New PDF release: American Orchestras in the Nineteenth Century

By John Spitzer

Studies of live performance existence in nineteenth-century the USA have in most cases been restricted to massive orchestras and the courses we're acquainted with this day. yet as this ebook unearths, audiences of that period loved way more assorted musical stories than this concentration might recommend. to listen to an orchestra, humans have been prone to head to a lager backyard, eating place, or summer time hotel than to a live performance corridor. And what they heard weren’t simply symphonic works—programs additionally incorporated opera excerpts and preparations, instrumental showpieces, comedian numbers, and medleys of patriotic tunes.

This ebook brings jointly musicologists and historians to enquire the numerous orchestras and courses that constructed in nineteenth-century the United States. as well as reflecting at the song that orchestras performed and the socioeconomic facets of establishing and preserving orchestras, the booklet considers quite a lot of issues, together with audiences, marketers, live performance preparations, excursions, and musicians’ unions. The authors additionally convey that the interval observed a huge inflow of immigrant performers, the expanding skill of orchestras to commute around the country, and the emerging impact of girls as listeners, buyers, and gamers. portray a wealthy and special photograph of nineteenth-century live performance existence, this assortment will enormously increase our figuring out of America’s musical history.

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The concerts that Mr. ”20 Andreas’s account is in accord with Upton’s own characterization of Dyhrenfurth as a musician of serious purpose and a man “stately in person and dignified in speech. . 22 20 · Andreas, History of Chicago, 1:498. 21 · Upton, Musical Memories, 278; one crack in Dyhrenfurth’s austerity was his love for mixing drinks at Germania Männerchor events, naming each after “dignitaries of the Church—the bishop, archbishop, cardinal, and pope . . ” Such sociality and camaraderie may have been key to the persistence of Dyhrenfurth’s enterprises and the work of musicians from the German community generally.

By 1870 a “new” expanded Chicago Academy of Music was established in rooms at Crosby’s Opera House. 84 In 1872, now partnering with songwriter and Lowell Mason–trained pedagogue George F. Root, Ziegfeld founded the Chicago Musical College, discarding the name Academy of Music, perhaps because it was used by several local theaters. ; “Amusements,” Chicago Tribune, December 10, 1873, 8; “Musical College Soiree,” Chicago Tribune, October 14, 1877, 10. 81 · “Amusements: The Cantata Concert,” Chicago Tribune, February 17, 1869, 4.

19 Upton’s assessment may be distorted, however. Newspaper reports suggest that interest and attendance were strong at least at times: 175 of 200 subscriptions offered for sale at $5 in the fall of 1851 had been sold before October. Chicago historian A. T. Andreas suggests that the promenade concerts were discontinued not because of poor attendance but rather because “young people became more interested in dancing than in the music and came so late to 15 · Upton, Musical Memories, 257. , 255. 17 · Classified advertisements, Chicago Daily Tribune, October 4, 1851, 3.

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