Last week’s post examined how the Civil War affected performance of music in three Northern cities: Boston, New York, and Chicago. This week’s is devoted to musical institutions in the South, looking at New Orleans, the state of Georgia, and Richmond, Virginia. Disruptions to Northern musical institutions came as a result of citizens’ preoccupation with war news, the number of musicians called to military service, and in New York, the exodus of foreign opera stars. These same concerns also disrupted musical life in the South, but the South knew at least one major disruption that the North did not suffer. … Continue reading
As young men fought and died on Civil War battlefields, most of the population of both the Union and the Confederacy remained on farms or in towns and cities. Life went on, and in some cities, life included attendance at concerts, the opera, or other musical theater. But life went on in wartime conditions, though not as normal. How did the war affect the institutions that provided this entertainment? This post looks at some of the ones in Boston, New York, and Chicago as representative of Northern cities. Boston In his history of the Handel and Haydn Society, John S. … Continue reading
Music played a key role in the American Civil War on the home front and on the battlefield. Letters home from Civil War soldiers record much of what we know of music in camps and on battlefields. An officer of the 13th Iowa Infantry, Seneca B. Thrall, wrote 44 letters, mostly to his wife, that provide an officer’s-eye view of part of the Union army’s successful campaign in Mississippi. It seems to be a fairly well-known collection. A Google search of Thrall’s name turns up several hits. Several of the letters describe music within the regiment.
As an undergraduate composition student in the 1970s, I tried to like the music that my teachers thought important, including Webern, Stockhausen, Cage, et al. General audiences have never liked it, and I never did manage to like the music only an academic can love. Inevitably a new generation of composers arose, but it was only after one of my graduate students invited me to a concert of mostly sacred choral music by Henryk Górecki in 1994 that I heard any European post-avant-garde music. A surprising number of devoutly Christian composers lived and worked in countries of the former Soviet … Continue reading
When Patrick S. Gilmore took over leadership of the New York 22nd Regiment Band, he took it on a coast-to-coast tour. The age of the professional touring band had begun. Like all bands before or contemporaneous with the Gilmore Band, as it soon became known, it performed a mix of music for popular entertainment and serious orchestral and operatic repertoire. Music composed originally for concert band was limited to marches, music Gilmore’s soloists wrote for themselves, and other lighter fare by Gilmore himself. Gilmore’s great successor John Philip Sousa and all their notable contemporaries constructed comparable concert programs. Not until … Continue reading
At the beginning of the 1600s, courts, towns, churches, and individual members of the nobility all over Western Europe sponsored musical organizations that included trombone. These ensembles participated in music making from dance music to public concerts to participation in Christian worship. By the end of the century, they had practically disappeared, and the trombone along with it. If no one had used it anywhere, the trombone would have become like the krummhorn and other obsolete instruments that early music enthusiasts resurrected in the mid 20th century. No one else would know or care anything about it. Instead, it lay … Continue reading
“In the Bleak Midwinter,” text by Christina Rosetti, is just about the only well known Christmas carol that I can think of with a text by a woman. She also wrote “Love Came Down at Christmas.” No combination of keywords I could think of yielded any other titles. Christina (1830-1894) Rosetti was part of an artistic family. One brother, poet and painter Dante Gabriel Rosetti, was among the founders of the Pre-Raphaelite movement; another William Michael Rosetti, soon joined the movement, but mostly as editor and critic. Their sister Maria Francesca Rosetti published at least one important essay. Their father, … Continue reading
The Christmas holidays are not a joyous occasion for everyone. Family tragedy can destroy enjoyment of festive occasions, as it did for Henry Wadsworth Longfellow. The story of “I Heard the Bells on Christmas Day” is perhaps the least joyous of any Christmas music I have ever studied. His wife tragically died in 1861, the same year as the American Civil War started. He could not deal with Christmas at all until 1864, a year after his son was severely injured in battle. Longfellow wrote his poem “Christmas Bells” on Christmas Eve, 1864. He wrote it not so much because he … Continue reading
This year marks the 300th anniversary of Carl Philipp Emanuel Bach. His contemporaries held him in much higher esteem than later generations, who have regarded him as just one of Johann Sebastian Bach’s sons. Yet in his lifetime, he was known as the “Great Bach.” When Mozart said, “Bach is the father. We are the children,” he had Emanuel in mind, not Sebastian. We may see him only in the shadow of his father, but in his lifetime, his father cast hardly any shadow at all. Why isn’t C.P.E. Bach better known today?
Whenever the name of a state appears in the title of a well-know song, it usually celebrates the state. It usually lends civic pride to its citizens. Usually. Georgia citizens do not like “Marching through Georgia.” It celebrates the success of an invading enemy. It celebrates Sherman’s march to the sea, one of the most destructive and terrorizing events in the state’s history. But nearly 150 years later, it’s still internationally popular.