Charles E.

Ives
SYMPHONY NO. 1

CRITICAL EDITION

Edited by James B. Sinclair

 Contents

Preface iv
Instrumentation viii
Score
1: Allegro 1
Il: Adagio molto 30
III: Scherzo 36
IV: Allegro molto 44
Description of Sources 84
Selected Critical Commentary 85

This edition has the approval of the Charles Ives Society, Inc.,
which is furthering and supporting the preparation of critical edi-
tions, 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 of Arts and Letters, and by a generous bequest
from the late Wladimir and Rhoda Lakond .

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Cover: Detail of a photo of Charles Ives as a student at Yale, ca. 1895.
Photo courtesy of the Irving S. Gilmore Music Library, Yale University.

.
© Copyright 1999 by Peer International Corporation
iv

PREFACE

Ives' Symphony No. 7 is the first of his nine multi-movement full orchestra works; the oth-

ers, in chronological order, are Symphonies No. 2 and No. 3, Holidays Symphony, Orchestral Sets No.

1 and No. 2, Symphony No. 4, Orchestral Set No. 3, and Universe Symphony. Only the first and last

of his symphonie works were composed expressly as such; the others are reworkings and regroup-

ings of previously composed pieces.

Symphony No. 1 is the crowning achievement of Ives' student days at Yale College

(1894-98). At the time of its composition, Ives referred to the work simply as "Symphony in D

Minor." An abstract work in the German Romantic tradition, it far outstrips in freshness of ideas Ives'

other orchestral works of the period. Though some are lost (e.g. the Down East Overture and Set of

Overtures: ln These United States), those works that survive hardly prepare us for the excellence of

the First Symphony. The Overture in G Minor (possibly from 1896, incomplete in its 291 measures)

offers little more than pretense and bombast; the Postlude in F (probably from 1896-97) is an

attractive Wagnerian imitation (at times reminiscent of Siegfried Idyl/) but shows Ives' lack of experi-

ence in orchestration. Only the German-text songs of the period, especially Feldeinsamkeit, match

the First Symphony in competence and inspiration, and only the String Quartet No. 1 rivais it in

revealing Ives' developing mastery of larger forms. Most of his other works of the Yale years contin- ."
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ued to be utilitarian, in the manner of the music from his youth in Danbury.
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Yale Thesis Submission " '"
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Ives' Symphony No. 7 was composed in part as his senior thesis at Yale, completing his for-
~,
mai study of musical composition. Horatio Parker, Yale's first professor of music, and Charles Ives, ~

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his first student, both arrived at Yale in fall 1894. Ives' father, George, had already imparted to the ~

budding composer an adequate understanding of music theory, and in Danbury the young Ives had

produced an attractive body of functional music-marches, church music, songs, and a showpiece

for organ, Variations on "America." But Parker pushed Ives forward, expanding his awareness of

compositional practice through the study of the Romantic masters, teaching him music analysis and
.*
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~V'

how to learn by imitating models. Under Parker's tutelage Ives learned orchestration and techniques

of developing mate rial in larger forms. He studied the songs of Schubert, Robert Franz, and Brahms •
and the symphonies of Beethoven, Tchaikovsky, and Dvoràk, among others. Little wonder, then, that

Ives' First Symphony has 50 many subtle relationships to works of the nineteenth century's great

composers. What is surprising is how brilliantly he rose to the challenge of producing in their mold

his first multi-movement orchestral work.

Despite some muddy recollection on Ives' part, his thesis submission seems to have been

Iimited to the second and fourth movements. On the title page of his pencil full score of the first

movement (f0041)1, Ives writes: "2nd & 4th movement (& 3rd?) accepted as part of thesis, Parker

course June 1898-not the Ist Ist movement [which was] composed over for Prof Parker (not kept)."

1 These numbers refer ta the microfilm frame number (see page 84 for details).
 v

On another memo (f0205, cited below) Ives states that only "2 mvts." were finished for Horatio

Parker ("May 1898"). But on his merno on the f1yleaf (f0204) of the copvists score of the complete

work (ca. 1908-1 0) Ives wrote, somewhat misleadingly: "Svrn D min. ft liChas E Ives 1 70 Wl1- 1

J st part copied[?] 5/1 0/1898 for Thesis (fall Terrn 1897)."

Although he did not include the first rnovernent as part of the thesis (perhaps Parker didn't

allow it), Ives composed two versions of it. In his Memos, Ives writes:

The first movement was changed. It (that is. the symphony) was supposed to be in D minor, but the
first subject [of the first movernent] went through six or eight different keys, 50 Parker made me write
another first movement. But it seemed no good to me, and 1told hirn that 1would much prefer ta use
the first draft. He smiled and let me do it, saying "But Vou must promise ta end in D minor."

Ives must have destroyed his attempt at a replacement for the first movement.

If the first movement went through major revision, the second went through rejection and

replacement. In Memos Ives relates that Parker disliked his first attempt at a slow movement because

it started in a key a half step above the tonie and built 1.0 some undignified excite ment C'the boys got

going"); Parker requested "a nice formai one." Ives must have been stung by the critieism, since the

first version shows characteristics that are trademarks of later Ives. The rejected "Largo" became the

basis for the third movement of his next symphony, and much later he recorded, at the piano, the

sketch intended for Symphony No. 7 (included in Columbia Records' 1974 album Charles Ives: The
1
1OOth Anniversary, but misidentified as "Improvisation on Themes from the Second Symphony"). lj
Dating the Composition 1

Although most of the symphony was composed during Ives' senior year at Yale (1897-98), it

apparently was not completed until 1902. Ives gives various, sometimes contradictory, dates for the 1

work. On the pencil score-sketch (f0030) of the first movement, he writes "1 st mvt 11898[-]1900 1
!i
[changed to: 1902]" and on the title page of the pencil full score (f0041) "1897 1 1899" (possibly

referring to the work as a whole). The earliest date, "May 29---1895," is on the last page (f0084) of 1

the pencil full score of the first movement. If this date is true, it may be the date of completion (per- 1

haps in sketch form) of the rejected second version of the first movement.

An undated memo (early 194057) by Ives, possibly for the Fleisher Collection at the Free
1
Library of Philadelphia or for the American Music Center, indicates that versions of some of the
music existed as early as his sophomore year:

The 2nd movement Adagio & also part of the l st Alegro [sic] was first scored for a small theater
orchestra & was played by the Hyperion orches[tra] in New Haven in the winter of l 895-96 ... ln an
organ recital in Center Ch[urch] New Haven Dec. 1895, MI'. Ives played the 2nd movement with 2 or
3 instruments as he remembers-part of the l st movement was arranged for a theater orchestra with
piano & played 2 or 3 times at the Hyperion [Theatre], New Haven, in 1896.

Ives also mentioned early versions of the second and fourth movements in a letter draft to

Godfrey Turner of Arrow Music Press, undated but probably October 1946: 'The 2nd movement &

part of the last movement were played by the Hyperion Theater Orchestra New Haven Ct., in 1897,

but with the help of a few extra players and a piano," At the end of the pencil score-sketch (fO 162)

of the last movement, Ives notes "Dec 28-1897 1 76 S[outh] M[iddle] 1 N[ew] H[aven] Ct," and on the
 q

vi

title page of the pencil full score (fO 163) "#4 IV[th movement of] 1 1st Sym 1 started Xma[s] vacation
1897 -- 1 finished May 1898 1 (4th M[vt]. 1 copied 1903 1 full parts)." For the whole work, on the fly-

leaf of the copyist's full score (f0204), Ives wrote "5110 1 1898- 1 for Thesis 1 (fall Term 1 1897-)"; on

page 1(f0205), "begun Aug 1897 1 finished May 1898 1 2 mvts. 1 Spring Term 1 HWP [Horatio W.

Parker]"; and on the last page (f0352), "Finis May 1898" (which may have originally been "Finis

1897)." The symphony as we know it exists in a copyist's ink score from around 1908-10. At least
one other ink score-now lost--was produced by the copyist Greinert.

Early Performances
Besides the readings of early versions mentioned above, Walter Damrosch and the New York
Symphony read through the last three movements on 19 March 1910. Ives recalled in Memos (p. 86)
that the first movement "was not shown to Wally, as it went into several different keys, and it had
not been favorably received by Professor Parker"; of the movements conducted by Damrosch, he
recounted (Memos, p. 51):

Damrosch tried them over at a rehearsal. "Tried" is a good word. He started with the second move-
ment (adagio), an English horn tune over chords in the strings. (When he heard the pretty little theme
and the nice chords) he called out "Charrninq!" When the second themes got going together, and the
music got a little more involved (but not very involved), he acted somewhat put out, got mad, and said
it coul[dn't] be played without a great deal of rehearsing.

But Ives added (Memos, p. 87) that after playing ail three movements, Damrosch "turned to
Mrs. Ives and said, 'This instrumentation is remarkable, and the workmanship is admirable."

Premiere and First Recording

Inquiries about the availability of performance materials for the First Symphony emerged in
the 19405. The Chicago Symphony Orchestra asked about the orchestral parts in 1942, and a few

years later Efrem Kurtz wanted to do the work in Kansas City and elsewhere. But, des pite an offer

from Ives to pay for the American Music Center to have the parts extracted, the job was not corn-
pleted. Finally, the Fleisher Collection produced a set of parts, and on 26 April 1953 Richard Baies

led the National Gallery Orchestra in the first performance, in the opening concert of the Tenth

American Music Festival, given in the West Garden Court of the National Gallery of Art, Washington,
D.C. The First Symphony was the last of Ives' numbered symphonies to receive its premiere.

Morton Gould conducted the first recording of the work, with the Chicago Symphony
Orchestra, on 5 November 1966. It was issued in the same year by RCA Victor. Ives had recorded his
piano performance of the rejected second movement on 11 May 1938 at the Melophone Recording

Co. in New York City, and it was issued by Columbia Records in 1974 as part of a flve-record set
marking the centenary of Ives' birth.

Relation to Other Music

Ives used pre-existing music in two ways: first (especially in his earlier compositions), he mod-
eled whole movements on the form, key sequence, and compositional procedures of works by other

composers; and second, he borrowed the melodic outline of a hymn tune or popular tune of his day,
sometimes because of its extramusical significance for Ives.
 vii

The first and second symphonies of Ives are modeled significantly on musical masterpieces
of the nineteenth century. For the general characteristics of his first symphony Ives looked to the

most recent symphony by Antonin Dvorak, the Symphony in E Minor ("From the New World") (1893).

ln 1892-95, Dvorak served as director of the National Conservatory in New York City, and his pres-

ence captivated the American musical establishment. In Ali Made of Tunes (Yale University Press,

1995), a study of Ives' uses of musical borrowing, J. Peter Burkholder writes of the debt of Ives' First
K+e Symphony to the Dvorak work: "Particularly important are the devices that Ives borrows. Cyclic forrn,

K+~ diminution or augmentation of themes, and contrapuntal combination of themes from one or several

J; movements or of a the me with itself in diminution are ail procedures in Dvorak's symphony that Ives

uses prominently in his own, sometimes at much greater length." The debt of Ives' slow movernent

to the Largo of the "New World" Symphony is particularly evident in the final scoring of the first

the me for English horn and strings and in other subtleties. Perhaps until Parker stepped in, Ives had
intended to avoid the obvious relationship to the Dvorak work by pitching the melody an octave
higher (for unnamed instruments).

Burkholder cites the following works as influential models for each rnovernent:
Movement 1: Dvorak, Symphony No. 9/i; Schubert, Symphony No. 81i.
Movement 2: Dvorak, Symphony No. 9/ii.
Movement 3: Beethoven, Symphony No. 9/ii.
Movement 4: Tchaikovsky, Symphony No. 6/iii; Dvorak, Symphony No.9/iv.

The first theme of the first movement may be based on an early version (ca. 1895) of the

song On Judges' Walk; more likely the song derives From the symphony's theme. The fourth move-

ment apparently owes something to an earlier work; in a draft of a letter (apparently soon after 14

October 1946) to Godfrey Turner of Arrow Music Press, Ives writes (referring to a lost work that may

have been performed by George Ives' band): 'The march the me in the last movement was composed
& partly played in 1892 though not quite as it is."

Unlike the subsequent symphonies, the First Symphony "borrows" only slightly From extant
music. The first movement's first theme is subtly based on the hymn tune The Shining Shore, with

just a whiff of motivic reference to another hymn tune, Beulah Land. The second movement's first

theme thoroughly, if secretly, paraphrases the famous theme From the second movement (mm. 7-18)

of Dvorak's Symphony No. 9. The fourth movement (in mm. 330-39) more obviously echoes charac-

teristic excitements in the third movement (mm. 71-73, 221-32) of Tchaikovsky's Symphony No. 6.

A few years after its completion, Ives worked a theme From the fourth-movement coda (mm. 336-41)

into the second movement (Rough and Ready et al., mm. 23-38) of Set of Five Take-Offs for piano.

Publication
Symphony No. 1 was first published by Peer International Corp. in 1971 in an edition by
Roque Cordero (uncredited), who based his editing solely on the copyist's ink score. For this Ives

Society critical edition, 1 consulted ail extant sources, which are identified following the score. A
selected commentary follows the score in this publication.

James B. Sinclair, New Haven, Conn., August 1998

viii

Instrumentation

2 Flutes (optional fi 3 in mvt. 1)

2 Oboes (2nd doubling English Horn)
2 Clarinets in B~ and A
2 Bassoons
Contrabassoon (optional)

4 Horns in F
2 Trumpets in B~, A, F and 0
3 Trombones
Tuba

Ti mpan i (optional percussion: snare drum, bass drum and cymbals in mvt. IV)

Violins 1
Violins 2
Violas
Violoncellos
Contrabasses

Duration: 37 minutes

CONCERNING THIS EDITION

ln its many inconsistencies of detail, Ives's early score reveals his inexperience at
editing his own music. This edition does not venture to resolve the inconsistencies in
articulation and slurring, either among instrumental parts or among restatements of
earlier material in the same part: they are retained here so that the reader can see ail
of Ives's thoughts just as he left them. But, to facilitate rehearsal and performance,
the inconsistencies have been attended to in the rentai score and parts. Thus there
are a number of differences between the rentai materials and this score. A suggested
set of bowings is supplied in the rentai score.

The editor is responsible for ail matter contained in square brackets; editorial slurs
and wedges are marked with slashes. The parts do not show the editorial brackets. In
movement IV the cue-slzed notes (e.g. mm. 75-78, violins) reveal Ives's original
intentions, which do not appear in the later copyist score N.
 SYMPHONY NO. 1
CHARLES E. IVES
(1897-1898)
1. Edited by James B. Sinclair

Allegro (con moto)

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1380826 © Copyright 197 l , 1999 by Peer International Corporation

International Copyright Secured Printed in U.s.A.
Ali Rights Reserved Including the Right of Public Performance for Profit
'WARNINGI Any person who copies or arranges ail or part of the words or music of this musical composition
shall be Iiable to an action for Injunctton. damages and profits under the United States Copyright Law."
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2
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Tlrnp.
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Fis.
1
2
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Obs.
1
2
It!
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dim,
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P
h,J
2
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2
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tJ

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1 :
2

1
3
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2
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16

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Obs.
2 ,. _..
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286 [aZ] [Q] ----.-~_:Ji ----------...

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Obs. 2
1

..,
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-, [solo]
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'

B~ Clara. 1
2
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2
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2
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2
1
tJ r-
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B' Clars ,
1 " Il
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2
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Obs , l
Z

l
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2

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f'
cresc.
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mp cresc,
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2
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1
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20

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 23

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36

III.

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... .. ,. ---'l'--9'-4'"
<s:>
- .

Fis.

Obs.

A Clars. 1
2

Bnsn. I
2
[ff}
Cbsn.

F Hns.

~
D T'rpts , 1
2

a2 . .
1'rbns.

Tuba
l3~
Timp.

.;::--.. .~

[.ft}

IffJ
 81

--
li';' ~ ~ A ... ff

l'
;. A I.~

#! -01
--
s.
ff
-
~
1
2
fJ
.
3
4
fJ

D Trpts. 1 _. -
---- --

;r
2
!t!

Trbns.

Tuha

TImp. -
1
flil -1 1
~;. A ~A "- - ~ ...---...

lA
-
1/.. 1",,- v -----
Vf -L. -L.....-h..

Vf- - - -
r ~ v
II.~ ~ A ~ /

p. V U""-"iOl --- ........ .....-

~! bi ;.
---~
LA

V 'Ii Iff
IL ....
.l.l_ -FI

If

~9<le Ê ~ f-~
DD
~-P f-7t: Ê ~€ f=
---------
f: • . ~.. ~f:.~EtE
1 -

--
FIs.

-
2
tif·
... - . -~- •r:'>: - .-'- •rt:-:

--r-:«:» ..
------ -
-
Obs. 1
2
t! T -..::.;.;;..-- = r ~
...,...
· .(2..
---'-- ..L --1-... -+-.. .-t;:-.
~f==t: =,.: - ~-

---
-L

---- --
1 hl'--l.--l'
A Clars. 2
It!
-r !: ,li.. . 1
1

1 ,li. . 1 1
• - 1
1
1
• 1 1
Bsns . 1 :

- ..
-- ... ...
2
!9=" 1 1 1 1 1
1
: • ---..... • .
Cbsn.
,
~I 1 1 1 ,
1
2
... . ... •
FHns.
{· - il :il: -d-

- 'fJ
.~ =
:;
~ r ~r-
~~ r 'r- ~p
· ---
D Trpts.
~ fJ
r
~-

1 - _
-

4-
~
1'::"'-
"8-
- _ .a. ! -
~
1
2
Trbns. ,
3
Tuba --

:
1
1 r r 1 T r 1
Tirnp.
If If' li' , If If' , If If'

- ~t!: ..Q..
. .Q.
-
-
• JI JI

:~ ---
i -
VIns.
-i)

• li
- -L. - ~~ -
fi'
.li
- II'
...

Vias.
If
.J
1

...........
.> _ ...-JI.
- If

- If'

.,.

Vies. : - - -- ~

':la. A
'1'
.fl- .
'1' II'
A
'!"
.fl-
if

-
'1'

Cbs ,
areo .If/. -
If
,li.. . If'

... lf .....
82

A Clars.

Bsns.

Cbsn.

Flins.

DT/·pts.

Trbns.

Tuba
't:r
rr
Timp.
.. p

div.:~ runis.l
VIns.

Vias.
_
..
~
.
..-
VIes.
»:
Cbs , 9-

ff
---...-----

D T'rpta.

Trbns.

Tuba

Timp.

Vins.
84

DESCRIPTION OF SOURCES
Numbers in petenthesis preceded by 'T' refer ta microfilm frame numbers in the Ives Collection
at Yale Unlversitv's Irving S. Cilmore Music Library.

51 := Pencil outline sketch for mvt. i, 1 p. (fOOO 1), at end "go by first score p - 2 meas / & send
back-76 50. Middle" and patch, 1 p. (f6558).
52:= Pencil sketch of opening theme for mvt. i (mm. 1-8), 1 p. (f6422) and patch, 1 p. (f6558).

53:= Two rejected opening themes for mvt. iii: 8 mm., 1 p. (fOl 02); 15 mm., 1 p. (f6422).

54:= Mise. pencil sketches for mvt. iv (bottom 6 staves tom off), in 2-stave systems, 4 pp. (fO127-
30), mm. 29ff, 116ff, 290ff, & 336-72.
51 := Fragment of early pencil score-sketch of mvt. iv (bottom 6 staves tom off), in 5-stave sys-
tems, 103 mm. extant with large gaps in continuity, 8 pp. (f0131-38), mm. 1-19, 30-45, 52-
64,75-88,219-27,319-24,376-85, & 392-94ff.

52:= Pencil score-sketch, in 3- to 7-stave systems.

l: t.p. (f3084), "ç; ~ 1\l~S éS Cent Par West ~~ C E Ives / 70 W 11 / 1st movement / 1"; 29
pp. (f0002-30), at bottom of p. 10 "from X [m.2 55] copy for M Guilforth [?] - & return to
76 50. Middle. YC [Yale Campus]." on last p. "Schtet [sic] / 1st 5ym / 1st mvt / 1898[-
]1900 [changed to: 1902]."
ii: 6 pp. (f0085-89, 0091).
iii: 4 pp. (fOl 03-06), headed "Scherzo Zebra Efranichgradich." (A short score in ink may have
existed: see p below).
iv: t.p. (f0139) "76 Soluthl M[iddle] / copy (see score in safe) / IV / After ink copy / eut
down and paste at end / of Book"; 23 pp. (f0140-62), at end "Dec 28-1897 / 76 5 M /
N[ew] H[avèn] Ct."

p := Peneil patehes for 52, in 2- to 4-stave systems.

i: 10 pp. (f0031-40, 6422), mm. 102-112 ["10 meas p 4 (II theme Expos)"], 119-20, 171-
74 (rej.), 180-81, 196-229,201 ff, 204-28, 249-56,441,484-500, & 508-09.
ii: 2 p., mm. 1-8 (rej.), 39-40 & 67ff (f0090, 0092).
iii: 5 p., mm. 38-41, 38-56, 38-57,111-54, & 132-42 (fOl 07-11); f0111, in ink in 3-stave
systems, may be the lone surviving section of a complete score-sketch, or arr. for key-
board, rather than a patch.
M := Ives' pencil full score, in 16-stave systems, ail instruments at concert pitch using only treble
and bass clefs.
i: t.p. (f0041) "c E Ives / 70 W 11 / #1 5ym D min / 1897[-] 1899 / 2nd and 4th movement
(& 3rd1) / aceepted as part of Thesis, Parker course / June 1898-not the 1st / 1st move-
ment eomposed over / for Prof. Parker. / (not kept)"; 43 pp. (f0042-84), at end "Finished
76 50. Middle YALE Il [recte l, or else Ives' "1895" is a year too early] [with a smiley face]
/ May 29-1895."
ii: 9 pp. (f0093 c 101), only pp. 2, 4-7, 9-11 and 13 extant.
iii: t.p, (f0112) "c E Ives / 70 W 11 st / NY / Schirrners 75th St Mr. Schlrmer / 3663-John
445 Chelsea [Italie typeface, not in Ives' hand]/ C E Ives / 70 W 11 / III"; 14 pp. (f0113-
26), headed "copy from old score, Danbury [...1]."
iv: t.p. (f0163) "#4 IV / 1st 5ym / started Xma[s] vacation 1897- / finished May 1898 / (4th
M. / copied 1903 / full parts)"; 40 pp. (f0164-203), mm. 1-164 & 217-414 (originally 44
pp. whose pp. 18-21 [mm. 165-216] were left blank and later used elsewhere).
N := Ink score by Copyist 4 (c1908-1 0), with pencil addenda by Ives, some inked in by the copy-
ist, l ê-stave systems, new pagination for each rnvt., bound in black calf (transpositions: CI in
B~, Hn in F, Tpt in B~).
flyleaf (f0204): "Svm, 0 min. #1. / Chas E. Ives / 70 W. 11- / 1st part copied - 5/10 / 1898-
/ for Thesis / (fall Term / 1897- )."
i: 54 pp. (f0205-58), headed "5ymphony in 0 minor 1./ begun Aug 1897 / finished May
1898 / 5pring Term / H[oratio] W[illiam] P[arker]."
ii: 12 pp. (f0259-70), headed "Chas E. Ives 1898" [inked over erasures].
iii: 16 pp. f0271-86), headed "Chas E. Ives 70 W 11.''
iv: 66 pp. (f0287-352), headed "Chas E. Ives / 76 50 Mi[ddle] 70 W 11 If; at end "Finis;;;; May
1898" [originally "Finis 1897"1].
 85

5ElECTED CRITICAl COMMENTARY

fOlh')Wi/1g notes are selected for their relevance ta performance considerations. The full commentarv is available for study at the
University Music iibrarv, New Haven and for purchase from the publlsher. Ali pitches are cited at concert (soundinq) pitch.
are desiqnated in italics: CC (the lowest C on the piano), C, c, cl t'midd!« C'), c2, c3, c4, cS (the hiqhest pitch on the piano).

N, the ink score by Copyist 4, is the principal source for this edition. Ives' pencil full score M is used
as a secondary reference for amplification and clarification and occasional correction; the
score-sketch 52 offers some clarifications.

Movement 1

M. 1 Tempo: 52 has "Allegro modo vivace"; M has "Allegro" with "con moto" added later (at m. 2)
below CI (in parentheses) and above Va (ail of which N follows faithfully).

2-9 CI: 52 has "Oboe & 8assooA," with "& Clar." added showing that Ives first thought of this tune in
octaves or doubled. In M, the tune is only on the CI line but it is possible that Ives intended it to
be à2.

242-49 CI: M has this line notated on the FI staff, with "3 Gr. FI (preferable) / (if 3 flutes are not
available let 1 clar play lower fI. part)"; N gives the FI 3 line to clarinet.

270: 52 has "pp but largamente."

317 Brass: M has "f " here while other parts are "ff".

341 & 343 Vn 1 & 2, Va: For a better parallel to mm. 18 & 20, these slurs (which appear in N only)
should be omitted.

348 Vn 1 & 2, Va: M has beneath Vn 2, 1st beat, what may be either an overlong accent mark or a
rather short decrescendo wedge; nothing appears in N, but, for a better parallel to m. 49, both
an accent and a decrescendo seem appropriate here in each upper string part.

437-39 Vc: Tremolo slashes are lacking in N and are added here; perhaps m. 440 can be tremolo as
weil (M has no tremolo in any part).

441 Tpt: M has "I" here, "fi" at m. 449.

467, 469, 473, 475-76, 479-82 Vns, Va, Vc: M, apparently due to haste, is wildly inconsistent in the
application of tremolo slashes; N follows dutifully. The situation is rationalized here, but Ives
may have intended ail values of a quarter note and greater to be trem. in ail string parts except
Basses for mm. 467-76.

Movement Il

7 E Hn, 1st J
N shows an adjustment from a rhythm of eighth and two sixteenths to as seen here;
same at m. 31 E Hn and m. 32 Bn; at 110 the change is seen in both M and N.

8 E Hn: The dot.on the first eighth note is supplied from 52 and is confirmed by parallel from m.
111); M offers no evidence since it is missing mm. 1-8.

41 Vc:lves overlooked giving any solution for ending the sordini; perhaps he would have allowed the
mutes to continue to m. 49, but here we cali for individuals to remove mutes ad lib. over sever-
al measures.

6S Tempo: M has "animando," crossed out and replaced by "stringendo."

97-100 Vn1 & 2, Va: M has double slashes in m. 97 only (single slashes thereafter); N has single
slashes. This is rationalized here as double slashes for ail parts (essentially tremolo).
97-100 Vc: Both M and N have single slashes (as if sixteenth notes); this is altered here to double
slashes (essentially tremolo).

103 FI: On M, Ives pencilled a fiat before the second quarter note e3, and wrote "E~" above. No other
part doubling this line was altered but clearly Ives wanted this to be at least an optional change
in FI 1 & 2, Hn 1 & 3, Solo & Vn 1, and Va.

Movement III

69 Va, 1st-2nd ~: Both M and N have b~-c#1 (as seen here), but Ives altered this in pencil on N by
crossing out the fiat and circling the sharp. This is inconclusive: the fiat is in the signature any-
way and Ives' circling is usually a marking for omission, therefore this could mean b~-cq 1 (or
possibly bq-cIl).

Movement IV

11 Str: M has just "m " for the Vn 1 & 2 dynamic (taken here to mean "mf"); N has nothing.

75 Tempo: Ives added "slower" in pencil on N. Following this would require beginning a return to
Tempo /0 at m. 116 (perhaps poco a poco). The appearance of the second theme in the recapitu-
lation (m. 240) could be similarly treated.

75-78 Vn 1: Only M has the countertheme shown here in cue-sized notes (written over the whole
rests).

76 Vn 2, 3rd J
On both 52 and Nives crossed out the second note 9#1 and made the first note c#1
into a quarter note (as seen here); the original version is given here in cue-sized notes.

83 Ob & Vn 1, 3rd J On both 52 and Nives crossed out the second note 9#1 and made the first note
c#1 into a quarter note (as seen here); the original version is given here in cue-sized notes.

87 Ob, 3rd J On both 52 and Nives crossed out the second note c#2 and made the first note f#2
into a quarter note (as seen here); the original version is given here in cue-sized notes.

136 Va & Vc, last 1':

At m. 140, M has "arco," implying that Ives had meant pizzicato here (along with
the Basses); N has nothing.

140 Va & Vc, last }: Only M has "arco."

144-47 Vn 1 & 2: On N, Ives added slurs and dots rather hastily (making some inconsistencies) which
the copyist then entered in ink (with some faulty understanding of Ives' intentions); here the sit-
uation is rationalized, but only within each part.

146 Vn 1, 2nd J Both M and N have these two eighths slurred; the slur is omitted here for consis-
tency.

232-39 FI, Ob, CI: On N, for FI at m. 238, Ives added staccato dots (omitted here) above the quarter
notes, possibly in error (overlooking the function of Iyrical imitation of the Vns & Tbn 1) or per-
haps intending that ail the quater notes in this passage should be articulated as in mm. 226-29.

240 Tempo: On N, Ives added in pencil (now erased) "Dear M - 1 somewhat slower here 1 but not
exactly changjng the tempo." (see note for m. 75).

240-43 Vn 2: M has only the first 2 measures of this countertheme which Ives gives complete in mm.
75-78 (Vn 1); it is supplied here in full, shown in cue-sized notes.

241 Va, 3rd JOn both 52 and Nt Ives crossed out second note c#l and made the first note f#1 into a
quarter note (as here); the original version is given here in cue-slzed notes.
 87

248 Vc, 3rd J:

On both 52 and N, Ives crossed out second note c!J1 and made the first note fIl into a
quarter note (as here); the original version is given here in cue-sized notes.

275-80 Vn 2: M calls for doubling of Vn 1, carried out in N but later scratched out.

283 Hn 3: Both M and N have the first note as el (sounding pitch), possibly an error, but the line is
not in the score-sketch 52 and there is no parallel for comparison.

287 Tbn: The dynamic marking in M is just "m " (interpreted here as "tnp "); N has nothing.

312 Tempo: 52 has "accel. a poco .... "

323 Tempo: N has "animando" (omitted here) in the Hn; M has it in Hn and low strings in addition to
the general animando at m. 326.

336-38: On N, Ives added, for some of the lines, a confusion of ink and pencil markings requesting
both a swell in mm. 336-37 and what must be a general crescendo from the "p " of m. 336 to
the "f" of m. 347. To c1arify these two ideas, Ives' "cresc." markings of mm. 336 and 337 are
moved to m. 338 exclusively and given to ail parts.

356-71 Pere: ln an undated pencil draft for a letter to Godfrey Turner (of Arrow Music Press, in
response to Turner's letter of 14 Oct 1946) Ives writes in a postcript: "From the last meas. on
p. 56 [of N = m. 356], a snare and Bass drum with cymbals, were used in one performance-
playing mostly the Drum Corp beat as"

S.O. t Of fl-r fl-r fli

B.D.
+ cym
r r r of D r
This is realized through m. 371 in an option al percussion part; additional mate rial is editorially
constructed for m. 372 to the end.

339 Bn, Tb 1 & 2, (Vc): Both M and N have slur of second quarter note through the last sixteenth,
but Ives' slur added later on M (as used here) is an improvement.

371 Tempo: M has "plu rallen." (altered to "plu rit."), N has "poco rai 1."'; we accept Ives' change on M.

376 Tempo: 52 and M have both "Allegro veloce" and "Allegro con fuoco"; N has "Allegro veloce con
fuoco," with the "veloce" scratched out.

380 Ob, 2nd J:

52 has the scale as here as part of continuous sixteenth notes in this measure; Ives
overlooked these pitches in both M and N.

394 Woodwinds: Both M and N have "stringendo e animato" (above the strings) and "stringendo
poco" (above and below the Ww).