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Studies of concert life in nineteenth-century America have generally been limited to large orchestras and the programs we are familiar with today. But as this book reveals, audiences of that era enjoyed far more diverse musical experiences than this focus would suggest. To hear an orchestra, people were more likely to head to a beer garden, restaurant, or summer resort than to a concert hall. And what they heard weren’t just symphonic works—programs also included opera excerpts and arrangements, instrumental showpieces, comic numbers, and medleys of patriotic tunes.
This book brings together musicologists and historians to investigate the many orchestras and programs that developed in nineteenth-century America. In addition to reflecting on the music that orchestras played and the socioeconomic aspects of building and maintaining orchestras, the book considers a wide range of topics, including audiences, entrepreneurs, concert arrangements, tours, and musicians’ unions. The authors also show that the period saw a massive influx of immigrant performers, the increasing ability of orchestras to travel across the nation, and the rising influence of women as listeners, patrons, and players. Painting a rich and detailed picture of nineteenth-century concert life, this collection will greatly broaden our understanding of America’s musical history.- Sales Rank: #2977944 in Books
- Published on: 2012-04-09
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x 1.40" w x 6.00" l, 1.76 pounds
- Binding: Hardcover
- 488 pages
Review
“This superb collection of essays breaks new ground. The scholarship by preeminent scholars relies on new archival sources. The volume’s contribution to the history of music in America is unique. Readers in many fields will benefit from Spitzer’s collection: an encounter with the extent of amateur concert life, the history of musicians’ unions and touring ensembles, and the origins of today’s professional orchestras in Chicago, Cincinnati, and New York. The richness and variety of concert repertoire in America, much of it forgotten, come alive. Playing and listening to orchestral music in nineteenth-century America assume a significance long underestimated. This is a long overdue contribution to understanding music within urban and public culture in America before 1900.”
(Leon Botstein, Bard College)
“To a remarkable degree, the ‘symphony orchestra’ is an American invention, distinct from the pit orchestras of Europe. And yet our knowledge of nineteenth-century American orchestras remains amazingly incomplete. Surely this volume will help build momentum toward an adequate understanding of a vital, even heroic chapter in American cultural history.”
(Joseph Horowitz, author of Classical Music in America: A History)
“Highly recommended.” (Choice)
“The text in toto presents a sweeping view of orchestras from about the second quarter of the nineteenth century to the end of the century; it is a more complex and diverse view than one might gather from standard music histories. . . . [It] describes in compelling detail how the orchestral movement got started and managed to become, in the opinion of some, ‘the cornerstone of America’s musical culture in the twentieth century.’ It is highly recommended, especially for conductors, orchestral musicians, and nineteenth-century specialists.” (Music Reference Services Quarterly)
“If this collection of essays is any indication, we can rest assured that scholarship on nineteenth-century American music has sprung to life and will remain relevant well into the future. From cover to cover, it draws a detailed blueprint of the complex world of orchestral music and musicians across the century and constructs a sturdy foundation upon which to build new understandings of orchestras then and now.” (Journal of the Society for American Music)
“This collection of diverse essays reflects well the fits and starts of American orchestra development. . . . While American orchestras’ leadership is beyond question, the path by which they reached it is shown to be much less direct and far more compelling.” (Journal of American History)
About the Author
John Spitzer teaches music history at the San Francisco Conservatory of Music. He is coauthor of The Birth of the Orchestra: History of an Institution, 1650–1815.
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