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Part 2The Tumultuous Nineteenth
CenturyChapter 7: Early Concert Music
America’s Musical Landscape 5th edition
PowerPoint by Myra Lewinter MalamutGeorgian Court University
© 2006 The McGraw-Hill Companies, Inc. All rights reserved
Part 2: The Tumultuous Nineteenth Century Chapter 7: Early Concert Music
2© 2006 by The McGraw-Hill Companies, Inc. All rights reserved.
Chapter 7: Early Concert Music Differences between popular and classical music assumed more
significance in America as the nineteenth century progressed
Those differences were less distinct than the subjective lines drawn today between vernacular music (“for the people”) and art or concert music (for an audience viewed as somewhat select)
During the decades before and after the Civil War
household music and religious songs remained vital
Interest grew among composers, performers, and listeners in music for the concert hall
Part 2: The Tumultuous Nineteenth Century Chapter 7: Early Concert Music
3© 2006 by The McGraw-Hill Companies, Inc. All rights reserved.
Rise of Nationalism in Music Romanticism ruled the arts in nineteenth-
century Western Europe and America German Writers, artists, and especially
musicians dominated their fields German composers composed
Long pieces with expansive melodies accompanied by full, rich harmonies
Music with extreme contrasts of dynamic level Program music that had intense emotional expression
Part 2: The Tumultuous Nineteenth Century Chapter 7: Early Concert Music
4© 2006 by The McGraw-Hill Companies, Inc. All rights reserved.
Rise of Nationalism in Music: The German Sound and American Music The German sound increasingly dominated music in America
Audiences preferred to hear music by German composers
Americans chose to study music with German teachers when possible
The great mid-century wave of German immigration to America brought this opportunity
Music students who could afford it traveled to Germany to further their music education
Part 2: The Tumultuous Nineteenth Century Chapter 7: Early Concert Music
5© 2006 by The McGraw-Hill Companies, Inc. All rights reserved.
The Rise of Nationalism in Music and in the World By the late nineteenth century, following the overthrow of several
ruling aristocracies plus establishment of popular states, nationalism became a prevalent western European movement
Nations not bordering directly on Germany were
Asserting their artistic independence
Establishing characteristic styles of their own
Artists in Russia, Bohemia, Norway, and Finland established strong national styles
Writers, painters, musicians drew inspiration from and based their works on the colorful folk tales, legends, religious music of their own locale
Part 2: The Tumultuous Nineteenth Century Chapter 7: Early Concert Music
6© 2006 by The McGraw-Hill Companies, Inc. All rights reserved.
The Rise of Nationalism in Music: America American paintings began to
reflect America’s splendors
A few composers set out to Capture the American spirit in music Get American music performed
The attempts were unsuccessful Ignored by audiences Europeans considered
Americans as novices in art—and Americans agreed
In the FieldsPainted by Eastman Johnson (1824-1906)
Part 2: The Tumultuous Nineteenth Century Chapter 7: Early Concert Music
7© 2006 by The McGraw-Hill Companies, Inc. All rights reserved.
The Rise of Nationalism in America:Anthony Philip Heinrich (1791-1861) 1810: Heinrich arrived in America
Became music director of a popular Philadelphia theater
Moved to Kentucky in 1817 Settled among the local Indians
Conducted the first performance of a Beethoven symphony in America
Struck by the beauty of the wilderness and charmed with the music of his Native American friends, Heinrich wrote music expressing his love of America A Doubtful Handshake
Painted byCharles M. Russell (1864-1926)
Part 2: The Tumultuous Nineteenth Century Chapter 7: Early Concert Music
8© 2006 by The McGraw-Hill Companies, Inc. All rights reserved.
The Rise of Nationalism in America: Music by Anthony Philip Heinrich Heinrich’s music often quoted Native
American themes
He added Western harmonies
The music idealized and romanticized the Indian experience
Heinrich, “Beethoven of Kentucky” Expressed American ideas Promoted the performance of music
by himself and other Americans
Some of Heinrich’s orchestral pieces:
The War of the Elements and the Thundering of Niagara
The Columbiad, or Migration of American Wild Passenger Pigeons
Pushmataha: A Venerable Chief of a Western Tribe of Indians
The Ornithological Combat of Kings: or, The Condor of the Andes
“Father Heinrich” is remembered and revered for his important contributions toOur musical heritage
Part 2: The Tumultuous Nineteenth Century Chapter 7: Early Concert Music
9© 2006 by The McGraw-Hill Companies, Inc. All rights reserved.
Romantic Virtuosos Virtuoso: A performer who possesses dazzling
technical brilliance; a quality of musicianship
Musicianship is the broad combination of talents possessed by the consummate performer, and includes
Sensitivity to the style of the music, which differs from one period and one culture to another
Originality of interpretation
Accuracy
Part 2: The Tumultuous Nineteenth Century Chapter 7: Early Concert Music
10© 2006 by The McGraw-Hill Companies, Inc. All rights reserved.
Romantic Virtuosos and American Audiences Nineteenth-century Europeans enjoyed expressive extremes
Europeans responded with equal enthusiasm to a large symphony orchestra and an intimate solo recital
But Americans had more access to recitals
Americans attended concerts in the same frame of mind as viewing a circus or minstrel show; they enjoyed
Solo virtuosos’ dazzling displays of technique Familiar pieces they knew and loved
The unfamiliar new music of composers was undesirable to the American public
Part 2: The Tumultuous Nineteenth Century Chapter 7: Early Concert Music
11© 2006 by The McGraw-Hill Companies, Inc. All rights reserved.
Romantic Virtuosos: Performers The conspicuous lack of interest in American music on either
continent frustrated American composers
But the great nineteenth-century virtuosos benefited from the American passion for their brilliant performances
Europeans were starting to tire of their virtuosos
Performers flocked gratefully to America
An adoring American public eagerly applauded their showy performance techniques
Part 2: The Tumultuous Nineteenth Century Chapter 7: Early Concert Music
12© 2006 by The McGraw-Hill Companies, Inc. All rights reserved.
Romantic Virtuosos: The Swedish Nightingale Jenny Lind (1820-1887), called “The Swedish Nightingale,” was the
most successful virtuoso singer of her era
Within her two year American tour under the promotion of P.T. Barnum (the same Barnum of the well known circus), Lind…
Confined her program to familiar well-loved arias (songs—see glossary), Stephen Foster encores, and especially the immensely popular “Home Sweet Home”
Thrilled Americans with her voice, technique, personality Even people previously uninterested in concert music
became her fans Concert halls were built for her American performances
Part 2: The Tumultuous Nineteenth Century Chapter 7: Early Concert Music
13© 2006 by The McGraw-Hill Companies, Inc. All rights reserved.
Romantic Virtuosos: Ole Bull (1810-1880), Norwegian composer, violinist An entertainingly flamboyant virtuoso who…
Traveled five times to America; stayed a long time One of the trips, he married an American woman
Encouraged Americans to develop a characteristic music of their own
He himself was a dedicated nationalist Managing a new opera company, he offered $1,000 for an
American opera to be written; but nobody wrote one then Displayed amazing virtuoso techniques, including
Playing on all four strings of the violin at once Producing incredibly soft pianissimos
Part 2: The Tumultuous Nineteenth Century Chapter 7: Early Concert Music
14© 2006 by The McGraw-Hill Companies, Inc. All rights reserved.
Romantic Virtuosos: Louis Moreau Gottschalk (1829-1869) Gottschalk was a virtuoso pianist of diverse heritage, with…
An English Jewish father educated in Germany
A Creole mother from a wellborn French family that had emigrated to the West Indies
Creole refers to people of mixed racial heritage
The Creole aspect of Gottschalk’s maternal side of the family caused some to believe erroneously that Gottschalk had African American ancestors
Multilingual, Gottschalk spoke French, Spanish, English
Part 2: The Tumultuous Nineteenth Century Chapter 7: Early Concert Music
15© 2006 by The McGraw-Hill Companies, Inc. All rights reserved.
Louis Moreau Gottschalk: Growing Up Growing up in New Orleans, Gottschalk absorbed the sounds of
various cultures
French Spanish African American Creoles
Age 13: Recognizing his talent and lack of opportunities to learn at home, Gottschalk’s parents sent him to France to study music
Abroad for 13 years, aristocratic Europeans admired… Gottschalk’s youthful compositions for piano And his astonishing virtuosity
Part 2: The Tumultuous Nineteenth Century Chapter 7: Early Concert Music
16© 2006 by The McGraw-Hill Companies, Inc. All rights reserved.
Louis Moreau Gottschalk: Back home in America 1853: Gottschalk, after much success, returned to America
Audiences felt his long stay abroad had made him respectable They enjoyed his performances of his own piano pieces
Gottschalk then spent years in the West Indies, whose native musical sounds went into his own piano compositions 1862: Returned to the United States to find America at war
He sided with the North Toured extensively
Performing his own music Reaching people who had never heard concert music Contributing payments to the Union cause
Part 2: The Tumultuous Nineteenth Century Chapter 7: Early Concert Music
17© 2006 by The McGraw-Hill Companies, Inc. All rights reserved.
Louis Moreau Gottschalk: Later Days Criticized by some for playing his own tuneful compositions
instead of classics by Beethoven, Chopin and others He replied that he played what the audience wanted to hear He felt that American musical taste improved during his lifespan
1865: Left the United States following a scandal in which he probably was innocent; traveled to South America There, organized huge concerts reminiscent of Patrick
Gilmore’s mammoth concerts Including a festival in Cuba involving 650 performers
Age 40: Died of what is attributed to be yellow fever
Part 2: The Tumultuous Nineteenth Century Chapter 7: Early Concert Music
18© 2006 by The McGraw-Hill Companies, Inc. All rights reserved.
Louis Moreau Gottschalk: Piano Music Gottschalk’s musical output
includes Songs Orchestral works Piano music especially
Piano pieces based upon popular dances; also, character pieces
Character piece=A relatively short piano piece evoking a particular mood or scene
Part 2: The Tumultuous Nineteenth Century Chapter 7: Early Concert Music
19© 2006 by The McGraw-Hill Companies, Inc. All rights reserved.
The Piano By 1800 the piano was the keyboard instrument of choice
The ideal Romantic instrument for its expressive capabilities
The damper or “loud” pedal (to the player’s right) Held tones, connecting them for a legato (smooth) lyrical melody line Allowed sounds to accumulate to thunderous effect
The una corda (one string) or “soft” pedal (on the left), shifted the keyboard and
Dampened the volume Altered the color of the sound
The center sostenuto pedal on larger pianos allowed the player to sustain some tones while others sounded cleanly above them
Part 2: The Tumultuous Nineteenth Century Chapter 7: Early Concert Music
20© 2006 by The McGraw-Hill Companies, Inc. All rights reserved.
Pianos and Their Popularity Piano music was immensely popular in the United States
Varied concert programs often included a virtuosic piano performance
The best pianos in the world were produced in the United States 1854: Henry Mason, son of Lowell, cofounded the famous
Mason and Hamlin piano company Others in America included
Jonas Chickering William Knabe Henry Steinway
Mid-nineteenth century: Pianos were common in the home The average young lady could master “household” piano music
Part 2: The Tumultuous Nineteenth Century Chapter 7: Early Concert Music
21© 2006 by The McGraw-Hill Companies, Inc. All rights reserved.
Gottschalk’s Best Known Piano Compositions Included… Character pieces that capture the mood or character of their subject
in musical terms; examples are… “Berceuse” (“Lullaby”) “The Banjo”
Popular dances for piano, not intended for dancing, but to capture the mood, style, tempo, form, and meter of a popular step
Gottschalk composed Waltzes=A waltz is a ballroom dance in triple meter
He composed Mazurkas=A mazurka is a Polish folk dance of varying character, in triple meter
Part 2: The Tumultuous Nineteenth Century Chapter 7: Early Concert Music
22© 2006 by The McGraw-Hill Companies, Inc. All rights reserved.
Listening Example 26Le BananierBy Louis Moreau GottschalkListening Guide page 124
Form: Theme and Variations= A melody or theme recurring throughout the piece is varied, perhaps in tempo, timbre, rhythm, meter, accompaniment, ornamentation, etc., thus providing both unity and contrast
Meter: Duple
The left hand introduces an “obstinately” repeated rhythmic and melodic pattern called an ostinato, which will accompany the first sectionof the theme (a), played by the right hand. Section a repeats. The second half of the theme (b), higher than a in range, accompanied a new ostinato. Repeat. b is delicately embellished by the right hand, with chords in the left hand. A variation of a played in a major key repeats an octave higher. A section of new material sounds improvisatory. The major version of Ais played by the left hand while the right hand plays runs. b recurs. Bits of a and virtuosic figures end the piece.
Part 2: The Tumultuous Nineteenth Century Chapter 7: Early Concert Music
23© 2006 by The McGraw-Hill Companies, Inc. All rights reserved.
Orchestral Music in the Late Nineteenth Century: Background Music activity increased greatly across America, including
Outstanding conservatories=professional music schools Concert halls Opera houses
1882: Metropolitan Opera House, New York City 1891: Carnegie Hall, New York City
Americans enjoyed access to more concert music of greater variety and finer quality than ever before
Choral and chamber societies presented programs Serious and light opera became popular Great virtuosos continued to attract an appreciative audience
Part 2: The Tumultuous Nineteenth Century Chapter 7: Early Concert Music
24© 2006 by The McGraw-Hill Companies, Inc. All rights reserved.
Orchestras Throughout the Nineteenth Century Large orchestras held little interest for the young republic
Few orchestras existed Professional and amateur musicians tried to make the orchestras
appealing to American taste 1820: Moravians founded a Philharmonic Society in Bethlehem, PA
Philadelphia: American and immigrant musicians organized a Musical Fund Society to perform Symphonic music and choral music accompanied by orchestra
1842: The New York Philharmonic Society, the nation’s oldest orchestra still in existence today was founded But it was a loosely organized and haphazard association
Part 2: The Tumultuous Nineteenth Century Chapter 7: Early Concert Music
25© 2006 by The McGraw-Hill Companies, Inc. All rights reserved.
European Orchestras in America Performed European works The visiting orchestra led by French
conductor and showman Louis-Antoine Jullien (1812-1860) was The first ensemble to give American
orchestral music serious attention Jullien gave a flashy looking concert
Performances of great orchestral music were played well
1853: Added American musicians to his orchestra
Part 2: The Tumultuous Nineteenth Century Chapter 7: Early Concert Music
26© 2006 by The McGraw-Hill Companies, Inc. All rights reserved.
Image Credits Slide 6: In the Fields, by Eastman Johnson (1824-1906)
© Corel Slide 7: A Doubtful Handshake, by Charles M. Russell
(1824-1906) © Corel Slide 9: Portrait of a Violinist,
© Ryan McVay/Getty Images Slide 18: Grand Piano in a Living Room
Royalty-Free/Corbis Slide 25: Conductor Silhouette Highlighted on Music,
© Digital Vision/Getty Images Slide 28: Conductors Hands, © Digital Vision/Getty Images
Part 2: The Tumultuous Nineteenth Century Chapter 7: Early Concert Music
27© 2006 by The McGraw-Hill Companies, Inc. All rights reserved.
Orchestral Music: William Henry Fry (1813-1864) Fry was among the struggling nationalists who benefited from
Jullien’s interest in American music
He composed operas, symphonies and other orchestral works
Fry’s opera Leonora (1845) was the first American opera to be produced in this country
Fry had to pay for the production himself due to resistance by American opera companies to produce an American opera
His opera was unsuccessful in America
The Parisian music community eagerly produced Leonora
Part 2: The Tumultuous Nineteenth Century Chapter 7: Early Concert Music
28© 2006 by The McGraw-Hill Companies, Inc. All rights reserved.
William Henry Fry and His Lectures Fry gave a series of public music appreciation lectures, during
which He complained that the New York Philharmonic Society never
commissioned and seldom performed American music Urged American musical societies to perform American music
Audiences should listen to American music Critics should review American music objectively
Advocated laying the foundation of an American School of Painting, Sculpture and Music
Fry’s music is rarely heard today
Fry’s experience reveals the struggle of American composers
Part 2: The Tumultuous Nineteenth Century Chapter 7: Early Concert Music
29© 2006 by The McGraw-Hill Companies, Inc. All rights reserved.
Theodore Thomas (1835-1905) A German born violinist
who joined the New York Philharmonic Society Played for theater and
opera orchestras Intended to become an
orchestral conductor To raise the level of
Americans’ appreciation for orchestral music
His dream came true!
Part 2: The Tumultuous Nineteenth Century Chapter 7: Early Concert Music
30© 2006 by The McGraw-Hill Companies, Inc. All rights reserved.
Theodore Thomas Could no longer take the casual rehearsal and
concert procedures of the New York Philharmonic Society Formed his own orchestra
Hired the best musicians Rehearsed rigorously 1864: Started performing public orchestra concerts
guaranteed to please an audience Altered the balance in his concerts between light, familiar
pieces and more serious, challenging works His listeners became experienced with orchestral fare
Part 2: The Tumultuous Nineteenth Century Chapter 7: Early Concert Music
31© 2006 by The McGraw-Hill Companies, Inc. All rights reserved.
Theodore Thomas and His Contributions to American Music Invited solo virtuosos to perform for an enthusiastic audience
Alternated audience favorites with more serious pieces Gave some attention to American music
Traveled widely with his orchestra Bringing orchestral music to new audiences Extending musicians’ employment season
Established and conducted the Theodore Thomas Orchestra Later known as the famous Chicago Symphony Orchestra
Other orchestras formed in America during the next decades By the mid-twentieth century orchestras across the country rendered
America a veritable nation of symphony orchestras