By John Spitzer
Studies of live performance lifestyles in nineteenth-century the USA have more often than not been restricted to giant orchestras and the courses we're accustomed to this present day. yet as this publication finds, audiences of that period loved way more assorted musical studies than this concentration could recommend. to listen to an orchestra, humans have been likely to head to a lager backyard, eating place, or summer time hotel than to a live performance corridor. And what they heard weren’t simply symphonic works—programs additionally incorporated opera excerpts and preparations, instrumental showpieces, comedian numbers, and medleys of patriotic tunes.
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Additional resources for American Orchestras in the Nineteenth Century
The groundwork for this extraordinary growth and the subsequent success of the Chicago Orchestral Association’s corporate model for the American orchestra can be traced to the nineteenth-century struggle to establish the orchestra as an American concert institution, a challenge that was particularly acute in Chicago. A history of this struggle offers a survey of organizational structures and tactics used by nineteenth-century arts leaders to establish musical institutions throughout the United States, as well as a richer appreciation of the social and personal dynamics that ignited these initiatives.
4 in this volume. 59 · “Amusements,” Chicago Tribune, November 30, 1869, 4. 60 · “Amusements,” Chicago Tribune, December 1, 1869, 4. 61 · As late as 1888, Balatka was still leading a Chicago-based concert society, namely, the Chicago Symphony Society (see “Music and Drama,” Chicago Tribune, November 24, 1888, 5). 2. Chicago Tribune advertisements for Philharmonic and Thomas Orchestras at Farwell Hall, November 1869. Co-op Orchestras in Chicago The cooperative model emerged from Chicago’s musicians unions rooted in its German musical community.
This season exhausted the organization’s financial surplus and put the orchestra in debt, despite a reduction in the number of concerts to four, the return of choral music, and the continuation of the more popular matinee season. 56 The orchestra gave one last concert in the opera house and then cut back its expenditures by using only local soloists and moving to the smaller Music Hall for the remainder of the season. 57 Tribune critic George Upton repeatedly proclaimed the death of the organization.