Bethany S. Goldberg
- Published in print:
- 2012
- Published Online:
- March 2013
- ISBN:
- 9780226769769
- eISBN:
- 9780226769776
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226769776.003.0010
- Subject:
- Music, History, American
The dispute between the Philharmonic and its landlord was about who would control orchestral music in New York City, how that music would be organized, and how it would be presented to the public. ...
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The dispute between the Philharmonic and its landlord was about who would control orchestral music in New York City, how that music would be organized, and how it would be presented to the public. There was new perspective on the growing presence of orchestral music in mid-nineteenth-century America, its increasing marketability, and the changing preferences of American audiences in entertainment and music. Bernard Ullman, one of the most successful musical managers in the United States, negotiated a multiyear lease for the Academy of Music, lasting until September 1861, with an option to renew. He tried to force the Philharmonic Society out of his theater so he could develop his own orchestral performances free of direct competition. Moreover, Ullman's creative negotiations in regulating Alfred Musard and his monster orchestra revealed that there were as many different kinds of orchestra as one could imagine.Less
The dispute between the Philharmonic and its landlord was about who would control orchestral music in New York City, how that music would be organized, and how it would be presented to the public. There was new perspective on the growing presence of orchestral music in mid-nineteenth-century America, its increasing marketability, and the changing preferences of American audiences in entertainment and music. Bernard Ullman, one of the most successful musical managers in the United States, negotiated a multiyear lease for the Academy of Music, lasting until September 1861, with an option to renew. He tried to force the Philharmonic Society out of his theater so he could develop his own orchestral performances free of direct competition. Moreover, Ullman's creative negotiations in regulating Alfred Musard and his monster orchestra revealed that there were as many different kinds of orchestra as one could imagine.
R. Allen Lott
- Published in print:
- 2003
- Published Online:
- May 2008
- ISBN:
- 9780195148831
- eISBN:
- 9780199869695
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195148831.003.0011
- Subject:
- Music, History, Western
Bernard Ullman arranged for the Belgian violinist Henry Vieuxtemps (1820-81) to contribute some novelty to Sigismund Thalberg's second season in America, which was marred, however, by the financial ...
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Bernard Ullman arranged for the Belgian violinist Henry Vieuxtemps (1820-81) to contribute some novelty to Sigismund Thalberg's second season in America, which was marred, however, by the financial panic of 1857. Audiences in the eastern cities who had already heard him multiple times were reluctant to spend money when finances were tight, and many concerts were canceled. Thalberg thus made two forays into the Midwest, where audiences who had yet to hear him were more eager to part with money. Like Leopold de Meyer before him, Thalberg brought his own Erard grand pianos, but he eventually had an understanding with the American piano firm of Chickering to supply pianos for his concerts. His last appearances in New York were at the orchestral concerts of the French conductor Alfred Musard (1828-81).Less
Bernard Ullman arranged for the Belgian violinist Henry Vieuxtemps (1820-81) to contribute some novelty to Sigismund Thalberg's second season in America, which was marred, however, by the financial panic of 1857. Audiences in the eastern cities who had already heard him multiple times were reluctant to spend money when finances were tight, and many concerts were canceled. Thalberg thus made two forays into the Midwest, where audiences who had yet to hear him were more eager to part with money. Like Leopold de Meyer before him, Thalberg brought his own Erard grand pianos, but he eventually had an understanding with the American piano firm of Chickering to supply pianos for his concerts. His last appearances in New York were at the orchestral concerts of the French conductor Alfred Musard (1828-81).
