By John Spitzer
Studies of live performance lifestyles in nineteenth-century the United States have as a rule been restricted to massive orchestras and the courses we're acquainted with this present day. yet as this ebook finds, audiences of that period loved way more various 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 incorporated opera excerpts and preparations, instrumental showpieces, comedian numbers, and medleys of patriotic tunes.
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Extra resources for American Orchestras in the Nineteenth Century
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.
3 So, in comparing the Orchestral Association of 1891 to its 2007 counterpart, we can immediately see that the institution has grown exponentially over the course of some 117 seasons, but disproportionately so in favor of leadership, staff, and, most dramatically, its donor base. In terms of human resources, the ensemble itself has increased by just 15 players, or only about 17 percent, while the staff has increased by 3,500 percent, from a handful to 140, and the donor base has expanded 30,000 percent.
38 mark clague mance of Verdi’s Il Trovatore by Jacob Grau’s star-studded traveling troupe from New York. Between April and June, Grau’s company presented two separate seasons (nearly seven weeks) of opera, performing almost nightly. 55 Building on the musical experience, choral repertory, and audience education of Chicago’s Philharmonics, opera soon replaced orchestral music as the primary vehicle for musical art. The end of the war brought prosperity, security, and improved rail transportation to the north, thus facilitating the work of operatic touring companies.
American Orchestras in the Nineteenth Century by John Spitzer
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