- 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
Orchestral Programs in Boston, 1841–55, in European Perspective
Orchestral Programs in Boston, 1841–55, in European Perspective
- Chapter:
- (p.373) [v.1] Orchestral Programs in Boston, 1841–55, in European Perspective
- Source:
- American Orchestras in the Nineteenth Century
- Author(s):
William Weber
- Publisher:
- University of Chicago Press
The Academy of Music, the Musical Fund Society, and the Philharmonic Society conducted orchestral programs in Boston between 1841 and 1855. Whether in Europe or in America, concert programming followed principles quite different from those that are taken for granted today. The Salem and Birmingham programs revealed how canonic repertory was less important in America than in Britain. The notion of programming as a “work of art” excluded those who wanted to be entertained and divided musical culture into separate regions in programming and aesthetics. The countervailing strength of religion and musical idealism complicated the establishment of a long-term set of orchestral concerts in Boston. It is noted that Boston's music public was not ready for “pure” classical music without vocal pieces.
Keywords: orchestral programs, Academy of Music, Musical Fund Society, Philharmonic Society, Boston, concert programming, religion, musical idealism, orchestral concerts
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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
