Chapter 7: Concert Music
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 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
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 Music activity increased greatly across America, including
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Outstanding conservatories =professional music schools
Concert halls
Opera houses
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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
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Part 2: The Tumultuous Nineteenth Century
Chapter 7: Concert Music

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Part 2: The Tumultuous Nineteenth Century
Chapter 7: Concert Music

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Long and lyrical melodies
Asymmetrical phrases
Repeated songlike melodies with variation or embellishment
Chordal harmony became fuller and steadily more dissonant
 Dissonant = less harmonically stable
Expansion of tonal harmony through addition of new tones to familiar chords
 Newly varied and colorful effects
Freer treatment of rhythms
 Sometimes avoiding regularly recurring patterns of a certain number of beats per measure; phrases of irregular length
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Chapter 7: Concert Music

 Timbre = color (of sound)
 Nineteenth-century music includes increasingly rich and imaginative instrumental effects
 Technological changes increasing capabilities of woodwind and brass instruments encouraged their wider use in the orchestra

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A greatly expanded percussion section added variety in timbre
Additional strings added to balance the increased winds and percussion
 The Romantic orchestra was larger than that of the Baroque or Classical period, with a richer variety of timbres
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
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Performed European works
The visiting orchestra led by French conductor and showman Louis-Antoine
Jullien (1812-1860) was

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The first ensemble to give American orchestral music serious attention
Jullien gave a flashy looking concert

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1853: Added American musicians to his orchestra
Started to program works by
American composers
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Part 2: The Tumultuous Nineteenth Century
Chapter 7: Concert Music

 Large orchestras held little interest for the young republic
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
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
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

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!
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 Scornful of the casual rehearsal and concert procedures of the New York Philharmonic Society
 Formed his own orchestra
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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
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Chapter 7: Concert 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 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
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Chapter 7: Concert Music

 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
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 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
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 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
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Chapter 7: Concert Music


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
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 Growing up in New Orleans, Gottschalk absorbed the sounds of various cultures
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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…
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Gottschalk’s youthful compositions for piano
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And his astonishing virtuosity
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 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
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Toured extensively
 Performing his own music
 Reaching people who had never heard concert music
 Contributing payments to the Union cause
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 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 mysterious causes, possibly yellow fever
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 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
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 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
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
Gottschalk’s musical output includes
 Songs
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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
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Part 2: The Tumultuous Nineteenth Century
Chapter 7: Concert Music

 Character pieces that capture the mood or character of their subject in musical terms; examples are…
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
“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 = ballroom dances in triple meter
 He composed mazurkas = Polish folk dances of varying character, in triple meter
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Chapter 7: Concert Music

Le bananier
By Louis Moreau Gottschalk
Listening Guide page 110
The left hand introduces an
“obstinately” repeated rhythmic and melodic pattern called an ostinato , which will accompany the first section of 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 A is played by the left hand while the right hand plays runs. b recurs. Bits of a and virtuosic figures end the piece.
Genre : Character piece
Timbre : piano
Texture : Homophonic
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
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 Strong European nationalistic efforts in the second half of the nineteenth century
 Artists in Russia, Bohemia, Norway, and Finland establish strong national styles

Drawing inspiration from folk takes, legends, religious music
 Interest in peasant traditions
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Part 2: The Tumultuous Nineteenth Century
Chapter 7: Concert Music

 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 to be novices in art —and Americans agreed
In the Fields
Painted by
Eastman Johnson (1824-1906)
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Part 2: The Tumultuous Nineteenth Century
Chapter 7: Concert Music


America’s best-known composers continued to make their music sound as German as possible
 A few American composers set out to capture the American spirit in music and to promote performances of American music, but were largely ignored

1892: Mrs. Jeanette M. Thurber, an American interested in establishing a nationalistic music style, invited Anton ín Dvořák , a prestigious Bohemian nationalist composer to direct the National
Conservatory of Music in New York City
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 He was fascinated by the music of
African Americans and Native American
Indians
 Perplexed that Americans lacked interest in “native” music

Illustrating his ideas, plus America’s beauty, he wrote Symphony No. 9 ( the New World)
From
, and chamber pieces
 Used scales of black or Indian music
 Harmonized and orchestrated as per
Western custom
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Chapter 7: Concert Music
The Scout, Friend or Enemy?
Painted by
Frederic Remington (1861-1909)

 New York City was the center of music performance in the late nineteenth century
 The Boston area nurtured significant developments in music, philosophy, literature
 New England produced most of the important American composers of the era
 1881: The Boston Symphony Orchestra was founded
 Supported efforts of local composers

Brought their music to public attention
 Often with repeated performances of a well-received work
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Part 2: The Tumultuous Nineteenth Century
Chapter 7: Concert Music

 The first American composers to write significant works in all the large concert forms
 Their music was comparable in style and quality to music of many of their European contemporaries

Dubbed the “Boston Classicists,” they shared a dedication to

The principles of German music theory
 Concern for craftsmanship
 Contributed to every genre of concert music
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 Many were church musicians and organists who included organ transcriptions of opera arias and symphonic music in their recitals
 They brought this music to Americans who would otherwise not have access to opera or orchestra concerts

Transcription = An arrangement of a piece originally composed for a particular instrument or ensemble so that it can be played by a different instrument or combination of instruments
 These intrepid pioneer composers also contributed compositions for organ and choral music to the American music repertoire
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 The oldest member and leader of the Second New England School
 Paine: An American who was educated in music in Germany

While in Germany, Paine wrote his Mass in D for chorus, soloists, and orchestra, reminiscent in style to a well-known mass by Beethoven
 This was the first large composition by an American to be performed in Europe
 Mass = A setting to music of the most important Roman
Catholic worship service
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Chapter 7: Concert Music

 1861: Back home in America during wartime,
Paine became the organist at Harvard University
 He offered free noncredit lectures in music (not considered a proper course of study in universities at the time)

The lectures were well received

1875: Harvard became the first American college to include music in its formal curriculum
 Paine became the first American professor of music
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Chapter 7: Concert Music

 His Symphony No. 1


First performed by Theodore Thomas’s orchestra in 1876
The first American symphony to be published —but in
Germany rather than America —only after Paine’s death
 He wrote many other kinds of music as well
 Songs



Hymns
An opera
Several fine keyboard compositions for organ or piano
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Part 2: The Tumultuous Nineteenth Century
Chapter 7: Concert Music

Fuga giocosa, op. 41, no. 3
After the exposition, Paine explores several major and minor keys throughout the rest of the fugue. He sometimes treats the first four notes of the subject as a motive, repeating the bouncing figure at different levels of pitch, a technique called musical sequence.
By John Knowles Paine
Listening Guide page 114
Occasional large chords provide effective contrast to the polyphonic texture, and the piece becomes increasingly virtuosic and dramatic.
It is never pretentious, and at the end, like the beginning, is light and humorous.
Form: Fugue
Key: G major
The subject (main melody) of this three-voice fugue is based on an old baseball song, “Over the Fence is Out, Boys.” It is tossed—like a baseball, perhaps —from one voice to another.
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Part 2: The Tumultuous Nineteenth Century
Chapter 7: Concert Music

 A polyphonic composition with three to five melodic lines or “voices” entering one at a time in imitation of each other, according to specific rules
 Originally conceived as a form of European keyboard music


Highly structured
Suitable for every performing medium, including voice
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Part 2: The Tumultuous Nineteenth Century
Chapter 7: Concert Music

 Exposition = The beginning section of the fugue, in which all the voices are introduced (“exposed”)
 The principal theme or subject enters alone
 After the subject has been heard in entirety, it is imitated by each of the other voices in turn until each has made its entrance

The first entrance —the subject—is on the tonic

The second voice, or answer , begins on the dominant
 The answer is similar but not identical to the subject

The remaining voices (usually a total of three or four) alternate entrances between tonic and dominant until each voice has been introduced
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 Following the exposition, each voice proceeds with independent material, referring to the subject and answer more or less frequently throughout the piece
 There may be a second theme, or countersubject



Introduced in the same manner as the subject
Recurring throughout the fugue
Motive = a short melodic phrase that may be developed
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Part 2: The Tumultuous Nineteenth Century
Chapter 7: Concert Music


Subject (tonic) (Other thematic material)
Answer (dominant) (Other thematic material)
Subject (tonic)
Answer (dominant)
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Part 2: The Tumultuous Nineteenth Century
Chapter 7: Concert Music

 Recognized early as an outstanding pianist
 The first American woman composer to
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
Rank with such highly educated and sophisticated musicians as those of the Second New England School
Write a successful mass and a symphony

Women of Beach’s day were not given the education, the financial and social support, or the patronage required to succeed as professional composers
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Part 2: The Tumultuous Nineteenth Century
Chapter 7: Concert Music


Beach’s parents and husband recognized her talent up to a point
 Childhood: Studied piano but had little training as a composer

She trained herself by translating into English important foreign treatises on instrumentation and orchestration
 Performance career
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

Before marriage performed as pianist with the Boston
Symphony Orchestra and also the Theodore Thomas Orchestra
Married, her husband preferred that she compose only

It was improper back then for married women to perform
After her husband’s death, Beach resumed her concert career
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Part 2: The Tumultuous Nineteenth Century
Chapter 7: Concert Music


Beach’s compositions were widely performed in America and
Europe
 She could not escape references to her sex in reviews of her work
 Criticism at times for trying to sound masculine
 Praise at other times for her properly feminine graceful melodies and more gentle symphonic passages
 She handled the symphonic medium very capably, but Beach composed more art songs than any other form

Her contemporaries readily accepted songs as fitting examples of feminine creativity
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 Pertaining to Dvo řák’s recommendation to produce American music based on ethnic and traditional idioms
 Beach disagreed that African American or Native American music represented the influences prevalent in her society

Stated most people’s ancestors were English, Scottish or
Irish, and…
 Music should be based on songs from those areas
 Much of Boston’s population was Irish
 Thus, Beach based her Symphony in E minor
(“Gaelic”) upon Irish tunes
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A: Oboe introduces the lovely theme, accompanied by other woodwinds (the Irish tune
“The Little Field of Barley”)
Listening Guide page 118
B: Beach transforms the now excited theme, which repeats in different keys with great variety
A The theme returns, along with a romantic climax
B The coda, with the agitated B theme, brings the movement to a satisfying end
Form : The coda is the closing section
Tempo : A is slow, relaxed; B is fast (allegro vivace)
Meter : A is in compound quadruple meter (12/8), with four slow beats per measure, divided by three; B is in simple duple meter (2/4)
One section or movement of a symphony describing the struggles, laments, romance, and dreams of the Irish people
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 MacDowell was not a member of the First New
England School
 Too romantic to be called a classicist
 Too individual to be included in a school of composers

MacDowell was the first American to write concert music in a style distinctively his own
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Chapter 7: Concert Music

 As a talented teenager MacDowell went to Paris to study art and music
 Then selecting music, traveled to Germany to study music theory and composition

An accomplished pianist, he performed widely while in
Europe
 Some of his songs and pieces in the German style were published in Germany before his 1888 return to America
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 Following years of performing, composing, and teaching in the
Boston area…
 1896: Accepted the position as head of the newly established music department at Columbia University, New York City

MacDowell was now able to implement his ideal of teaching music as related to the other arts
 Created a curriculum similar to a humanities program
 As composer, poet, and artist, MacDowell believed…
 The arts cannot be understood in isolation from each other
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 Did not espouse the claim that quoting African American or Indian themes would establish a characteristically American music
 Believed that American music should seek to capture the youthful, optimistic spirit of the country

Nevertheless, he was unable to resist references to American
Indian music in several of his pieces

Example: Indian Suite , based on Native American lore or experience, using American Indian or Indian-like melodies
 Suite = An orchestral work consisting of several sections or semi-independent pieces
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 Reflect his romantic love of nature
 Painting in musical terms idyllic scenes of woodland lakes and hills

Example: Woodland Sketches , two movements of which are…
 “To a Wild Rose”
 “From an Indian Lodge” (notice the American Indian theme)

These delicate, intimate, modest piano miniatures capture the essence of the sounds and moods of nature
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
MacDowell’s vision of music as one of the integrated arts has benefited American arts to this day
 After his death, his widow established a summer colony on their estate at Peterborough, New Hampshire

Artists, musicians, and literary figures are invited to spend uninterrupted summers working within their chosen field at what is now called the MacDowell Colony
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
 Americans were more romantic than classical in their style of expression

Americans had romantic zeal to improve conditions of life
 Initiated religious and social reform movements
 Initiated efforts to reform American music by making it sound more European
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Part 2: The Tumultuous Nineteenth Century
Summary



 Wrote hymns
 Brought music education to the public schools
 Attempted to raise the level of musical awareness and appreciation
Part 2: The Tumultuous Nineteenth Century
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 Continued to practice and enjoy their accustomed ways of reading and singing music
 Singing schools were popular in rural areas
 Shape-note songbooks such as The Sacred Harp were used as teaching materials
 During the Great Revival people of all ages and races attended camp meetings
 They enjoyed singing rousing hymns and spirituals
 Secular songs became popular
 Reflecting experiences of everyday life
Part 2: The Tumultuous Nineteenth Century
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 Theaters offered popular entertainment that was primarily musical
 Popular types of music included






Religious songs
Sentimental ballads
Songs of social protest
Glees sung in parlors and concert halls
Performances of well-known singing families such as the
Hutchinsons
Minstrel shows
Part 2: The Tumultuous Nineteenth Century
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 Minstrelsy:
 The most popular entertainment of the period leading to the Civil War

White men darkened their skin and imitated songs, dances, dialect of stereotypical African Americans

Stephen Foster wrote outstanding minstrel songs
 Genteel society preferred his love songs, Civil War songs, sentimental ballads about home
Part 2: The Tumultuous Nineteenth Century
Summary © 2010 by The McGraw-Hill Companies, Inc.
All rights reserved.

 Concert bands became balanced ensembles capable of performing
 Transcriptions of orchestral and operatic literature
 More popular pieces
© 2010 by The McGraw-Hill Companies, Inc.
All rights reserved.
Part 2: The Tumultuous Nineteenth Century
Summary

 Mid-nineteenth-century Americans enjoyed music performed by virtuoso soloists
 Louis Moreau Gottschalk, American composer and pianist
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Gottschalk was internationally acclaimed
Introduced American Civil War era audiences to piano music
 Performed his own light but stirring compositions
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Presented orchestral programs that pleased audiences, raising the level of appreciation for orchestral music
(primarily European)
© 2010 by The McGraw-Hill Companies, Inc.
All rights reserved.
Part 2: The Tumultuous Nineteenth Century
Summary

 The Second New England School of Composers
 Produced the first significant American concert music

Primarily in German-Romantic style
 Edward MacDowell (not of the Second New England School)
 Developed a characteristic, although not distinctively American idiom of his own
 The MacDowell Colony in Peterborough, New Hampshire, invites artists in every discipline to spend summers there
Part 2: The Tumultuous Nineteenth Century
Summary © 2010 by The McGraw-Hill Companies, Inc.
All rights reserved.

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Slide 6: The Scout, Friend or Enemy?
painted by Frederic
Remington (18611909) © COREL
Slide 7: Conductor Silhouette Highlighted on Music, ©
Digital Vision/Getty Images
Slide 9: Conductors Hands, © Digital Vision/Getty Images
Slide 12: Portrait of a Violinist,
© Ryan McVay/Getty Images
Slide 21: Grand Piano in a Living Room
Royalty-Free/Corbis
Slide 25: In the Fields , by Eastman Johnson (1824-1906)
© Corel
© 2010 by The McGraw-Hill Companies, Inc.
All rights reserved.
Part 2: The Tumultuous Nineteenth Century
Chapter 7: Concert Music