By Dorothy T. Potter

ISBN-10: 1611460026

ISBN-13: 9781611460025

ISBN-10: 1611460034

ISBN-13: 9781611460032

Nutrients for Apollo via Dorothy Potter, describes and evaluates the expansion and scope of cultivated tune in Philadelphia, from the early eighteenth-century to the appearance of the Civil conflict. in lots of works facing American tradition, dialogue of music's impact is restricted to some major performances or folks, or overlooked altogether. The research of music's position in cultural background in all fairness contemporary, in comparison to literature, artwork, and structure. even if vernacular or in line with ecu types, a extra thorough knowing of tune may still comprise consciousness to similar matters. This booklet examines live performance and theatre performances, track publishing, pre-1861 manufacture of pianos, and British and American literature which promoted tune, informing readers approximately members corresponding to Wolfgang Amadeus Mozart, whose works and reputation generated curiosity on each side of the Atlantic.Though first and foremost hindered via the Society of pals' competition to entertainments of every kind, numbers of non-Quakers supported dancing, live shows, and drama via the 1740s; this curiosity speeded up after the Revolution, with the construction of a few of America's earliest theatres, and over the years, Musical Fund corridor, the Academy of song, and different venues. Emigrant musicians, significantly Alexander Reinagle, brought new works via modern Europeans similar to Franz Joseph Haydn, Mozart, C.P. E. Bach, and so forth, in live shows mixed with favourite tunes, just like the "President's March.". Later within the 19th century, Philadelphia's famous African-American composer and band chief Francis Johnson, endured the culture of combining classical and vernacular works in his renowned prom live shows. As they marketed and shipped their tune to an ever-growing marketplace, post-Revolutionary emigrant song publishers, together with Benjamin Carr and his kinfolk, George Willig, and George Blake, created profitable companies that prompted American flavor some distance past Philadelphia. whereas a lot of their imprints have been vernacular items of every type, pirated

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48 While neither resolution passed, in 1779 the Pennsylvania Assembly established penalties for anyone who either built a stage or acted thereon. Not surprisingly, dances and parties attended by the wealthy and fashionable seem to have escaped censure, but for seven years drama led a shadowy existence in Philadelphia, disguised as concerts, since music was not specifically prohibited, or public lectures, such as the virtues and vices illustrated in Hamlet. ”49 Such vague terms were not entirely specious, since a variety of entertainments might comprise an “academy,” an expression used to describe concerts with various participants.

That the first part of the program featured the overture to Démophon (1789) by Johann Vogel, a song from Antonio Sacchini’s Oedipe (1787), and a duo by Miss de Brueys and Chateaudun from Niccolò Piccini’s Atys (1780) shows that Chateaudun maintained his ties to Paris publishers. The “full band” tribute to Marie Antoinette, from her imprisonment to her death, began part 2, which included two unattributed Mozart songs, a duet and a quartet by de Brueys, a Mr. ”69 Even as Philadelphia elites and middling class could congratulate themselves on the greater variety and quality of entertainments, and a growing number of talented performers, American’s foreign policy became increasingly enmeshed in the ongoing struggle between Britain and Napoleonic France.

68 Among the most ambitious of the Chateauduns’ concerts was given on March 6, 1804, again at the Philharmonic Society. That the first part of the program featured the overture to Démophon (1789) by Johann Vogel, a song from Antonio Sacchini’s Oedipe (1787), and a duo by Miss de Brueys and Chateaudun from Niccolò Piccini’s Atys (1780) shows that Chateaudun maintained his ties to Paris publishers. The “full band” tribute to Marie Antoinette, from her imprisonment to her death, began part 2, which included two unattributed Mozart songs, a duet and a quartet by de Brueys, a Mr.

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'Food for Apollo': Cultivated Music in Antebellum Philadelphia by Dorothy T. Potter


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