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By John Spitzer

Studies of live performance lifestyles in nineteenth-century the US have in general been constrained to massive orchestras and the courses we're accustomed to at the present time. yet as this booklet unearths, audiences of that period loved way more varied musical reviews 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 inn 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 booklet brings jointly musicologists and historians to enquire the numerous orchestras and courses that built in nineteenth-century the United States. as well as reflecting at the tune that orchestras performed and the socioeconomic points of establishing and retaining 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 big inflow of immigrant performers, the expanding skill of orchestras to shuttle around the kingdom, and the emerging effect of ladies as listeners, buyers, and avid gamers. portray a wealthy and distinctive photograph of nineteenth-century live performance lifestyles, this assortment will vastly develop our figuring out of America’s musical history.

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2 (Theodore Thomas Orchestra) in this volume. 3 (Cincinnati) in this volume. Ubiquity and Diversity 23 with the music. The categorical separation of American symphony orchestras from the mainstream of American entertainment did not begin in earnest until the advent of recorded sound, amplification, talking pictures, radio, and the other great transformations of American musical life in the twentieth century. 1] Building the American Symphony Orchestra The Nineteenth-Century Roots of a Twenty-FirstCentury Musical Institution m a r k cl ague At Chicago Symphony Orchestra (CSO) concerts during the 2007–8 season, listeners enjoyed the artistry of approximately one hundred musicians, yet the number of players on stage represented less than 1 percent of the persons involved.

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.

The paper praises both instructor and store owner for the fiscally inventive plan and plugs the “F. 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.

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