After the Civil War Boston

1. After the Civil WarBoston • Large music festivals • 1856 • Boston Handel and Haydn Society • chorus of 600, orchestra of 78 • 1865 • 700 singers,orchestra of 100 • 1868 • first Triennial Festival • 1869 • Grand National Celebration of Peace and Musical Festival (Patrick Gilmore) • 10,000 singers, 484 in the orchestra, 590 in another orchestra • most widely publicized musical event in the history of the U.S.

2. After the Civil WarBoston • More Festivals • World’s Peace Jubilee and the International Music Festival - June 17, 1872 • chorus of 17,000, orchestra of 1,500, 40 soloists • Chicago 1873 - Jubilee (Patrick Gilmore) • Cincinnati - 1873 - 4-day festival • Philadelphia Centennial Exposition - 1876 • “Centennial Inauguration March” by Wagner $5000 • Establishment of permanent orchestras and musical societies

3. Orchestras and Societies • The Brooklyn Philharmonic - 1857 • Theodore Eisfeld • The Germania Orchestra (Philadelphia 1960) • The Harvard Musical Association - 1866 • Carl Zerrahn • The Boston Symphony Orchestra - 1881 • Georg Henschel • Theodore Thomas (1835 - 1905)

4. Theodore Thomas1835 - 1905 • Born in Esens, Germany,came to America in 1845 • Violinist, became a member of the Philharmonic Society in 1854 (NY) • 1855 - William Mason (pianist) formed a chamber music ensemble consisting of Mason, piano, Thomas, violin, Mosenthal, violin, Matzka, viola, and Bergmann, cello • NY’s first series of public, professional performances

5. Thomas the Conductor • First concert in 1862 followed by 10 matinee concerts until December,1863 • Evening concerts were next • Today’s concerts are patterned after the Thomas evening concerts • Garden concerts in the summer anticipated “POPS” concerts • Touring began in 1869 - 1870 • 1891 - invited to establish a permanent orchestra in Chicago

6. Thomas in Chicago • The Chicago Symphony’s first concert - October 17, 1891 • Toured each year • Orchestra Hall dedicated in 1904 • Thomas died in 1904 • No recordings

7. Theodore Thomas • Raised the playing standards of American Orchestras • Toured widely with his orchestra • Offered a full season’s employment to his musicians • Careful programming • Single most important person in the development of the symphony orchestra in the United States

8. The Orchestra in America • When T. T. organized the New York Symphony Orchestra in 1864, NYC was the only American city to already have an established orchestra - the Philharmonic Society (estb. 1842) * • New York Symphony Society - 1878 • Leopold Damrosch • St. Louis Symphony - 1879 * • Boston Symphony - 1881 * • Chicago - 1891 * • Cincinnati - 1895 * • Pittsburgh - 1895 * • Philadelphia - 1900 *

9. William Mason (1829 - 1908) • Youngest son of Lowell Mason • Early lessons in Boston; Germany at 20 • Studied with Dreyschosk in Prague, Liszt in Weimar, and Moscheles in Leipzig • Met Wagner, Brahms, Joachim etc. • Returned to USA in 1854 to NYC • Silver Spring Op. 6

10. BOSTON • Position of leadership from the mid 19th century to WWI • In Literature: • Emerson, Hawthorne, Longfellow, Whittier, Thoreau • In Music: • Handel and Haydn Society - 1815 • Boston Academy of Music, founded by Lowell Mason in 1833 • Harvard Musical Association - 1837 • New England Conservatory - 1867 • Boston Symphony Orchestra - 1881

11. The Gardners • Mrs. Jack Gardner bought her first major painting • 1852 Gardners moved into 152 Beacon Street • Artists were treated as equals • Oliver Wendell Holmes, Henry James, Charles Eliot Norton, John Sullivan Dwight, Arthur Foote, Edward MacDowell, Julia Ward Howe, Oscar Wilde, Nellie Melba, John Singer Sargent, Ignace Paderewski • 152 Beacon street became too small • 152 Beacon Street was torn down when Fenway Court was built • Today there is no 152 Beacon Street

12. The Second New England School • Common points: • Dedication to excellence of musical craftsmanship • Highest ideals of “serious” composition • This meant going to Germany to study with German teachers and composers • A dubious step for many people • George Chadwick - father’s business • Arthur Foote - a Harvard graduate and undecided

13. John Knowles Paine (1839 - 1906) • First American composer comparable to Europeans • Born in Portland Maine into a musical family • Composed a string quartet at age 16, public debut at 18 • 1858 raised enough money to study in Europe • Specialized in Bach’s organ music • Fantasia uber “Ein’ feste Burg” Op. 13 • Mass in D (1859) first large scale classical work by an American composer to be performed in Europe and published

14. John Knowles Paine (1839 - 1906) • Performed in Boston in 1868, but received no critical attention • No record of other performances until 1972 at NEC, conducted by Gunther Schuller • St. Peter (1873) was performed by the BH&H Society in 1874 - the first time the society had devoted an entire program to an American composer • Symphony No. 1 Op. 23 first performed by TT in Boston in 1876 • TT introduced the NY audiences to Paine’s music • TT also performed Paine’s music at the opening of the Music Building at the Chicago World’s Fair in 1892

15. John Knowles Paine (1839 - 1906) • Appointed Music Instructor at Harvard College in 1862 • 1873 - Assistant Professor of Music - Harvard’s first academic post in Music • 1875 - Professor of Music • Harvard developed an entire curriculum in Music • Academic life became an escape from contemporary music • Paine, America’s first greatly talented composer of classical music had verylittle impact on the musical life of the United States.

16. Dudley Buck (1839 - 1909) • Most important composer after Paine • Born and raised in Hartford, Conn. • Studied in Leipzig with Moritz Hauptmann, Julius Rietz, Ignaz Moscheles, and organist Johann Schneider • 1869 moved to Chicago. The Great Fire of 1871 forced Buck to return to New England, where he took a teaching post at the New England Conservatory in Boston • Organist at Music Hall in Boston • Assistant conductor of the Central Park Garden Concerts under TT • Germanic style • Grand Sonata in E flat Op. 22, 1866 • invited by the US Centennial Commission to compose a work for the Centennial Exposition in Philadelphia, Pennsylvania; the resulting piece, a cantata entitled The Centennial Meditation of Columbia (1876), made him nationally known • First public success at the World’s Peace Jubilee in Boston in 1872 • Composed music that his performers could play • Buck's Concert Variations on the Star-Spangled Banner, op. 23 was one of a number of settings he made of the song that would later become the national anthem of the United States. Alan Morrison, organist

17. Arthur Foote (1853 - 1937) • Salem, Mass. • Studied at NEC and Harvard (Paine) • In his mid 20’s before he tried to compose any “real” music • Violin Sonata in G minor Op. 20 • written for Franz Kneisel, concertmaster of the BSO • Mvt. 3 “Adagio” • Held various church positions in Boston and taught piano and organ • Faculty of NEC in 1920 • Found 20th century music to be “inhospitable”

18. George Whitefield Chadwick (1854 - 1931) • Lowell, Mass. • Did not attend Harvard - dropped out of high school • Parents opposed music career • Studied at NEC with Dudley Buck, George E. Whiting and Eugene Thayer • Germany - Leipzig Conservatory 1877 • First orchestral work Rip van Winkle Overture

19. George Whitefield Chadwick (1854 - 1931) • Returned to Boston in 1880; Rip van Winkle had already been played in Boston • Music played by the BSO and the Harvard Musical Association • Chadwick remained a cornerstone of Boston’s artistic life for 50 years • Faculty of NEC after returning from Germany • Director of NEC 1897 - 1931 • March: Tabasco • 7 stage works

20. George Whitefield Chadwick (1854 - 1931) • Thirty orchestral works • 20 works for chorus and orchestra • 5 string quartets • Over 100 songs etc. • His music is close to that of Dvorak • Chadwick's Symphony No. 2 in B flat, op. 21 (1883-1886) • The second movement was so well-liked in its premiere performance by the Boston Symphony Orchestra in 1884 that it was played twice by audience demand, an unprecedented occurrence in the orchestra's history. • Performance by the Albany Symphony Orchestra, Julius Hegyi, conductor • Chadwick is the leading figure of the Second New England School

21. Horatio Parker1863 - 1919 • First composition student of George Chadwick • Became close friends • Became a distinguished professor at Yale • Teacher of Charles Ives and Roger Sessions • Hora novissima was once the most performed American composition • Less nationalistic than others

22. Horatio Parker1863 - 1919 • A Northern Ballad completed in March, 1899 • First performance conducted by Parker with the New Haven Symphony on April 7, 1899 • Later performed by BSO, CSO, Cincinnati, and New York • Never published • E minor, D minor, D-flat a technique now called “progressive tonality”

23. Horatio Parker1863 - 1919 • His mother was his first teacher • Age 16 - church organist • Age 19 went to Germany for 3 years • Settled in NYC as an organist and teacher • Founded the New Haven Symphony • 1894 - became a professor of Music at Yale • Music: • Fugue in C minor, Op. 36, No. 3

24. People and Places in Boston • 1768 • Stoughton Musical Society • 1800 in Boston • Population was 8000 • There were 50 pianos in the city • The flute was the predominant instrument for gentlemen • 1808 • Harvard Pierian Sodality • 1815 • Handel and Haydn Society founded by Johann Christian Gottlieb Graupner

25. People and Places in Boston • 1833 • Boston Academy of Music founded by Lowell Mason • 1837 • Harvard Musical Association • Music Hall • 1840 • Academy of Music formed an orchestra in to play Beethoven symphonies • 1867 • NEC • Paine at Harvard • Hook and Hastings • Chickering Piano Co. founded

26. People and Places in Boston • 1872 • World Peace Jubilee - Gilmore • 1875 • Arthur Foote received his Master of Arts degree in music from Harvard - the 1st ever granted in the United States • 1895 • Dvorak called the BSO “the superb orchestra supported by a public citizen of Boston” • 1900 • Symphony Hall - Henry Lee Higginson

27. Symphony Hall • “On the National Register of Historic Places, Boston's Symphony Hall dates to 1900 when the acoustic masterpiece opened as the first performance venue designed to meet aural standards developed by college physics professor Wallace Sabine. Financed by Boston philanthropist Major Henry Lee Higginson who commissioned the services of McKim, Mead, & White - the heralded New York architectural firm also responsible for the design of Boston Public Library and a number of buildings at Harvard University - Symphony Hall enjoys an international reputation as one of the best musical performance halls in the world.”-http://boston.travelape.com/attractions/symphony-hall/

28. People and Places in Boston • 1902-3 • NEC moved to Huntington Ave near Symphony Hall • October 20, 1903 Eben D. Jordan built Jordan HallEben Jordan, the hall's benefactor, watched as guests filled the new hall. Patron Isabella Stewart Gardner was there as was Julia Ward Howe, author of "The Battle Hymn of the Republic." George Whitefield Chadwick stepped up to the podium to conduct the Boston Symphony Orchestra's performance of his piece, "Melpomene." • “Beloved for its acoustics, intimacy, and beauty, NEC's Jordan Hall has been at the center of Boston’s musical life since its opening on October 20, 1903. The 1,013-seat hall was a gift of Conservatory trustee Eben D. Jordan II and was designed by architect Edmund Wheelwright. The original cost was $120,000.” -http://www.bmop.org/venue.aspx?cid=11

29. Amy Marcy Cheney1867 - 1944 • Mrs. Henry Harris Aubrey Beach • Preeminent woman composer of the day • Before her death her music was dismissed by the public • Beach revival in the 1970s • Hailed by critics as graceful, tuneful, technically brilliant - compared with Brahms • Mrs. Beach wrote “like a man” and was “One of the Boys” • Sonata for Piano and Violin in A Minor, Op. 34 • Scherzo - Molto vivace

30. Amy Marcy Cheney1867 - 1944 • Born Henniker, New Hampshire • Debut in Boston at age 16 as a pianist • Age 18 soloist with the BSO • First acclaimed composition was Festival Jubilate written for the dedication of the Women’s Building at the Chicago Colombian Exposition in 1892 • First major instrumental piece was Gaelic Symphony played by the BSO in 1896

31. The “Second New England School” - again • The first real “school” of composers in the United States • George Whitefield Chadwick • Horatio Parker • John Knowles Paine • Arthur Foote • Edward MacDowell • Amy Beach • Charles Martin Loeffler • Frederick Shepherd Converse • Henry F. Gilbert

32. The “Second New England School” - again • (The “first” school was an informal group of singing-school masters and composers during and after the American Revolution) • best known was William Billings • Boston enjoyed a unique position because • A large number of fine composers • A large number of educational institutions • Lots of performance opportunities • A wonderful social life • the composers met at concerts and clubs, played their music for each other and discussed it freely • many of the composers were prominent teachers

33. The “Second New England School” - again • Germany held cultural power over European and American musical life • These young composers wrote works proving their competence while developing their own personalities • Their music and significance has never been celebrated

34. Charles Martin Loeffler1861 - 1935 • A recluse composer in Massachusetts • So taken with modern French musical style, he has been called a French-American • Born in France of German stock • Spent his early years in Russia, Berlin, and Paris • A violinist • Came to NYC in 1881and was pressed into service by Major Henry Lee Higginson at the 1st stand of the violins in the BSO (remained until 1903)

35. Charles Martin Loeffler1861 - 1935 • An exquisite craftsman, he constantly revised his scores and published little • Interested in unusual instruments and instrumentation • La mort de Tintagiles full orchestra, solo viola d’amore • Inspired by a marionette drama • Character of Tintagiles became identified with Loeffler’sbrother • Always thought of this work in terms of the viola d’amore • Loeffler purchased the viola d’amore in 1897 andthe work was presented on January 7, 1989 by the BSO • Loeffler and Franz Kneisel played the solo parts

36. La Mort de Tintagiles(The Death of Tintagiles) • A gloomy and macabre story • Orchestration was very interesting • Revised in 1901 with one solo part eliminated • Remains one of his most popular orchestral works • Performance by the Indianapolis Symphony, John Nelson, conductor • The viola d’amore used in this recording • Tomaso Eberle of Naples c. 1775 • Purchased by Loeffler and used in the premiere performance • Given to Isabelle Stewart Gardner in 1903 • Now in the Gardner Museum, in the yellow room

37. Henry F. Gilbert1868 - 1928 • Great interest in black music • Comedy Overture on Negro Themes (ca. 1906) • The Dance in Place Congo (ca. 1908) • May be the first American to draw on Negro spirituals in a work for orchestra • Also composed works based on Indian sources • Six Indian Sketches (1911) • Indian Scenes (1912) • Called for an American School of Composition

38. Henry F. Gilbert1868 - 1928 • descendent of the Bay State colonists (1631 and 1640) • works not received as well as Ives • he was a rowdy character • not daring • MacDowell’s first American pupil but largely self-taught • took Dvorak’s dictum to heart and based his work on Negro melodies

39. Henry F. Gilbert1868 - 1928 • The Dance in Place Congo composed as a symphonic poem in 1906-1908, revised in 1916 • Submitted to the Boston Symphony and dismissed by Karl Muck • Gilbert prepared a ballet version • dedicated to Otto H. Kahn (financier and patron of the Met) • first performed in its ballet form at the Met on March 23, 1918, Pierre Monteux, conductor • first performance by the BSO on February 20, 1920, Pierre Monteux, conductor • performances of Gilbert’s works were often poor • “Give me a third-rate American conductor over the best European any day!”

40. Henry F. Gilbert1868 - 1928 • Gilbert suffered from Fallot or “blue baby’s” syndrome and lived 23 years longer than any other sufferer • still made his life a success as a pioneer in American Music

41. Frederick Shepherd Converse1871 - 1940 • Student of Paine at Harvard, graduating in 1893 • Studied with Chadwick • Studied in Munich with Chadwick’s former teacher, Rheinberger • Returned to the United States in 1899 and taught harmony at NEC • Taught at Harvard between 1901 - 1907, then resigned to devote himself to composition • Opera The Pipe of Desire produced by the Met in 1910 (the 1st opera by an American to be produced there)

42. Frederick Shepherd Converse1871 - 1940 • Endymion’s Narrative was composed in 1901 and premiered by the BSO on April 11, 1903 • based on John Keat’s poem Endymion: A Poetic Romance

43. Frederick Shepherd Converse1871 - 1940 • Also wrote this musical ode to the horseless carriage: Flivver Ten Million: A Joyous Epic • influenced by Honegger’s Pacific 231 • written to signify the 10 millionth Ford “flivver” automobile • premiered by the BSO on April 15, 1927, the full title isFlivver Ten Million: A Joyous Epic Inspired by the Familiar Legend, “The Ten Millionth Ford is Now Serving Its Owner” • Performance by the Louisville Orchestra, Jorge Mester, conductor (recorded October 29, 1975)

44. John Alden Carpenter 1876 - 1951 • a descendent of Patricia Mullins and John Alden • native of the Chicago area • family shipping supply business in Chicago • practiced music as an avocation • studied with John Knowles Paine at Harvard and with Edward Elgar in Germany • partial towards French music

45. John Alden Carpenter 1876 - 1951 • made a considerable stir with Krazy Kat in 1921 • A ballet score first performed by the CSO as an orchestral piece • Subject matter from American pop culture • Comic strip by George Harriman • Uses popular dances of the early jazz era • Orchestration includes “jazz” instruments • piano, saxophone, winds, and brass • References to French and Russian ballet music • Exotic rhythms • first performed as a ballet on January 20, 1922 in New York’s Town Hall

46. John Alden Carpenter 1876 - 1951 • imagination and sense of humor • jazz age music but not true jazz • first performance as an orchestral piece in December, 1921 in Chicago • Krazy Kat did not hold a place in orchestral repertory because of its visual appeal • George Herriman’s Krazy Kat from Sunday, October 10, 1920 • characters: • a mouse: Ignatz • Officer Pupp • Krazy Kat

47. John Alden Carpenter 1876 - 1951 • caused a stir in the dance world resulting in Diaghilev’s commissioning him to write a ballet of modern American life • the result was Skyscrapers produced at the Met on February 19, 1926 • Carpenter retired from business in 1936 and began to compose more prolifically • honored, performed, and recorded, his first works are his best

48. Charles Tomlinson Griffes1884 - 1920 • America’s most successful Impressionist composer • American art-songs • Do Not Go, My Love (1917) • When I Have Sung My Songs (1934) • one of the most exciting young American composers of his generation • born in Elmira, NY • studied with Mary Selena Broughton at Elmira College • studied in Berlin 1903 - 1907 • studied with Engelbert Humperdinck • returned to the USA in 1907 as music director of the Hackley School for boys • his music began to appear in print in 1909, was regularly performed by 1915, and discussed in various periodicals

49. The Pleasure-Dome of Kubla Kahn • The Pleasure-Dome of Kubla Khan, one of his best-known works, was performed by the BSO, Pierre Monteux, conducting, in Boston on November 28 and 29 and again at Carnegie Hall on December 19 and 20, 1919 • first composed for piano in 1912 and revised in 1915, it was played for Busoni, Farwell, and Galston before being reworked for orchestra. It became Griffes’ first orchestral composition. • The score sent to Walter Damrosch and Leopold Stokowski, but it was introduced to the Boston audience by Monteux. • Kubla Khan In Xanadu did Kubla Khan A stately pleasure-dome decree : Where Alph, the sacred river, ran Through caverns measureless to man Down to a sunless sea. So twice five miles of fertile ground With walls and towers were girdled round : And there were gardens bright with sinuous rills, Where blossomed many an incense-bearing tree ; And here were forests ancient as the hills, Enfolding sunny spots of greenery.- Samuel Taylor Coleridge