Bibliography

“In America, Charles Ives was, without direct awareness of European developments, pursuing his own forms of Modernism,” (340-341).

Relates the story of the per-formance of Harvest Home Chorales and Psalm 67 (1948 April), with Shaw's letter to the Collegiate Chorale members about the difficulty of the music and Mrs. Ives's letter to Shaw; lists Ives as a donor to the New Friends of Music, supporters of the Collegiate Chorale (76-78); tells of performing the middle section of Psalm 90: "Teach us to num-ber our days,"on the 1967 tour of the Robert Shaw Chorale, as an en- core in Chicago's Orchestra Hall (163). In Chapter 10, "The Second Battle of Atlanta," there is much discussion of Shaw's choosing to per- form contemporary music and the conflicts that caused with the [Atlan-ta] Symphony [Orchestra] Board of Sponsors. "Of the nearly one hund-red titles on the [orchestra's] combined Romantic and Subscription series, only thirty-four belonged chronologically to the twentieth- century. But fourteen of them, plus two dated before 1900, bore the one name that could itself evoke in timid ears an insufferable din, and in tightly closed minds a most delicious loathing: Charles Ives!" (223).