American Orchestras in the Nineteenth Century by John Spitzer

By John Spitzer

Studies of live performance lifestyles in nineteenth-century the USA have as a rule been constrained to massive orchestras and the courses we're conversant in at the present time. yet as this booklet finds, audiences of that period loved way more diversified musical studies than this concentration might recommend. to listen to an orchestra, humans have been likely to head to a lager backyard, eating place, or summer season inn 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 booklet brings jointly musicologists and historians to enquire the numerous orchestras and courses that built in nineteenth-century the US. as well as reflecting at the track that orchestras performed and the socioeconomic features of creating and keeping orchestras, the publication considers quite a lot of issues, together with audiences, marketers, live performance preparations, excursions, and musicians’ unions. The authors additionally express that the interval observed an important inflow of immigrant performers, the expanding skill of orchestras to trip around the country, and the emerging impression of ladies as listeners, buyers, and gamers. portray a wealthy and precise photo of nineteenth-century live performance existence, this assortment will vastly increase our realizing of America’s musical history.

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54 When Confederate general Robert E. Lee surrendered at Appomattox Court House in April 1865, the Philharmonic was at its peak of success. In that same month, Crosby’s Opera House opened in Chicago with a perfor48 · “The Philharmonic Society Concert,” Chicago Tribune, June 25, 1861, 4. 49 · “Madame Fabbri’s Concert,” Chicago Tribune, January 19, 1861, 1. 50 · “The Philharmonic Society,” Chicago Tribune, November 8, 1861, 4. 51 · “The Oratorio of Elijah,” Chicago Tribune, May 13, 1862, 4. 52 · “Chicago Musical Union,” Chicago Tribune, June 18, 1862, 4.

1. Advertisement for first Chicago Philharmonic in the Chicago Tribune, October 4, 1851. 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 .

11 · Andreas, History of Chicago, 1:498. 12 · Sources disagree on the spelling of the composer’s name as either Lenssen or Lensen. 13 · Quoted in Upton, Musical Memories, 256. 14 · “Subscription Concerts,” Chicago Daily Tribune, October 4, 1851, 1. Building the American Symphony Orchestra 31 He praised the ensemble’s musical growth, evidenced by the repertory of the evening’s opening concert, which included Hérold’s Overture to Zampa, a potpourri from Flotow’s opera Alessandro Stradella, and the Champagne Galop (likely by Hans Christian Lumbye).

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