By John Spitzer

Studies of live performance lifestyles in nineteenth-century the US have as a rule been restricted to massive orchestras and the courses we're accustomed to at the present time. yet as this ebook unearths, audiences of that period loved way more varied musical reviews than this concentration may recommend. to listen to an orchestra, humans have been prone to head to a lager backyard, eating place, or summer season 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.

This publication brings jointly musicologists and historians to enquire the numerous orchestras and courses that constructed in nineteenth-century the United States. as well as reflecting at the song that orchestras performed and the socioeconomic facets of creating and preserving orchestras, the ebook considers quite a lot of themes, together with audiences, marketers, live performance preparations, excursions, and musicians’ unions. The authors additionally convey that the interval observed a major inflow of immigrant performers, the expanding skill of orchestras to shuttle around the state, and the emerging effect of girls as listeners, consumers, and avid gamers. portray a wealthy and targeted photo of nineteenth-century live performance lifestyles, this assortment will tremendously develop our realizing of America’s musical history.

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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.

42 Members were divided into three categories: active (performers), contributory (audience), and honorary (presumably nonpaying members). A constitution set an initiation fee at $5 and required monthly dues of 50 cents. ”44 The third Philharmonic’s first concert on Monday, November 19, 1860, featured Beethoven’s Second Symphony, a chorus from Wagner’s Tannhäuser, a quintet and chorus from Flotow’s Martha, and a sextet from Donizetti’s Lucia di Lammermoor. ”46 The beginning of the American Civil War in April did not disturb the Philharmonic’s plans; indeed, it ushered in a period of manufacturing prosperity and growth in Chicago that benefited the city’s arts activity as a whole.

Such sociality and camaraderie may have been key to the persistence of Dyhrenfurth’s enterprises and the work of musicians from the German community generally. 22 · Andreas, History of Chicago, 1:498. Building the American Symphony Orchestra 33 Chicago’s Second Philharmonic A new organization, Chicago’s second Philharmonic Society, was not initially an orchestra at all. Founded in the fall of 1852, it did not present its first concert until Thursday, January 6, 1853. The delay was due to the resignation of conductor G.

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