By John Spitzer
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.
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Extra resources for American Orchestras in the Nineteenth Century
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.
American Orchestras in the Nineteenth Century by John Spitzer