Music history has no shortage of musicians with no business sense. In jazz, Jack Teagarden never led a successful band; he drank too much, was too generous with friends, and had no idea how to make contracts. Fletcher Henderson failed so miserably financially that he had to sell all of his arrangements to Benny Goodman just to get money. In contrast, Kid Ory, the legendary tailgate trombonist, displayed his business sense at the age of 8, the same time he started performing music.
Jean Sibelius and Carl Nielsen, two of the most important Scandinavian composers, were both born in 1865. They met only once and had very different personalities. Nonetheless, they have more in common than being Scandinavian symphonists. For example, both of their names have unusual stories, and the year 1926 had special significance for both. On the other hand, their relationship to the controversy between Brahms and Wagner took opposite paths.
Race relations in the US are probably better than at any time in history. The recent racially motivated mass murder at a prayer meeting in Charleston, South Carolina demonstrates that they are not good enough. Many simmering misunderstandings and controversies rooted in racial tension likewise show that we have a long way to go achieve racial harmony. Harmony. That’s a musical term. The history of American music reflects the history of race relations. Music has also played a role in bridging the racial divide.
Last month I examined arguments in the periodic obituaries for classical music and found most of them a bunch of bunk. One, however, rings true. If classical music isn’t “circling the drain,” then it’s on some kind of merry-go-round, covering the same ground over and over. After a while, the charm wears off. The greatest asset classical music possesses is its current audience, people who regularly attend concerts. For all the disrespect heaped on them by people who would prefer that classical music go away, they attend concerts, purchase recordings, and listen to classical radio. Performing organizations always seek to … Continue reading
Another obituary for classical music appeared recently at marketplace.org. It points out that classical music sales only amount to 1.4% of music consumption. It says that audiences of classical music are not diverse. It quotes a pianist as being “kind of tired of making music for the same people all the time.” The obituary in Slate by Mark Vanhoenacker that made the rounds last year said, “Classical music has been circling the drain for years.” Such pronouncements usually provoke a flurry of posts about how healthy classical music is. By “for years,” Vanhoenacker means since some time in the mid-20th … Continue reading
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