American Orchestras in the Nineteenth Century by John Spitzer

By John Spitzer

Studies of live performance existence in nineteenth-century the US have commonly been constrained to massive orchestras and the courses we're accustomed to this day. yet as this ebook finds, audiences of that period loved way more different musical stories than this concentration may 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 integrated 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 elements of creating and keeping orchestras, the ebook considers quite a lot of subject matters, together with audiences, marketers, live performance preparations, excursions, and musicians’ unions. The authors additionally express that the interval observed an immense inflow of immigrant performers, the expanding skill of orchestras to go back and forth around the state, and the emerging impact of girls as listeners, consumers, and gamers. portray a wealthy and designated photo of nineteenth-century live performance lifestyles, this assortment will vastly develop our knowing of America’s musical history.

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1814), who on Thursday, October 24, 1850, gave the downbeat for the first season of the Chicago Philharmonic Society—a series of eight once-weekly perfor8 · The concert society had a long history in Europe going back to the eighteenth century. Examples include the early formations of the Royal Philharmonic in London, the Leipzig Gewandhaus, and concert societies in places such as Edinburgh, Manchester, and Amsterdam. See John Spitzer and Neal Zaslaw, The Birth of the Orchestra: History of an Institution, 1650–1815 (2004), 203–4, 210–11, 242, 285–88, 414–16.

C. Lighte” piano. 78 · “Amusements,” Chicago Tribune, June 7, 1870, 4. 79 · After Ziegfeld partnered with business manager W. A. Root (1870) and later George F. Root, popular songs published by Root and Cady appeared on Ziegfeld’s soiree programs (see George P. Upton, “The World of Amusement,” Chicago Tribune, May 29, 1870, 2). 80 In February 1869, Ziegfeld conducted Niels Gade’s Elverskud cantata with soloists, orchestra, and a choir of eighty. 81 Few specifics about the orchestra are recorded by the Tribune, but its size as well as the paper’s interest suggest it was professional because the school was not yet large enough to staff a “full orchestra” of students.

28 · “Chicago Philharmonic Society,” Chicago Daily Tribune, December 3, 1853, 2. 29 · “Christopher Plagge Musical Conductor of the Philharmonic Society,” Chicago Daily Tribune, February 25, 1854, 2; advertisement, “Chicago Philharmonic Society,” Chicago Daily Tribune, February 23, 1854, 2. See also Andreas, History of Chicago, 1:499. 30 · Andreas, History of Chicago, 1:499. 31 · “Philharmonic Society,” Chicago Daily Tribune, September 21, 1854, 3. 32 In January 1855, the society offered a benefit for its pianist Henry Lippert at Metropolitan Hall,33 and, because the society lacked a permanent director, Dyhrenfurth reappeared to lead a short season of promenade concerts, closing with the city’s first masquerade.

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