By E. Douglas Bomberger
In July of 1884, pianist Calixa Lavallee played a recital of works by means of American composers that begun a hugely influential sequence of such live shows. Over the process the subsequent decade, 1000s of all-American live shows have been played within the usa and Europe, a circulation that fostered either the advance and the notion of yankee song as a different artwork shape. A Tidal Wave of Encouragement-the name of that is derived from one observer's description of the movement-is the 1st in-depth research of this crucial interval in American song. delivering a accomplished heritage of the live shows in addition to distinctive bills of the serious serious debate surrounding them, writer E. Douglas Bomberger unearths how one decade formed the way forward for American classical song and intensely a lot impacted the best way we pay attention it at the present time.
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Extra info for A Tidal Wave of Encouragement: American Composers' Concerts in the Gilded Age
L. Fox, ), pp. 159-60. 10. "Calixa Lavallee," MC 22/4 (January 28, 1891): 75. The MTNA Concerts, 1884-1888 21 11. "Biographies of American Musicians Number Ninety: Calixa Lavallee," BMW 22/5 (May 1885): 167. 12. "Calixa Lavallee," MC, 75. This article goes on to note that he served two years in the Civil War and advocated the annexation of Canada to the United States. 13. The Eighth Annual Meeting, 1884, Official Report, p. 160. 14. "The Music Teachers," MC 8/24 (June 11, 1884): 379. 15. "Music Teachers' National Association," MC 10/17 (April 29, 1885): 261.
The body of successful writers in each of these periods make up a literary style or "school," and each of these schools was distinct from the others; yet there was no essential change in the national character of Englishmen. 3 Continuing with his analogy to literature, Krehbiel cited the British literary critic Walter Bagehot, whose view of the development of national styles involved one author whose style appealed to those around him and who was consequently imitated by others. The others may have had more talent and originality than the first, but they owed the foundation of the national style to the initial writer.
2. Henry E. Krehbiel, How to Listen to Music (New York: Scribners, 1896), cited in Mark N. Grant, Maestros of the Pen: A History of Classical Music Criticism in America (Boston: Northeastern University Press, 1998), p. 58. 3. H. E. Krehbiel, Review of the New York Musical Season, 1885-1886 (New York and London: Novello, Ewer, 1886), pp. xix-xx. 4. Ibid, xx. 5. Ibid, xxi. 6. H. E. Krehbiel, Review of the New York Musical Season, 1887-1888 (New York and London: Novello, Ewer, 1888), p. 171. 7. Ibid, 174.