- Title Pages
- Dedication
- Illustrations
- Introduction: Toward a History of American Orchestras in the Nineteenth Century
-
Part I Ubiquity & Diversity -
[I.1] Building the American Symphony Orchestra -
[I.2] Modeling Music -
[1.3] American Orchestras and Their Unions in the Nineteenth Century -
Part II The Orchestra & the American City -
[II.1] Invisible Instruments -
[II.2] Beethoven and Beer -
[II.3] Performances to “permanence” -
[II.4] Critic and Conductor in 1860s Chicago -
[II.5] Amateur and Professional, Permanent and Transient -
Part III Conductors, Promoters, Patrons -
[III.1] Bernard Ullman and the Business of Orchestras in Mid-Nineteenth-Century New York -
[III.2] John Sullivan Dwight and the Harvard Musical Association Orchestra -
[III.3] The Leopold Damrosch Orchestra, 1877–78 -
[III.4] Gender and the Germanians -
Part IV America & Europe -
[IV. 1] “A Concentration of Talent on Our Musical Horizon” -
[IV.2] Ureli Corelli Hill -
Part V Orchestraf Repertory -
[v.1] Orchestral Programs in Boston, 1841–55, in European Perspective -
[V.2] Theodore Thomas and the Cultivation of American Music -
[V.3] Thinking about Serious Music in New York, 1842–82 - Aflerword: Coming of Age
- Bibliography
- Contributors
- Index
The Leopold Damrosch Orchestra, 1877–78
The Leopold Damrosch Orchestra, 1877–78
Background, Instrumentation, Programming, and Critical Reception
- Chapter:
- (p.269) [III.3] The Leopold Damrosch Orchestra, 1877–78
- Source:
- American Orchestras in the Nineteenth Century
- Author(s):
Ora Frishberg Saloman
- Publisher:
- University of Chicago Press
Leopold Damrosch, who succeeded in developing a transitional orchestra in 1877 that bore his name and which emerged following an adverse professional circumstance, was an ardent and knowledgeable advocate of Richard Wagner's music and a former leading member of Franz Liszt's inner circle at Weimar. His appointment with the New York Philharmonic occurred during the widespread economic depression created after the financial panic of 1873. In addition, Damrosch's programming for his new orchestra can be briefly placed with respect to continuing critical and aesthetic tensions centering on important issues in nineteenth-century America. Although the Leopold Damrosch Orchestra has been little heralded in the current accounts, it still significantly contributed to the expansion and flourishing of professional orchestral activity in New York City during the nineteenth and twentieth centuries.
Keywords: transitional orchestra, Leopold Damrosch, Richard Wagner, Franz Liszt, New York Philharmonic, programming, New York City
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- Title Pages
- Dedication
- Illustrations
- Introduction: Toward a History of American Orchestras in the Nineteenth Century
-
Part I Ubiquity & Diversity -
[I.1] Building the American Symphony Orchestra -
[I.2] Modeling Music -
[1.3] American Orchestras and Their Unions in the Nineteenth Century -
Part II The Orchestra & the American City -
[II.1] Invisible Instruments -
[II.2] Beethoven and Beer -
[II.3] Performances to “permanence” -
[II.4] Critic and Conductor in 1860s Chicago -
[II.5] Amateur and Professional, Permanent and Transient -
Part III Conductors, Promoters, Patrons -
[III.1] Bernard Ullman and the Business of Orchestras in Mid-Nineteenth-Century New York -
[III.2] John Sullivan Dwight and the Harvard Musical Association Orchestra -
[III.3] The Leopold Damrosch Orchestra, 1877–78 -
[III.4] Gender and the Germanians -
Part IV America & Europe -
[IV. 1] “A Concentration of Talent on Our Musical Horizon” -
[IV.2] Ureli Corelli Hill -
Part V Orchestraf Repertory -
[v.1] Orchestral Programs in Boston, 1841–55, in European Perspective -
[V.2] Theodore Thomas and the Cultivation of American Music -
[V.3] Thinking about Serious Music in New York, 1842–82 - Aflerword: Coming of Age
- Bibliography
- Contributors
- Index
