Ives - Ragtime Dances

Critical Edition

Set of Four Ragtime Dances for theater orchestra

Charles E. Ives Edited by James B. Sinclair

Peer International Corporation Peer Musikverlag GmbH

CONTENTS Ragtime Ragtime Ragtime Ragtime

Dance Dance Dance Dance

No. No. No. No.

1 2 3 4

p.

1

p. 23 p. 41 p. 63

Total duration: ca. 10:45 No. No. No. No.

1: 2: 3: 4:

ca. ca. ca. ca.

3:30 2:00 2:30 2:45

Premiere performances for the Four Ragtime Dances were given in New Haven, Connecticut, James B. Sinclair conducting: No. 1 on April 22, 1976 (Chamber Orchestra of New England), No. 2 on October 21, 1974 (Yale Theater Orchestra), No. 3 on February 25, 1976 (Chamber Orchestra of New England), and No. 4 on October 21, 1974 (Yale Theater Orchestra).

Performance material available on rental from the publisher.

This edition has the approval of the Charles Ives Society, Inc., which is furthering and supporting the preparation of critical editions, both new and revised, of the music of Charles Ives. The work of the Society has been made possible by grants from the American Academy and Institute of Arts and Letters, and a generous bequest from the late Wladimir and Rhoda Lakond.

11

PREFACE

During the late 1800s the ragtime idiom migrated from

Connecticut State Fair (held on the fairgrounds at Danbury)

southern black communities and southwestern honky-tonks

by the "tent band" for which it was written. At the top of

through the blackface minstrel shows to the vaudeville stage.

one experimental sketch page (microfilm frame f2442 in the

In the 1890s, with the publication of ragtime songs ("coon

list of such pages given below), Ives cites another tryout -

songs") such as Joseph Howard and Ida Emerson's Hello!

apparently of both Ragtime Dance No. 1 and No. 2 (or of

Ma Baby and piano rags such as Scott Joplin's Maple Leaf

the whole set?) - at the Hyperion Theater on 21 May 1904.

Rag, ragtime became a national craze. These were the years

He also told, much later, of another reading of at least parts

when Charles Ives was a Yale University student; when the

of Ragtime Dance No. 1 and No. 3:

ragtime craze swept the campus, he quite naturally embraced Joseph Reutershan ( ... it must have been some-

the idiom in his improvisation and composition. Two decades

where between 1903 and 1906) got the afternoon

later, in the "Epilogue" of his book Essays Before a Sonata

orchestra playing at Keith's Theater, then in 14th

(1920), he reflected appreciatively on the present and poten-

Street, to play some of those small-orchestra ragtime

tial future of ragtime:

dances. (As I remember, this was a part of the second movement of the Second Orchestral Set, and

[Ragtime] is an idiom, perhaps a "set or series of

also a part of the movement of the Theatre Orchestra

colloquialisms," similar to those that have added

Set and the First Piano Sonata.3

through centuries and through natural means some beauty to all languages ... Ragtime, as we hear it, Already by then, however, the music of the Ragtime

is, of course, more (but not much more) than a natural dogma of shifted accents, or a mixture of

Dances was feeding into various other works, and it was to

shifted and minus accents . . . Ragtime has its possi-

these that Ives turned his attention, setting aside the source

bilities ... Perhap~ we know it now as an ore before

compositions here published for the first time. The works

it has been refined into a product. It may be one

that grew from, or borrowed from, the ragtime sketches in-

of nature's ways of giving art raw material. Time

cluded: in September 1902 Drum Corps or Scujfie, for piano

will throw its vices away and weld its virtues into

duet, and the Skit for Danbury Fair (both quoting Ragtime

the fabric of our music.1

Dance No. 2); also in 1902 the rejected scherzo of the PreThe earliest date mentioned among the manuscript

First Violin Sonata, which went into the "In the Barn" move-

sources of lves's ragtime pieces is 1899; by 1902 he had

ment of the Second Violin Sonata; in 1903 "Country Band"

sketched at least nine rag-related works; in his Memos he

March (quoting Ragtime Dance No. 1 in mm. 170-73 and

recalled there being "about a dozen. " 2 A complete pencil

owing much to ragtime throughout); in 1905 the rag section

sketch of the present set of Four Ragtime Dances (or Pieces;

of the Three-Page Sonata for piano; in 1906 the"In the Inn"

Ives never settled finally on the title) was finished on 14 July

movement of the Set for Theatre or Chamber Orchestra (rework-

1902.

ing Ragtime Dance No. 1); in 1909 the scherzo movement of the First Piano Sonata (direct incorporation in movements

Whether Ives ever organized a complete performance

2[a] and 2[b] of Ragtime Dance No. 2 and No. 1, in move-

of the Ragtime Dances is unclear. As mentioned above, he

ment 4(b] of No. 4) and the "Rockstrewn Hills" movement

implied that there was a tryout in 1899 of Ragtime Dance

of the Second Orchestral Set (based on Ragtime Dance No.

No. 2 at the Hyperion Theater in New Haven, where he had

3, using also No. 1 and No. 2); around 1913-14 the second

spent much of his free time during the Yale years (1894-98)

movement of the Third Violin Sonata; around 1923-24 the

and where he was welcome, even after graduation, to bring

"Allegro" movement of the Three Quarter-Tone Pieces for two

in new ideas for readings. The related piece Skit for Dan-

pianos (quoting Ragtime Dance No. 1 in mm. 66-72, No.

bury Fair was probably performed during the October 1902

4 in mm. 73-86). The early ragtime materials also influenced

lll

the "Hawthorne" movement of the Second ("Concord'') Piano

"Happy Day" (Edward Rimbault) - serve as source material

Sonata, the second movement of the Fourth Symphony, several

for the "verse" sections of Ives's ragtime dances. The

of the piano studies, the Scherzo: Over the Pavements, Cen-

"Chorus" that concludes each of the dances is based on

tral Park in the Dark, and the second movement of the Third

the "chorus" - i.e., the refrain - of "I Hear Thy Welcome

Orchestral Set.

Voice" (Lewis Hartsough).4 The Four Ragtime Dances thus

The Four Ragtime Dances themselves borrow from other

embrace two very different musico-cultural spheres, secular

music: all make use of the same three hymn tunes. Two of

ragtime and sacred hymnody. As in many oflves's more am-

these -

bitious works, the four little pieces reveal the inclusiveness

"Bringing in the Sheaves" (George Minor) and

that was fundamental to his best musical thought.

GENERAL EDITORIAL REMARKS There are three principal extant sources for the Four

There must have existed other source materials now lost.

Ragtime Dances: a group of experimental sketches, a com-

The theater-orchestra and tent-band readings of ca. 1904-05

plete pencil sketch, and an incomplete ink score-sketch. All

would have required orchestral arrangements in score, and

are in the Ives Collection of the John Herrick Jackson Music

parts drawn from them. Ives implies the existence of a score

Library at Yale University. The experimental sketches are

when he writes on one page of the score-sketch for "Country

found on twelve pages dating from ca. 1899 to 1902 that

Band" March (which, as noted above, borrows from the rag-

are crowded with germinal ideas, some of which were re-

time material), "[continuing] fr~m back [of] Score ... in safe

jected. These pages can be found on Ives Collection microfilm

[at] 37 Liberty St NY ... on long score paper ... not here

frame numbers fl803, f2439, f2441-42, f2443-46, f244 7,

found[:] lost?)." According to a memo on the third page of

f2462, f3800, and f6889; (the most important of these are

the theater-orchestra score of "In the Inn," one of lves's

indicated here in boldface). The pencil sketch (microfilm

regular copyists copied out Nos. 1 and 2 in piano arrange-

frames f2450-51 for No. 2; f2452-54 for No. 1; f2455-57

ments, and Ives refers several times to four-hand piano ver-

for No. 3; and f2458-60 and f2446 for No. 4) is found in

sions (like the Drum Corps or Scuffle); but almost nothing

a sixteen-page gathering, with the note "finished July 14

from these survives. lves's reference to a version for "3

'02". It is quite clean and clear but has few orchestrational

Pianolas 1902-9" is perhaps only joking; it follows a note

indications. The ink score-sketch (microfilm frames f2464-68

on the first page of the ragtime-related movement of the Sec-

for No. 1; f2469-72 for No. 2; f2472-75 for No. 3; and

ond Orchestral Set recounting that in 1902 a conductor in

f24 7 5-80 for No. 4) is found in a twenty-four-page gather-

New York refused to perform the ragtime set: "Kaltenborn

ing; four pages are missing and others are fragmentary, leav-

... said too hard to play!" In the fall of 1911 Ives apparent-

ing Ragtime Dance No. 2 and No. 4 complete, but No. 1 and

ly reworked Ragtime Dance No. 1 (by then called "In the

No. 3 only partially - perhaps seventy percent - complete.

Inn") and No. 3 (by then "The Rockstrewn Hills"), perhaps

The ink score-sketch can be inferentially dated as about 1904;

toward the Three Ragtime Dances he mentions in Memos

Ives dated the Ragtime Dances variously as "around 1902

(p. 92); but only one leaf (pages 9-10) of this new orchestra-

and 1904," "1901-04," and "1903-4"; and he indicated,

tion is extant.

as mentioned earlier, that at least Nos. 1 and 2 - perhaps

The primary source for the present edition is the ink

also the others - were in performance condition by 21 May

score-sketch of 1904. Ives copiously revised this manuscript

1904.

in pencil in preparation for using material from it in the First

lV

Piano Sonata (1909). Very few of these revisions have been

and in "The Rockstrewn Hills" for larger orchestra (1909).

incorporated in the present edition, the editor believing that

Although little of the orchestration in those works can be

his duty should be to the Ives of 1904; the exceptions are

transferred directly to the Ragtime Dances, much can be ap-

emendations typical of Ives's rethinking during the process

plied from Ives's treatment of solo colors, contrasts, and doub-

of orchestrating a work, which are reflected in this edition

ling weights.

especially if they were not made a part of the piano-sonata

Ives's indiscriminate use of markings for accent ( >)

version. The earlier pencil sketch has been useful in com-

and martellato ( A ) is preserved here as in the ink score-

pleting passages missing from the ink score-sketch and in

sketch or as borrowed from parallel passages in other sources.

clarifying some minor ambiguities in it. The order of Ragtime

It seems clear that the "martellato" is not intended as the

Dance No. 1 and No. 2 is as found in the ink score-sketch.

exaggerated and often shortened stress it is often taken to

In both the pencil sketch and the First Piano Sonata this

indicate today, but rather as a more natural stress, as a down-

order is reversed. There are advantages to each ordering -

beat; Ives generally uses it, in fact, to show the displaced

it is not surprising that Ives was of two minds - but since

downbeat that is characteristic of ragtime rhythms.

the sonata will forever represent one of the orderings it has

All editorial additions or alterations in the present score

seemed desirable to opt in this edition for the other, which

are enclosed in square brackets, except for· editorial slurs,

is after all, that of the primary source manuscript of 1904.

ties, and crescendo or decrescendo wedges, in which a space

In realizing the orchestration of the Ragtime Dances,

appears mid-mark.

it has been helpful to supplement Ives's notations in the ink

Complete critical commentary and comparison of sources

score-sketch by comparison with his later treatment of like

for the Four Ragtime Dances is on file at the John Herrick

material in "In the Inn" in its theater-orchestra version (1906)

Jackson Music Library, Yale University, 98 Wall Street, New Haven, CT 06520. A photocopy is available upon request.

James B. Sinclair New Haven, Connecticut 1989

Notes

1. Charles Ives, Essays Before a Sonata and Other Writings, ed. Howard Boatwright (New York: W. W. Norton, 1962), p. 94. Judith Tick has dealt generally with Ives and ragtime in her article "Ragtime and the Music of Charles Ives," Current Musicology, No. 18 (1974), 105-13. 2. One source for Ragtime Dance No. 2 includes the note "Hyperion or[chestra] 1899," perhaps in reference to a tryout by the pit orchestra at the Hyperion Theater in New Haven. For Ives's estimate of the number of his ragtime pieces, see Charles E. Ives Memos, ed. John Kirkpatrick (New York: W. W. Norton, 1972), pp. 150, 155. 3. Ives Memos, p. 119. 4. Dennis Marshall discusses in some detail the role these hymns play, in his article "Charles Ives's Quotations: Manner or Substance?" Perspectives of New Music, VI/2 (Spring-Summer 1968), 45-56.

INSTRUMENTATION No. 1

No. 3

Oboe Bb Clarinet Eb Alto Saxophone Bassoon

Flute Oboe Bb Clarinet Eb Alto Saxophone Bassoon

Bb Trumpet Trombone

Bb Trumpet

F Horn

Piano Drum Set (Snare Drum, Bass Drum, opt. Sus. Cym.)

Trombone Tuba

Strings

Piano Chimes Drum Set (Snare Drum, Bass Drum, Sus. Cym.) Strings

No. 2

No. 4

Flute Bb Clarinet Bassoon or Baritone Saxophone

Flute (Piccolo) Oboe Bb Clarinet Eb Alto Saxophone

Bb Trumpet

F Horn

Bb Trumpet Trombone Tuba

Trombone Piano Drum Set (Snare Drum, Bass Drum, Sus. Cym.)

Piano Drum Set (Snare Drum, Bass Drum, Sus. Cym.)

Strings

Strings

String complement should be no larger than 6-6-4-4-2.

Editorial Note Editorial emendations in the score are enclosed within square brackets (e.g. (arco]) or are indicated by broken lines for ties, slurs, and dynamic wedges (e.g. ,,,- -..__ and -= ::::: ); these indications are not, however, reproduced in the parts.

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