- 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
“A Concentration of Talent on Our Musical Horizon”
“A Concentration of Talent on Our Musical Horizon”
The 1853–54 American Tour by Jullien's Extraordinary Orchestra
- Chapter:
- (p.319) [IV. 1] “A Concentration of Talent on Our Musical Horizon”
- Source:
- American Orchestras in the Nineteenth Century
- Author(s):
Katherine K. Preston
- Publisher:
- University of Chicago Press
Louis Antoine Jullien was the man responsible for the success of American tour, a careful examination of which indicated that Americans were attracted to a combination of elements. His orchestra was an example of a type of ensemble, different and distinct from concert-society orchestras, that emerged in the 1830s and 1840s. Its repertory was remarkably consistent during the New York engagement. Jullien programmed symphonic works by several American composers and commissioned symphonic compositions. The orchestral works by Beethoven, Felix Mendelssohn, and the American composers were significant for the Jullien Orchestra repertory. Jullien and his orchestra affected American musical culture at midcentury. The most obvious impression he made was on American composers. Thus, Jullien was a force to be reckoned with in midcentury America.
Keywords: Louis Antoine Jullien, American tour, Jullien Orchestra, New York, repertory, American musical culture, Felix Mendelssohn, Beethoven
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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
