Download Free Musical Memories My Recollections Of Celebrities Of The Half Century 1850 1900 By George P Upton Book in PDF and EPUB Free Download. You can read online Musical Memories My Recollections Of Celebrities Of The Half Century 1850 1900 By George P Upton and write the review.

Musical Memories is a charming memoir by music critic George Putnam Upton, in which he recounts his encounters with many of the great musicians of the late 19th century. From Franz Liszt to John Philip Sousa, Upton provides a fascinating glimpse into the lives of these celebrated artists. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
First published in 1994. This study covers a wide cross-section of topics, individuals, groups, and musical practices representing various regions and cities. The subjects discussed reflect the religious, ethnic, and social plurality of the American musical experience as well as the impact on cultural society provided by the arrival of new musical immigrants and the internal movements of musicians and musical practices. The essays are arranged principally on the basis of the historical chronology of the cultural practices and subjects discussed. Each article helps to shed additional light on cultural expressions through music in eighteenth- and nineteenth-century America.
'Grand Tours' chronicles the American visits of five charismatic pianists - Leopold de Meyer, Henri Herz, Sigismund Thalberg, Anton Rubenstein and Hans von Bülow - during the late 19th century.
In Strong on Music Vera Brodsky Lawrence uses the diaries of lawyer and music lover George Templeton Strong as a jumping-off point from which to explore every aspect of New York City's musical life in the mid-nineteenth century. This third and final volume ranges across opera, orchestral and chamber music, blackface minstrels, military bands, church choirs, and even concert saloons. Among the many striking scenes vividly portrayed in Repercussions are the rapturous reception of Verdi's Ballo in maschera in 1861; the impact of the Civil War on New York's music scene, from theaters closing as their musicians enlisted to the performance of "The Star-Spangled Banner" at every possible occasion; and open-air concerts in the developing Central Park. Throughout, Lawrence mines a treasure trove of primary source materials including daily newspapers, memoirs, city directories, and architectural drawings. Indispensable for scholars, Repercussions will also fascinate music fans with its witty writing and detailed descriptions of the cultural life of America's first metropolis. Formerly a concert pianist, Vera Brodsky Lawrence spent the last third of her life as a historian of American music (she died in 1996). She was editor of The Piano Works of Louis Moreau Gottschalk and The Complete Works of Scott Joplin. On Volume 1: "A marvelous book. There is nothing like it in the literature of American music."—Harold C. Schonberg, New York Times Book Review On Volume 2: "A monumental achievement."—Victor Fell Yellin, Opera Quarterly
One of the foremost piano virtuosi of her time, Fannie Bloomfield-Zeisler reliably filled Carnegie Hall. As a ""new woman,"" she simultaneously embraced family life and forged an independent career built around a repertoire of the German music she tirelessly championed. Yet after her death she faded into obscurity. In this new biography, Beth Abelson Macleod reintroduces a figure long, and unjustly, overlooked by music history. Trained in Vienna, Bloomfield-Zeisler significantly advanced the development of classical music in the United States. Her powerful and sensitive performances, both in recital and with major orchestras, won her followers across the United States and Europe and often provided her American audiences with their first exposure to the pieces she played. The European-style salon in her Chicago home welcomed musicians, scientists, authors, artists, and politicians, while her marriage to attorney Sigmund Zeisler placed her at the center of a historical moment when Sigmund defended the anarchists in the 1886 Haymarket trial. In its re-creation of a musical and social milieu, Fannie Bloomfield-Zeisler paints a vivid portrait of a dynamic artistic life.
Candace Bailey’s exploration of the intertwining worlds of music and gender shows how young southern women pushed the boundaries of respectability to leave their unique mark on a patriarchal society. Before 1861, a strictly defined code of behavior allowed a southern woman to identify herself as a “lady” through her accomplishments in music, drawing, and writing, among other factors. Music permeated the lives of southern women, and they learned appropriate participation through instruction at home and at female training institutions. A belle’s primary venue was the parlor, where she could demonstrate her usefulness in the domestic circle by providing comfort and serving to enhance social gatherings through her musical performances, often by playing the piano or singing. The southern lady performed in public only on the rarest of occasions, though she might attend public performances by women. An especially talented lady who composed music for a broader audience would do so anonymously so that her reputation would remain unsullied. The tumultuous Civil War years provided an opportunity for southern women to envision and attempt new ways to make themselves useful to the broader, public society. While continuing their domestic responsibilities and taking on new ones, young women also tested the boundaries of propriety in a variety of ways. In a broad break with the past, musical ladies began giving public performances to raise money for the war effort, some women published patriotic Confederate music under their own names, supporting their cause and claiming public ownership for their creations. Bailey explores these women’s lives and analyzes their music. Through their move from private to public performance and publication, southern ladies not only expanded concepts of social acceptability but also gained a valued sense of purpose. Music and the Southern Belle places these remarkable women in their social context, providing compelling insight into southern culture and the intricate ties between a lady’s identity and the world of music. Augmented by incisive analysis of musical compositions and vibrant profiles of composers, this volume is the first of its kind, making it an essential read for devotees of Civil War and southern history, gender studies, and music.