By John Spitzer

ISBN-10: 0226769763

ISBN-13: 9780226769769

Studies of live performance lifestyles in nineteenth-century the US have ordinarily been constrained to massive orchestras and the courses we're acquainted with this day. yet as this publication finds, audiences of that period loved way more diversified musical stories 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 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 various orchestras and courses that constructed in nineteenth-century the US. as well as reflecting at the song that orchestras performed and the socioeconomic features of creating and holding orchestras, the publication considers a variety of issues, together with audiences, marketers, live performance preparations, excursions, and musicians’ unions. The authors additionally convey that the interval observed an enormous inflow of immigrant performers, the expanding skill of orchestras to trip around the state, and the emerging impression of ladies as listeners, consumers, and gamers. portray a wealthy and particular photograph of nineteenth-century live performance lifestyles, this assortment will vastly increase our figuring out of America’s musical history.

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Additional info for American Orchestras in the Nineteenth Century

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The value of this history today lies in its ability to clarify the patterns and practices that characterize the contemporary American orchestral scene. Consequences of the choices made more than a century ago continue to influence the American orchestra’s mission, leadership, and relationship to its community. By better understanding this history, its mythology and characteristics, arts advocates might better understand how these legacies both propel and burden the American orchestral scene today.

43 · “The Chicago Philharmonic Society,” Chicago Press and Tribune, October 11, 1860, 1. 44 · “First Philharmonic Concert,” Chicago Tribune, November 19, 1860, 2. 45 · “Philharmonic Society,” Chicago Tribune, October 27, 1860, 1. 46 · “Second Philharmonic Concert,” Chicago Tribune, December 19, 1860, 1; “Fourth Concert of the Philharmonic Society, Chicago Tribune, February 11, 1861, 1; “The Dedication of Bryan Hall,” Chicago Press and Tribune, September 18, 1860, 1. 47 · “The Seventh Philharmonic Concert,” Chicago Tribune, May 15, 1861, 4, and Andreas, History of Chicago, 2:591.

61 · As late as 1888, Balatka was still leading a Chicago-based concert society, namely, the Chicago Symphony Society (see “Music and Drama,” Chicago Tribune, November 24, 1888, 5). 2. Chicago Tribune advertisements for Philharmonic and Thomas Orchestras at Farwell Hall, November 1869. Co-op Orchestras in Chicago The cooperative model emerged from Chicago’s musicians unions rooted in its German musical community. As adaptations of the Turnverein and Männerchor traditions, the New World’s nineteenth-century German community organizations put Enlightenment ideas of political and social engagement into practice through athletics and choral singing.

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American Orchestras in the Nineteenth Century by John Spitzer

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