 8.

J : T has cresc.

iJ:

ll:

wedge shown nowhere else [omitted here].

===-

MT have no slur [as here]; S has it [given here as option].

J

J on 2. )\ perhaps due to a misreading of M. J )"; T as here.

t

or missing Greinert copy.

MT have decresc. wedge only above Vn2/b; S implies that it applies to all parts [as here].

,h : M has "piu ten."; T has

)1:

;. [probably as misreading of > on tor Greinert score].

J"T , probably an error [adjusted here to agree with Vns & Va].

n ,apparently changed on R or t.

T has d1 [error]; SM have c1 [as here].

4 7-53 Cl 1 & 2: M has this in Ob, then crossed out and entered in Cl with memo "use l clars, no oboe".

SO

Cl, 3.b: SMT have e ~ 2 , but changed by lves on T toe q2 [as here].

54

Tempo: s has"

54

Tm: M has both A and Eon l.bwith memo "(It makes little difference what note the tymplays." AlsoonM (in Hanke's hand) is "B.Dr Tymp", possibly indicating a decision to have both.

J

70 to 80"; S has "(very slowly) and evenly) (about 80=

J )".

39 54

ExVn, Bl: S has "bell G #Aqp to march"~ M has memos: "a piano or very light bells may play with S[hadow] P[art] Viol[ in] from here on", "(Shadow again, better for bell or piano)". Since the Bl entrance is extended back to 39 [see 39 Bl], it seems right that the ExVn join Bl as soon as the ExVn part ceases being a separate line at 47.

54

Db: M Dyn is p with memos made at the 1920 orchestral reading: "Bassoon [instead of] trombone", "lean out or play softer, brass cover up Bass parr", "use only top [hom] here unless an unusually large number in Strings".

55

Fl2, 2.

56

Fls, 3.b: T has grace note g P1 [error?]; r 1M have b ~ 1 [as here].

)l : T has fq 2

[error]; r 1M have

f.

2

[as here].

56-59 & 63-64 Bl: s has "Bells ring" and "bells must never strike on beats", with three experimental phrases - the most comprehensible are: ~-7-~~--7-~ ~---

56

X WD ( ) ~r CJ!rqr '1 1 ~rqr 1qr "r ft [1

2

3

4

I

2

3

4

I

2

3

4

I

2

3 4

bells [7]

60

Fls, l.b: T has grace note g ~ 1 [error?]; x 1M have b~ 1 [as here].

61

Vc , Db: T has both trem. and tr -

64

Vn1 & 2, 4.b: At the 1920 orchestral reading lves marked on M "too loud".

65

Vn1, 3.b: Same as above.

66

Vn2b: Only T shows this inner line (original notation): 2-3.b altered here to more precise notation.

, latter is misreading of M trem

[beats: I

[thus omitted here].

2

3

4]

' J&J. jJ&J i¡~&JjJ I ~

66-67 Str: MT are careless and inconsistent in positioning the-=:::::::

~

::::::::=-- ; r 1 placement is used here.

J'l : T has d1 while r 1M have only b; since lves added so much toT in 66-67 the d1 is retained here.

67

Vn2/a, 1.

68

Tempo: S has "[slower?] from here".

68

Tm: M shows that lves rejected a second thought to change here to c.

69

Db, 3-4.b: s has trem. on A with lower line, similar to here, starting down from E (in )Is); Sis almost identical (moving in~. s as here); M transposes )j figure to A (identical to here) with trem.on c. Later on M lves added e (trem.), with "E" written above and o e in 71 (empty meas. marked'/.). lves may have intended e to replace c; T has both [as here].

74-81 Tp: Although s has F. major key, as in later sources, s also has alternate sketch of tune in E, worked out on p 1 in G maj. with quote of "Nearer". At the 1920 orchestral reading lves marked on M "off stage!!" and "pppppppp".

75

Tempo: T has "Slower"; M has "very slowly" [better].

75

Tp, 4.b: S has "oboe, or trumpet in distance".

75

Tm: On M lves added

75

Vns, Va: At the 1920 orchestral reading lves added on M "strings not distinct (1/2 V. oct. high[er]?)" and wrote out optional Str scoring for 75 "etc" labeled "try" and "or just play Ill V in octaves" [as in T and here].

79

Tp: MT have slur but on M lves crossed out the only other slur in "Taps'' (75, 4.b-76, l.b). "Taps" may sound more characteristic without 79 slur.

79

Vn2, 4.b: Although c. 1 is expected here, SMT agree on

80

Va: M has memo at 4. ), "no acts, stop" implying that 2. ), should have upper oct. lacking in T [added here].

81

ExVn, Bl: M has "two V's continue with light bell"; this is in addition to the two trem. lines for Ex(2)Vns.

p#

with "or cq. ".

d.

1

[as here].

83-84 Camp: s has memo "(omit meas. [83-84]?)".

85-88 Tm: T has c, either by accidental switch of spaces or as a plan of rising pitch with the rising excitement.

89

Dr: M h~s "from here on no tym", "Snare, Bass Dr., and Cymbal (no Typany )"; R has "Typ, SO" playing top line together; on T lves relabelled SnDr line "Tym" and added "(a Sn.Dr. may play with Typ)". MR dyn is p.

40 90

Pc, Fl1, 2.b: T has last )\ as rest and no tie over to 91; sSMR are as here.

90

Pc, F!l, Obs, Cis, Vns, Va, 2.b: x 2 S have fz [good for 94 & 102, 2.b]; sR have nothing; MT have accent only.

102

Tb1 & 2, Vc, 3. )'!: S hasd 1 ; Mhasd 1 in Tb andd~ 1 in Vc (but changed toaq 1); T the ~was added on t or the Greinert score.

hasd~ 1 in both parts [as here]. Apparently

104

Tp3: The only mention of an extra trumpet is in the orchestrational margin ofTp1 where "or III" is neatly added for the "II" line.

105

Tp, Str: At the 1920 orchestral reading Ives wrote on M "not heard" over Strand crossed out the Tp1 octave (adding "firmly & clearly, but not too loudly"). If Str section has adequate strength, brass need not hold back here.

118

Vn2/a, 4. )\ : MT have accent [omitted here].

121

Reh: S has reh. letter "M" here [better]; MT have letter moved to 11 7.

121

Bns, Hn4, Tbl, Va, Vc, Db: At the 1920 orchestral reading Ives marked on M "use more bass here" and sketched the addition ofTbl to the others; on T Ives added mf on 2.b (except brass).

128

Ob, 1.

129

E b Cl: M has "add E b " .

135

Pc, Fll, 1.

135

Fl2, l.b: On T lves added the strange# for l.

136

Comp: sSM have l.b C + c; on M (where the pitches appear in Db & Bn), the Db pitch is crossed out with [related?] memo "BP ". Here the C is restored to Db as pizz.

136

Reh: S has reh. letter "N" here [better]; MT have letter moved to 133.

Ji : T lacks # for d3 ; M as here. )'! : T has grace note i

[error]; SM have f [as here].

136-13 7 Fl2, Ob2: M has memo "use 2 V[iolin] S[ord] only (play if there be a large number of strings, not otherwise".

136-137 Dr: On M Ives crossed out Dr, then restored by memo "use".

138

Fl2, 2.b: M has notes [used here] which do not appear in T (which has Fl2 double Ob2).

139

Pc, 1. )'!: This lone "mistake" pitch is not marked pinT; SM have p. T omission may be purposeful since in many halls the pitch would be "swallowed" by acoustic smear unless played loudly [therefore here the pis shown only in parens].

139

E PCl, 3.

144

E.Hn: At the 1920 orchestral reading Ives must have been quite disappointed that the E.Hn could not play ppp. This generated the notion of off-stage E.Hn and on-stage options marked on M "(better for violin)", "(key this in also for Viola, Eng H. may be too loud)". OnM the line is actually pencilled on Vn1line "one Sr [i.e., sord. ]"; this latter option is carried out here since it is better than the confusing appearance on T of a transposed and non-transposed line together on E.Hn staff.

145

Bl: T has l.b as ~. ; R as here.

146

Tempo: S has"(veryslowly&quietly, as in beginning)";Mhas "very slowly (as in beginning)" [used here]; RThave"Largo molto".

147

Vn2, last

148

Tempo: M has "(very slowly)"; RT have "Slower" [as here].

148

Vn1, 3.

)l:

148

Vnl, 6.

J'l : S has tie over into 149 fermata; MR have dot above [used here]; T lacks dot. R has "poco ten." [used here].

149

Bl, Va: S has "echo, ppppppp" and dot above each g1 [used here] making clear the "echo" of"Taps"; RT lack dot above 2. )1 . RT have dot above 9. )1 [omitted here to avoid confusion of whether to cut off or rearticulate].

)l:

T has[# 2 [error?]-surely

i

or b2 [as here] was intended.

I':\

)l : T lacks dot; SMR have it.

S has "ten"; M has "piu ten"; RT have nothing.