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American Orchestras in the Nineteenth Century by John Spitzer PDF

By John Spitzer

ISBN-10: 0226769763

ISBN-13: 9780226769769

Studies of live performance existence in nineteenth-century the United States have in general been constrained to giant orchestras and the courses we're accustomed to at the present time. yet as this publication finds, audiences of that period loved way more assorted musical studies than this concentration may recommend. to listen to an orchestra, humans have been likely to head to a lager backyard, eating place, or summer time lodge than to a live performance corridor. And what they heard weren’t simply symphonic works—programs additionally integrated 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 tune that orchestras performed and the socioeconomic features of creating and protecting orchestras, the publication considers quite a lot of themes, together with audiences, marketers, live performance preparations, excursions, and musicians’ unions. The authors additionally express that the interval observed an enormous inflow of immigrant performers, the expanding skill of orchestras to go back and forth around the state, and the emerging impression of ladies as listeners, buyers, and avid gamers. portray a wealthy and specified photograph of nineteenth-century live performance lifestyles, this assortment will significantly increase our figuring out of America’s musical history.

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26 · “Chicago Philharmonic Society,” Chicago Daily Tribune, March 22, 1853, 3. , the chorus). Over the summer, an effort had been made to “place the Philharmonic Society on a substantial basis”; regular officers were elected and a board of directors appointed. ”27 Although later mocked by Tribune music critic George P. Upton, this law is significant as the first incorporation of a musical organization in Illinois and an initial claim that such organizations were charged with the task of education.

This ensemble reconstituted itself as needed to serve the needs of specific musical employers and opportunities throughout the city, especially benefit concerts and picnics. The term “band” was used occasionally then (as now) as a colloquial synonym for “orchestra,” but its use as an early economic model is more telling. In the cooperative sense used here, “band” refers to a “tribe” or banding together of musicians who work for mutual benefit. , the cooperative model), arguing that its equal distribution of profits among musicians, conductor, and venue staff failed to motivate excellence.

Louis Symphony (1893), the Cincinnati Symphony (1894), the Philadelphia Orchestra (1900), the Minnesota Orchestra (1903), the San Francisco Symphony (1911), and the Detroit Symphony (1914). In each of these cities (as in New York and Boston somewhat earlier) the “permanent” orchestra immediately became the most prestigious of the city’s ubiquitous and diverse orchestras. It hired the best players (often importing them from New York or even from Europe); it programmed the greatest number of “compositions of a higher order”; and it was patronized by the city’s social elites.

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