II.4. Critic and Conductor in 1860s Chicago: George P. Upton, Hans Balatka, and Cultural Capitalism

Kapitel in diesem Buch

1. Frontmatter i
2. Contents vii
3. List of Illustrations ix
4. Introduction: Toward a History of American Orchestras in the Nineteenth Century 1
5. I. Ubiquity and Diversity
6. The Ubiquity and Diversity of Nineteenth- Century American Orchestras 19
7. I.1. Building the American Symphony Orchestra: The Nineteenth- Century Roots of a Twenty- First- Century Musical Institution 25
8. I.2. Modeling Music: Early Organizational Structures of American Women’s Orchestras 53
9. I.3. American Orchestras and Their Unions in the Nineteenth Century 78
10. II. The Orchestra and the American City
11. Orchestras: Local versus National 103
12. II.1. Invisible Instruments: Th eater Orchestras in New York, 1850– 1900 109
13. II.2. Beethoven and Beer: Orchestral Music in German Beer Gardens in Nineteenth- Century New York City 130
14. II.3. Performances to “Permanence”: Orchestra Building in Late Nineteenth- Century Cincinnati 156
15. II.4. Critic and Conductor in 1860s Chicago: George P. Upton, Hans Balatka, and Cultural Capitalism 175
16. II.5. Amateur and Professional, Permanent and Transient: Orchestras in the District of Columbia, 1877– 1905 194
17. III. Conductors, Promoters, Patrons
18. Marketing the American Orchestra 219
19. III.1. Bernard Ullman and the Business of Orchestras in Mid- Nineteenth- Century New York 225
20. III.2. John Sullivan Dwight and the Harvard Musical Association Orchestra: A Help or a Hindrance? 247
21. III.3. Th e Leopold Damrosch Orchestra, 1877– 78: Background, Instrumentation, Programming, and Critical Reception 269
22. III.4. Gender and the Germanians: “Art- Loving Ladies” in Nineteenth- Century Concert Life 289
23. IV. America and Europe
24. Orchestras: American and European 313
25. IV.1. “A Concentration of Talent on Our Musical Horizon”: Th e 1853– 54 American Tour by Jullien’s Extraordinary Orchestra 319
26. IV.2. Ureli Corelli Hill: An American Musician’s European Travels and the Creation of the New York Philharmonic 348
27. V. Orchestral Repertory
28. Orchestral Repertory: Highbrow and Lowbrow 367
29. V.1. Orchestral Programs in Boston, 1842– 55, in European Perspective 373
30. V.2. Theodore Thomas and the Cultivation of American Music 395
31. V.3. Th inking about Serious Music in New York, 1842– 82 435
32. Afterword: Coming of Age 451
33. Bibliography 459
34. Contributors 479
35. Index 481