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American Orchestras in the Nineteenth Century$
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John Spitzer

Print publication date: 2012

Print ISBN-13: 9780226769769

Published to Chicago Scholarship Online: March 2013

DOI: 10.7208/chicago/9780226769776.001.0001

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PRINTED FROM CHICAGO SCHOLARSHIP ONLINE (www.chicago.universitypressscholarship.com). (c) Copyright University of Chicago Press, 2019. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in CHSO for personal use.date: 20 October 2019

Gender and the Germanians

Gender and the Germanians

“Art-Loving Ladies” in Nineteenth-Century Concert Life

Chapter:
(p.289) [III.4] Gender and the Germanians
Source:
American Orchestras in the Nineteenth Century
Author(s):

Nancy Newman

Publisher:
University of Chicago Press
DOI:10.7208/chicago/9780226769776.003.0013

Adrienne Fried Block wrote an innovative essay titled “Matinee Mania, or The Regendering of Nineteenth-Century Audiences in New York City,” in which she proposed that a continuum of female activity was the mechanism through which American women became incorporated into public musical life. Germanians knew that women were important to their corporate, commercial, and musical success. Ann Elizabeth's brief comments indicated a great deal about what the Germania's performances meant to women. Henriette Sontag and Jenny Lind generated a bridge to their listeners through the diversity of their programs. The variety of roles played by Caroline Bandt represented the continuum of female participation in mid-nineteenth-century musical life. Generally, the Germania Musical Society welcomed women's participation on the stage, in the audience, playing their compositions, selling subscriptions, and throwing rosebuds.

Keywords:   Adrienne Fried Block, American women, Germanians, Ann Elizabeth, Henriette Sontag, Jenny Lind, Caroline Bandt, Germania Musical Society

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