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Excerpt from The American Orchestra and Theodore Thomas Without sounding the ever-ready pipe of vainglory, we may justly affirm that in one division of representative art the Amer ican achievement has gone beyond debate. The grand orchestra is now' more than our foremost cultural asset; it has become our Sign Of honor among the nations. Even if sceptical or scorn-f ful about our other endeavors, the world assigns to this a verity of excellence. Starting so much later than the rest and starting handicapped, we seem, despite shortcomings and our own in credulities, to have developed the orchestra above the average attainment. If we lag about other arts, we lead in this. Forty years or so have set down most of the visible signs of this gracious growth. Only so far back as 1876 they were not known to mortal sight, certainly, and otherwise had been scouted as impossible. Two bands, one leader, and an interest so small it seemed to pessimist's' a'higher power of nothing may be counted as the sorry whole of our performance in that year. In many places were small groups of instrumentalists that played together unstably and were regarded by most of their fellow townsmen as partly insane; in many-places there was for vocal music a large, sincere, and always expanding devotion. But beyond two bands and one leader, the thing we know now as the grand or symphony orchestra functioned chiefly to the ear of hope. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Biography of an interesting character and great musician who started the Chicago Symphony Orchestra.
Biography of an interesting character and great musician who started the Chicago Symphony Orchestra.
High quality reprint of American Orchestra And Theodore Thomas, The by Charles Edward Russell.
Studies of concert life in nineteenth-century America have generally been limited to large orchestras and the programs we are familiar with today. But as this book reveals, audiences of that era enjoyed far more diverse musical experiences than this focus would suggest. To hear an orchestra, people were more likely to head to a beer garden, restaurant, or summer resort than to a concert hall. And what they heard weren’t just symphonic works—programs also included opera excerpts and arrangements, instrumental showpieces, comic numbers, and medleys of patriotic tunes. This book brings together musicologists and historians to investigate the many orchestras and programs that developed in nineteenth-century America. In addition to reflecting on the music that orchestras played and the socioeconomic aspects of building and maintaining orchestras, the book considers a wide range of topics, including audiences, entrepreneurs, concert arrangements, tours, and musicians’ unions. The authors also show that the period saw a massive influx of immigrant performers, the increasing ability of orchestras to travel across the nation, and the rising influence of women as listeners, patrons, and players. Painting a rich and detailed picture of nineteenth-century concert life, this collection will greatly broaden our understanding of America’s musical history.
“A wonderfully readable account of Chicago’s early history” and the inspiration behind PBS’s American Experience (Michiko Kakutani, The New York Times). Depicting its turbulent beginnings to its current status as one of the world’s most dynamic cities, City of the Century tells the story of Chicago—and the story of America, writ small. From its many natural disasters, including the Great Fire of 1871 and several cholera epidemics, to its winner-take-all politics, dynamic business empires, breathtaking architecture, its diverse cultures, and its multitude of writers, journalists, and artists, Chicago’s story is violent, inspiring, passionate, and fascinating from the first page to the last. The winner of the prestigious Great Lakes Book Award, given to the year’s most outstanding books highlighting the American heartland, City of the Century has received consistent rave reviews since its publication in 1996, and was made into a six-hour film airing on PBS’s American Experience series. Written with energetic prose and exacting detail, it brings Chicago’s history to vivid life. “With City of the Century, Miller has written what will be judged as the great Chicago history.” —John Barron, Chicago Sun-Times “Brims with life, with people, surprise, and with stories.” —David McCullough, Pulitzer Prize–winning author of John Adams and Truman “An invaluable companion in my journey through Old Chicago.” —Erik Larson, New York Times–bestselling author of The Devil in the White City
A resource on classical music provides coverage of composers, works, musical terminology, and performers, along with recommended recordings and access to an interactive Web site that allows readers to listen to sample works, techniques, and performers discussed in the reference.
An illustrated history of America's musical heritage ranges from the earliest examples of Native American traditional song to the innovative sound of contemporary rock and jazz.
The Orchestra: A Very Short Introduction considers the structure, roots, and day-to-day functioning of the modern philharmonic society. Far from an anachronistic organization that cannot long survive, it is shown to be powerful political and social force, occupying critical positions in cultural diplomacy, national identity, and civic pride.
An award-winning scholar and leading authority on American symphonic culture argues that classical music in the United States is peculiarly performance-driven, and he traces a musical trajectory rising to its peak at the close of the 19th century and receding after World War I.