Annals of Music in America: A Chronological Record of Significant Musical Events
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Title: Annals of Music in America: A Chronological Record of Significant Musical Events
Author: Henry Charles Lahee
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Language: English
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ANNALS OF MUSIC IN AMERICA
_Annals of Music in America_
A CHRONOLOGICAL RECORD OF SIGNIFICANT
MUSICAL EVENTS, FROM 1640 TO THE PRESENT
DAY, WITH COMMENTS ON THE VARIOUS
PERIODS INTO WHICH THE WORK IS DIVIDED
BY
HENRY C. LAHEE
[Illustration]
BOSTON
MARSHALL JONES COMPANY
MDCCCCXXII
COPYRIGHT, 1922
BY MARSHALL JONES COMPANY
PRINTED OCTOBER, 1922
THE PLIMPTON PRESS · NORWOOD · MASSACHUSETTS
PRINTED IN THE UNITED STATES OF AMERICA
PREFACE
The object of this book is to give as complete a record as possible of
the beginning and progress of music in the United States of America.
The first things recorded are regarded as important. Hence such items as
the printing of the first book on music, the importation of the first
pipe organs, the establishment of the early musical societies are
recorded, while similar events of a more recent date are of no special
importance.
The first performance of significant works--operas, oratorios,
symphonies and other choral and orchestral works--are chronicled as
carefully as possible; also the first appearance in America of noted
musicians.
It has been practically impossible to find accurate data about the works
of the older composers,--Haydn, Mozart and others, for while there are
many programs in which their names are mentioned the work played is
seldom specified (see Mr. O. G. Sonneck's "Early Concert-Life in
America"), and one must wait until the period arrives in which the work
performed is specified. Probably some of the works mentioned had earlier
performances by small organizations but the performances recorded here
are in all probability the first adequate ones.
Among the items recorded are some which cannot be regarded as marking
the musical progress of the country, and yet are items of musical
interest;--the first performance of "The Star-Spangled Banner" and of
"America" do not mark any progress and yet are historic events.
The establishment of Gilmore's Band and Sousa's Band are items of
interest rather than of educational progress.
In compiling this work such newspapers as are available have been
consulted, also the programs of the leading choral and orchestral
societies. Valuable help has been gained from the excellent works of Mr.
Oscar G. Sonneck, Mr. E. H. Krehbiel, Mr. Philip Goepp, Mr. George P.
Upton, Allston Brown and other writers on the American stage, and above
all from the admirable notes of Mr. Philip Hale in the programs of the
Boston Symphony Orchestra. It would be ungracious to close this preface
without acknowledging with gratitude the valuable assistance of Miss
Barbara Duncan of the Boston Public Library.
HENRY C. LAHEE
CONTENTS
CHAPTER PAGE
Preface v
I. 1640-1750 1
II. 1750-1800 5
III. 1800-1825 14
IV. 1825-1850 20
V. 1850-1875 36
VI. 1875-1890 64
VII. 1890-1900 95
VIII. 1900-1921 117
Index of Compositions 193
Miscellaneous Items 280
ANNALS OF MUSIC IN AMERICA
_Annals of Music in America_
CHAPTER I
1640-1750
The Annals of Music in America during the first hundred years contain
very little that would seem to be of any importance to the musicians of
today. Nevertheless it is as interesting to note the beginnings of music
in this newly settled country as to watch the appearance of the baby's
first tooth.
The first settlement at Plymouth took place in 1620, and we find that in
1640 the colonists were already busy with the printing press in
Cambridge, Mass., and the second book which came from the press was a
reprint of an English Psalm book, printed under the title of the Bay
Psalm Book. This was not an original work, but its production shows that
music was already a living problem, and was even then part of the life
of the colonists.
Practically nothing more of note happened until the importation of the
first pipe organ, in 1700. This was quickly followed by other similar
instruments in different parts of the country, and even by the building
of organs by Americans, the first being by John Clemm in New York, which
contained three manuals and twenty-six stops, and the next by Edward
Bromfield in Boston. Bromfield's organ had two manuals and 1200 pipes,
but was not completed when he died in 1746.
The early history of music in New England, as handed down to us by
writers on the subject, seems to have consisted chiefly of church
singing, concerning which there were many controversies. The early
composers of New England were mainly occupied in composing psalm tunes,
and in teaching singing schools.
The accounts of secular music come chiefly from Charleston, S. C., at
which place many musicians entered this continent after visiting the
West Indies. In fact, the first song recital on record in America took
place at Charleston in 1733, while Boston had a concert in 1731 and
Charleston had one in 1732. Charleston also claims the first performance
of ballad opera on record in America (1735).
It must not, however, be supposed that New England had no secular music.
The concert above mentioned goes to show the contrary. Also there is a
record of small wind instruments, such as oboes and flageolets, being
brought to Boston for the purposes of trade--possibly with the idea that
New England shepherds might play to their sheep, as shepherds in other
countries are supposed to do.
We know that every farm had its spinning wheel and that clothes were
made of the homespun woollens, but neither historian nor poet has ever
pictured a New England shepherd with the shepherd's pipe. Imagination
has not so far run riot.
Music was in a very elementary stage during the first hundred years. The
country was sparsely populated, and music depends on the existence of a
community. Even in 1750 the cows, according to tradition, were still
occupied, during their daily peregrinations, in laying out the streets
of the future city of Boston,--a city which was destined to be one of
the leaders in matters musical.
NOTE. _When a work is mentioned as "given" or "played" or
"presented," it means the first performance in America.
When "produced" or "production" or "première" is used the
first public performance anywhere is indicated._
1640. The "Bay Psalm Book" published, first American book of
sacred music. The second book printed in America.
1700. The first pipe organ to reach America from Europe was placed
in the Episcopal Church at Port Royal, Va. About 1860 it was
removed to Hancock, and later to Shepherdstown, W. Va.
1712. First practical instruction book on singing in New England,
published by John Tufts of Newbury, Mass.
1713. First pipe organ brought into New England presented to
King's Chapel, Boston, by Thomas Brattle. (Now in St. John's
Chapel, Portsmouth, N. H.)
1720. First singing societies established in New England.
1716. First mention of the importation of flageolets, hautbois and
other instruments, by Edward Enstone, of Boston.
1722. A playhouse existed near the market place, Williamsburg, Va.
The first theatre known to exist in America.
1728. A pipe organ placed in Christ Church, Philadelphia.
1731. Dec. First concert recorded in Boston, given at the rooms of
Mr. Pelham, near the Sun Tavern.
1732. April. A concert given for the benefit of Mr. Salter, at the
Council Chamber, Charleston, S. C.
1733. A pipe organ placed in Trinity Church, Newport, R. I., being
the second organ in New England.
1733. Feb. 26. First song recital recorded in America, given at
the playhouse in Queen St., Charleston, S. C.
1735. Feb. 8. First performance of ballad opera on record in
America--"Flora, or Hob in the Well"--given at the Courtroom,
Charleston, S. C.
1735. July 1.--1794. Dec. 25. James Lyon, psalmodist. Probably the
second American composer.
1736. Jan. 12. The first concert recorded in New York City, given
for the benefit of Mr. Pachelbel. (Probably not the first
concert given in that city.)
1737. First Pipe Organ completed in America, built by John Clemm,
and placed in Trinity Church, New York City. Three manuals,
twenty-six stops.
1737. Sept. 11--1791. May 9. Francis Hopkinson. The first American
poet-composer.
1742. Moravian settlement established in Bethlehem, Pa. Became
noted in musical matters.
1742. June. First Singstunde held at Bethlehem, Pa. Eighty people
present.
1743. Records of this date show that two organs existed in the
Moravian Church, Broad St., Philadelphia, Pa., and that stringed
instruments were used in the services, also that instruments
(violin, viola da braccio, viola da gamba, flutes and French
horns) were played for the first time in the Moravian Church,
Bethlehem, Pa.
1745-6. The first pipe organ built in New England, in Boston, by
Edward Bromfield. Two manuals and twelve hundred pipes.
Bromfield died in 1746 before completing the instrument.
1746. Oct. 7. William Billings, First New England composer,
organizer of singing societies, etc. Billings died Sept. 29,
1800.
CHAPTER II
1750-1800
The first item of especial interest in this period is the performance of
the "Beggar's Opera" at the "Theatre in Nassau Street," New York. This
theatre was a rather tumbledown affair and was not built for the
purpose. It had a platform and rough benches. The chandelier was a
barrel hoop through which several nails were driven, and on these nails
were impaled candles, which provided all the light, and from which the
tallow was likely to drip on the heads of such of the audience as had
the best seats.
But three years later (in 1753) Lewis Hallam, who had been giving
performances with his company in the more southern States, got
permission to build a theatre on the site of this old place, and the
house was opened in September with a play, "The Conscious Lovers,"
followed by a ballad farce, "Damon and Phillida."
In 1759 we find the first avowedly musical organization in America, "The
Orpheus Club," was in existence in Philadelphia, and concerts were
becoming more frequent. We also find a St. Cecilia Society founded in
Charleston, S. C., an organization which lasted for a hundred and fifty
years.
Other societies followed at short intervals and in widely scattered
localities; the "Handel Society" of Dartmouth College, about 1780, the
"Stoughton (Mass.) Musical Society," 1786, and "The Musical Society" of
New York City, all tend to show that social centres were developing, and
the people were finding expression in music.
An indication of what had been growing by degrees is found in the
reports of concerts. Mention of instruments such as violins, French
horns, oboes, trombones, etc., was made here and there, and especially
in connection with the Moravian settlements in Bethlehem, Pa., where was
established the first music school.
We find the first mention of an orchestra made in connection with a
performance of "The Beggar's Opera" at Upper Marlboro, Md., in 1752, and
a few years later (1788) a great concert was given in Philadelphia with
an orchestra of fifty and a chorus of two hundred performers.
There is also a record of a concert given in Charleston, S. C., in 1796,
when an orchestra of thirty instruments was employed in a performance of
Gluck's overture to "Iphegénie en Aulide," and Haydn's "Stabat Mater."
It is quite possible that orchestras were used more or less in other
concerts. Mr. Sonneck shows, in his "Early Concert-Life in America,"
many programs in which orchestral works are mentioned. And it is well to
state here that it is almost impossible to locate the first performance
in America of many of the works of the older composers, including Haydn
and Mozart, because no opus number is mentioned, nor anything to
indicate the identity of the work. Pleyel, Gluck and Clementi were much
in vogue.
The American composer was beginning to be heard from during this period.
Francis Hopkinson, who is generally regarded as the first American
composer, wrote, in 1759, a song with the title "My Days Have Been So
Wondrous Free." Some time later, in 1788, a small volume of songs was
published under the title "Seven Songs," by the same composer.
Francis Hopkinson was a well-educated man, a signer of the Declaration
of Independence, a member of the Convention of 1787 which formulated the
Constitution of the United States, first Judge of the Admiralty Court in
Pennsylvania, and author of many pamphlets and poems.
A man of entirely different calibre was William Billings, who was
considered the first composer in New England. His compositions were
chiefly "fuguing tunes," and he published several psalm books.
Billings was a tanner by trade, but a great musical enthusiast and
organizer. The Stoughton (Mass.) Musical Society, which is the oldest
musical society still in existence, was organized by Billings. Lack of
education was no bar to his activities, and he accomplished much with
very limited means.
It is said that Billings introduced the bass viol into the services of
the Church, and thus began to break down the ancient Puritanical
prejudices against musical instruments. He was also the first to use the
pitch-pipe in order to ensure some degree of certainty in "striking up
the tune" in church.
Again, we find the first American ballad operas during this period.
Benjamin Carr, an Englishman who had been in America a couple of years,
produced in 1796 a ballad opera, "The Archers of Switzerland," and,
shortly afterwards, in the same year, with Pellesier (a Frenchman of
recent arrival) as librettist, another ballad opera, "Edwin and
Angelina," was staged in New York City. Though these works could hardly
be called distinctively American, they were the first composed and
produced in this country.
During the last decade of the 18th century some French actors and
singers invaded the country and made New Orleans their headquarters.
From that time on, for many years, New Orleans was prominent in the
production of French operas and plays.
Theatres were built in several of the larger cities, and noted singers
began to appear from abroad. The first of these appears to have been
Miss Broadhurst, who appeared in Philadelphia in 1793, at the Chestnut
Street Theatre. She was closely followed by Mrs. Oldmixon.
1750. April 30. "The Mock Doctor," and Dec. 3, "The Beggar's
Opera," given at the "Theatre in Nassau St.," New York City.
The first performances of ballad opera on record in that city.
1750. A Collegium Musicum was established about this time at
Bethlehem, Pa.
1752. Sept. 14. First record of an orchestra being employed, at a
performance of "The Beggar's Opera" at Upper Marlborough, Md.
1753. Sept. 13. The first theatre (built for the purpose) in New
York City, erected in August and opened in September with "The
Conscious Lovers" followed by the ballad farce, "Damon and
Phillida," given by Lewis Hallam's company.
1754. First concert hall in Boston opened by Gilbert Deblois, at
the corner of Hanover and Courts Sts.
1756. Mar. 16. New organ built by Gilbert Ash, dedicated at the
City Hall, New York City, when an organ-concerto by G. A. Hasse
was played.
In the same year a new organ was placed in King's Chapel,
Boston, replacing the Brattle organ.
1756. The first mention of French horns in America made by
Benjamin Franklin, writing of the fine music in the church at
Bethlehem, Pa., where flutes, oboes, French horns, and trumpets
were accompanied by the organ.
1757. Dr. Arne's "Masque of Alfred" given in Philadelphia by the
students of the College of Philadelphia.
1759. The first known American song, "My Days Have Been so
Wondrous Free," composed by Francis Hopkinson.
1759. The first avowedly musical organization in America, "The
Orpheus Club," existed in Philadelphia, and was probably founded
about this time.
1761. Feb. 3. Concert given by Mr. Dipper, organist of King's
Chapel, Boston, in which two French horns were used. First
mention of this instrument in New England.
1761. "Urania, or a Choice Collection of Psalm Tunes, Anthems, and
Hymns, from the most approved Authors," published in
Philadelphia, by James Lyon, A.B.
1762. A St. Cecilia Society (which lasted for one hundred and
fifty years) formed in Charleston, S. C.
1765. A concert of "Musical Glasses" given in Philadelphia.
1765. June 3. The New York _Mercury_ announced a series of summer
concerts (open air) to be given at Ranelagh Gardens. These
concerts were continued for four years.
1769. First American spinet made by John Harris, in Boston.
1770. Jan. 9. Handel's "Messiah" performed in part (sixteen
numbers) at Trinity Church, New York City.
1770. Milton's "Masque of Comus" given by the Hallam Company, in
Philadelphia.
1770. "The New England Psalm Singer" published in Boston, by
William Billings.
1770, The pipe organ said to have been used for the first time in
a Congregational church in America (Philadelphia).
1774. John Behrent, of Philadelphia, said to have made the first
American piano.
1780. (c) The Handel Society of Dartmouth College organized at
Hanover, N. H.
1784. A "Harmonic Society" formed about this time at
Fredericksburg, Va.
1786. Stoughton (Mass.) Musical Society formed by William
Billings, with Squire Elijah Dunbar of Canton as President;
probably oldest singing society now in existence in America.
1786. Nov. 9. A society formed in New York City, at Mr. Hulett's
rooms, for promoting vocal music.
1787. "Uranian Society" formed in Philadelphia for the improvement
of church music. Continued till 1800.
1787. First pipe organ west of the Alleghanies set up in Cookstown
(now Fayette City), Pa. Built by Joseph Downer, who was born in
Brookline, Mass., 1767 (Jan. 28) and trekked to Pennsylvania
with his family. The organ is preserved at the Carnegie
Institute, Pittsburgh.
1788. May 4. A great concert given with an orchestra of fifty and
a chorus of two hundred, in the Reformed German Church in
Philadelphia, Pa.
1788. "The Musical Society" of New York City established.
1788. Publication of a book entitled "Seven Songs" by F.
Hopkinson (1737-1791), the first publication in America of songs
by a native composer.
1789. May. 15. Concert given at Salem, Mass., by Gottlieb Graupner
in which first mention is made of the use of the oboe (hautbois)
in New England.
1790. June 4. A company of French comedians gave a performance, in
French, of the opera "The Mistress and Maid" at Baltimore, Md.
1790. Oct. 7. First performance in America of Audinet-Gossec's "Le
Tonnelier" given at the City Tavern, New York City.
1790-1800. During this period the following musical works were
known and performed in New Orleans, Charleston, S. C.,
Baltimore, Philadelphia and New York City: Rousseau's
"Pygmalion" and "Devin du Village"; Dalayrac's "Nina" and
"L'Amant Statue"; Monsigny's "Déserteur"; Grétry's "Zémire et
Azor," "La Fausse Magic" and "Richard Coeur de Lion," by a
company of French comedians.
1791. A "Cecilia Society" formed in New York City. Lasted but a
short time. An "Apollo Society" was also in existence.
1792. Oliver Holden, composer of "Coronation" and other well known
hymn tunes, published his "American Harmony," and in 1793, "The
Union Harmony."
1792-1872. Lowell Mason. Composer, educator in music. First
teacher of singing in the public schools. President of the
Handel and Haydn Society, Boston.
1793. "Uranian Society" of New York City, organized for sacred
vocal music.
1793. Miss Broadhurst, a noted singer, made her American début in
Philadelphia.
1793. Jacob Kimball (1761-1826, born Topsfield, Mass.,) published
his "Rural Harmony."
1793. A company of French players reached America from San
Domingo, remaining three years. They played in Norfolk, Va., in
1793, Charleston, S. C., 1794, Richmond, Va., 1795, Boston, Jan.
1796, and Philadelphia, Dec. 1796.
1793. A "Cecilia Society" was in existence at this time in
Newport, R. I.
1794. Paisiello's opera "The Barber of Seville" (English version)
was played in Baltimore, Philadelphia, New York City and
elsewhere.
1794. Mrs. Oldmixon, a noted singer, made her first appearance in
America at the Chestnut St. Theatre, Philadelphia, in "Robin
Hood."
1796. April 18. "The Archers of Switzerland," an opera by B. Carr,
produced in New York City. It is claimed by some authorities
that this was the first American opera.
1796. July. Gluck's overture to "Iphegénie en Aulide," and Haydn's
"Stabat Mater," given in Charleston, S. C., with an orchestra of
about thirty instruments. Mrs. Pownall, J. H. Harris and Mr.
Bergman, soloists.
1796. Dec. 19. Production in New York City of "Edwin and
Angelina," music by Pellesier. Also said to be the first opera
of American composition. (Carr was English, Pellesier French.)
1797. Anniversary meeting of the Concord (N. H.) Musical Society.
1797. Jan. 25. First recorded performance in America of Grétry's
opera, "Richard Coeur de Lion," given at the Federal St.
Theatre, Boston.
1798. Columbia Garden Summer Concerts established in New York.
Lasted till 1800.
1798. Concerts are on record as having been given at Albany, N.
Y., April 18; New Brunswick, N. J., Dec. 11; Trenton, N. J.,
Dec. 18; also an interesting group in Salem, Mass., by Gottlieb
Graupner.
1798. Jan. 29. Park Theatre opened in New York City with a
performance of a musical piece entitled "The Purse,--or American
Tar." This theatre was, for twenty years, important in local
musical history.
1798. April 25. First public performance of "Hail Columbia" by
Gilbert Fox in Philadelphia. The words were written by Joseph
Hopkinson Smith (1770-1842) and sung to the tune of "The
President's March." First sung under the title of "Federal
Song" but changed a few days later to "Hail Columbia."
1799. A "Musical Society" existed in Baltimore.
1799. "Euterpean Society" formed in New York City.
1799. "The Vintage," an American opera by Pellesier and Dunlap,
produced in New York City.
CHAPTER III
1800-1825
In 1800 we find the first mention of the use of the bassoon. This was in
Bethlehem, Pa., and it seems to complete the list of instruments for the
average orchestra. Notwithstanding the record of the importation of
oboes, many years earlier, and the fact that Graupner, one of the
leading musicians in Boston about this time, was, or had been an
oboeist, some historian has stated that even well into the nineteenth
century there was only one oboe player in the United States, and he
lived in Baltimore. Surely this must be an error.
In December 1800 we find the first annual concert of the Philharmonic
Society in New York City. This society died in a few years, and in 1820
another Philharmonic Society was formed. This society also dwindled,
though it did not die, for in 1840 it was reorganized, and has ever
since taken a leading part in the musical life of New York.
Many musical societies made a beginning. Few lived long. But of those
which lived perhaps the most noted is the Handel and Haydn Society of
Boston, formed in 1815. This society gave what was claimed to be the
first complete performance of Handel's "Messiah," but it is also
claimed that this was done in 1801 in the hall of the University of
Pennsylvania.
The Handel and Haydn Society also gave what was called the first
complete performance of Haydn's "Creation," an honor which is also
ascribed to King's Chapel in 1816, while portions had been performed in
1811 at Bethlehem, Pa. Thus it is difficult to fix definitely the first
performances of many of the large works. In later days, especially in
the case of Wagner's operas, portions were given at concerts long before
complete stage performances were essayed.
Another musical society which is in existence at the present day, and
which undoubtedly has had much influence on the musical life of America,
was the Pierian Sodality of Harvard University, established in 1808 by
the undergraduates.
In Philadelphia we find the establishment of the Musical Fund Society,
which, for a number of years, did much to promote good music in that
city. At its first concert, on April 24, 1821, Beethoven's First
Symphony was played for the first time in America. Mr. Goepp gives us a
full account of this and tells us that the whole symphony was too severe
a task for an audience of that period, so the performance was broken and
diversified by vocal and other solos between the movements.
New England possessed several musical societies in 1821, by which
performances of oratorio were given. The Sacred Music Society was
formed in New York City in 1823 and lasted till 1849. So it may easily
be seen that, as the population increased, musical societies were soon
established.
Theatres, while not strictly part of the musical life of the country,
can hardly be separated from it because they were the home of ballad
operas, and all musical stage representations. They were already in
existence in New York, Boston, and Philadelphia before the beginning of
the nineteenth century, but we find in 1807, the opening of "Le Théâtre
St. Philippe" in New Orleans with Méhul's one-act opera, "Une Folie."
This theatre being burned in 1817, a new one, "Le Théâtre d'Orléans,"
was built and opened in the following year. This theatre was the finest
in the country at that time and was the home of opera for a number of
years. The record of opera in New Orleans is incomplete, but it is well
known that New Orleans was the home of French opera in America long
before it became popular in other parts of the country.
But America was gradually edging up to the time of grand opera. Singers
were arriving from abroad and brought with them their ambitions. We find
that an English version of Rossini's opera, "Il Barbiere," was given at
the Park Theatre, New York City, in 1819, with Miss Leesugg as Rosina,
and in 1823 an English version of Mozart's "Le Nozze di Figaro" was
presented. Again in the early part of 1825, Weber's opera "Der
Freyschütz" was presented, in English, at the Park Theatre, with Miss
Kelly and Mrs. de Luce in the leading parts. Similar performances
followed in other cities, and the country was thus gradually prepared
for the real thing,--grand opera,--in its native language.
While the record of items during the period 1800 to 1825 is not very
long it still shows considerable progress. The people grew up in a
country where there was little musical cultivation, where there were
small communities, and where the struggle for existence had been the
first consideration. They responded warmly to the efforts of the country
singing teacher, the choral society promoter, and later to the producer
of opera, and if history shows many failures, it may be pointed out that
these failures could not have taken place if no effort had been made.
Perhaps efforts in many cases were premature. Also there was much to
learn in the management of masses of people. The virtues of a true
democracy are nowhere more necessary than in a choral society.
1800. Bassoon used in Bethlehem, Pa.
1800. Dec. 23. First Annual Concert of the Philharmonic Society
given at Tontine Hall, Broadway, New York City.
1801. Handel's "Messiah" given in the hall of the University of
Pennsylvania, Philadelphia.
1802. "Harmonic Society" founded in Philadelphia.
1803. Benjamin Crehore of Milton, Mass., made the first pianoforte
in New England.
1807. Massachusetts Musical Society formed in Boston for improving
the mode of performing sacred music. Ceased to exist in 1820.
1807. "Le Théâtre St. Philippe" opened in New Orleans with a
one-act opera by Méhul,--"Une Folie."
1808. The Pierian Sodality, half musical, half social club
organized by the undergraduates of Harvard University.
1809. Haydn Society formed in Philadelphia.
1811. John Davis, from San Domingo, opened the "Théâtre d'Orléans"
in New Orleans.
1811. Haydn's "Creation" and "The Seasons" performed in part at
Bethlehem, Pa.
1813-1893. John S. Dwight, editor, critic, member of Brook Farm
community, and founder in 1852 of "Dwight's Journal of Music,"
the first publication of its kind in America.
1814. Sept. 14. The words of "The Star-Spangled Banner" written by
Francis Scott Key during the bombardment of Fort Henry. They
were published next day as a "Broadside" and on the 20th
appeared in the "Baltimore Patriot." The tune of "Anacreon in
Heaven" was adapted by the author.
1815. April 20. Handel and Haydn Society, Boston, organized with
Thomas S. Webb as President. At the first concert the chorus
consisted of about one hundred, of whom ten were women.
Orchestra a dozen instruments, and organ.
1816. First complete performance of Haydn's "Creation" given at
King's Chapel, Boston.
1817. Charles B. Incledon, noted English tenor singer, visited
America.
1818. New Théâtre d'Orléans, the finest in the United States,
opened in New Orleans. The old theatre was burned in 1817. The
new theatre was the home of opera for some years.
1818. Dec. 25. The Handel and Haydn Society of Boston gave what is
called the first complete performance of Handel's "Messiah" in
America. (Philip Goepp states that the "Messiah" was given in
1801, in the hall of the University of Pennsylvania.)
1819. "Haydn Society" formed in Cincinnati, O.
1819. Feb. 16. First complete performance of Haydn's "Creation"
given by the Handel and Haydn Society, Boston. (This was claimed
also in 1816 for a performance at King's Chapel.)
1819. An English version of Rossini's "Barber of Seville" given in
New York City, with Miss Leesugg as _Rosina_, at the Park
Theatre.
1820. Philharmonic Society organized in Bethlehem, Pa. (Originally
the Collegium Musicum of 1750.)
1820. Two musical societies formed in New York City, viz.,--the
Philharmonic, and the Euterpean.
The Philharmonic used to engage prominent artists. It
gradually dwindled but was reorganized in 1840.
The Euterpean gave concerts which were usually followed
by a supper and a ball. It ceased to exist about 1845.
1820. Aug. 30. George F. Root, noted American song-writer. Died
Aug. 6, 1895.
1820. The Philadelphia Musical Fund Society established. Gave its
first concert April 24, 1821, when Beethoven's First Symphony
was played for the first time in America. (Between the movements
vocal and other solos were given by sundry artists.)
1821. New England musical matters on record of this year are: An
oratorio given by the Psallion Society of Providence, R. I.;
A performance of music by the New Hampshire Musical
Society at Hanover, N. H.;
The existence of a Beethoven Society in Portland, Me.
1823. Production in New York City of "Clari, the Maid of the
Mill," ballad opera by Sir Henry Bishop and J. Howard Payne.
This opera contains the song, "Home, Sweet Home." Was presented
in London on May 23.
1823. May 23. Mozart's opera, "The Marriage of Figaro" (Bishop's
English version), presented in New York City at the Park
Theatre.
1823. The pianoforte manufacturing house of Jonas Chickering
established in Boston.
1823-1849. Sacred Music Society, New York City.
1824. St. Cecilia Society formed in Philadelphia.
CHAPTER IV
1825-1850
During these twenty-five years the list of items on record is far
greater than during any preceding period of similar time. Possibly this
may be accounted for by the greater facilities for travel both by sea
and land. Railroads were gradually spreading out through the country,
and helping to develop distant trading stations into towns and cities.
Steamships were making the voyage from Europe a more feasible adventure.
We shall see this as we proceed.
In what we may call the domestic side of music we find the establishment
of more singing societies in all the eastern cities. There was
practically no "west" in 1825, but Chicago shows up in 1834 with "The
Old Settlers' Harmonic Society." The story of Chicago's early musical
days may be read in Mr. George P. Upton's book of reminiscences. The
remarkable part of it seems to be that Chicago grew phenomenally, and
today stands as a rival to New York in all matters musical, although in
1825 Chicago was merely a trading post and New York was already a city
of some size.
The musical convention came into being. The first is said to have been
held at Concord, N. H., in September 1829. There is also a claim that
the first musical convention was held in Montpelier, Vt., in 1839 but
this is not quite correct. It may have been the first convention in
Vermont. Musical conventions became popular and frequent and are so even
to the present day, though the methods and matter have changed with the
times.
Another item which may come under the head of domestic music is the
beginning of music teaching in the public schools. This was effected by
Lowell Mason, as an experiment, in 1838. At the present day chorus
singing in the public schools has become an important matter, and is
almost universal.
In 1838 we find a Philharmonic Society in St. Louis, showing that St.
Louis was not far behind Chicago in getting into the musical world.
In Boston an Academy of Music was established by Lowell Mason in 1833.
It had a large number of pupils, and there was an orchestra in
connection with it, which gave several concerts. But the Harvard Musical
Association, which was founded in 1837, seems to have been the chief
propelling power to orchestral music in Boston, until the formation of
the Boston Symphony Orchestra. In New York the Philharmonic Society was
reorganized and was, as it has been ever since, the most prominent
orchestral organization of that city.
In 1848 two complete orchestras came to America, Gungl's, which gave a
number of concerts, chiefly of light music, and the Germania, which
consisted of a number of refugees from the German government. These men
gave concerts of a finer type than had yet been given in America. Their
career as an organization was not long, and it ended in disaster, but
many of the members became prominent in musical matters in various
cities, and in this way the Germania orchestra had a beneficial and
lasting effect upon music in this country.
In the forties began the stream of violin and piano virtuosi which has
continued in ever-increasing volume to the present day. Ole Bull,
violinist, in 1843, Vieuxtemps and Artôt, violinists, and Leopold von
Meyer, pianist, in 1844, were the first.
Perhaps the development of opera may be considered of greater interest
than other musical items. In 1825 Manuel Garcia arrived in New York, and
gave the first performances of Italian opera. In his company were his
daughter Maria, who married one Malibran and remained in New York for
about two years. At the end of this time she left her husband and
returned to Europe, where she had a short but very brilliant career.
Young Garcia, the son, who also sang, afterwards became one of the
greatest singing teachers in Europe, and invented the laryngoscope.
Pauline, who became Madame Viardot, and lived to a great age, was too
young to participate in Garcia's performances in New York. For many
years she was one of the great singing teachers in Paris.
Garcia did not stay very long in New York, but he began the efforts to
present Italian opera, which were continued by many others from time to
time, usually with disaster. Nevertheless, the history of the period
from 1825 to 1850 is full of first performances of Italian opera. In
1848 the Havana Company visited the United States, and was considered
the finest company that had been heard until that time.
In the same year Max Maretzek appeared in New York and at once entered
the operatic field, with which he was prominently occupied during the
next period.
Before finishing the review of this period we must not forget the
production William Henry Fry's opera, "Leonora." This was the first
grand opera written and produced by an American. It had several
representations, but does not seem to have lived long. The same,
however, may be said of many of the Italian operas which were presented
during this and later periods. A careful perusal of the list will show
the names of operas long since defunct, so far as the American public is
concerned. Yet there are many, which were first presented to the
American public in this period, and which are as popular today as
ever,--in fact no good opera company can afford to be without them.
Opera was well started by 1850.
1825. Mar. 12. Weber's opera "Der Freyschütz" presented in
English at the Park Theatre, New York City, with Miss Kelly and
Mrs. de Luce in the leading parts.
1825. Nov. 26. First season of Italian grand opera in America
opened in New York city with a performance of Rossini's "Il
Barbiere," by Manuel Garcia's company.
This company included Manuel Garcia, his son Manuel
(later a renowned vocal teacher, and inventor of the laryngoscope),
his daughter, Maria Félicité (the great Malibran),
his daughter Pauline (later Madame Viardot, one of the
great vocal teachers of Paris) and others of less note.
The other operas presented during this season were:
1825. Dec. 31. "Tancredi," Rossini.
1826. April 25. "Semiramide," Rossini.
1826. May 23. "Don Giovanni," Mozart.
1826. Dec. 27. "L'Amante Astuto," Garcia.
Also (dates uncertain):
"La Figlia del Aria," Garcia.
"Il Turco in Italia," Rossini.
"La Cenerentola," Rossini.
1826-1864. Stephen Foster. Noted song writer.
1827. July 13. The French Opera Company from New Orleans, which
visited Philadelphia, and several other cities, opened a season
at the Park Theatre, New York City, with Rossini's "La
Cenerentola." They also presented "Jean de Paris," "La Dame
Blanche," "Joconde," "Les Visilandines," etc.
1827. Sept. 28. Boieldieu's opera "Jean de Paris" presented in New
York City, with Malibran. Later in the season the same
composer's "Caliph of Bagdad" was given.
1827. Oct. 9. Weber's opera "Oberon" presented in Philadelphia.
1827. Oct. 9. Farewell of Madame Malibran (Maria Félicité Garcia)
at the Bowery Theatre, after two years' residence in New York
City.
1828. An English version of "Il Barbiere di Seviglia," and "Der
Freyschütz" given in Boston with Miss George, Mrs. Papanti, Mr.
Comer, and Mr. Horn as leading singers.
1829. Sept. First musical convention held under the auspices of
the Central Musical Society of Concord, N. H.
1829. May 8.-1869. Dec. 18. Louis Moreau Gottschalk, brilliant
pianist. Born in New Orleans.
1829. Jan. 24.-1908. July 14. William Mason, noted American
pianist and teacher.
1831. Sept. 6. American début of Miss Hughes at the Park Theatre,
New York City, in "The Marriage of Figaro."
1832. Mar. 17. Mozart's opera "Die Zauberflöte" presented in
Philadelphia.
1832. July 4. The National Hymn "America" first sung in public at
a children's celebration of Independence Day, at the Park St.
Church, Boston, The words were written in February by the Rev.
Samuel F. Smith, and were sung to the tune of "God Save the
King."
1832. Sept. 25. First appearance, in concert, of an Italian opera
company organized by Lorenzo da Ponte, Italian poet and
librettist, at Niblo's Garden, New York City. The leading
singers were Signora Pedrotti and Signori Fornisari and
Montresor. The opera performances were given at the Bowery
Theatre. Sig. Rapetti, conductor.
1832. Oct. 19. Mercadante's opera "Elisa e Claudio" presented in
New York City with Pedrotti (début) and Salvione (début).
1832. Nov. 5. Rossini's opera "L'Italiana in Algeri" given in New
York City with Verducci, Fanetti, Fornisari, etc.
1832. Dec. 5. Bellini's opera "Il Pirata" by same company.
1832. Dec. 22. Rossini's sacred opera "Mosè in Egitto" by same
company.
1833. Mar. 13-20. Rossini's opera "Othello" presented twice during
this week, in New York City, by same company.
1833. June 20. Auber's opera "Fra Diavolo" presented at the Park
Theatre, New York City.
1833. Sept. 4. American début of Mr. and Mrs. Wood in "Cinderella"
at the Park Theatre, New York City.
1833. Nov. 18. Verdi's opera "La Gazza Ladra" given in New York
City, at the Bowery Theatre, by the Italian Opera Company.
1833. Academy of Music founded in Boston by Lowell Mason. Enrolled
twenty-two hundred pupils the first year.
1834. Mar. 21. Rossini's opera "La Donna del Lago" given at the
Bowery Theatre, New York City, with Clotilde and Rosina Fanti,
Marozo, Raviglia and Sapignoli.
1834. Mar. 22. Salvioni's opera "La Casa dei Vendere."
1834. Mar. 24. Rossini's "Matilda de Shabran" with Fanti.
1834. April 7. Meyerbeer's opera "Roberto il Diavolo," presented
in English at the Park Theatre, New York City, by Mr. and Mrs.
Wood.
1834. July 9. First music school in Chicago opened by Miss Wyeth.
1834. July 12. Pacini's opera "Gli Arabi nelli Gallie" given at
the Bowery Theatre, New York City, with C. Fanti, R. Fanti,
Bordogni, Raviglia, Sapignoli.
1834. Nov. 10 Bellini's opera "La Straniera" given in New York
City, with C. and R. Fanti, Porto, Montresor, Sapignoli.
1834. Nov. 25. Rossini's opera "Edoardo e Cristina" given in New
York City, with Fanti, Fabj, Porto, Sapignoli.
1834. Dec. 12. Rossini's opera "L'Inganno Felice" given in New
York City by the Italian Opera Company.
1834. Dec. 11. "Old Settlers' Harmonic Society" organized in
Chicago.
1834-1901. Charles R. Adams, noted tenor and vocal teacher. One of
the first American singers to make a career in Europe.
1834-1891. Eben Tourjée, noted organizer of musical affairs. Began
class-system of pianoforte-teaching in America at Providence, R.
I., in 1851. Founded a Musical Institute at East Greenwich, R.
I., in 1859, and the New England Conservatory of Music in
Boston, 1867. Was one of the chief organizers of the Peace
Jubilee, and one of the founders of the Music Teachers' National
Association.
1835. Feb. 6. Rossini's opera "L'Assedio di Corinto" given in New
York City with Fanti, Julia Wheatley, Ravaglia. During this
season Rossini's "Turco in Italia" and Cimarosa's "Il Matrimonio
Segreto" are said to have been presented by this Italian
company.
1835. April 8. Charlotte Cushman, noted actress, made her first
public appearance as a singer in a performance of "The Marriage
of Figaro" in Boston, with Mr. and Mrs. Wood.
1835. Nov. 13. Bellini's opera "La Sonnambula" given in English
with Mr. and Mrs. Wood in the leading parts, in New York City.
1835. German Maennerchor of Philadelphia (the oldest German
singing society in America) founded by Philip Wolsifer.
1835. Oliver Ditson began publishing music in his own name in
Boston, but the firm of O. Ditson and Company can be traced back
to 1783, when E. Batelle opened the Boston Book Store at 8 State
Street.
1835-1905. Theodore Thomas, noted musician and conductor of:
1862-1891 Brooklyn Philharmonic Society.
1864-1878 New York Symphony Society.
1865-1891 New York Summer Garden Concerts.
1873-1894 Cincinnati Festivals.
1877-1890 Chicago Summer Night Concerts.
1877-1891 Philharmonic Society, New York.
1882-1891 Philadelphia Symphony Orchestra.
1891-1905 Chicago Symphony Orchestra.
1837. Harvard Musical Association organized in Boston.
1837. The pianoforte manufacturing house of Knabe established in
Baltimore.
1837. Oct. 30. American début of Madame Caradori-Allan, noted
soprano, in Rossini's opera "Il Barbiere di Seviglia" at the
Park Theatre, New York City.
1837. An orchestra organized by the Academy of Music in Boston. It
remained in existence until 1847.
1838. Philharmonic Society formed in St. Louis.
1838. The Sacred Music Society of New York City, gave a
performance of Mendelssohn's oratorio "St. Paul," two years
after it had been produced at Dusseldorf.
1838. June. 18. Donizetti's opera "L'Elisir d'Amore" presented at
the Park Theatre, New York City, with Madame Caradori-Allan,
Placide, Morley, Macklin and Jones.
1838. Mr. and Mrs. Seguin, noted singers, arrived in New York City
and organized an English Opera Company, which traveled
extensively till 1847.
1838. Music first taught in the public schools in Boston by Lowell
Mason.
1839. April 29. Meyerbeer's opera "Les Huguenots" presented in New
Orleans.
1839. The first Musical Convention held in Montpelier, Vt., under
the direction of G. S. Prouty and Moses E. Cheney.
1839. Sept. 9. Beethoven's opera "Fidelio" presented in English at
the Park Theatre, New York City, with Miss Poole, Giubelei,
Manvers and Martyn.
1839-1906. John Knowles Paine. American composer. First professor
of music at Harvard University. Appointed in 1876 (instructor
1872).
1839-1909. Dudley Buck. Noted musician. First American composer to
gain general recognition.
1840. Mar. 20. Hérold's opera "Zampa" presented in New York City.
1840. Mar. 30. Adam's opera "Le Postillon de Longjumeau" presented
in New York City.
1840. Mendelssohn's oratorio "Elijah" sung by the Handel and Haydn
Society, Boston.
1840. Beethoven's Fifth Symphony given by the Musical Fund Society
in Philadelphia.
1840. John Braham, noted English tenor, visited America.
1841. The Hutchinson family--camp-meeting singers, known all over
the United States for many years--began their career.
1841. Jan. 11. Bellini's opera "Norma" presented by the Woods at
the Chestnut St. Theatre, Philadelphia.
1853. Jan. 11. Schumann's First Symphony given by the Musical Fund
Society (G. Suk, conductor) in Boston.
1841. Dec. 28. Donizetti's opera "Lucia di Lammermoor" given in
New Orleans.
1842. The Chicago Sacred Music Society formed. It was short-lived.
1842. Jan. 15. Beethoven's Sixth (Pastoral) Symphony given in
Boston, at a concert of the Academy of Music. Also Cherubini's
overture to "Les deux Journées."
1842. Feb. 26. C. M. von Weber's "Jubilee" overture given at a
concert of the Academy of Music, Boston.
1842. Mar. 20. Spohr's oratorio "The Last Judgment" given in
Boston by the Handel and Haydn Society.
1842. Oct. 31. Handel's oratorio "Israel in Egypt" (music by
Handel and Rossini) given by the Seguin Opera Company at the
Park Theatre, New York City.
1842. Nov. 12. Beethoven's Second Symphony (D) given at the
Academy of Music, Boston.
1842. Nov. 22. Handel's oratorio "Acis and Galatea" given by the
Seguin Company at the Park Theatre, New York City.
1842. Dec. 7. First concert of the New York Philharmonic Society,
given at the Apollo rooms, New York City.
Program:
Beethoven Symphony No. 5 (conducted by U. C. Hill).
Weber, Scene from "Oberon" (Mme. Otto).
Hummel, Quintet for piano and strings.
Weber, Overture to "Oberon" (conducted by Mr. Etienne).
Rossini, Duet from "Armida" (Mme. Otto and C. E. Horn).
Beethoven, Scene from "Fidelio" (C. E. Horn).
Mozart, Aria from "Belmont and Constance" (Mme. Otto).
Kalliwoda, New Overture in D (Conducted by Mr. Timm).
Beethoven's "Eroica" was played at the second concert,
Feb. 18, 1843. There were only three concerts in the first
season.
1842. Dec. 13. Rossini's opera "Guillaume Tell" presented by the
French Company in New Orleans.
1843. Jan. 7. Haydn's "Military" Symphony (G major) played at the
Academy of Music, Boston.
1843. Feb. 9. Donizetti's opera "La Favorita" presented by the
French Company in New Orleans.
1843. Feb. 18. Beethoven's Third Symphony, "Eroica," given by the
Philharmonic Society, at the Apollo rooms, New York City. (This
work was played as a Septet by the Musical Fund Society in New
York City, in 1828.)
1843. Feb. 26. Rossini's "Stabat Mater" given by the Handel and
Haydn Society, Boston.
1843. Mar. 6. Donizetti's opera "La Fille du Régiment" presented
by the French Company in New Orleans.
1843. May 25. Auber's opera "L'Ambassadrice,"
1843. June 17. Auber's opera "Le Domino Noir," and
1843. July 3. Auber's opera "Pré aux Clerc" presented in New York
City, at Niblo's Gardens, by the French Company from New
Orleans.
1843. Oct. 3. Donizetti's opera "Gemma di Vergi" presented at
Niblo's Gardens, New York City, with Majocchi, prima donna, and
Perozzi.
1843. Nov. 25. Ole Bull, noted Norwegian violinist, made his
American début at the Park Theatre, New York City.
1843. Dec. 15. Donizetti's opera "Marino Faliero" presented at the
Park Theatre, New York City.
1843-1863. Philharmonic Concerts, Boston.
1844. Jan. 15. Mozart's "Jupiter" Symphony (Fourth, in C) given by
the Philharmonic Society, New York City.
1844. Feb. 2. Bellini's opera "I Puritani" presented at Palmo's
Opera House, New York City, with Signora Borghese.
1844. Mar. 16. Spohr's First Symphony (D minor) given by the
Philharmonic Society, New York City.
1844. Mar. 18. Bellini's opera "Beatrice di Tenda" presented at
Palmo's Opera House, New York City, with Majocchi, prima donna.
1844. April 27. Donizetti's opera "Lucrezia Borgia" presented in
New Orleans.
1844. May 6. Donizetti's opera "Anne Boleyn" presented in English
by the Seguin Company at the Park Theatre, New York City.
1844. Nov. 16. Ricci's opera "Chiara de Rosenberg" presented at
Palmo's Opera House, New York City, with Borghese, Antignone,
Valtellina, and Sanquirico.
1844. Nov. 16. Beethoven's "Egmont" overture given at the Academy
of Music, Boston.
1844. Nov. 16. Mendelssohn's "Hebrides" overture and Beethoven's
Eighth Symphony (F major) given by the Philharmonic Society, New
York City, G. Loder conducting.
1844. Nov. 25. Balfe's opera "The Bohemian Girl" given by the
Seguin Company in New York City.
1844. Nov. 28. Donizetti's opera "Belisario" presented at Palmo's
Opera House, New York City, with Borghese, Pico, Perozzi and
Tomaso.
1844. Dec. 14. Beethoven's "Battle of Waterloo" (Wellington)
Symphony given at the Tabernacle, Broadway, New York City, by a
"powerful and sufficient orchestra" under U. B. Hill, in aid of
a fund for the French Free School.
1844. Dec. 15. Henri Vieuxtemps, noted Belgian violinist, made his
American début at a concert at the Park Theatre, New York City.
1844. Alexandre Artôt, French violinist, and Leopold von Meyer,
German pianist, made their first American tour.
1844. New York Musical Institute established. It was merged into
the Harmonic Society in 1849.
1845. Jan. 11. Spohr's overture to "Jessonda" given by the
Philharmonic Society, New York City.
1845. Jan. 26. Handel's oratorio "Samson" performed by the Handel
and Haydn Society, Boston.
1845. Mar. 1. W. Sterndale Bennett's overture to "Die Najaden"
given by the Philharmonic Society, New York City.
1845. April 19. Mendelssohn's "Zum Märchen von der Schönen
Melusine" given by the Philharmonic Society, New York City.
1845. June 4. Production, in English, of William H. Fry's grand
opera "Leonora" at the Chestnut St. Theatre, Philadelphia,--the
first grand opera written by an American. The Italian version
was given at the Academy of Music, New York City, in March,
1858. The cast at Philadelphia was P. Richings, Ed. Seguin,
Brunton, Frazer, Mrs. Seguin and Miss Ince. In the New York
production Sig. Rocco, Gassier, Barratini, Tiberini, Madame de
la Grange, Madame d'Angri and Madame Morra.
1845. Nov. 22. Mendelssohn's "Scotch Symphony" given by the
Philharmonic Society, New York City, G. Loder conducting.
1845. Dec. 21. Handel's oratorio "Moses in Egypt" given by the
Handel and Haydn Society, Boston.
1846. Jan. 17. Mendelssohn's Pianoforte Concerto in G Minor given
by the Philharmonic Society, New York City, with H. C. Timm as
soloist.
1846. Feb. 14. Spohr's overture to "Faust" given at the
Philharmonic Concerts, Boston.
1846. Mar. 7. Kalliwoda's First Symphony (D minor) given by the
Philharmonic Society, New York City.
1846. Mar. 9. Donizetti's opera "Don Pasquale" presented in
English at the Park Theatre, New York City.
1846. May 20. Beethoven's Ninth Symphony (D minor) given by the
Philharmonic Society of New York at Castle Garden, New York
City.
1846. Steyermark's Orchestra of twenty men visited America and
made their first appearance in New York City.
1846. Oct. 12. Camille Sivori, noted Italian violinist, made his
American début in a concert at the Broadway Tabernacle, New York
City.
1846. Nov. 21. Berlioz's overture to "King Lear" given by the
Philharmonic Society of New York City. A. Boucher, conductor.
1847. Jan. 4. Donizetti's opera "Linda di Chamounix" presented at
Palmo's Opera House, New York City, with a company including
Clotilde Barili, Mlle. Pico, Benedetti, Sanquirico and Barili.
Rapetti, conductor.
1847. Jan. 9. Deutscher Liederkranz organized in New York City,
with Dr. Ludwig as conductor.
1847. Jan. 9. Mendelssohn Festival held at the Castle Garden, New
York City, under U. C. Hill.
1847. Jan. 9. The Havana Opera Company arrived in America with
Luigi Arditi as conductor. The company included Fortunata
Tedesco, prima donna, Perelli, tenor, Cesar Badiale, bass, also
Bottesini, the noted double-bass virtuoso.
1847. Jan. 3. Coppola's opera "Nina Pazza per Amore" presented by
the Havana Company at the Park Theatre, New York City.
1847. Mar. 3. Verdi's opera "I Lombardi" presented at Palmo's
Opera House, New York City, with Narili, Patti, Beneventano.
1847. April 15. Verdi's opera "Ernani" presented at the Park
Theatre, New York City, by the Havana Company, with Tedesco,
Perelli and Novelli. Arditi conducting.
1847. April 23. First season of Italian opera in Boston, begun
with "Ernani" at the Howard Athenaeum, given by the Havana Opera
Company.
1847. May 13. Musical Fund Society organized in Boston. Lasted
till 1856.
1847. June 12. Pacini's opera "Saffo" presented at the Park
Theatre, New York City, by the Havana Opera Company.
1847. Aug. 4. Madame Anna Bishop, noted English singer, made her
American début at the Park Theatre, New York City.
1847. Nov. 14. Mozart's Third Symphony (E flat major) and
Bristow's Concert Overture (Opus 3) given by the Philharmonic
Society of New York City.
1847. American début of Teresa Truffi, soprano, in "Ernani" at the
Astor Place Opera House, New York City, which was opened in this
month under the management of Patti, Sanquirico and Pogliano.
The company included Clotilde and Antonio Barili, Benedetti and
Sanquirico.
1847. Dec. 5. Handel's oratorio "Judas Maccabeus" given by the
Handel and Haydn Society in Boston.
1847. Mozart Society organized in Chicago, under the direction of
Frank Lumbard.
1848. Jan. 8. Beethoven's Seventh Symphony (in F,)
given by the Musical Fund Society, Boston.
1848. Feb. 1. Bellini's opera "I Capuletti e Montecchi" presented
at the Astor Place Opera House, New York City, for the début of
Caterina Barilli Patti, as _Romeo_.
1848. Feb. 14. Mercadante's opera "Il Guiramento" presented at the
Astor Place Opera House, New York City, with Truffi, Benedetti,
Rossi and Beneventano.
1848. April 4. Verdi's opera "Nabucco" presented at the Astor
Place Opera House, New York City, with Truffi, Amalia Patti.
1848. April 11. Schumann's secular cantata, "Paradise and the
Peri," given in New York City, by the Musical Institute, Henry
C. Timm conducting.
1848. April 29. Spohr's Symphony in E flat, given by the
Philharmonic Society, New York City.
1848. May 4. Wallace's opera "Maritana" given by the Seguin
Company in Philadelphia.
1848. May 14. Mendelssohn's "Midsummer Night's Dream," music given
by the Germania Orchestra in New York City.
1848. Oct. 2. American début of Maurice Strakosch, noted conductor
and impresario, at the First Grand Musical Festival of the
season, at the Broadway Tabernacle, New York City, given by the
"Italian Opera Company of the United States."
1848. Oct. 5. The Germania Orchestra, consisting of German
revolutionary refugees, organized and gave their first concert
in America at Niblo's Garden, New York City.
1848. Nov. 16. Gungl's Orchestra of twenty-five players gave their
first concert in New York City, at the Broadway Tabernacle,
after which they made a tour of the United States, playing
chiefly dance-music.
1848. Dec. 2. W. Sterndale Bennett's overture to "Die Waldnymphe"
given by the Philharmonic Society, New York City.
1848. Edouard Remenyi, noted Hungarian violinist, made first
American tour, and Richard Hoffman was the first noted pianist
to visit Chicago.
1848. Musical Convention held in Chicago for the first time.
1848. During this season the Havana Opera Company again visited
America bringing Steffanone, Bosio, Tedesco (soprani); Vietto
(contralto); Salvi, Bettini and Lorini (tenori); Badiali, Setti,
Marini, and Coletti (bassi)--the best company heard in America
up to that time.
Also Max Maretzek arrived in New York and began his
career as impresario. His company included Madame
Laborde, and Truffi (soprani); Amalia Patti (contralto);
Benedetti and Arnoldi (tenori); Giubeli, Rossi and Salvatore
Patti (bassi). Also, later, Teresa Parodi. His first
public appearance was on Oct. 5, at the Chestnut Street
Theatre, Philadelphia, conducting "Norma."
1849. Nov. 24. Beethoven's Fourth Symphony (B flat major) given by
the Philharmonic Society, New York City, also Mendelssohn's
Violin Concerto (E minor) with Joseph Burke as soloist.
1849. Dec. 10. Donizetti's opera "Marie de Rohan" presented in New
York City, on which occasion Giuletta Perrini, Italian soprano,
made her American début supported by Patti, Forti, Giubelei and
Beneventano.
1849. Dec. 16. Donizetti's opera "Il Poliuto" performed as an
oratorio (The Martyrs) by the Handel and Haydn Society, Boston.
1849. Saengerfest held in Cincinnati, O.
1849. Musikverein founded in Milwaukee, Wis.
1849. The Artists' Union Opera Company formed in New York City,
including Bosio, De Vries, Bettini, Lorini, Badiali, and
Coletti. They gave what they claimed was the first performance
in America of Meyerbeer's opera "Roberto il Diavolo." (See April
7, 1834).
1849-1874. Sacred Harmonic Society, New York City.
CHAPTER V
1850-1875
During this period musical events moved forward quite rapidly, and
though there was a pause during the years of the Civil War--from 1861 to
1865--after that time increasing energy was in evidence.
Possibly one of the most significant events was the establishment of
"Dwight's Journal of Music," in Boston, the first journal in America
devoted entirely to musical matters. It was published every two weeks,
and while the greater part of the space was devoted to musical affairs
in Europe, yet there were letters and reports from various centres in
this country, which make the Journal something of a history in itself.
Moreover, John S. Dwight helped very materially in bringing to the
American people something in the way of musical criticism, which was
sadly needed. Indeed, anyone who takes the trouble to look over the
reports of concerts and operas in the daily papers of these times will
be surprised at the absurdity of the comments on the performances of the
noted musicians. Ritter, for instance, quotes a criticism of a
pianoforte recital where the critic was much pleased by a "double run on
the chromatic scale, in which the semitones were distinctly heard."
With singers the chief point was whether the singer of this season could
sing louder than the singer of last season. John S. Dwight was the
pioneer of musical criticism in America,--an intellectual man, one of
the noted band of idealists who were in the "Brook Farm" movement.
"Dwight's Journal of Music" went out of existence in 1881. Musical
criticism has since become a specialized art.
Musical societies were multiplying,--Cincinnati and Milwaukee had them,
and in Chicago the "Philharmonic Society" was organized. In 1850 also
the Worcester (Mass.) "Festivals" began, and in 1858 the Peabody
Institute concerts, in Baltimore.
In 1858 the "Mendelssohn Quintet" was formed, and for many years toured
the country giving concerts of a high standard, and doing much to raise
the level of musical taste. This organization had its beginning in
Boston, but it traveled so widely that it may be said to have belonged
to the nation.
Towards the end of this period the "Apollo Club" was organized in
Chicago, and it is today one of the most excellent clubs in America. The
following year the "Cecilia Society," in Boston, was organized and
likewise still exists and flourishes. But these are only a few.
The American composer was beginning to show himself--perhaps not yet
very brilliantly in comparison to the great men of Europe--but he was
beginning to be heard from. William H. Frye, besides his two operas,
composed several symphonies, which were played by Jullien's Band in
1853. Also a "Grand Symphony" in 1855 and "The Pilgrims' Cantata" by C.
C. Perkins, were performed in Boston, and we have record of an oratorio,
"The Cities of the Plains," by Dawley, in 1855. Apart from these efforts
the American composer seems to have been inconspicuous. In fact there
were no facilities for the study of music or for the hearing of music
which could be compared, as a training school for composers, with the
musical centres of Europe, so that the efforts of these earlier
composers may be considered, in some respects, premature, and prompted
by energy and ambition rather than by scientific preparation.
The story of grand opera of this period is one of perpetual striving for
the unattainable. In Chicago the first performance of grand opera was
given in 1850. Chicago is now a rival of New York in matters of opera.
San Francisco heard its first opera in 1853. The gold fever of 1849 drew
people of all kinds to California, and among them were musicians. Henri
Herz, the French pianist, reached California in 1849 when the excitement
was at its highest, and he gives an interesting account of his
adventures. It may also be well to mention here Signora Biscaccianti,
who went to San Francisco in 1852, and was there more or less till 1864.
Signora Biscaccianti was one of the first American singers to achieve a
measure of success in Europe. She was the daughter of a musician named
Ostinelli, was born in Boston, where she met with some success as a
singer, went to New York and thence to Europe. Another American who was,
perhaps, better known in her own country was Miss Isabella Hinkley who
appeared in 1861, but another who appeared in New York in the same year,
became still better known and was prominent for many years, Clara Louise
Kellogg. Eighteen hundred and fifty-nine was the year of Adelina Patti's
début.
The list of great singers who were imported during this period is long.
We can but touch on it,--there was Jenny Lind in 1850, then came
Marietta Alboni in 1851. Two years later Sontag, and the next year Grisi
and Mario. In 1865 came Parepa Rosa, and in 1870 Christine Nilsson. In
1873, Maurel and Campanini. In 1855 Brignoli appeared, and was for many
years a great popular favorite.
We find efforts in New York to promote German opera. Operas by
Germans--"Fidelio" for instance--had been heard together with operas by
Italians, and others, but now Wagner came above the horizon, and German
opera began to mean Wagner. So we find a "Tannhäuser" and "Lohengrin" in
New York in 1859,--quite inadequate performances according to the
opinion handed down to posterity,--but yet, performances. They were
followed in 1862 by "Der Fliegende Holländer," all worthy but
inadequate efforts. Maretzek and Strakosch were the chief figures in
grand opera during this period, but there were spasmodic efforts by
others which need not be recorded.
Pianists were not so numerous as later. Alfred Jaell had appeared and,
in 1854, Dr. William Mason returned from Europe and established himself
in New York, but was not known as one of the traveling virtuosi. He had
a great influence in musical education, for many years. Anna Mehlig
visited America in 1869.
In 1862 Louis M. Gottschalk, a native of New Orleans, returned to
America after a brilliant career in Europe, and he appears to have been
the first American to have made a career as a piano virtuoso.
Violinists were few in comparison to singers,--Miska Hauser, Pablo
Sarasate, in 1850, and Camilla Urso in 1852. Then a space of twenty
years without any great virtuoso.
An important matter in the musical life of America was the establishment
of conservatories. There had already been the Academy of Music in
Boston, which enrolled twenty-two hundred pupils the first year, but the
conservatory idea appears to have developed just after the Civil War,
for we find in 1865 a conservatory of music established with Oberlin
College, in 1871 Illinois College at Jacksonville followed suit, and in
1873 Northwestern University. In the meantime, in 1867, we find the
Boston Conservatory, under Julius Eichberg, the New England
Conservatory, under Eben Tourjée, the Cincinnati Conservatory, and the
Chicago Academy of Music, which became the Chicago Musical College,--and
in 1877, a couple of years after this period, Syracuse University added
a conservatory.
1850. Jan. 12. Mendelssohn's "Meerstille und Glückliche Fahrt"
and "Capriccio Brillante," with William Scharfenberg as
soloist, given by the Philharmonic Society, New York City.
1850. Jan. 19. Beethoven's Third Pianoforte Concerto given by the
Musical Fund Society, Boston, with G. F. Hayter, soloist.
1850. Mar. 9. Handel's oratorio "Jephtha" given by the Musical
Education Society, Boston, under G. J. Webb and Lowell Mason.
1850. Mar. 11. American début of Signora Steffanone in "Norma" at
Niblo's Garden, New York. City, with the Havana Company.
1850. Mar. 18. American début of Angiolina Bosio, soprano, at
Niblo's Garden, New York City, in "Lucrezia Borgia" with the
Havana company.
1850. Mar. 23. C.C. Perkins's "Grand Symphony" given by the
Musical Fund Society, Boston.
1850. April 1. Meyerbeer's opera "L'Etoile du Nord" presented at
the Opera House, New Orleans, La.
1850. April 2. Meyerbeer's opera "Il Profeta" presented at the
Opera House, New Orleans, La.
1850. April 16. Verdi's opera "Attila" presented at Niblo's
Garden, New York City, by the Havana Company with Fortunata
Tedesco, Corradi-Setti, Marini and Lorini.
1850. April 24. Verdi's opera "Macbeth" presented at Niblo's
Garden, New York City, with Bosio and Badiali in the leading
parts.
1850. June 24. Meyerbeer's opera "Les Huguenots" presented in New
York City, by the Havana Company. (See New Orleans April 29,
1839.)
1850. Sept. 11. American début of Jenny Lind (in concert) at the
Castle Garden, New York City. Her first selection was "Casta
Diva" from "Norma."
1850. Oct. 24. First concert of the Chicago Philharmonic
Orchestra, organized by Julius Dyhrenfurth. (On Feb. 2, 1853,
the Legislature of Illinois incorporated the Society by an act
entitled "An Act to Encourage the Science of Fiddling.")
1850. Nov. 4. American début of Teresa Parodi at the Astor Place
Opera House, New York City, as _Norma_, under Maretzek.
1850. Nov. 22. Donizetti's opera "Parisina" presented at the Astor
Place Opera House, New York City, by Maretzek, with Truffi,
Forti, Rossi and Beneventano.
1850. Dec. 7. Beethoven's "Leonora Overture" No. 3, given at a
concert of the Musical Fund Society, Boston. G. J. Webb
conducting.
1850. Dec. 21. Mozart's Symphony in G minor given by the Musical
Fund Society, Boston, at Tremont Temple, from a manuscript
presented by C. C. Perkins.
1850. First performance of grand opera in Chicago given during
this season,--"La Sonnambula," with Elisa Brienti, Manvers and
Giubelei in the leading parts.
1850. Miska Hauser and Pablo Sarasate, noted violinists, made
their first American tours.
1850. Worcester (Mass.) Festival Association organized.
Reorganized in 1866, and chartered in 1872.
1851. Jan. 3. Production of Maurice Strakosch's opera "Giovanni di
Napoli" at the Astor Place Opera House, New York City.
1851. Jan. 11. Schubert's Symphony in C major given by the
Philharmonic Society, New York City. Th. Eisfeld conducting.
1851. Sept. 13. American début of Catherine Hayes, noted singer,
at a concert in Tripler Hall, New York City.
1851. Nov. 15. Mendelssohn's "Italian Symphony" given at a concert
of the Musical Fund Society in Tremont Temple, Boston. G. J.
Webb conducting.
1851. Dec. 7. American operatic début of Marietta Alboni, great
contralto, in "La Cenerentola," with Sangiovanni, Barili and
Rovere at the Astor Place Opera House, New York City. She had
appeared in concert at Tripler Hall, June 23.
1852. April 17. Mendelssohn's Pianoforte Concerto in D minor,
given by the Philharmonic Society, New York City, with W.
Scharfenberg as soloist.
1852. Oct. 15. American début of Alfred Jaell, noted pianist, at
Tripler Hall, New York City.
1852. Oct. 27. Verdi's opera "Luisa Miller" presented at the
Chestnut St. Theatre, Philadelphia, with Caroline Richings and
Madame Bishop in the leading parts.
1852. Oct. 29. Camilla Urso, noted violinist, made her American
début at a concert in Tripler Hall, New York City.
1852. Nov. 1. Flotow's opera "Martha" given in New York City, with
Madame Anna Bishop in the title-rôle, under direction of Bochsa.
1852. Nov. 13. Gade's "Ossian Overture" given by the Philharmonic
Society, New York City.
1852. Nov. 20. Music Hall, Boston, dedicated with a concert given
by the Handel and Haydn Society and the Musical Fund Society
combined.
1852. Dec. 12. Gade's First Symphony (E minor) given by the
Germania Orchestra in Boston.
1852-1859. Chicago Männergesang-Verein.
1852-1881. Dwight's Journal of Music, Boston. The first American
Musical Journal.
1853. Jan. 1. Haydn's Eighth Symphony given by the Musical Fund
Society, Boston. F. Suck conducting.
1853. Jan. 10. American début of Henrietta Sontag, noted soprano,
in "La Figlia del Reggimento" supported by Badiali and
Pozzolini, at Niblo's Garden, New York City.
1853. Jan. 12. American début of Signor Rocco, famous buffo.
1853. June. First performance of a symphony in
Chicago,--Beethoven's Second, given by the Germania Orchestra.
1853. Sept. 26. First concert given by Louis A. Jullien, in New
York City, beginning an American tour. During the visit of
Jullien and his band they produced the following works of
William H. Frye: "Christmas, or Santa Claus," "The Breaking
Heart," "Childe Harold," and "A Day in the Country."
1853. Nov. 19. Wagner's overture to "Rienzi" played, from MS. by
the Germania Orchestra in Boston.
1853. Nov. 22. Beethoven's Violin Concerto (first movement only)
played in Boston, with August Fries as soloist. (Complete work
given in 1859 with Julius Eichberg, soloist.)
1853. Nov. 26. Spohr's ninth symphony, "The Seasons," given by the
Philharmonic Society, New York City.
1853. The first performance of Italian opera in San Francisco,
Cal., was given this season by Madame Thillon,--"Ernani."
1853. Louis Moreau Gottschalk, the first American pianist of
international renown, returned to America and began concert
touring. In three seasons he gave more than 1100 concerts.
1853. The pianoforte manufacturing house of Steinway and Sons
established in New York City.
1854. Jan. 14. Schumann's Second Symphony (C major) given by the
Philharmonic Society, New York City.
1854. Feb. 4. Beethoven's Fourth Pianoforte Concerto (B flat)
given by the Germania Orchestra in Boston with Robert Heller as
soloist.
1854. Mar. 4. Beethoven's Fifth Pianoforte Concerto (E flat) given
by the Germania Orchestra in Boston, with Robert Heller as
soloist.
1854. April 22. F. Schneider's Twentieth Symphony given by the
Philharmonic Society, New York City.
1854. Oct. 2. Opening of the Academy of Music, New York City. A
performance of "Norma," with Grisi and Mario in the leading
rôles. They had previously made their American débuts in
"Lucrezia Borgia" at Castle Garden under Hackett's management.
(The Academy of Music was the home of opera until 1866, and was
frequently used for this purpose until 1896.)
1854. Oct. 9. Louisa Pyne, noted English singer, made her American
début as _Amina_ in "La Sonnambula," at the Broadway Theatre,
New York City.
1854-1910. William H. Sherwood, noted American pianist and
teacher.
1855. Feb. 13. American début of Madame F. Vestvali, as Arsace at
the Metropolitan Theatre, New York City, with Grisi and Mario.
1855. Feb. 17. Haydn's Fifth Symphony given by the Musical Fund
Society, Boston, and together with the Handel and Haydn Society,
C. C. Perkins's "The Pilgrims' Cantata."
1855. Mar. 12. American début of Luigi Brignoli, Italian operatic
tenor, as _Edgardo_ in "Lucia di Lammermoor" supported by
Vestvali, Amodio and Rocco,--in New York City.
1855. April 30. Verdi's opera "Il Trovatore" presented in New York
City, with Vestvali, Steffanone, Brignoli and Amodio, at the
Academy of Music.
1855. May 8. American début of Madame Anna de la Grange in "Il
Barbiere" at the Academy of Music, New York City.
1855. Sept. 27. Production of George Bristow's opera "Rip van
Winkle" at Niblo's Garden, New York City, by the Pyne and
Harrison Opera Company.
1855. Oct. 1. American début of Madame Nantier-Didiér as _Arsace_
in "Semiramide" at the Academy of Music, New York City.
1855. Oct. 6. The first attempt at German opera made in New York
City, at Niblo's Garden, under Julius Ungher. "Der Freyschütz,"
"Martha," "Masaniello," and "Czar und Zimmerman" were presented
by a company including Carolina Lehman, Madame d'Ormy, Madame
Seidenberg, Schraubstadter, Quint and Vineke.
1855. Oct. 30. Rossini's opera "Semiramide" presented by Maretzek
at the Academy of Music, New York City.
1855. Nov. 18. Handel's oratorio "Solomon" given by the Handel and
Haydn Society, Boston.
1855. Dec. 8. An American oratorio, "The Cities of the Plain," by
F. T. S. Darley, produced by the Harmonia Sacred Music Society
in Philadelphia.
1855-1863. Philharmonic Society, Boston, Carl Zerrahn, conductor.
1855-6. Sigismund Thalberg, noted pianist, and Henri Vieuxtemps,
great violinist, made a concert-tour in America.
1856. Mar. 17. Adelaide Phillips, noted contralto, made her
operatic (American) début as _Azucena_ in "Il Trovatore," in New
York City.
1856. Oct. Flotow's opera "Stradella" presented at Niblo's Garden,
New York City.
1856. Dec. 3. Verdi's opera "La Traviata" presented at the Academy
of Music, New York City, with Madame de la Grange, Brignoli and
Amodio.
1856. Dec. 29. Beethoven's opera "Fidelio" presented in German at
the Broadway Theatre, New York City, when Mademoiselle Johansen
made her American début in the title rôle. (Ritter states that
this opera was given in English by the Seguin Company on Sept.
9, 1856--the first representation in America.)
1856. The Academy of Music in Philadelphia opened.
1856. The Cecilia Society and Harmonic Society organized in
Cincinnati, O.
1856-7. During this season an orchestra, under Carl Bergmann,
giving concerts at the City Assembly rooms, New York City, is
said to have performed for the first time in America:
Beethoven's Seventh Symphony--in A.
Mozart's Symphony in D major.
Haydn's Symphony in G major (see 1843, Jan. 7).
Beethoven's Pianoforte Concertos in E flat and G.
1857. Jan. 3. Wagner's "Faust Overture" given by the Philharmonic
Society, Boston, Carl Zerrahn, conductor.
1857. Jan. 18. Mozart's "Requiem" given by the Handel and Haydn
Society in Boston.
1857. Jan. 21. Strakosch appointed manager of the Academy of
Music, New York City.
1857. Jan. 24. Berlioz's "Roman Carnival" overture given by the
Philharmonic Society, New York City.
1857. Feb. 7. Schumann's Symphony in D given by the Philharmonic
Society, New York City.
1857. Feb. 23. American début of Marietta Gazzaniga as _Leonora_
in "Il Trovatore" at the Academy of Music, Philadelphia. She
appeared in New York City as _Violetta_ in "La Traviata" on
April 13.
1857. Nov. 2. Début of Madame d'Angri as _Arsace_ in "Semiramide"
at Castle Garden, New York City.
1859. Nov. 19. Wagner's prelude to "Lohengrin" given by the
Philharmonic Society, New York City.
1856. April 27. Schumann's "Manfred Overture" given at a concert
given by Carl Bergmann, New York.
1857. Nov. 30. American début of Carl Formes, noted German basso,
as _Bertram_ in "Roberto," at the Academy of Music, New York
City.
1857. Dec. 30. American début of Madame Anna Caradori, as
_Fidelio_, at the Academy of Music, New York City.
1857-65. Chicago Musical Union. C. M. Cady, conductor.
1857. An orchestra was established in Brooklyn, N. Y., with
Theodore Eisfeld as conductor. It is claimed that this orchestra
introduced to America Beethoven's Third and Seventh Symphonies,
and Mendelssohn's Fourth.
1858. Jan. 9. Nicolai's overture to "The Merry Wives of Windsor"
given by the Philharmonic Society, New York City.
1858. Mar. 6. Hiller's Symphony in F, given by the Philharmonic
Society, New York City.
1858. April 24. Schumann's Overture, Scherzo and Finale given by
the Philharmonic Society, New York City.
1858. Oct. 20. American début of Maria Piccolomini, noted soprano,
as _Violetta_, in "La Traviata" at the Academy of Music, New
York City.
1858. Nov. 1. During a season of opera begun on this date and
ended Jan. 30, 1859, the following operas were presented in New
Orleans, La., probably for the first time in America:
Ambroise Thomas' "Le Caid."
Donizetti's "La Favorita."
Halévy's "Jaquarita l'Indienne."
Grisar's "Les Amours du Diable."
Adam's "Châlet" and "Si J'Etais Roy."
Halévy's "La Juive."
Auber's "Les Diamans de Couronne."
Halévy's "Reine de Chypre."
1858. Nov. 23. Mozart's opera "Nozze di Figaro" presented in
Italian at the Academy of Music, New York City, with Carl Formes
as _Figaro_, supported by Madame von Berkel, Ghioni,
Piccolomini, etc.
1858. Nov. 28. Gade's Fifth Symphony given by the Philharmonic Society,
New York.
1858. The Mendelssohn Quintet organized in Boston--August Fries,
first violin, Francis Riha, second violin, Edward Lehman, viola
and flute, Thomas Ryan, viola and clarinet, Wulf Fries,
violoncello. This was a pioneer organization in Chamber Music,
and traveled extensively for many years.
1858. The French Opera Company from New Orleans appeared in
Chicago.
1859. Feb. 26. Mozart's Pianoforte Concerto in E flat major given
at the Philharmonic concerts, Boston, with B. J. Lang as
soloist.
1859. Mar. 26. Schumann's Pianoforte Concerto in A minor (Op. 54)
given by the Philharmonic Society, New York City, with S. B.
Mills as soloist.
1859. Mar. 26. Beethoven's music to Goethe's drama "Egmont" given
entire at the Philharmonic Concerts, Boston, with readings from
the drama by Mrs. Barrow.
1859. April 4. Wagner's opera "Tannhäuser" presented at the Stadt
Theatre, New York City, under Carl Bergmann, with Madame
Seidenberg as _Elizabeth_, Pickaneser as _Tannhäuser_, Lehmann
as _Wolfram_, and the Arion Society as chorus.
1859. April 20. Liszt's symphonic poem "Les Préludes" given by the
Philharmonic Society, New York City.
1859. May 25. Donizetti's opera "Il Poliuto" presented at the
Academy of Music, New York City, with Piccolomini, Brignoli,
Barili.
1859. Aug. 27. Wagner's opera "Lohengrin" presented at the Stadt
Theatre, New York City, under Carl Bergmann, with Seidenberg,
Pickaneser and Lehmann.
1859. Nov. 7. Verdi's opera "I Vespri Sicilienne" presented at the
Academy of Music, New York City, with Brignoli and Colson.
1859. Nov. 24. Operatic début of Adelina Patti at the Academy of
Music, New York City, as _Lucia_, supported by Brignoli.
1859. New French Opera House built in New Orleans, La.
1859. Patrick Sarsfield Gilmore organized his noted band in
Boston, Mass.
1860. Jan. 14. Spohr's Double Symphony, for two orchestras, given
in Boston.
1860. Jan. 27. Rossini's opera "Otello" presented in New Orleans,
La.
1860. Feb. 11. Lachner's "Festival Overture" given by the
Philharmonic Society, New York City.
1860. Mar. 3. Beethoven's overture "Die Weihe des Hautes" given
by the Philharmonic Society in Boston, Carl Zerrahn conducting.
1860. Dec. 22. Liszt's seventh symphonic poem, "Fest-Klänge," given
by the Philharmonic Society, New York City.
1860. Mar. 19. Verdi's opera "Rigoletto" presented in New Orleans,
La.
1860. Mar. 24. Liszt's symphonic poem "Tasso" given by the
Philharmonic Society, New York City.
1860. May 31. Verdi's opera "I Masnadieri" presented by Maretzek
at the Academy of Music, New York City, with Oliviera, Guerra
and Luisia.
1860. Sept. 19. American début of Pauline Colson in "I Vespri
Sicilienne" at the Academy of Music, New York City.
1860. Sept. 27. Pacini's opera "Medea" presented at Niblo's
Garden, New York City.
1860-1868. Chicago Philharmonic Society (reorganized) under Hans
Balatka.
1860. An Oratorio Society organized by R. Herold in San Francisco,
Cal.
1860-1861. The Briggs House Concerts given in Chicago--the first
Chamber Music Concerts in that city. Henri de Clerque, first
violin; Buderbach, violoncello; Paul Becker, piano.
1869. Jan. 9. Liszt's symphonic poem "Ce qu'on entend sur le
Montagne" given by the Philharmonic Society in New York City.
1861. Jan. 23. American début of Isabella Hinkley as _Lucia_ at
the Academy of Music, New York City, supported by Steffani,
Coletti.
1861. Feb. 3. Schumann's Third Symphony (E flat major) given by
the Philharmonic Society, New York City.
1861. Feb. 11. Verdi's opera "Un Ballo in Maschera" given at the
Academy of Music, New York City, with Colson, Adelaide Phillips,
Hinckley, Brignoli, Ferri.
1861. Feb. 27. American début of Clara Louise Kellogg as _Gilda_
in "Rigoletto" at the Academy of Music, New York City, under
Grau and de Vivo.
1861. Mar. 16. Mozart's Eighth Pianoforte Concerto (in D) given by
the Philharmonic Society, New York City, with Richard Hoffman,
as soloist.
1861. April 20. Mendelssohn's "First Walpurgis Night" given by the
Philharmonic Society, New York City.
1861. Masse's opera "Les Nôces de Jeanette" with Kellogg, Elena,
Mancini, Debreuil, given at the Academy of Music, Philadelphia,
Pa., also Donizetti's "Betley," with Miss Hinkley, Brignoli,
Lusini.
1861. Nov. 9. Chopin's Second Pianoforte Concerto given by the
Philharmonic Society, New York City, with S. B. Mills as
soloist.
1861-1908. Edward MacDowell. Noted American pianist, composer and
teacher.
1862. Jan. 30. Mendelssohn's "Hymn of Praise" given in the Old
South Church, Boston, under the direction of B. J. Lang.
1862. Feb. Brahms's First Serenade given by the Philharmonic Society,
New York.
1862. Mar. 8. Schubert's "Grand Fantasia" given by William Mason
at a concert of the Philharmonic Society, Boston.
1862. May 13. Music of Wagner's opera "Der Fliegende Holländer"
given at Irving Hall, New York City, under the direction of
Theodore Thomas.
1862. Sept. 18. Auber's "Grand Inauguration March" given at a
concert in New York City, by Theodore Thomas.
1862. Sept. 22. Operatic début of Carlotta Patti as _Amina_ in "La
Sonnambula," supported by Miss Stockton, Sbriglia and Susini, in
New York City.
1862. Oct. 10. Mozart's opera "Entführung aus dem Serail"
presented in New York City, at Wallack's Theatre, under the
direction of Carl Anschutz.
1862. Nov. 14. Meyerbeer's opera "Dinorah" presented in New York
City.
1862. Teresa Carreño, great Venezuelan pianist, first appeared in
New York City, as a child pianist.
1862-1901. Ethelbert Nevin. Song composer.
1863. Mar. 7. Berlioz's "Corsair Overture" given in New York City,
by Theodore Thomas.
1863. April 6. Petrella's opera "Ione" presented at the Academy of
Music, New York City, with Medori, Sulzer, Mazzolini, and
Bellini, under Maretzek.
1863. April 15. Verdi's opera "I due Foscari" presented at the
Academy of Music, New York City, with Medori, Mazzolini, Bellini
and Coletti, under Maretzek.
1863. April. William H. Fry's opera "Notre Dame de Paris" produced
at the Academy of Music, Philadelphia.
1863. May 4. Verdi's opera "Aroldo" presented at the Academy of
Music, New York City, under Maretzek, with Mazzolini, Bellini
and Coletti.
1863. Nov. 2. Inauguration of the great organ in Music Hall,
Boston, when Charlotte Cushman, Lyman Wheeler, and Mrs. J. F.
Houston took leading parts in the ceremonies.
1863. Nov. 7. Ferdinand Hiller's Second Pianoforte Concerto (in A)
given by the Philharmonic Society, New York City.
1863. Nov. 11. Peri's opera "Judith" presented at the Academy of
Music, New York City, by Maretzek, with Medori, Mazzolini,
Bellini and Biachi.
1863. Weber's opera "Euryanthe" said to have been presented at
Wallack's Theatre, New York, by Carl Anschutz.
1863. Nov. 18. Gounod's opera "Faust" presented at the Academy of
Music, Philadelphia, by the German Opera Company. Was given in
New York, Nov. 26.
1863-1872. The Mendelssohn Society, New York City.
1864. Jan. 30. Liszt's "Faust Symphony" (F minor) given by the
Philharmonic Society, New York City, assisted by the Arion
Society.
1864. The first complete performance of Haydn's oratorio, "The
Seasons" given in Boston, under the direction of B. J. Lang.
1864. Nov. 4. American début of Jennie van Zandt, as _Gilda_ in
"Rigoletto" at the Academy of Music, New York City.
1864. Nov. 25. Donizetti's opera "Don Sebastian" presented at the
Academy of Music, New York City.
1864. Dec. 3. Lachner's Suite in D minor given by Theodore Thomas,
in New York City, also the second part of Berlioz' dramatic
symphony "Romeo et Juliette."
1864. Great Band Festival in New Orleans, La., under P. S.
Gilmore.
1865. Jan. 13. Bach's Toccata in F given in New York City by
Theodore Thomas.
1865. Feb. 18. Raff's symphony "An das Vaterland," and Beethoven's
Triple Concerto, for piano, violin and cello, given in New York
City by Theodore Thomas.
1865. Feb. 18. Beethoven's Second Pianoforte Concerto (B flat)
given by the Brooklyn Philharmonic Society.
1865. Feb. 24. Verdi's opera "La Forza del Destino" presented in
New York City, with Carozzi-Zucchi, Massimiliani and Bellini.
1865. Mar. 4. Hohnstock's overture, "Hail Columbia," given by
Theodore Thomas in Brooklyn, N. Y.
1865. Mar. 11. Haydn's First Symphony (E flat) given by the
Philharmonic Society, New York City.
1865. April 8. Mozart's Symphony Concertante for violin and
viola,--Bach's Passacaglia,--and Schumann's overture to "Die
Braut von Messina" given in New York City by Theodore Thomas.
1865. April 20. Crosby Opera House in Chicago, dedicated.
Performances were given there by a company brought by Jacob Grau
and including Clara Louise Kellogg and Zucchi, sopranos;
Morensi, Fischer and Zapucci, contraltos; Massimiliani,
Mazzolini and Lotti, tenors; Bellini, Orlandini, Lorini and
Debreuil, baritones; Susini, Colletti, Muller, Perni and
Ximenes, basses, and Carl Bergmann, conductor.
1865. Sept. 11. First appearance in America (in concert) of Madame
Parepa-Rosa, at Steinway Hall, New York City.
1865. Nov. 4. Liszt's symphonic poem "Mazeppa" given by Theodore
Thomas, in New York City.
1865. Dec. 1. Meyerbeer's opera "L'Africaine" given at the Academy
of Music, New York City, with Carozzi-Zucchi as _Selika_ and
Mazzoni as _Vasco da Gama_. Carl Bergmann, conductor.
1865. Dec. 2. Liszt's Pianoforte Concerto in E flat given in New
York City, under Theodore Thomas.
1865. Dec. 28. The first concert of the Harvard Musical
Association in Boston. Mozart's Symphony in G minor was
performed.
1865. Germania Männerchor organized in Chicago, Ill.
1865. Peabody Institute Concerts established in Baltimore, Md.
1865. Conservatory of Music opened in connection with Oberlin
College (Ohio) which was founded in 1834.
1865. Opera given in San Francisco, Cal., by a company including
Morelli, Barilli, Sbriglia and Adelaide Phillips. Twenty-four
operas were presented.
1866. Jan. 13. Beethoven's Choral Fantasia, and Bargiel's Symphony
in C, given in New York City, by Theodore Thomas.
1866. Jan. 27. Berlioz'a "Fantastic Symphony" given by the
Philharmonic Society, New York City.
1866. Feb. 10. Mozart's Concerto in E flat, for two pianos, and
Weber's "Invitation to the Dance" given by Theodore Thomas, in
New York City.
1866. Feb. 28. Cherubini's overture to "Anacreon" given in Boston,
by the Harvard Musical Association.
1866. Mar. 1. Schumann's overture to "Genoveva" given in Boston,
by the Harvard Musical Association.
1866. Mar. 10. Introduction to Wagner's opera "Tristan und Isolde"
given by the Philharmonic Society, New York City.
1859. Jan. 8. Schubert's overture to "Fierabras" given by the
Philharmonic Society, New York.
1866. Aug. 29. Mozart's Andante, Variations, and Minuetto, and his
"Turkish March" given by Theodore Thomas, in New York City.
1866. Oct. 13. Minnie Hauck, noted American soprano, made her
début in "L'Etoile du Nord" at the Academy of Music, New York
City, before going to Europe.
1866. Oct. 20. Vorspiel to Wagner's opera "Die Meistersinger"
given by Theodore Thomas, in New York City.
1866. Oct. 27. J. J. Abert's First Symphony, and Schubert's
"Reiter March" given by Theodore Thomas, in Brooklyn, N. Y.
1866. Nov. 17. Liszt's "Nachtlicher Zug," from "Faust," given by
the Philharmonic Society, New York City, and Bristow's "Columbus
Overture" produced at the same concert.
1866. Dec. 2. Beethoven's Overture in C (Opus III), and Grimm's
Suite in Canon Form given in New York City, by Theodore Thomas.
1866. Dec. 8. Liszt's "Mephisto Waltz" given in Brooklyn, N. Y.,
by Theodore Thomas.
1866. The Summer Night Concerts at Terrace Gardens, New York City,
were inaugurated this year, by Theodore Thomas.
1867. Jan. 12. Raff's Suite in C (Opus 101) given in New York
City, by Theodore Thomas.
1867. Jan. 19. Berlioz's "Romeo et Juliette" overture given by the
Brooklyn Philharmonic Society, under Theodore Thomas.
1867. Feb. 7. Handel's oratorio "Jephtha" given by the Handel and
Haydn Society, in Boston.
1867. Mar. 13. Entr'acte from Schubert's "Rosamunde" given in New
York City, by Theodore Thomas.
1867. Mar. 18. American operatic début of Euphrosyne Parepa-Rosa,
great soprano, in "Il Trovatore" at the Academy of Music, New
York City.
1867. April 3. Petrella's opera "Il Carnival di Venezia" presented
at the Academy of Music, New York City.
1867. April 3. Molique's Concerto for Violoncello given by the
Philharmonic Society, Brooklyn, N. Y., under Theodore Thomas.
1867. July 1. J. Strauss's "Blue Danube" waltz, and the ballet
music from Gounod's opera "The Queen of Sheba," given by
Theodore Thomas, in New York City.
1867. July 5. Liszt's march "Vom Fels zum Meer" given by Theodore
Thomas, and on the 7th Strauss's waltz "From the Mountains," and
the overture to Schubert's "Rosamunde," in New York City.
1867. July 14. J. Strauss's "Bürgesin" and polka mazurka "Lob der
Frauen" given in New York City, by Theodore Thomas.
1867. Aug. 13. Schumann's "Träumerei" given for the first time in
America by Theodore Thomas, in New York City.
1867. Oct. 7. Bach's Third Suite, in D, given by Theodore Thomas,
in New York City.
1867. Oct. 26. Schubert's "Unfinished Symphony" given in New York
City, by Theodore Thomas.
1867. Nov. 9. Mendelssohn's "Trumpet Overture"; Haydn's theme and
variations on "Kaiser Franz Hymn"; and Berlioz's overture to
"Benvenuto Cellini" given by the Brooklyn Philharmonic Society,
Theodore Thomas conducting.
1867. Nov. 21. Cherubini's overture to "Medea" given in Boston, by
the Harvard Musical Association.
1867. Dec. 14. Gounod's opera "Romeo et Juliette" presented at the
Academy of Music, New York City, by Maretzek, with Minne Hauck
as _Juliette_.
1867. Dec. 14. Vieuxtemps's Violin Concerto in D given by the
Brooklyn Philharmonic Society, with Camilla Urso as soloist.
1867, Dec. 15. Beethoven's "Prometheus" music given by Theodore
Thomas, in New York City.
1867. Dec. 21. Ritter's overture to "Othello" given in New York
City, by the Philharmonic Society.
1867. French Opera Bouffe introduced to New York City, by F. L.
Bateman, at the French Theatre, where Offenbach's "La Grande
Duchesse" ran for 180 nights.
1867. In this year the following Conservatories of Music were
established:
The Boston Conservatory, Julius Eichberg, director, Boston,
Mass.
The New England Conservatory, Eben Tourjée, director,
Boston, Mass.
The Cincinnati Conservatory, Clara Bauer, director,
Cincinnati, O.
The Chicago Academy of Music, Dr. F. Ziegfeld, director,
Chicago, Ill. (Later known as the Chicago Musical College.)
1868. Jan. 11. Liszt's symphonic poem "Die Ideale" given by
Theodore Thomas, in New York City.
1868. Jan. 25. C. C. Converse's "Festival Overture" produced by
the Brooklyn Philharmonic Society.
1868. April 13. Gade's cantata "The Crusaders" given by the Parker
Club, in Boston, J. C. D. Parker, conductor.
1868. April 18. Liszt's symphonic poem "Héroïde Funèbre" given in
New York City.
1868. May. 24. Reinecke's overture "King Manfred" given in New
York City, by Theodore Thomas.
1868. Oct. 21. Handel's "Royal Fireworks" music given in New York
City, by Theodore Thomas.
1868. Nov. 11. Salem (Mass.) Oratorio Society founded. Carl
Zerrahn was elected as conductor at a later meeting.
1868. Nov. 28. Gade's overture "Hamlet" given by the Philharmonic
Society, New York City.
1868. Dec. 4. Haydn's Symphony in B flat given in Boston, by the
Harvard Musical Association.
1868. Dec. 10. Joachim's "Hungarian Concerto" for violin given by
the Harvard Musical Association, in Boston, with B. Listemann as
soloist.
1868. Dec. 12. Schubert's Twenty-third Psalm, also Mozart's First,
Second, and Third Motets given in New York City, by Theodore
Thomas.
1868. Bruch's First Violin Concerto (G minor) given at a concert
of a New York Conservatory, with Richard Arnold as soloist.
1868. Theodore Thomas established his Symphony Orchestra in New
York City.
1869. Jan. 9. Catel's overture to "Semiramide" given by the
Philharmonic Society, New York City.
1869. Jan. 16. Rubinstein's musical portrait "Faust," and Gade's
"Spring Fantasia" given in New York City, by Theodore Thomas.
1868. May 9. Mendelssohn's "Reformation" Symphony, and Schubert's
Symphony in B minor, given at the Triennial Festival, Boston.
1869. Feb. 11. Barnett's cantata "The Ancient Mariner" given under
Mr. Sharland, at the Mt. Pleasant Congregational Church,
Roxbury, Mass.
1869. Feb. 18. Gade's Second Symphony (in E) given by the Harvard
Musical Association, in Boston.
1869. Mar. 13. Max Bruch's Symphony in E flat given by Theodore
Thomas, in New York City.
1869. April 3. Singer's Fantasia for Pianoforte and Orchestra;
Volkmann's "Festival Overture," and Liszt's symphonic poem
"Prometheus" given by Theodore Thomas, in New York City.
1869. May 8. Schumann's "Manfred" music given by the Philharmonic
Society, New York City, with Edwin Booth as reader.
1869. May. 12, Schubert's "Italian Overture" given by Theodore
Thomas, in New York City.
1869. June 15. First concert of the Peace Jubilee in Boston.
1869. July 20. Strauss's waltz "Wein, Weib, und Gesang" given in
New York City, by Theodore Thomas.
1869. Dec. 2. Anna Mehlig, noted pianist, visited America and
played at Miss Porter's School, Farmington, Conn. She appeared
on Dec. 18, at the Brooklyn Academy of Music.
1869. Dec. 15. A season of six nights of Russian opera begun at
the Théâtre Française, New York City, under Leon Jasievitch,
with Levitzkaya as leading soprano, and Dimitri d'Agreneff,
tenor. The opera "Askold's Tomb" was given.
1869. Dec. 30. Haydn's Fifth Symphony (in D) given by the Harvard
Musical Association, in Boston.
1869. First of twenty-two annual tours made this season by the
Theodore Thomas Orchestra.
1869-1874. Church Music Association, New York City. The first
performance in America of Beethoven's Mass in D was given by
this Association.
1870. Jan. 8. Raff's Second Symphony (in C) given by the
Philharmonic Society, New York City.
1870. Jan. 22. A Russian Male Choir of nine voices, under Dimitri
Agreneff Slaviansky, visited America.
1870. Feb. 17. Mozart's Second Pianoforte Concerto (D minor) given
by the Harvard Musical Association in Boston.
1870. Feb. 28. Mendelssohn's overture to "Ruy Blas" given in
Boston.
1855. Mar. 10. Selections from Wagner's "Die Meistersinger" played
by the Philharmonic Society, New York City.
1870. May 9. Liszt's "Goethe March" given in New York City, by
Theodore Thomas.
1870. May 26. Dargomysky's "Cosatchague" given by Theodore Thomas,
at the Central Park Garden, New York City. (Selections from
opera.)
1870. July 14. Glinka's "Jota Aragonese" given by Theodore Thomas,
at Central Park Garden, New York City, and
1870. Aug. 25. Glinka's "Kamarinskaja."
1870. Sept. 19. American début of Christine Nilsson, noted
soprano, at a concert in Steinway Hall, New York City. Her
operatic début took place Oct. 25, 1871, at the Academy of
Music, as _Lucia_, under Carl Rosa.
1870. Nov. 12. Mozart's opera "Der Schauspieldirektor" given in
New York City.
1870. Marie Krebs, noted German pianist, visited America.
1870. Feb. 5. Karl Goldmark's overture to "Sakuntala" given by the
Philharmonic Society, New York.
1871. Jan. 7. Rubinstein's "Ocean Symphony" given by the
Philharmonic Society, New York City.
1871. Feb. 23. Gade's Third Symphony (A minor) given by the
Harvard Musical Association, Boston.
1871. May 3. Rossini's "Messe Solennelle" given in Boston, under
the direction of George W. Whiting.
1871. May. 7. Mozart's overture to "Idomeneo" given by the
Philharmonic Society, New York City.
1871. June 13. Reinecke's "Festival Overture,"
1871. June 22. Wagner's "Kaiser March," and
1871. June 27. Joachim's First March (in C) given by Theodore
Thomas, in New York City.
1871. July 19. Rubinstein's overture to "Dimitri Donskoi,"
1871. July 21. Joachim's Second March (in D) given by Theodore
Thomas, in New York City.
1871. Aug. 10. Rheinberger's "Wallenstein's Camp,"
1871. Aug. 17. Schubert's March in B minor,
1871. Sept. 8. Wagner's "Hildegung's March," given by Theodore
Thomas, in New York City.
1871. Sept. 18. American début of the noted German tenor, Theodore
Wachtel, at the Stadt Theatre, New York City, in "Le Postillon
de Longjumeau."
1871. Nov. 9. Schubert's overture to "Alfonso and Estrella" given
by the Harvard Musical Association, in Boston.
1871. Nov. 22. Ambroise Thomas's opera "Mignon" given at the
Academy of Music, New York City, with Christine Nilsson in the
title-rôle.
1871. Nov. 23. Mozart's Symphony in C given by the Harvard Musical
Association; also Handel's Concerto for oboe, with A. Kugler as
soloist, in Boston.
1871. Dec. 2. Rubinstein's Pianoforte Concerto in D minor given in
Boston, by Theodore Thomas Orchestra, with Marie Krebs as
soloist.
1871. Dec. 6. Introduction and final scene from Wagner's opera
"Tristan und Isolde"; also Raff's Symphony in F, given by
Theodore Thomas in Boston.
1871. Dec. 7. Haydn's Third Symphony (E flat) given by the Harvard
Musical Association, in Boston.
1871. The Illinois College Conservatory of Music, Jacksonville,
Ill., established, with I. B. Posnawski as director.
1871. The Apollo Club (male voices) established in Boston with B.
J. Lang as conductor.
1872. Jan. 6. Reinecke's Pianoforte Concerto in F sharp minor (Op.
72) given by the Philharmonic Society, New York City, with S. B.
Mills as soloist.
1872. Jan. 20. Cherubini's opera "Les Deux Journées" (The Water
Carriers) presented in Boston, by Madame Parepa-Rosa and her
company. First New York performance was Feb. 10.
1872. Jan. 20. Liszt's symphonic poem "Orpheus" given in New York
City, by Theodore Thomas.
1872. Feb. 1. Haydn's "Oxford Symphony" (in G) given by the
Harvard Musical Association, in Boston.
1872. Feb. 14. American début of Charles Santley, noted English
baritone, in "Zampa" at New York City.
1872. Feb. 23. Gade's Third Concert Overture given in Boston, by
the Harvard Musical Association.
1872. Mar. 7. Taubert's "Arabian Nights" overture; and Mozart's
Seventh Pianoforte Concerto (C minor) with Hugo Leonhard as
soloist, given by the Harvard Musical Association, in Boston.
1872. Mar. 22. Ambroise Thomas's opera "Hamlet" presented in New
York City, with Christine Nilsson as _Ophelia_, Annie Louise
Cary as _The Queen_, Brignoli as _Laertes_, A. Barre as
_Hamlet_, Coletti as _The Ghost_, Reichardt as _Horatio_, and
Locatelli as _Polonius_.
1872. May 30. Rubinstein's humoresque "Don Quixote," given in New
York City, by Theodore Thomas.
1872. Aug. 1. Raff's overture to "Dame Kobold," and
1872. Sept. 17. Wagner's "Ride of the Valkyries" given by Theodore
Thomas, in New York City.
1872. Sept. 23. Anton Rubinstein, great Russian pianist, and Henri
Wieniawski, noted violinist, made their American début at
Steinway Hall, New York City, and then toured the country.
1872. Sept. 30. American début of Pauline Lucca, noted soprano, as
_Selika_ in "L'Africaine" at the Academy of Music, New York
City, under Maretzek.
1872. Nov. 22. Ambroise Thomas's opera "Mignon" presented at the
Academy of Music, New York City, with Christine Nilsson and
Capoul in the leading parts.
1872. Dec. 3. Liszt's eleventh symphonic poem, "The Battle of the
Huns" (Hunnenschlacht), given at a concert in Boston, by
Theodore Thomas.
1872. Dec. 14. Raff's Fourth Symphony (in G) given by the
Philharmonic Society, New York City.
1872. Second Peace Jubilee held in Boston.
1872. Orpheus Club (male chorus) formed in Philadelphia.
1872. Emil Sauret, noted French violinist, made his first concert
tour in America.
1873. Jan. 9. Cherubini's overture to "Ali Baba" played in Boston.
1873. Jan. 18. Liszt's "Hirtengesang" from "Christus" given by the
Philharmonic Society, New York City.
1873. Jan. 21. First concert of the Apollo Club of Chicago, given
at Standard Hall. The club was organized Sept. 1872, with George
P. Upton, president, and Silas Pratt, conductor.
1873. Feb. 15. Gade's Eighth Symphony (B minor) given by the
Philharmonic Society, New York City.
1873. Mar. 13, Mozart's Pianoforte Concerto in A given by the
Harvard Musical Association, in Boston.
1873. May 22. J. O. Grimm's Second Suite in Canon Form, given by
Theodore Thomas, in New York City.
1873. May 29. Brahm's Serenade in D given by Theodore Thomas, in
New York City.
1873. June 3. Production of John K. Paine's oratorio "St. Peter"
at Portland, Me., with Emma Thursby, Adelaide Phillips, George
Osgood, and Rudolphson as soloists.
1873. June 12. Svensden's First Symphony (in D) given by Theodore
Thomas, in New York City.
1873. Sept. 18. Svensden's symphonic overture "Sigurd Slembe"
given by Theodore Thomas, in New York City, and Sept. 23, A.
Hamerik's "Nordish Suite."
1873. Oct. 1. American début of Italo Campanini, great Italian
tenor, as _Gennaro_ in "Lucrezia Borgia," in New York City, at
the Academy of Music.
1873. Oct. 3. American début of Victor Maurel, great French
baritone, as _Valentine_ in "Faust" at the Academy of Music, New
York City.
1873. Oct. 7. American début of Ilma di Murska, noted Polish
soprano, as _Amina_ in "La Sonnambula" at the Grand Opera House,
New York City, under Strakosch.
1873. Nov. 6. W. Sterndale Bennett's Pianoforte Concerto in E
given by the Harvard Musical Association, in Boston, with E.
Perabo as soloist.
1873. Nov. 15. Max Bruch's introduction to "Loreley" given by the
Philharmonic Society, New York City.
1873. Nov. 26. Verdi's opera "Aida" presented at the Academy of
Music, New York City, by M. Strakosch with Torriani as _Aida_,
Annie Louise Cary as _Amneris_, Campanini as _Rhadames_, Victor
Maurel as _Amonasro_, Manetti as _Ramfis_, and Scolara as _The
King_.
1873. Dec. 3. Raff's "Lenore Symphony" (fifth--in E) given by
Theodore Thomas, in Boston.
1873. Germania Orchestra organized in Pittsburgh, Pa.
1873. A Conservatory of Music established in connection with
Northwestern University, Evanston, Ill.
1873. Madame Julie Rivé-King, noted American pianist, made her
début in Cincinnati, O.
1874. Jan. 10. Volkmann's Serenade in D minor given by Theodore
Thomas, in Brooklyn, N.Y.
1874. Jan. 24. Rubinstein's character sketch "Ivan IV" given in
New York City, by Theodore Thomas, and
1874. Jan. 28. Meyerbeer's "Inauguration March."
1874. Feb. 14. George F. Bristow's "Arcadian Symphony" given by
the Philharmonic Society, New York City, also Gade's overture to
"Michael Angelo."
1874. May 8. Bach's Passion Music according to St. Matthew given,
in part, by the Handel and Haydn Society in Boston. Selections
had been given May 13, 1871, and the work was given complete, in
two concerts in 1879.
1874. May 14. Hofmann's "Hungarian Suite"; the overture to
Gounod's "Le Médecin Maigré Lui"; and C.M. von Weber's overture
to "Abu Hassan" given by Theodore Thomas, in New York City.
1874. May 20. Gounod's overture to "Mireille" given in New York
City, by Theodore Thomas.
1874. May 21. Hiller's "Dramatic Fantasia," and Saint-Saën's
"Marche Héroïque" given by Theodore Thomas, in New York City.
1874. July 16. Sullivan's overture to "The Tempest"; July 29,
Massenet's "Scènes Pittoresques"; and July 30, Ferdinand David's
"Festival March," given in New York City, by Theodore Thomas.
1874. Aug. 13. Reinecke's "In Memoriam"; and Aug. 21, Zellner's
"Die Schoene Melusine" given by Theodore Thomas, in New York
City.
1874. Sept. 17. Rubinstein's "Ouverture Triomphale" given by
Theodore Thomas, in New York City.
1874. Oct. 28. Grieg's Pianoforte Concerto in A minor, given at a
Theodore Thomas concert in Boston, with Boskowitz as soloist.
1874. Nov. 14. Raff's Pianoforte Concerto, Opus 185, given by the
Philharmonic Society, New York City, with Lina Luckhardt as
soloist.
1874. Nov. 27. Bach's Suite in B minor given by Theodore Thomas,
in New York City.
1874. Dec. 12. Bach's "Ciaconna" in D minor, arranged for
orchestra by Raff, given by the Philharmonic Society, New York
City.
1874. Madame Emmy Fursch-Madi made her American début in New
Orleans, La., with the French Opera Company. She was heard in
New York in 1882, and became professor of singing at the
National Conservatory, New York City. Début Nov. 7, 1883, as
_Ortrud_ in "Lohengrin."
1874. Clara Louise Kellogg made her American operatic début under
Maurice Grau, in New York City. (She had appeared as _Gilda_ in
"Rigoletto" at the Academy of Music in 1861 (Feb. 27), before
going to Europe, and had concertized in the United States for
four years, 1868-1872.)
1874. The Cecilia Society of Boston organized with B. J. Lang as
conductor.
CHAPTER VI
1875-1890
The period of fifteen years from 1875 to 1890 was most certainly a
period of progress. Not only was the country growing rapidly in
population and wealth, but means of communication were much greater and
more efficient than in the preceding years. The present writer well
remembers a journey from San Francisco to St. Louis, and on to Boston in
1878, when there was one single track railroad between Oakland and
Omaha. Cheyenne consisted of two rows of primitive looking wooden
houses, behind which were "anchored" many emigrants' wagons, or "prairie
schooners" as they were called. Only a few years later (in the early
eighties) Colonel Mapleson visited Cheyenne with his opera company,
which included Patti and Gerster, and wrote thus of the place: "Although
Cheyenne is but a little town, consisting of about two streets, it
possesses a most refined society, composed, it is true, of cow-boys; yet
one might have imagined oneself at the London Opera when the curtain
rose,--the ladies in brilliant toilettes and covered with diamonds; the
gentlemen all in evening dress. The entire little town is lighted by
electricity. The club-house is one of the pleasantest I have ever
visited, and the people are most hospitable."
This account reminds the writer of a visit, not so many years ago, to
Oklahoma City where the ladies resembled those of Cheyenne. There was,
however, but one gentleman, within the writer's range of vision, in
evening dress. And when Mapleson visited Cheyenne Oklahoma was an Indian
reservation. Thus has civilization advanced.
In 1875 San Francisco was already a good-sized city, but almost the
whole country between San Francisco and Chicago and St. Louis has been
developed since 1875.
In San Francisco we find the establishment of the "Loring Club" in 1877.
But good music was getting its roots in deeper in the East. In New York
the "Symphony Society" was founded by Dr. Leopold Damrosch in 1878, and
was followed in 1881 by the "Boston Symphony Orchestra," which was
established through the liberality of Major Henry L. Higginson.
"The Music Teachers' National Association" was also formed in 1876, and
while it is not in the public eye in the way that opera and concerts
are, yet its influence throughout the land has been very marked, and has
led to state associations, with their annual conferences, and exchanges
of views among teachers.
In the concert world we find the names of several
celebrities,--Rubinstein had visited America in 1872, and Hans von Bülow
in 1875, Moritz Rosenthal in 1888, and Godowski in 1890. We find also
among the noted pianists who were first known here in this period
Arabella Goddard, Rafael Joseffy, Fanny Bloomfield-Zeisler and Josef
Hofmann.
Some noted violinists also visited America, August Wilhelmj in 1878,
Ovide Musin, Teresina Tua, and in 1888 Fritz Kreisler. But perhaps the
most noteworthy event was the appearance of Maud Powell, an American
woman, whose career placed her in the front rank of violinists, and has
but recently ended with her death.
Of singers there were a great many, but most of them appeared in opera.
Of the Americans who gained international reputation were Emma Abbott,
Alwina Valleria (of Baltimore), Lillian Nordica (Norton), Emma Nevada
(Wixom), and Charles R. Adams.
Among the European celebrities who visited America were Madame
Rudersdorff, Etelka Gerster, Scalchi, Marcella Senibrich, Amalia
Materna, and Lilli Lehmann, also Alberto Stagno, Max Alvary, Albert
Niemann, Francesco Tarnagno.
This leads us to a short review of opera, and as New York City was the
headquarters from which numerous companies issued to charm the rest of
the country, a review of New York is practically a review of opera for
the whole country.
From 1850 to 1875 opera is said to have "flourished on failure" chiefly
under Maretzek and Strakosch. Also, opera meant Italian opera, or at
least opera in Italian. There were spasmodic efforts to promote German
opera, chiefly by Adolf Neuendorff, who managed the German Theatre in
New York City from 1872 to 1883. In 1876 a Wagner Festival was given in
New York, and in 1878 there was a short and unsuccessful season given by
the Pappenheim Opera Company, during which "Rienzi" was sung for the
first time in America. Theodore Thomas did much to prepare the way by
playing excerpts from the Wagner operas at his concerts, but Dr. Leopold
Damrosch in 1884 set on foot a movement which, during the next few
years, brought to America several of the greatest German singers, and
gave to the public adequate representations of many of the Wagnerian
operas. Dr. Damrosch died in 1885 and his work was taken up by Anton
Seidl, who had been associated with Wagner in the production of the
"Ring" at Beyreuth. Under Seidl "Die Meistersinger" had its first
performance in America, in 1886; "Tristan und Isolde" and "Siegfried" in
1887; "Die Götterdämmerung," in 1888, and "Das Rheingold" in 1889. Thus
German opera was well launched in this period.
To return to Italian opera,--Colonel Mapleson invaded the United States
in 1878 bringing with him a good company of singers. He did not go
farther west than St. Louis. Several tours followed in succeeding years.
During his third tour he gave the first performance in America of
Boito's "Mefistofele," with Campanini, Valleria, Cary and Novara. About
this time he found a strong competitor in Henry E. Abbey, who secured
Nilsson as a counter-attraction to Patti who was under Mapleson. This
competition caused Mapleson to proceed farther west, so he led his
company as far as San Francisco, where he appears to have taken the town
by storm, and, if his account is correct, the march in "Aida" was
performed by six hundred of the State militia and he had the assistance
of a military band and an extra chorus of three hundred and fifty
voices. But Mapleson's enterprises were beset with difficulties and
finally ended in disaster, although not for some years. To many people,
who can remember the rivalry between Abbey and Mapleson in the eighties,
when Patti, Gerster, Sembrich, Scalchi, Nilsson, Annie Louise Cary,
Campanini, Ravelli and del Puente were in their prime, these were the
days of Italian opera in America. Probably much was lacking in the
staging and scenery, but the singers have been unsurpassed.
Before closing the review of this period we come to that which is of
immense importance in the development of music in America, viz. the
appearance of a number of composers who have taken high rank among the
composers of the world;--John K. Paine, whose first symphony was
produced in 1875, was followed shortly by Arthur Bird, George W.
Chadwick, Horatio Parker, Harry Rowe Shelley, Dudley Buck and Edward A.
MacDowell. Nothing speaks more eloquently of the progress of music in
America than the work of these men, and of several others of smaller
achievements.
1875. Jan. 6. "Wotan's Departure" and "The Magic Fire Scene" from
Wagner's opera "Die Walküre" given by Theodore Thomas, in
Philadelphia.
1875. Jan. 8. Gluck's overture to "Paris and Helen" and Raff's
Sixth Symphony (D minor) given by Theodore Thomas, in New York
City.
1875. Jan. 15. Seifert's "Festival March" given by Theodore
Thomas, in New York City.
1875. Jan. 16. Brahms's "Hungarian Dances" given (from MS.) by the
Brooklyn Philharmonic Society.
1875. Jan. 22. Haydn's Ninth Symphony (in C) given by the
Philharmonic Society, New York City.
1875. Feb. 6. Hofmann's "Frithjof" symphony given in New York
City, by Theodore Thomas.
1875. Feb. 20. Spohr's Third Symphony (in C minor) given by the
Philharmonic Society, New York City.
1875. Feb. 22. Dr. Leopold Damrosch's oratorio "Ruth and Naomi"
sung by the Oratorio Society, New York City.
1875. Mar. 4. Rubinstein's Fourth (Dramatic) Symphony given by
Theodore Thomas, in New York City.
1875. April 24. W. Sterndale Bennett's "Paradise and the Peri"
given by the Philharmonic Society, New York City.
1875. May 1. The music of Mendelssohn's comic opera "The Wedding
of Camacho" given by Theodore Thomas, in Chicago.
1875. May 27. Liszt's "Rhapsodie Hongroise" (number 1); Schubert's
"Impromptu" in C minor; and Schumann's "Bilder aus Osten"; and
on the 28th, Schubert's "Teufel's Lustschloss" given by Theodore
Thomas, in New York City.
1875. June 3. Saint-Saëns's symphonic poem "Le Rouet d'Omphale,"
1875. June 17. von Weber's "First Symphony" (in C),
1875. June 22. Lizst's "Rhapsodie Hongroise" (number 6).
1875. June 24. Raff's "Sinfonietta" for wind instruments, given by
Theodore Thomas, in New York City.
1875. Aug. 5. Mozart's Intermezzo for Strings,
1875. Aug. 10. Schubert's Octet for Strings,
1875. Aug. 20. Schubert's Tenth Symphony (in C) given in New York
City, by Theodore Thomas.
1875. Sept. 7. W. Sterndale Bennett's Symphony in G minor,
1875. Sept. 14. The "Introduction" and "Siegmund's Love Song" from
Wagner's opera "Die Walküre" given by Theodore Thomas, in New
York City.
1875. Oct. 4. American debut of Arabella Goddard, noted English
pianist, at Steinway Hall, New York City.
1875. Oct. 18. American début of Madame Eugenie Pappenheim,
dramatic soprano, in "Les Huguenots" at the Academy of Music,
New York City, with the Wachtel Grand Opera Company.
1875. Oct. 18. American début of Dr. Hans von Bülow, great
pianist, in Boston.
1875. Oct. 21. Emma Albani (Lajeunnesse) made her début in opera,
as _Amina_ in "La Sonnambula" at the Academy of Music, New York
City. She afterwards went to Europe, and returned to America a
mature singer in 1883.
1875. Oct. 25. Chaikovsky's Pianoforte Concerto, in B flat minor,
given in Boston Music Hall, with Hans von Bülow as soloist.
1875. Nov. 17. Verdi's "Requiem Mass" given by the Italian Opera
Company, at the Academy of Music, New York City.
1875. Dec. 4, Schumann's "Concertstücke," Opus 92, given by
Theodore Thomas, in New York City.
1875. Dec. 27. Schubert's Pianoforte Sonata for Four Hands (Opus
140) orchestrated by Joseph Joachim, given by the Harvard
Musical Association, in Boston.
1875. Cecilia Club organized in Philadelphia.
1876. Jan. 6. Schubert's "Marche Héroïque" given by the Harvard
Musical Association, in Boston.
1876. Jan. 24. American operatic debut of Therese Tietjens, noted
dramatic soprano, as _Norma_, at the Academy of Music, New York
City, under Strakosch. She had appeared in concert Oct. 4, 1875,
with Arabella Goddard.
1876. Jan. 26. J. K. Paine's First Symphony produced by Theodore
Thomas, in Boston.
1876. Jan. 29. Saint-Saëns's "Danse Macabre" given by Theodore
Thomas, in New York City.
1876. Feb. 3. Saint-Saëns's Second Pianoforte Concerto (G minor)
given by the Harvard Musical Association, in Boston, with B. J.
Lang as soloist. Carl Zerrahn conducting.
1876. Feb. 17. Saint-Saëns's Violoncello Concerto in A minor given
at a concert of the Harvard Musical Association, in Boston, with
Wulf Fries as soloist.
1876. Feb. 19. Cherubini's overture to "Faniska" given by the
Philharmonic Society, New York City.
1876. Feb. 25. Teresa Carreño, great pianist, appeared as a singer
in the part of _Anna_ in "Don Giovanni," under Strakosch, at the
Academy of Music, New York City.
1876. Feb. 28. Raff's "Suite in F" given by Theodore Thomas, in
New York City.
1876. Feb. 28. The first part of Liszt's oratorio "Christus" given
by the Oratorio Society, New York City. (The whole work was
performed by the same society Mar. 2, 1887.)
1876. April 17. American debut of Anna del Belocca, contralto, in
"Il Barbiere" at the Academy of Music, New York City, under
Strakosch.
1876. April 16. Handel's oratorio "Joshua" given by the Handel and
Haydn Society, in Boston.
1876. April 22. Chaikovsky's overture to "Romeo et Juliette" given
by the Philharmonic Society, New York City, with Carl Bergmann
as conductor.
1876. May 11. Wagner's "Centennial March"; Dudley Buck's
"Centennial Meditation of Columbia"; and J. K. Paine's
"Centennial Hymn" produced at the Centennial Exposition, in
Philadelphia, under Theodore Thomas.
1876. Oct. 9. Saint-Saëns's symphonic poem "Phaeton" given by
Theodore Thomas, in New York City.
1876. Nov. 8. Wagner's opera "Il Vascello Fantasma" given in
Philadelphia in Italian by Madame Pappenheim.
1876. Nov. 14. Madame Annette Essipoff, pianist, made her début at
Steinway Hall, New York City.
1876. Nov. 25. Bach's Suite in C given by Theodore Thomas, in New
York City.
1876. Dec. 26. Music Teachers' National Association organized at
Delaware, Ohio, by Eben Tourjée, Theodore Presser, G. W. Cole,
W. H. Dana, and others.
1876. Loring Club formed in San Francisco, Cal.
1877. Jan. 13. K. Goldmark's symphony "Ländliche Hochzeit" and
Haydn's "The Tempest" given by the Philharmonic Society, New
York City.
1877. Jan. 16. Gade's "Noveletten" played in New York City, by the
Theodore Thomas Orchestra.
1877. Feb. 23. American début of Emma Abbott, noted American
soprano, in "La Figlia del Reggimento" at the Academy of Music,
New York City, under the management of de Vivo.
1877. Mar. 1. Saint-Saëns's "Third Pianoforte Concerto" (in E
flat) given by the Harvard Musical Association in Boston, with
B. J. Lang as soloist.
1877. Mar. 15. Ballet music from Saint-Saëns's opera "Samson et
Dalila" played in St. Louis, by the Theodore Thomas Orchestra.
1877. Mar. 15. Brahms's "German Requiem" performed by the New York
Oratorio Society.
1877. Mar. 25-31. A Wagner Festival held in Boston in which Madame
Pappenheim and Madame Canissa, Albert Niemann, G. Unger and
Gustav Siehr took leading parts.
1877. April 2. Verdi's opera "Don Carlos" presented at the Academy
of Music, New York City, by the Havana Opera Combination, under
Maretzek. (Admission one dollar, Reserved seat 50¢ extra.)
1877. May 17. Production of J. C. D. Parker's "Redemption Hymn" by
the Handel and Haydn Society, Boston.
1877. June 6. Sullivan's cantata "On Shore and Sea" given under
Theodore Thomas, in Chicago.
1877. July 5. Méhul's overture to "Horatio Cocles,"
1877. July 12. Hofmann's "Pictures from the North,"
1877. July 20. Massenet's "Variations" and Rameau's "Romanesca,"
1877. July 24. Saint-Saëns's "Suite" (Opus 48), given by Theodore
Thomas, in Chicago.
1877. Nov. 2. J. K. Paine's symphonic fantasia on Shakespeare's
"Tempest" given at Steinway Hall, New York City, by the Theodore
Thomas Orchestra.
1877. Nov. 14. Saint-Saëns's fourth symphonic poem, "La Jeunesse
d'Hercule," played at a Theodore Thomas Concert, in Boston.
1877. Nov. 20. Raff's Suite for Pianoforte and Orchestra (Opus
200) given by Theodore Thomas in New York City.
1877. Dec. 17. Brahms's First Symphony given in New York City, by
Dr. Leopold Damrosch. (Given a week later by Theodore Thomas, in
New York City, and Jan. 3, 1878, by the Harvard Musical
Association, Boston.)
1877. Dec. 23. Parts 1 and 2 of Bach's "Christmas Oratorio" given
by the Handel and Haydn Society, Boston, with Emma Thursby,
Annie Louise Cary, W. J. and F. W. Winch as soloists. C. Zerrahn
conducting.
1877. Music department established at Syracuse (N. Y.) University,
with Wm. Schultze as director.
1877. Theodore Thomas began Summer Night Concerts in New York
City.
1877. Tivoli Opera House in San Francisco, Cal., opened.
1878. Feb. 11. Madame Hermine Rudersdorff, who had been heard at
the Peace Jubilees in Boston in 1871 and 1872, made her American
operatic debut as _Ortrud_ in "Lohengrin."
1878. Feb. 14. Saint-Saëns's Fourth Pianoforte Concerto (in C
minor) given by the Harvard Musical Association in Boston, with
J. A. Preston, as soloist.
1878. Feb. 16. Goldmark's "Wedding March and Variations" given by
Theodore Thomas, in Brooklyn, N. Y.
1878. Feb. 28. Wagner's "Siegfried Idyll" given by Theodore
Thomas, in New York City.
1878. Mar. 5. Wagner's opera "Rienzi" presented at the Academy of
Music, New York City, with Madame Pappenheim as _Adriane_, Miss
Hüman as _Irene_, Charles R. Adams as _Rienzi_, and Blum as
_Orsini_.
1878. May 14. O. Singer's "Festival Ode" given at the Cincinnati
(O.) May festival with Madame Eugenie Pappenheim, C. R. Adams,
and M. W. Whitney as soloists. Theodore Thomas conducting.
1878. Sept. 26. American début of August Wilhelmj, noted
violinist, at Steinway Hall, New York City.
1878. Oct. 3. Brahms's Second Symphony (D major) given in New York
City, by Theodore Thomas.
1878. Oct. 23. Bizet's opera "Carmen" presented at the Academy of
Music, New York City, with Minnie Hauck, Madame Sinico, Italo
Campanini, and Del Puente.
1878. Nov. 11. American début of Etelka Gerster, brilliant
soprano, at the Academy of Music, New York City, as _Amina_, in
"La Sonnambula," supported by Campanini and Galassi.
1878. Nov. 23. Ernst's violin concerto "Pathétique" given by the
Philharmonic Society, New York City, with Edouard Remenyi as
soloist.
1878. Dec. 19. Mozart Pianoforte Concerto in A major, given by the
Harvard Musical Association, in Boston, with H. G. Tucker as
soloist.
1878. Symphony Society of New York City founded by Dr. Leopold
Damrosch.
1878. Cincinnati College of Music established, and Theodore Thomas
appointed director.
1878-9. Oct. 15 to April. Colonel Mapleson made his first operatic
tour in America, with a company which included Etelka Gerster,
Minnie Hauck, Trebelli, Alwina Valleria, Campanini, Frapolli,
Galassi, del Puente and Foli, with Arditi as conductor.
Presented opera in New York, Chicago, Boston, St. Louis,
Cincinnati, Philadelphia, Baltimore and Washington.
1879. Feb. 8. Chaikovsky's Third Symphony (in D) given by the
Philharmonic Society, New York City.
1879. Feb. 23. Sullivan's oratorio "The Prodigal Son" given in
Boston by the Handel and Haydn Society.
1879. April 11. Bach's "Passion according to St. Matthew" given
complete, in two concerts, by the Handel and Haydn Society, in
Boston.
1879. April 15. F. Kiel's oratorio "Christus" given by the
Oratorio Society, New York City.
1879. May 9. Hiller's oratorio "Saul" given by the New York
Liederkranz Society at the Academy of Music, New York City.
1879. May 10. Production of Bristow's "Great Republic Overture" by
the Brooklyn Philharmonic Society, Theodore Thomas conducting.
1879. Oct. 13. American début of Rafael Joseffy, noted Hungarian
pianist, at Chickering Hall, New York City.
1879. Oct. 22. American début of Alwina Valleria (A. V. Lohrmann
of Baltimore) as _Marguerite_ in "Faust" at the Academy of
Music, New York City.
1879. Dec. 3. Goldmark's "Penthesilea Overture" given in
Cincinnati, by Theodore Thomas.
1879. Dec. 3. American début of Marie Marimon, as _Amina_ in "La
Sonnambula," supported by Campanini and del Puente, at the
Academy of Music, New York City.
1879. Dec. 5. Dvo[vr]ák's "Slavonic Dances" No. 7 and No. 8, also
the first movement of Guilmant's "First Symphony" for organ and
orchestra given at a Philharmonic Concert, in Boston, with
Charles H. Morse as soloist.
1879. Dec. 8. Dedication of the Central Music Hall, Chicago.
Carlotta Patti sang.
1879. Dec. 11. Production of George W. Chadwick's overture to "Rip
van Winkle" by the Harvard Musical Association, in Boston.
1879-1883. Philharmonic Society, Boston.
1880. Jan. 8. Herman Goetz's Symphony in F major given by the
Harvard Musical Association, in Cambridge, Mass.
1880. Jan. 17. Chaikovsky's "Suite for Giant Orchestra" given by
the Symphony Society, New York City.
1880. Jan. 19. American début of Castelmary (Count A. de Castan),
noted French baritone, as _Ramfis_ in "Aida" at Booth's Theatre,
New York City.
1880. Jan. 27. Mendelssohn's "Lauda Zion" given by the New York
Vocal Union, at Chickering Hall, New York City.
1880. Feb. 4. Dvo[vr]ák's third "Slavische Rhapsodie" given in
Cincinnati, by Theodore Thomas.
1880. Feb. 12. Berlioz's opera "La Damnation de Faust" given in
concert form, by the Oratorio Society of New York City. Dr.
Leopold Damrosch, conductor. (Stage performance in 1908.)
1880. Feb. 22. H. Hofmann's cantata "Cinderella" given by the
German Liederkranz, New York City.
1880. Feb. 28. The music of Meyerbeer's "Struensee" given at
concert at Chickering Hall, New York City, under Mr. Carlberg.
1880. Mar. 10. Production of J. K. Paine's "Spring Symphony," by
the Harvard Musical Association, in Cambridge, Mass.
1880. Mar. 11. Dvo[vr]ák's second "Slavische Rhapsodie" given by
the Symphony Society of New York City, Dr. Leopold Damrosch,
conductor.
1880. May 29. Production of Dudley Buck's prize symphonic cantata,
"The Golden Legend," at the Cincinnati Festival.
1880. May 7. Saint-Saëns's oratorio "Le Déluge" given by the
Handel and Haydn Society in Boston.
1880. May. 10. Production of E. C. Phelps' symphony "Hiawatha" by
Theodore Thomas, in New York City.
1880. Oct. 4. American début of Georg Henschel at a concert of the
Symphony Society, in New York City.
1880. Oct. 18. American début of Luigi Ravelli, Italian tenor, as
_Edgardo_ in "Lucia" at the Academy of Music, New York City,
under Mapleson.
1880. Nov. 19. First part of Liszt's symphony after "la Divina
Commedia" given at a Philharmonic Society's Concert, in Boston,
Bernhard Listemann conducting.
1880. Nov. 24. Boito's opera "Mefistofele" presented at the
Academy of Music, New York City, with Annie Louise Cary,
Campanini and Novara, under Mapleson.
1880. Music of the third act of "Die Götterdämmerung" given in New
York and Brooklyn, by the Philharmonic Societies of those
cities united under Theodore Thomas, with Campanini, Remmertz,
and Steinbuch as soloists.
1880. Mapleson made his third American operatic tour with a
company which included Gerster, Valleria, Cary, Ravelli, and
Campanini.
1881. Jan. 2. Haydn's "Surprise Symphony" given by the Brooklyn
Philharmonic Society, Theodore Thomas conducting.
1881. Jan. 6. Hans von Bronsart's "Spring Fantasie" given by the
Symphony Society, of New York City.
1881. Feb. 17. F. L. Ritter's "Second Symphony" given by the
Harvard Musical Association, in Boston.
1881. Feb. 25. Handel's "L'Allegro, Il Penseroso, et Il Moderato"
given by the Oratorio Society, in New York City.
1881. Mar. 11. Rheinberger's oratorio "Demetrius" given in New
York City, under Theodore Thomas.
1881. Mar. 11. Svendsen's fantasia "Roméo et Juliette" given by
Theodore Thomas, in New York City.
1881. Mar. 22. Andante and finale from Mozart's "Serenade" (No.
12) given at a Philharmonic Concert in Boston, also
Saint-Saëns's "Suite Algérienne."
1881. Mar. 28. Schumann's "Scenes from Faust" given by the Cecilia
Society, in Boston.
1881. April 1. The Nocturno from Mozart's Serenade (Op. 8), given
at a concert under Theodore Thomas, in New York City.
1881. April 2. The ballet music from Rubinstein's opera "The
Demon" given at a concert of the Philharmonic Orchestra, in
Boston, also Bizet's suite "Arlésienne."
1881. May. Rubinstein's sacred opera "The Tower of Babel" given in
New York City, by Dr. Damrosch. Also Berlioz's "Requiem."
1881. July 16. The ballet music from Rubinstein's opera "Nero"
given in New York City, by Theodore Thomas.
1881. Oct. 14. Brahms's "Academic Overture" given in Boston, by
the Theodore Thomas Orchestra.
1881. Oct. 22. Boston Symphony Orchestra, organized by Major
Henry L. Higginson, gave its first concert, with Georg Henschel
as conductor.
1881. Oct. 29. Brahms's "Tragic Overture" given by the Boston
Symphony Orchestra.
1881. Nov. 26. First complete performance in America of Joachim's
"Concerto for Violin" (Op. 11) given by the Boston Symphony
Orchestra, with Bernhard Listemann as soloist.
1881. Dec. 1. Grieg's "Norwegian Melodies" for Orchestra given by
the Symphony Society in New York City. Also Saint-Saëns's
"Pianoforte Concerto," with Madame Madeline Schiller as soloist.
1881. Dec. 10. Rubinstein's Fifth Symphony given in New York City,
by Theodore Thomas.
1881. New York Chorus Society organized with six hundred voices
under the direction of Theodore Thomas.
1882. Jan. 29. Raff's "Die Tageszeiten" for chorus, pianoforte and
orchestra, given by the German Liederkranz in New York City.
1882. Feb. 11. Brahms's Rhapsody for contralto, male chorus and
orchestra (Opus 53) given by the Boston Symphony Orchestra.
1882. Feb. 11. Huber's "Tell Symphony" given in New York City, by
Theodore Thomas.
1882. Feb. 18. The overture to Massenet's "Phèdre" given by the
Boston Symphony Orchestra. Also Bizet's overture "La Patrie." G.
Henschel conducting.
1882. Mar. 9. R. Fuch's "Serenade in D" given by the Harvard
Musical Association, in Boston.
1882. April 6. Berlioz's "Requiem" given by the New York Oratorio
Society.
1882. April 15. Goetz's Violin Concerto given by Theodore Thomas
in New York City.
1882. April 20. Dr. Leopold Damrosch's "Sulamith" given by the
Oratorio Society of New York City.
1882. May 6. Second act of H. Berlioz' "Les Troyens" (The Fall of
Troy) given at a musical festival in the armory of the Seventh
Regiment in New York City, under Theodore Thomas, with Madame
Materna, E. Aline Osgood, E. Winant, Campanini, Galassi,
Remmertz and M. W. Whitney as soloists.
1882. July 12. Hofmann's "Overture to a Drama," and on the 18th
Liszt's Second "Mephisto" Waltz given by Theodore Thomas, in
Chicago, Ill.
1882. Oct. 16. Offenbach's opera "Les Contes d'Hoffman" performed
under the management of Maurice Grau, at the Fifth Avenue
Theatre, New York City.
1882. Nov. 3. The "Vorspiel" to Wagner's opera "Parsifal" given by
Theodore Thomas, in New York City. Also F. Cowen's "Scandinavian
Symphony."
1882. Nov. 29. Guilmant's First Symphony for organ and orchestra,
given at a Philharmonic Concert in Music Hall, Boston, with F.
Archer as soloist. (The first movement had been given by C. H.
Morse, Dec. 5, 1879.)
1882. Dec. 6. Gounod's oratorio "The Redemption" given (from
manuscript) by the New York Chorus Society, under Theodore
Thomas.
1882. Dec. 6. Saint-Saëns's ode "La Lyre et La Harpe" sung by the
Arion Society, Providence, R. I., under Jules Jordan.
1882. Dec. 9. Gernsheim's Symphony in E flat, given by the Boston
Symphony Orchestra.
1882. Dec. 13. Brahms's Pianoforte Concerto in B flat given by the
Philharmonic Society, New York City, with R. Joseffy, soloist.
1882. Dec. 15. Max Bruch's Third Symphony (dedicated to the
Symphony Society) given by that Society in New York City,
conducted by the composer. At the same concert Rubinstein's
Morceau Symphonique, "La Russie" was performed.
1882. Dec. 20. American début of Sophia Scalchi, noted contralto,
as _Arsace_ in "Semiramide," with Adelina Patti as _The Queen_,
at the Metropolitan Opera House, New York City.
1883. Jan. 6. Dvo[vr]ák's First Symphony (in D) given by Theodore
Thomas, in New York City, and on the 10th Reinhold's Concert
Overture.
1883. Jan. 1. Professional début of Madame Fannie Bloomfield
Zeisler at Central Music Hall, Chicago, when she played
Henselt's F minor concerto, with orchestra. Her début as a child
took place in Chicago, Feb. 25, 1875.
1883. Jan. 13. G. W. Chadwick's "Thalia," an overture to an
imaginary comedy, produced by the Boston Symphony Orchestra,
conducted by the composer.
1883. Jan. 20. Massenet's "Scènes Alsaciennes"; and on the 27th F.
Cowen's First Symphony (C minor) given by the Boston Symphony
Orchestra.
1883. Jan. 31 Rheinberger's Symphony in F given by the
Philharmonic Society, Boston, Carl Zerrahn conducting.
1883. Feb. 1. Scharwenka's Pianoforte Concerto given by Theodore
Thomas in New York City, with X. Scharwenka as soloist.
1883. Feb. 3. Grieg's "Two Melodies" for strings (Opus 34) given
by the Boston Symphony Orchestra.
1883. Feb. 16. The music of the "Good Friday Spell" from Wagner's
opera "Parsifal" given by the Symphony Society, New York City.
1883. Feb. 17. Henschel's "Serenade for Strings" given by the
Boston Symphony Orchestra; and on the 24th Chaikovsky's "Marche
Slave."
1883. Mar. 3. Mackenzie's Scotch rhapsody "Bobbie Burns" given by
Theodore Thomas in Brooklyn, N. Y.
1883. Mar. 10. J. K. Paine's symphonic poem "The Tempest" produced
by the Boston Symphony Orchestra.
1883. Mar. 12. American operatic début of Madame Emma Albani
(Marie Louise Cecilia Emma Lajeunnesse), noted soprano, on her
return from Europe, as _Marguerite_ in Gounod's "Faust" at the
Academy of Music, New York City, with Scalchi, Ravelli and
Galassi in support.
1883. April 2. Part VI of Bach's "Christmas Oratorio" given by the
Cecilia Society in Boston.
1883. April 4. Svendsen's Legende "Zorahayda" given in Boston.
1883. May 1. Rubinstein's sacred opera "The Tower of Babel" given
in concert form by the Handel and Haydn Society in Boston.
1883. May 2. J. K. Paine's oratorio "The Nativity" produced by
the Handel and Haydn Society in Boston. Also Cherubini's Mass in
D minor; and on the 4th, Max Bruch's oratorio "Arminius."
1883. July 18. Rubinstein's "Bal Costumé" (first series) given in
Chicago, by Theodore Thomas.
1883. Oct. 23. Opening of the Metropolitan Opera House, New York
City.
1883. Oct. 24. American début of Marcella Sembrich, great lyric
soprano, in "Lucia di Lammermoor" at the Metropolitan Opera
House, New York City.
1883. Oct. 26. American début of Alberto Stagno, noted Italian
tenor, as _Manrico_ in "Il Trovatore" at the Metropolitan Opera
House, New York City, under Henry E. Abbey.
1883. Oct. 27. Delibes's "Cortège de Bacchus" from the ballet
"Sylvia" given by the Boston Symphony Orchestra, and on
1883. Nov. 3. Liszt's "Hungarian Rhapsodie" in D.
1883. Nov. 16. American début of Ovide Musin, noted Belgian
violinist, with the New York Symphony Orchestra, under Dr.
Leopold Damrosch.
1883. Nov. 17. B. Godard's "Concerto Romantique" for violin given
by the Boston Symphony Orchestra, with C. M. Loeffler as
soloist; and on Dec. 1, the first performance (from MS.) of K.
Mueller-Berghaus's "Romance" for violoncello.
1883. Nov. 21. Cowen's cantata "St. Ursula" given by the Oratorio
Society, New York City.
1883. Nov. 26. Operatic début of Lillian Norton (Nordica) as
_Marguerite_ in "Faust" at the Academy of Music, New York City,
under Mapleson. She returned with the Italian Company in 1889-90
but appeared with the Metropolitan Opera Company, Oct. 26, 1893.
1883. Dec. 7. Chaikovsky's Second Symphony (in C) given by the New
York Symphony Society.
1883. Dec. 8. American début of Madame Helen Hopekirk, noted
Scotch pianist, with the Boston Symphony Orchestra.
1883. Dec. 20. Ponchielli's opera "La Gioconda" presented at the
Academy of Music, New York City, with Nilsson, Scalchi,
Fursch-Madi, del Puente, and Novara.
1883. Dec. 22. Volkmann's Second Symphony (in B flat), and
Saint-Saëns' ballet music to "Henry VIII" given by the Boston
Symphony Orchestra.
1883-4. Grand opera given in the United States by Henry E. Abbey
with a company which included Christine Nilsson, Alwina
Valleria, Madame Fursch-Madi, Sophia Scalchi, Trebelli-Bettini,
Campanini, Stagno, Novara, Capoul, Del Puente, Corsini,
Kaschmann, and Marcella Sembrich.
1884. Jan. 5. Svendsen's Second Symphony (in B flat) given by the
Boston Symphony Orchestra.
1884. Jan. 12. Mozart's Concerto for flute and harp (in C) given
by the Boston Symphony Orchestra.
1884. Jan. 14. American début of Marianna Brandt, noted Austrian
contralto, in "Fidelio" at the Metropolitan Opera House, New
York City.
1884. Jan. 19. Villiers Stanford's Serenade in G given by Theodore
Thomas, in New York City.
1884. Jan. 26. Spontini's overture to his opera "Olympia" given by
the Boston Symphony Orchestra.
1884. Feb. 9. Bizet's third suite "Roma" given by the Boston
Symphony Orchestra.
1884. Feb. 23. J. O. Grimm's Symphony in D minor given by the
Boston Symphony Orchestra. Also Liszt's Pianoforte Concerto in A
major, with Carl Baermann as soloist.
1884. Mar. 7. Selections from Berlioz's sacred trilogy "The
Childhood of Christ" given by the Symphony Society of New York
City.
1884. Production of G. W. Chadwick's Scherzo in F, also the
entr'acte and finale of Massenet's "Les Erinnyes" given by the
Boston Symphony Orchestra.
1884. April. 4. Beethoven's "Grand Quatuor" (Opus 131) (scored for
full orchestra by Carl Mueller-Berghaus) given by the Boston
Symphony Orchestra.
1884. May 1. Hamerik's "Christian Trilogy" given by Theodore
Thomas, in Baltimore, Md.
1884. Oct. 24. Brahms's Third Symphony (in F) given at a Novelty
Concert, under F. van der Stucken in New York City. Also
Dvo[vr]ák's "Husitska" overture.
1884. Nov. 8. Dvo[vr]ák's "Scherzo Capriccioso," given by Theodore
Thomas, in Brooklyn, N. Y.
1884. Nov. 21. American début of Madame Schroeder-Hanfstaengl in
"Les Huguenots" at the Metropolitan Opera House, New York City.
1884. Nov. 22. The Pastoral from Bach's "Christmas oratorio," and
Schumann's "Pictures from the Orient," given by the Boston
Symphony Orchestra.
1884. Nov. 24. American début of Emma Nevada, noted soprano, as
_Amina_ in "La Sonnambula," at the Academy of Music, in New York
City.
1884. Nov. 27. American début of Frau Seidl-Krauss, as
_Elizabeth_, and Anton Schott as _Tannhäuser_, in "Tannhäuser"
at the Metropolitan Opera House, New York City.
1884. Dec. 6. Sgambati's Symphony in D major; Gustav Hollaender's
"Romance" for violin and orchestra; and E. Chabrier's rhapsodie
"España" given at a Novelty Concert, by Frank van der Stucken,
in New York City.
1884. Dec. 13. R. Strauss's Symphony in F minor given by Theodore
Thomas, in New York City.
1884. Dec. 18. Gounod's opera "Mireille" presented at the Academy
of Music, New York City, with Emma Nevada as prima donna. (New
Orleans, La., Dec. 29.)
1884. Dec. 20. Lalo's "Rhapsodie Norvégienne" (in A), and the
music of Rubinstein's ballet "La Vigne" given by the Boston
Symphony Orchestra.
1884. A series of Wagner festival concerts given in New York City,
under Theodore Thomas.
1884. The Chicago Conservatory of Music established, in Chicago,
Ill.
1885. Jan. 5. American operatic début of Frau Amalie Materna,
noted German soprano, as _Elizabeth_ in "Tannhäuser" at the
Metropolitan Opera House. She had appeared in May 1882, in
oratorio at the Cincinnati (O.) Festival.
1885. Jan. 10. Nicodé's Symphonic Variations given in New York
City, by Theodore Thomas.
1885. Jan. 23. Chaikovsky's "Serenade" for string orchestra, given
by the Symphony Society of New York City.
1885. Jan. 31. Bach's "Three Sonata Movements" (arranged for
orchestra by W. Gericke) given by the Boston Symphony Orchestra.
1885. Feb. 5. Berlioz's "Tristia" given in New York City, by
Theodore Thomas; also Rameau's gavotte, tambourine, and minuet,
from the opera "Castor and Pollux."
1885. Mar. 14. Volkmann's overture to "Richard III" given by the
Boston Symphony Orchestra.
1885. Mar. 16. J. Strauss' opera "Die Fledermaus" presented at the
Casino, New York City, with De Wolf Hopper in the cast.
1885. Mar. 31. Production of Dudley Buck's symphonic overture
"Marmion" at a concert of American music, given in New York
City, by Frank van der Stucken. Also Templeton Strong's
symphonic poem "Undine," and E. C. Phelps's "American Legend"
for violin and orchestra.
1885. April 11. Cowen's "Welsh Symphony" (Fourth, in B minor)
given by Theodore Thomas, in New York City.
1885. April 16. Mackenzie's oratorio "The Rose of Sharon" given in
New York City, under Theodore Thomas.
1885. April 28. Rubinstein's "Fantasia Eroica" given in Brooklyn,
N. Y., by Theodore Thomas.
1885. Oct. 30. Gounod's oratorio "Mors et Vita" given in St.
Louis, Mo., by Theodore Thomas.
1885. Oct. 30. Ecker's Concert Overture, Schubert's "Trauermarsch"
and R. Fuchs's Symphony in C major, given by the Boston Symphony
Orchestra.
1885. Nov. 4. American début of Felia Litvinne, as _Leonora_ in
"Il Trovatore" at the Academy of Music, New York City, under
Colonel Mapleson.
1885. Nov. 14. Mozart's "Haffner Serenade" given by the Boston
Symphony Orchestra.
1885. Nov. 23. Anton Seidl appeared as conductor at the
Metropolitan Opera House, New York City.
1885. Nov. 24. Chaikovsky's Third Suite given by Theodore Thomas,
in New York City.
1885. Nov. 25. American début of Lilli Lehmann, noted German
soprano, as _Carmen_, also of Max Alvary as _Don José_, in
Bizet's opera "Carmen" at the Metropolitan Opera House, New York
City.
1885. Dec. 2. Goldmark's opera "Die Königen von Saba" presented at
the Metropolitan Opera House, New York City, with Lehmann and
Fischer.
1885. Dec. 3. Maude Powell, noted American violinist, made her
début on her return from European study and concertizing, under
Theodore Thomas, at Orange, N. J. On Dec. 5 she appeared at
Philadelphia. Played Max Bruch's First Violin Concerto.
1885. Dec. 12. Scharwenka's Symphony in C minor, given by Theodore
Thomas, in New York City.
1885. Dec. 23. Massenet's opera "Manon" presented at the Academy
of Music, New York City, by Mapleson, with Minnie Hauck, Del
Puente, and Giannini in leading parts.
1885. Walter Damrosch appointed conductor of the New York Symphony
and Oratorio Societies, on the death of his father, Dr. Leopold
Damrosch.
1885. The American Institute of Applied Music established in New
York City, by Miss Kate Chittenden.
1885-1916. The Kneisel Quartet organized in Boston. Became well
known throughout the United States and Europe.
1886. Jan. 2. Saint-Saëns's "Rhapsodie d'Auvergne" given by the
Boston Symphony Orchestra.
1886. Jan. 4. Herman Goetz's opera "The Taming of the Shrew" given
in New York City (in English) by the American Opera Company,
Theodore Thomas conductor, at the Academy of Music. At this
performance Pauline Allemand made her début.
1886. Jan. 4. Wagner's opera "Die Meistersinger" presented at the
Metropolitan Opera House, New York City, with Frau Seidl-Krauss
as _Eva_, Marianne Brandt as _Magdalena_, Emil Fischer as _Hans
Sachs_, Stritt as _Walther_, Staudigl as _Pogner_, Kemlitz as
_Beckmesser_, Krämer as _David_, and Anton Seidl as conductor.
1886. Jan. 9. Dvo[vr]ák's Second Symphony (D minor) given by the
Philharmonic Society, New York City.
1886. Jan. 9. E. Barnard's Violin Concerto in G major, given by
the Boston Symphony Orchestra with T. Adamowski as soloist.
1886. Jan. 12. Svendsen's "Norwegian Artists' Carnival" given by
Theodore Thomas, in New York City.
1886. Jan. 15. Lalo's "Rhapsodie and Scherzo" played by the
Symphony Society, New York City.
1886. Jan. 16. W. Gericke's "Chorus of Homage" given by the Boston
Symphony Orchestra, conducted by the composer.
1886. Jan. 20. American debut of William Candidus, tenor, in a
performance of "Lohengrin" (in English) at the Academy of Music,
New York City, with the American Opera Company.
1886. Jan. 21. Jensen's "Wedding Music" given by Theodore Thomas
at a concert in Jersey City, N. J.
1886. Jan. 23. H. Reinhold's "Prelude, Menuet, and Fugue" for
strings given by the Boston Symphony Orchestra.
1886. Jan. 30. Horatio Parker's "Scherzo" for orchestra played at
a concert given in New York City, by Alexander Lambert, with F.
van der Stucken as conductor.
1886. Feb. 15. Johann Strauss's opera "The Gipsy Baron" (Die
Zigeunerbaron) presented in English, by H. Conried, at the
Casino, New York City.
1886. Mar. 1. Delibes's opera "Lakmé" presented by the American
Opera Company, at the Academy of Music, New York City (in
English) with Pauline Allemand in the title-rôle. (It had been
given inadequately by Emma Abbott in 1883.)
1886. Mar. 13. Scholz's Symphony in B flat given in New York City,
by Theodore Thomas.
1886. Mar. 13. Three movements from Gericke's "Serenade" given by
the Boston Symphony Orchestra, conducted by the composer.
1886. Mar. 16. Liszt's "Concerto Pathétique" given in New York
City, by Theodore Thomas.
1886. Mar. 20. Dvo[vr]ák's cantata "The Spectre Bride" given in
Brooklyn, N.Y., under Theodore Thomas; also Raff's "Die
Jahreszeiten" for chorus, pianoforte and orchestra.
1886. Mar. 23. Borodin's symphonic poem "On the Steppes of Central
Asia," and the tarantella from Gernsheim's Symphony in F, given
by the Philharmonic Society in Brooklyn, N. Y.
1886. Mar. 23. Pratt's "Court Minuet" produced, and Delibes's
ballet music "Sylvia," given by Theodore Thomas, in New York
City.
1886. April 30. Delibes's "Scène de Bal" given in New York City,
by Theodore Thomas.
1886. July 5. Rubinstein's "Bal Costumé" (Second Series) given in
New York City, by Theodore Thomas.
1886. July 21. Schytte's "Pantomimes" given in Chicago, by
Theodore Thomas.
1886. July 29. Bruckner's Seventh Symphony (E major) played by the
Theodore Thomas Orchestra, in Chicago.
1886. Oct. 26. Massenet's "Marche Héroique," and Gadsby's
orchestral scene "The Forest of Arden," given in New York City,
by Theodore Thomas.
1886. Oct. 28. Nicodé's "Jubilee March," César Cui's "Tarantella,"
and Massenet's "La Vierge" for string orchestras, given in New
York City, by Theodore Thomas.
1886. Nov. 1. Chaikovsky's "Italian Caprice" for orchestra, played
by the Philharmonic Society in New York City.
1866. Nov. 4. Schumann's "Marche Funèbre" and Arthur Sullivan's
overture "In Memoriam" given in New York, by Theodore Thomas.
Also Raff's "Festival March."
1886. Nov. 5. Arthur Bird's First Symphony played by the Symphony
Society in New York City.
1886. Nov. 6. Brahms's Serenade in A for strings, and Dvo[vr]ák's
"Legends" (Opus 59, first collection), given by the Boston
Symphony Orchestra.
1886. Nov. 10. American début of Albert Niemann, noted Wagnerian
tenor, in "Die Walküre" at the Metropolitan Opera House, New
York City.
1886. Nov. 13. R. Henberger's overture to Byron's "Cain" given by
the Boston Symphony Orchestra.
1886. Nov. 19. Brüll's opera "Das Goldene Kreuz" presented at the
Metropolitan Opera House, New York City.
1886. Dec. 1. Wagner's opera "Tristan und Isolde" presented at the
Metropolitan Opera House, New York City, with Lilli Lehmann as
_Isolde_, M. Brandt as _Brangäne_, Niemann as _Tristan_,
Robinson as _Kurwenal_, von Milde as _Melot_, Emil Fischer as
_King Mark_. Anton Seidl, conductor.
1886. Dec. 4. Chaikovsky's "Manfred Symphony" played by the
Philharmonic Society, in New York City, Theodore Thomas
conducting.
1886. Dec. 11. Production of Chadwick's Second Symphony (B flat)
by the Boston Symphony Orchestra.
1886. Dec. 11. Brahms's Fourth Symphony (E minor, Op. 98) given by
the Symphony Society, New York City.
1886. Dec. 23. Dvo[vr]ák's "Slavonic Rhapsodie" (Op. 45) given by
the Boston Symphony Orchestra.
1886. Dec. 30. Massé's opera "Galatea" presented at the Brooklyn
Academy of Music, by Arthur Mees.
1886. The American Opera Company established in New York City, by
Mrs. Jeannette Thurber, with Theodore Thomas as conductor.
Lasted two seasons.
1886. Norfolk Festivals of the Litchfield County (Conn.) Choral
Union commenced.
1886. American Conservatory of Music established in Chicago, by J.
J. Hattstaedt.
1886. Chicago Symphony Orchestra organized with Hans Balatka as
director.
1887. Jan. 3. Goldmark's opera "Merlin" presented at the
Metropolitan Opera House, New York City, under Walter Damrosch.
1887. Jan. 15. A. Krug's symphonic prologue to "Otello" given by
the Boston Symphony Orchestra.
1887. Jan. 15. The music of Delibes's ballet "Coppelia" given in
New York City, by Theodore Thomas.
1887. Feb. 19. Saint-Saëns's Third Symphony (C minor) given by
Theodore Thomas, in New York City.
1887. Jan. 27. Mendelssohn's cantata "Athalie" (Racine's text)
given by the Cecilia Society in Boston.
1887. Feb. 5. Production of Arthur Foote's overture "In the
Mountains" by the Boston Symphony Orchestra.
1887. Feb. 10. Hans von Bülow's symphonic poem, "The Minstrel's
Curse," given by the Symphony Society, in New York City.
1883. Nov. 10. A. C. Mackenzie's ballad "La belle dame sans merci"
given by the Philharmonic Society, New York.
1887. Feb. 24. The Music of the "Flower Girl" Scene from Wagner's
opera "Parsifal" given in Philadelphia, by Theodore Thomas.
1887. Feb. 26. Berlioz's "The Trojans in Carthage" arranged as a
dramatic cantata by H. E. Krehbiel, performed in English in
Chickering Hall, New York City. Chief singers were M. Gramm, M.
Groebl, F. Hirsch, M. Alvary, W. Dennison, G. Prehn and F.
Remmertz; Narrator, Charles Roberts. F. van der Stucken,
conductor.
1887. Mar. 1. Dvo[vr]ák's "Legende" given by Theodore Thomas in
New York City. Also Svendsen's "Festival Polonaise."
1887. Mar. 3. Liszt's oratorio "Christus" given (complete) by the
Oratorio Society of New York City.
1887. Mar. 12. Rubinstein's oratorio "Paradise Lost" given in
Brooklyn, under the direction of Theodore Thomas.
1887. Mar. 14. Rubinstein's opera "Nero" given by the American
Opera Company, in New York City.
1887. Mar. 23. Moszkowski's First Suite for orchestra; and on the
31st Dvo[vr]ák's Suite (Opus 39), given in New York City, by
Theodore Thomas.
1887. April 23. Arthur Bird's "Carnival Scene" given at a Symphony
Concert in New York City, under the direction of F. van der
Stucken, at Chickering Hall. Also Rubinstein's Sixth Symphony (A
minor).
1887. May 8. Sir Arthur Sullivan's oratorio, "The Golden Legend,"
given by the Boston Oratorio Society, conducted by Frederick
archer, at Music Hall, Boston.
1887. July 21. Huber's "Römische Karneval," and on the 28th
Scharwenka's fantasia "Liebesnacht," given by Theodore Thomas in
Chicago, Ill.
1887. July. Production of Harry Rowe Shelley's "Dance of Egyptian
Maidens"; and H. H. Huss's rhapsody for the pianoforte and
orchestra at the convention of the Music Teachers' National
Association in New York City.
1887. Oct. 22. Dvo[vr]ák's Suite in D given by the Boston Symphony
Orchestra.
1887. Oct. 12. Reinecke's Variations on "Ein' Feste Burg" given by
Theodore Thomas in New York City. Also Dvo[vr]ák's "Slavonic
Dances" (Second Series).
1887. Oct. 12. Lalo's "Symphony Espagnole" given by the Boston
Symphony Orchestra.
1887. Oct. 12. Smetana's overture to "The Bartered Bride" given by
Theodore Thomas, in New York City.
1887. Nov. 15. L. A. Russell's "Pastoral" given at a concert of
American Music in New York City, conducted by the composer. Also
Arthur Whiting's Pianoforte Concerto in D minor.
1887. Nov. 23. Nessler's opera "Der Trompeter von Säckingen"
presented at the Metropolitan Opera House, New York City.
1887. Nov. 24. Templeton Strong's Symphony in F major performed at
a concert of American Music in New York City, under F. van der
Stucken.
1887 Nov. 25. Eugen d'Albert's First Symphony played by the
Symphony Society of New York.
1887. Nov. 29. American début of Josef Hofmann (pianist) at a
concert given in the Metropolitan Opera House, New York City.
1887. Dec. 23. Noteworthy revival of Weber's opera "Euryanthe" at
the Metropolitan Opera House, New York City, with Lilli Lehmann,
Marianne Brandt, Max Alvary and Emil Fischer.
1887. Dec. 24. Production of G. W. Chadwick's "Melpomene Overture"
by the Boston Symphony Orchestra.
1887. Teresina Tua, noted violinist, visited America.
1888. Jan. 4. Wagner's Nibelungen Trilogy given in America for the
first time beginning on this date with a performance of "Das
Rheingold," at the Metropolitan Opera House, New York City, with
Emil Fischer as _Wotan_, Max Alvary as _Loge_, Grienaur as
_Donner_, Mittelhauer as _Froh_, Beck as _Alberich_, Sedlmayer
as _Mime_, Weiss as _Fafner_, Modlinger as _Fasolt_, Madame
Moran-Olden as _Fricka_, Bettaque as _Freia_, and Traubmann,
Koschoska, and Reil as the _Rhine-Daughters_. Anton Seidl
conductor.
1888. Jan. 30. "Die Walküre." (See 1877, April 12.)
1888. Feb. 1. "Siegfried," with Lilli Lehmann, Marianne Brandt,
Max Alvary, and Emil Fischer.
1888. Jan. 6. Spontini's opera "Ferdinand Cortez" presented at the
Metropolitan Opera House, New York City.
1888. Jan. 17. Schubert's "Divertissement à la Hongroise" given by
Theodore Thomas in New York City.
1888. Jan. 25. Wagner's opera "Götterdämmerung" presented at the
Metropolitan Opera House, New York City, with Lilli Lehmann,
Seidl-Krauss, Marianne Brandt, Albert Niemann, and Emil Fischer
in the cast. Anton Seidl conducting.
1888. Jan. 26. Production of Arthur Foote's cantata "The Wreck of
the Hesperus" by the Cecilia Society in Boston.
1888. Jan. 28. C. Villiers Stanford's "Irish Symphony" given by
the Symphony Society in New York City.
1888. Jan. 28. Otto Floersheim's "Elevation" given by the Boston
Symphony Orchestra.
1888. Jan. 28. Scharwenka's "Arkadische Suite" given in New York
City, by Theodore Thomas.
1888. Feb. 4. Chaikovsky's suite "Mozartiana" given by Theodore
Thomas in New York City.
1888. Feb. 16. Rubinstein's Second Concerto for cello given by the
Philadelphia orchestra, with Victor Herbert as soloist. Theodore
Thomas conductor.
1888. Feb. 18. H. Grädener's Overture given by the Boston Symphony
Orchestra.
1888. Feb. 24. Liszt's psalm "O Salutaris" for mezzo-soprano,
chorus and orchestra, given by the Symphony Society in New York
City, with Marianne Brandt as soloist.
1888. Feb. 25. Wagner's only Symphony (in C) given by the Boston
Symphony Orchestra.
1888. Feb. 28. Bungert's symphonic poem "Auf der Wartburg," and F.
Cowen's Fifth Symphony (in F) given by Theodore Thomas in New
York City.
1888. Mar. 2. Harry Rowe Shelley's "Grand Sonata" given by
Theodore Thomas in New York City.
1888. Mar. 8. R. Strauss's symphonic fantasia "Aus Italien" given
by Theodore Thomas in Philadelphia.
1888. Mar. 16. A. Bruckner's Fourth (Romantic) Symphony (E flat)
given at a concert in Chickering Hall, New York City, under
direction of Anton Seidl.
1888. Mar. 17. Mozart's Violoncello Concerto (Op. 193) given in
New York City by Theodore Thomas.
1888. April 3. MacDowell's First Pianoforte Concerto given at a
concert under direction of B. J. Lang, with B. F. Whelpley as
soloist, in Boston.
1888. April 6. Haydn's "Bear Symphony" (C major) given by Anton
Seidl at a concert in Chickering Hall, New York City.
1888. April 7. Karl Goldmark's Second Symphony (E flat major)
given by the Boston Symphony Orchestra.
1888. April 14. Rheinberger's "Passacaglia" and Praeger's
symphonic poem "Life and Love, Battle and Victory" given in New
York City, by Theodore Thomas.
1888. April 16. Verdi's opera "Otello" presented at the Academy of
Music, New York City, under the management of Italo Campanini,
with Eva Tetrazzini as _Desdemona_, Campanini as _Otello_,
Scalchi as _Emilia_, and Galassi as _Iago_. Conductor Cleofonte
Campanini.
1888. July 19. Dvo[vr]ák's Symphonic Variations (Op. 78) given in
Chicago, by Theodore Thomas.
1888. Oct. 27. Overture to Peter Cornelius's opera "The Barber of
Bagdad" given by the Boston Symphony Orchestra.
1888. Nov. 10. The entr'acte to von Weber's "The Three Pintos,"
also Liszt's "Vogelpredigt des Heiligen Franz von Assisi," given
at a concert at Chickering Hall, New York City, under Anton
Seidl. At this concert Fritz Kreisler, noted Austrian violinist,
made his American début.
1888. Nov. 13. American début of Moritz Rosenthal, noted pianist,
at Steinway Hall, New York City.
1888. Nov. 17. Dvo[vr]ák's "Slavonic Dances" (third and fourth
series) given by the Boston Symphony Orchestra.
1888. Nov. 22. Felix Draeseke's "Serenata" given by the Symphony
Society, in New York City.
1888. Nov. 24. Schubert's overture in E minor, and Bruch's
Fantasia for Violin and Orchestra (Opus 46) given by the Boston
Symphony Orchestra.
1888. Nov. 24. Grieg's concert-overture "In Autumn" given at a
concert of the Brooklyn Philharmonic Society, Theodore Thomas
conducting.
1888. Dec. 1. Vincent d'Indy's "Wallenstein Trilogy" and Victor
Herbert's "Serenade," given at a concert in Chickering Hall, New
York City, by Anton Seidl.
1888. Dec. 8. Reyer's "Waking of the Valkyrie" given by Theodore
Thomas, in New York City.
1888. Dec. 29. A. Lindner's Concerto for Violoncello (Opus 34)
given by the Boston Symphony Orchestra.
1888. Dudley Buck's oratorio "The Light of Asia" given by the
Newark, N. J., Harmonic Society. This work was produced in
England in 1885.
1889. Jan. 12. Gounod's opera "La Reine de Saba" presented in New
Orleans, La.
1889. Jan. 17. Wagner's "Traüme" given by Theodore Thomas in
Chicago.
1889. Jan. 19. First complete performance of Chaikovsky's Violin
Concerto given in New York City, by Maud Powell.
1889. Jan. 24. Grieg's first suite "Peer Gynt," and Chaikovsky's
Introduction and Fugue, given by Theodore Thomas in New York
City.
1889. Mar. 5. MacDowell's Second Pianoforte Concerto (D minor) and
Chaikovsky's Fifth Symphony (E minor) given at a concert in
Chickering Hall, New York City, by Theodore Thomas.
1889. Mar. 6. Bristow's overture "The Jibbenainosay" given by the
Harlem Philharmonic Society, New York City, conducted by the
composer.
1889. Mar. 9. Mackenzie's overture to "Twelfth Night" given by
Theodore Thomas, in New York City.
1889. Mar. 14. Mackenzie's "Benedictus" given in New York City by
Theodore Thomas.
1889. Mar. 15. Chaikovsky's First Suite given in Brooklyn by
Theodore Thomas.
1889. Mar. 27. Edward Grell's "Missa Solemnis" performed by the
Oratorio Society in New York City.
1889. Mar. 28. Schumann's Fantasia for violin and orchestra given
at a concert in New York City, under Theodore Thomas.
1889. Mar. 30. Schubert's Overture in B given by the Boston
Symphony Orchestra.
1889. April 4. Brahms's Waltzes given by the Boston Symphony
Orchestra.
1889. April 20. J. K. Paine's symphonic poem, "An Island Fantasy"
given by the Boston Symphony Orchestra.
1889. Aug. E. C. Phelps's "Elegy" for orchestra, produced at
Brighton Beach, New York, N. Y., by Anton Seidl.
1889. Sept. 29. Brooklyn Symphony Orchestra organized by Carl
Venth. Was in existence several years and produced a number of
minor compositions by American composers.
1889. Nov. 16. Eckert's Concerto for Violoncello (A minor), Max
Bruch's "Kol Nidrei" for 'cello and orchestra given by the
Boston Symphony Orchestra.
1889. Nov. 23. Arthur Foote's Suite for Strings produced by the
Boston Symphony Orchestra.
1889. Dec. 4. Karl Goldmark's overture "In the Spring" given at a
concert of the Symphony Society in New York City.
1889. Dec. 7. Brahms's Violin Concerto in D played by the Boston
Symphony Orchestra with Franz Kneisel as soloist.
1889. Auditorium dedicated, in Chicago, Ill.
CHAPTER VII
1890-1900
The decade covered in this chapter was remarkable for progress in many
directions.
Large orchestras were established all over the country--Pittsburgh,
Cincinnati, San Francisco, Los Angeles, widely scattered cities, were
among those which made serious efforts in the orchestral line, and
performed large orchestral works.
America became in a still greater degree the hunting ground of the
musical star who came from Europe, and swept the country of its loose
dollars, appearing both as soloist with these orchestras, and giving
recitals in the various cities.
Among pianists we had Busoni, who was, for a time, resident in Boston,
Vladimir de Pachmann, the great interpreter of Chopin, who was immensely
popular for some twenty-five years, and Paderewski, whose progress
through the country was marked by previously unheard of demonstrations.
It is said that thousands of people traveled many miles to see the train
pass in which he was traveling. Alfred Reisenauer came in 1895,
Slivinski, Alberto Jonás, Raoul Pugno, Siloti and Dohnanyi, were among
those who made their first appearances in America during this decade.
There was also a large list of violin virtuosi beginning with Adolf
Brodsky, who was followed by Henri Marteau, César Thomson, Ondriczek,
Burmester, Halir, Gregorovitch, Marsick, Maud MacCarthy, Petschnikof and
Madame Normann Neruda, who had been prominent in England for many years,
and was long past her prime when she visited America. But the greatest
artist of all was Eugen Ysaye, who first appeared in 1894, and who,
since the great war, has been conductor of the Cincinnati Orchestra.
Opera continued to flourish on misfortune. Henry Abbey, who had ruined
himself in driving out Mapleson, formed a partnership with John B.
Schoeffel and Maurice Grau, and for some years provided opera for the
country. Signor Luigi Arditi, who first appeared as conductor of the
Havana Company in about 1848, and had seen more operatic service in
America than any other conductor, made a brief but interesting estimate
of the impresarios under whom he had traveled during those years. "I
have come to the conclusion," he writes, "that Don Francesco Marty (of
the Havana Company) was the most generous of men, and Max Maretzek the
cleverest. Colonel Mapleson was decidedly the astutest of all directors,
... while to Henry Abbey must be attributed every straightforward and
honorable quality. Maurice Grau was the cleverest of _entrepreneurs_."
Among the singers brought here by this combination was Tamagno, who
appeared in 1890. The following season came Jean and Edouard de Reszke,
who reigned supreme for a number of years. Also two American singers who
had made reputations abroad,--Emma Eames and Marie van Zandt. In 1893
Nellie Melba and Emma Calvé came; and in 1894 Pol Plançon. In 1896 the
Abbey and Grau combination collapsed. Abbey died soon after, and Grau
continued alone until 1903.
In 1895 Walter Damrosch made an effort, which extended over several
years, to reëstablish German opera, at the Metropolitan Opera House.
This house, by the way, had been burned down in 1892, but was rebuilt
and opened again in the following year. Several new singers were brought
over from Germany, among them being Johanna Gadski.
In 1897 and 1898 Walter Damrosch joined forces with Charles A. Ellis,
the manager of the Boston Symphony Orchestra, who had already been
managing a company of which Melba was the star.
In 1896 Ernestine Schumann-Heink made her first American appearance in
Chicago, and the following year joined the Metropolitan Company. Also
Milka Ternina, an excellent artist, made her first appearance in Boston.
In 1898 Maurice Grau was the leading operatic impresario once more and
introduced several new singers, including Marie Brema, Suzanne Adams, an
American, and Marie Engle, also in 1900 another American, Louise Homer,
while of the men Albert Alvarez, a French tenor, and Antonio Scotti, an
Italian baritone, were the most brilliant stars.
Italian opera was now being pushed hard by German opera, while French
opera was very little heard. The table of performances published in New
York at the end of the season 1900-1901 shows that Wagner had
thirty-four performances out of a total of eighty-six. Gounod was next
with twelve performances, Verdi with eight, Puccini with eight,
Meyerbeer with five, Mascagni with four, Reyer and Massenet three each,
Boito, Mozart and Donizetti two each, and Beethoven, Leoncavallo and
Bizet one each.
American composers were seeking new themes indigenous to the soil. Many
had already written something under the title of "Rip van Winkle," and
Walter Damrosch had brought out an opera based on Hawthorne's novel "The
Scarlet Letter." Anton Dvo[vr]ák composed his "New World Symphony"
making use of negro melodies for his themes. The resources of the
Indians, the prairies and the mountains have been tapped more or less
successfully. The oil fields still offer a thrilling subject for the
composer.
1890. Jan. 4. Peter Cornelius's opera "Der Barbier von Bagdad"
presented at the Metropolitan Opera House, New York City, under
Walter Damrosch, also J. Bayer's ballet "Die Puppensee," with
Frank Damrosch conducting.
1890. Jan. 4. Saint-Saëns's Third Violin Concerto (B minor) given
by the Boston Symphony Orchestra with T. Adamowski as soloist;
also Borodin's First Symphony (E flat).
1890. Jan. 11. Production of MacDowell's symphonic tone poem
"Lancelot and Elaine," given by the Boston Symphony Orchestra.
1890. Jan. 23. Edouard Lalo's opera "Le Roy d'Ys," presented at
New Orleans, La., with Furst, Balleroy, Geoffroy, Rossi, Butat,
Miss Leavinson and Mrs. Beretta in the caste.
1890. Jan. 31. Brahms's "Liebeslieder Waltzes" given by the
Symphony Society, in New York City.
1890. Feb. 1. Chaikovsky's Fourth Symphony (F minor) given at a
concert of the Symphony Society in New York City. W. Damrosch
conducting.
1890. Mar. 24. Début of Tamagno, great Italian tenor, as _Otello_
at the Metropolitan Opera House, New York City.
1890. Mar. 25. Dvo[vr]ák's Pianoforte Concerto in G minor, given
at a concert in Chickering Hall, Boston, under B. J. Lang, with
Benjamin L. Whelpley as soloist.
1890. April 8. J. C. D. Parker's oratorio "St. John" produced by
the Handel and Haydn Society in Boston.
1890. Nov. 1. Goldmark's overture "Prometheus," and Sgambati's
Pianoforte Concerto in G minor, given by the Boston Symphony
Orchestra.
1890. Nov. 15. Moszkowski's Second Suite given in New York City,
by Theodore Thomas.
1890. Nov. 20. Raff's overture to "Romeo and Juliet" given at a
concert of the Cecilia Society in Boston.
1890. Nov. 22. Haydn's Concerto for Violoncello given by the
Boston Symphony Orchestra, with Anton Hekking as soloist, also
Smetana's symphonic poem "Vltava."
1890. Nov. 26. Franchetti's opera "Asraële," presented at the
Metropolitan Opera House, New York City.
1890. Dec. 6. Goldmark's Violin Concerto in A minor given by the
Boston Symphony Orchestra. F. Kneisel, soloist.
1890. Dec. 10. Production of H. W. Parker's overture "Count de
Paris" by the Manuscript Society in New York City. Also E. C.
Phelps's "Meditation" for orchestra.
1890. Dec. 12. Smareglia's opera "Der Vassall von Szigeth"
presented at the Metropolitan Opera House, New York City.
1890. Dec. 12. Richard Burmeister's Pianoforte Concerto given by
the Symphony Society in New York City, with the composer as
soloist.
1890. Dec. Leopold Godowski, who had previously toured America as
accompanist for Ovide Musin, made his first recital-tour.
1890. Grand opera given by Abbey and Schoeffel with a company
including Adelina Patti, Emma Albani, Lillian Nordica, Fabbri,
Carbone, Ravelli, Tamagno and others.
1891. Jan. 9. The Duke of Saxe-Coburg Gotha's opera "Diana von
Solange," presented at the Metropolitan Opera House, New York
City.
1891. Jan. 10. Joachim's Violin Concerto in G given by Theodore
Thomas in New York City, and on the 17th, Rubinstein's overture
to "Antony and Cleopatra" in Brooklyn, N. Y.
1891. Jan. 23. Début of Xaver Scharwenka in concert at
Metropolitan Opera House, New York City.
1891. Jan. 24. Arthur Foote's symphonic prologue "Francesca da
Rimini" produced by the Boston Symphony Orchestra.
1891. Feb. 4. Chaikovsky's overture fantasia "Hamlet" given by
Theodore Thomas in Brooklyn, N. Y.
1891. Feb. 5. Massenet's cantata "Eve" given by the New York
Chorus Society at Lenox Lyceum, New York City.
1891. Feb. 23. Dudley Buck's Romance, for Four Horns and
Orchestra, played at an American Composers' Concert in New York
City, under Mortimer Wiske. Also H. R. Shelley's Concerto for
Violin.
1891. Mar. 7. Klughardt's Third Symphony (D major) given by the
Boston Symphony Orchestra.
1891. Mar. 14. Paderewski's Pianoforte Concerto in A minor given
by the Boston Symphony Orchestra, with Madame Julie Rivé-King as
soloist.
1891. April 2. G. W. Chadwick's ode, "The Pilgrims' Hymn,"
produced by the Cecilia Society, Boston.
1891. April 10. Dudley Buck's overture "The Star Spangled Banner"
produced at the "Tribune" Celebration in New York City.
1891. April 15. Massenet's suite "Esclarmonde" given in Chicago,
by Theodore Thomas. Produced as an opera in New Orleans, 1893.
Feb. 10.
1891. April 29. Balakirev's oriental fantasia "Islamei" given by
the Boston Symphony Orchestra, with Arthur Friedheim, soloist.
1891. May 5. Berlioz's "Te Deum" given by the Oratorio Society in
New York City, at the opening of Carnegie Hall.
1891. May 8. Chaikovsky's "Legend" and "Paternoster" given by the
Oratorio Society, New York City, conducted by the composer.
1891. Sept. 9. Mascagni's opera "Cavalleria Rusticana" given in
Philadelphia, under Gustav Hinrichs.
1891. Sept. 23. Dr. J. F. Bridge's dramatic oratorio "The
Repentance of Nineveh" given at the Worcester (Mass.) Musical
Festival.
1891. Sept. 24. Also Victor Herbert's dramatic cantata "The
Captive."
1891. Sept. 24. MacDowell's suite in A minor, and
1891. Sept. 25. Handel's "Overture to an Occasional Oratorio."
1891. Oct. 31. Richard Strauss's tone poem "Don Juan" given by the
Boston Symphony Orchestra, A. Nikisch conducting.
1891. Nov. 3. American début of Adolf Brodsky, noted violinist,
with the New York Symphony Society, in Brahms's concerto.
1891. Nov. 5. Liszt's symphonic poem "Hungaria" given at a concert
of the Philharmonic Orchestra in the Tremont Theatre, Boston,
with Bernhard Listemann as conductor.
1891. Nov. 13. American début of Ferruccio Busoni, pianist, with
the Boston Symphony Orchestra in Beethoven's Fourth Concerto.
1891. Nov. 18. American début of Ignace Paderewski, noted Polish
pianist, in Carnegie Hall, New York City.
1891. Nov. 21. Production of C. M. Loeffler's suite for violin and
orchestra, "Les Viellées de l'Ukraine," by the Boston Symphony
Orchestra.
1891. Nov. 29. Berlioz's "Le 5 Mai," for bass solo, chorus and
orchestra given by the Cecilia Society in Boston.
1891. Dec. 8. Rimsky-Korsakof's second symphony "Antar" given by
the Arion Society, New York City, F. van der Stucken, conductor.
1891. Dec. 14. American début of Jean (tenor) and Edouard (bass)
de Reszke in "Roméo et Juliette" at the Metropolitan Opera
House, New York City.
1891. Dec. 21. American début of Marie van Zandt, American
soprano, as _Amina_ in "La Sonnambula" at the Metropolitan Opera
House, New York City.
1891. Dec. 25. Reyer's opera "Sigurd" presented at the French
Opera House, New Orleans, La.
1891. Dec. 26. Handel's Concerto in F major for strings and two
wind instruments, given by the Boston Symphony Orchestra.
1878. Dec. 21. Chaikovsky's fantasia "Francesca da Rimini" given
by the Philharmonic Society, New York.
1891. The Chicago Symphony Orchestra established, with Theodore
Thomas as conductor.
1892. Jan. 6. Litolff's overture to "King Lear" played at a Young
People's Concert of the Boston Symphony Orchestra.
1892. Jan. 9. Strauss's tone poem "Tod und Verklärung" given by
the Philharmonic Society, New York City, Theodore Thomas
conducting.
1892. Jan. 10. Chadwick's "A Pastoral Prelude" produced by the
Boston Symphony Orchestra.
1892. Jan. 15. American début of Jean Lasalle, noted French
baritone, as _Nelusko_ in "L'Africaine" at the Metropolitan
Opera House, New York City.
1892. Jan. 29. P. Scharwenka's symphonic poem "Frühlingswogen"
given by the Chicago Symphony Orchestra. Theodore Thomas
conductor.
1892. Feb. 5. Max Bruch's Second Concerto for Violin given by the
New York Symphony Society with Geraldine Morgan, soloist.
1892. Feb. 6. First recital of Vladimir de Pachmann, Russian
pianist, at Chickering Hall, New York City.
1892. Feb. 13. Massenet's opera "Hérodiade" presented at the
French Opera House, New Orleans. (Given in New York, Nov. 8,
1909, by Hammerstein.)
1892. Feb. 20. F. Busoni's Symphonic Suite (Op. 23), three
movements, given by the Boston Symphony Orchestra.
1892. Feb. 27. A. Dvo[vr]ák's Fourth Symphony (G major) and
Borodin's "A Prairie Scene" given by the Boston Symphony
Orchestra.
1892. April 1. R. Strauss's symphonic poem "Macbeth" given by the
Boston Symphony Orchestra.
1892. April 16. Suite from G. Henschel's music to "Hamlet" played
by the Boston Symphony Orchestra, conducted by the composer.
1892. May 5. G. W. Chadwick's cantata "Phoenix Expirans" produced
at the Springfield, Mass., Festival.
1892. Aug. 1. John Philip Sousa, noted bandmaster, resigned from
the Marine Corps, and organized his band, which gained a
world-wide reputation.
1892. Aug. 27. Metropolitan Opera House, New York City, destroyed
by fire.
1892. Oct. 21. A. Dvo[vr]ák's "Carnival" and "Otello" overtures
presented at a concert given under the auspices of the National
Conservatory of Music in New York City, in honor of the
composer's first appearance in America.
1892. Oct. 21. The music of Moritz Moszkowski's opera "Boabdil"
given by the Chicago Symphony Orchestra. Also J. Strauss's waltz
"Seid umschlungen Millionen."
1892. Oct. 22. Chaikovsky's suite "Le Casse-Noisette" given by the
Chicago Symphony Orchestra.
1892. Oct. 22. Saint-Saëns's Second Symphony (A minor) given by
the Boston Symphony Orchestra.
1892. Oct. 22. Production of J. K. Paine's "Columbus March and
Hymn," and George W. Chadwick's "Columbian Ode," at the
dedication of the Music Building at the World's Fair in Chicago,
Ill., under Theodore Thomas.
1892. Nov. 11. Hamish McCunn's concert overture "The Land of the
Mountain and Flood" given by the Chicago Symphony Orchestra.
1892. Dec. 2. Cherubini's Overture given in New York City.
1892. Dec. 17. P. Gilson's symphonic sketches, "La Mer," given by
the Philharmonic Society, New York City.
1892. Peoples' Choral Union organized in New York City, by Frank
Damrosch.
1893. Jan. 4. Saint-Saëns's opera "Samson et Dalila" presented at
the French Opera House, New Orleans, with Renaud and Madame
Mounier in the leading parts.
1893. Jan. 24. Moritz Moszkowski's opera "Boabdil" presented at
the Manhattan Opera House, New York.
1893. Jan. 31. P. Mascagni's opera "L'Amico Fritz" given its first
complete stage performance in America by Walter Damrosch at
Carnegie Hall, New York City. (A performance had been given June
8, 1892, by Gustav Heinrichs, in Philadelphia.)
1893. Feb. 3. Fuchs's Serenade for Strings and Two Horns given by
the New York Symphony Society.
1893. Feb. 4. Arthur Foote's ballad "The Skeleton in Armor" for
chorus, quartet and orchestra, produced by the Boston Symphony
Orchestra.
1893. Mar. 4. G. Riemenschneider's "Tödtentanz" given by the
Boston Symphony Orchestra.
1884. Feb. 3. Volkmann's Violoncello Concerto given by the Boston
Symphony Orchestra.
1893. Mar. 17. Edgar Tinel's oratorio "St. Francis d'Assisi" given
by the Oratorio Society, New York City.
1893. April 8. Margaret Ruthven Lang's "Dramatic Overture"
produced by the Boston Symphony Orchestra.
1893. April 15. F. Busoni's Symphonic Tone Poem produced by the
Boston Symphony Orchestra.
1893. May 3. H. W. Parker's oratorio "Hora Novissima" produced by
the Church Choral Society in New York City.
1893. June. Musorgsky's "Une Nuit sur le Mont Chauve" said to have
been played in a series of Russian concerts at the World's
Columbian Exposition (June 5-13) with V. T. Hlavac, conductor.
1893. June 6. Balakiref's Overture on Russian Themes given at the
Chicago Exposition at a concert of Russian music, and on June 7,
Glazunof's "Triumphal March."
1895. June 12. Arthur Bird's Third Orchestral Suite given at the
Chicago (Ill.) Exposition.
1893. July 7. Harry Rowe Shelley's "Carnival Overture" produced at
the Chicago Exposition, and on the 19th his suite "The Ruined
Castle."
1893. July 29. Margaret Ruthven Lang's overture "Witches" produced
at the Chicago Exposition.
1893. Aug. Bizet's opera, "The Pearl Fishers," given in English in
Philadelphia.
1893. Nov. 16. Scholz's suite, "Wanderings," given by the Chicago
Symphony Orchestra.
1893. Nov. 16. Gounod's opera "Philémon et Baucis" given in
English by the Duff Opera Company, at Herrman's Theatre, New
York City.
1893. Nov. 24. G. Charpentier's orchestral suite "Impressions
d'Italie" given by the Chicago Symphony Orchestra.
1893. Nov. 27. New Metropolitan Opera House, New York City, opened
with a performance of "Faust," at which Pol Plançon, noted
French basso, made his American début.
1893. Nov. 29. American début of Emma Calvé, noted French
mezzo-soprano, as _Santuzza_, in "Cavalleria Rusticana" at the
Metropolitan Opera House, New York City.
1893. Dec. 2. American début of Richard Burmeister, pianist, at
Carnegie Hall, New York City, with the Damrosch Orchestra.
1893. Dec. 3. F. A. Lamond's overture "From the Highlands" given
by the Chicago Symphony Orchestra.
1893. Dec. 4. American début of Nellie Melba, great Australian
soprano, in "Lucia di Lammermoor" at the Metropolitan Opera
House, New York City.
1893. Dec. 5. First appearance in America of Josef Slivinski,
Polish pianist, at a concert in Madison Square Hall, New York
City.
1893. Dec. 9. Alberto Jonás, noted Spanish pianist, made his
American début in Carnegie Hall, New York City.
1893. Dec. American début of Sigrid Arnoldson, soprano, in
Gounod's opera "Philémon et Baucis," at the Metropolitan Opera
House, New York City.
1893. Dec. 9. Sinding's First Symphony (D minor) given by the
Chicago Symphony Orchestra.
1893. Dec. 15. Dvo[vr]ák's symphony in E minor "From the New
World" produced by the Philharmonic Society in New York City.
(Played from MS.)
1893. Dec. 28. Sgambati's "Te Deum" performed in Chicago, Ill.,
under directorship of Theodore Thomas.
1893. Dec. 30. Chaikovsky's "1812" overture given by the Boston
Symphony Orchestra.
1893. Henri Marteau, violinist, made his first American concert
tour.
1893. The Pittsburgh (Pa.) Symphony Orchestra organized under
Frederick Archer.
1893. Emil Paur appointed conductor of the Boston Symphony
Orchestra.
1893-4. Abbey and Grau presented grand opera with a company which
included as newcomers, Emma Calvé, Nellie Melba, Sigrid
Arnoldson, Pol Plançon, Gurin, Dufriche and Vignas.
1894. Jan. 5. Dvo[vr]ák's Concerto for Violin given by the New
York City Symphony Society, with Henri Marteau as soloist.
1894. Jan. 27. Liszt's rhapsody "Espagnole" given by the Boston
Symphony Orchestra.
1894. Feb. 3. Moszkowski's "Torchlight Dance" given by the Chicago
Symphony Orchestra.
1894. Feb. 3. Loeffler's "Concerto Fantastique" for Violoncello,
produced by the Boston Symphony Orchestra, and at the same
concert d'Albert's overture to "Esther" was played for the first
time in America.
1894. Feb. 7. Hartmann's overture "Nordische Meerfahrt," Bruch's
"Romanza" (Opus 42), and Saint-Saëns's "Morceau de Concert,"
given by the Boston Symphony Orchestra.
1894. Mar. 16. Chaikovsky's Sixth Symphony given by the Symphony
Society in New York City, and Victor Herbert's Second
Violoncello Concerto, with the composer as soloist.
1894. April. Edgar Stillman Kelley's "Aladdin" and "A Chinese
Suite for Orchestra," San Francisco, Cal.
1894. April 7. Hans von Bülow's "Funerale" given by the Boston
Symphony Orchestra.
1894. April 20. Massenet's opera "Werther" given at the
Metropolitan Opera House, New York City, with Eames, Arnoldson
and Jean de Reszke in leading parts; Mancinelli conducting.
1894. May 23. Goldmark's overture to "Sappho" given in Cincinnati,
O., under Theodore Thomas.
1894. May 25. Second and third tableaux from Rubinstein's sacred
opera "Moses," given by Theodore Thomas in Cincinnati, O.
1894. June 15. Leoncavallo's opera "I Pagliacci" presented in New
York with Kronold, Montegriffo and Campanari.
1894. Aug. 29. Puccini's opera "Manon Lescaut" presented at the
Grand Opera House, Philadelphia, with Selma Kronold and
Montegriffo.
1894. Sept. 27. Handel's Concerto (No. 7, in B flat) for organ and
orchestra given at the Worcester (Mass.) Festival, with William
C. Carl as soloist.
1894. Oct. 19. G. W. Chadwick's Third Symphony (F major) produced
by Boston Symphony Orchestra. (This work won the prize offered
by the National Conservatory.)
1894. Oct. 30. American debut of César Thomson, noted Belgian
violinist, at Carnegie Hall, New York City.
1894. Nov. 17. P. Benoit's Symphonic Poem for flute and orchestra
given by the Boston Symphony Orchestra.
1894. Nov. 25. American début of Eugen Ysaye, great Belgian
violinist, in a concert at the Metropolitan Opera House, New
York City.
1894. Dec. 7. Joachim's "Theme and Variations" for violin, given
by the Symphony Society, New York City, with Eugen Ysaye as
soloist.
1894. Dec. 17. Bemberg's opera "Elaine" (libretto by Paul Ferrier)
presented at the Metropolitan Opera House, New York City, with
Melba, Mantelli, J. and E. de Reszke, Plançon and Castelmary.
1894. Dec. 28. Goldmark's Scherzo (Op. 45) given by the Chicago
Symphony Orchestra.
1894. Dec. 29. Henry Holden Huss's Pianoforte Concerto in B major
produced by the Boston Symphony Orchestra, with the composer as
soloist.
1895. Jan. 5. C. M. Loeffler's Divertimento in A minor, produced
by the Boston Symphony Orchestra.
1895. Jan. 15. American début of Sybil Sanderson, American
soprano, as _Manon_, at the Metropolitan Opera House, New York
City.
1895. Jan. 25. A. Mackenzie's nautical overture "Britannica" given
by the Chicago Symphony Orchestra.
1895. Feb. 4. Verdi's opera "Falstaff" presented at the
Metropolitan Opera House, New York City, with Emma Eames, Zelie
de Lussan, Scalchi, Campanari, and Maurel. Mancinelli
conducting.
1895. Feb. 8. Cecile Chaminade's "Concertstücke," for orchestra,
given by the Chicago Symphony Orchestra.
1895. Feb. 16. Gustav Strube's overture to "The Maid of Orleans"
produced by the Boston Symphony Orchestra.
1895. Feb. 21. Howard LeGrand's oratorio "The Resurrection" given
by the Church Choral Society, New York City.
1895. Feb. 22. Rheinberger's Concerto in G minor, for organ, given
by the Chicago Symphony Orchestra.
1895. Feb. 28. Maurice Arnold's "American Plantation Dances" given
by the American Symphony Orchestra, New York City.
1895. Mar. 1. American début of Johanna Gadski, soprano, as _Elsa_
in "Lohengrin" at the Metropolitan Opera House, New York City.
1895. Mar. 23. Marschner's overture to "Hans Heiling," and
Reinecke's entr'acte of "Der Gouverneur von Tours" given by the
Boston Symphony Orchestra; also R. Kahn's overture in C minor
"Elegie" produced (from MS.). "Hans Heiling" played 1856. April
19. by the Philharmonic Society, New York.
1895. Mar. 30. H. Goetz's "Spring Overture"; Knorr's "Variations
on an Ukraine Folk Song," and H. W. Parker's Rhapsody for
baritone and orchestra, given by the Boston Symphony Orchestra.
1895. April 14. J. C. D. Parker's oratorio "The Life of Man"
produced by the Handel and Haydn Society in Boston.
1895. Oct. 6. Humperdinck's opera "Hänsel und Gretel" given in
English in New York City at Daly's Theatre, with Alice Gordon,
Marie Elba, Louise Meisslinger, Jacques Bars, C. Brané and E.
Johnson. A. Seidl, conductor.
1895. Oct. 19. Mozart's Andante and Variations in D minor given by
the Boston Symphony Orchestra.
1895. Oct. 25. Smetana's symphonic poem "Sarka," and Edward
German's "Three Dances of the Time of Henry VIII," given by the
Chicago Symphony Orchestra.
1895. Nov. 1. The _Vorspiel_ to R. Strauss's opera "Guntram" given
by the Chicago Symphony Orchestra.
1895. Nov. 1. Rameau's suite de ballet from "Acanthe et Céphise"
and the Prelude to the third act of R. Strauss's opera "Guntram"
given by the Symphony Society in New York City.
1895. Nov. Symphony Orchestra organized in San Francisco, Cal.,
with Fritz Scheel as conductor.
1895. Nov. 4. Paderewski's "Polish Fantasia" given at a concert in
Carnegie Hall, New York City.
1895. Nov. 8. César Franck's symphonic poem "Les Sylphides," given
by the Chicago Symphony Orchestra.
1895. Nov. 15. The ballet music from Massenet's opera "Thaïs," and
Strauss's tone poem "Till Eulenspiegel," given by the Chicago
Symphony Orchestra.
1895. Nov. 15. American début of Franz Ondriczek, violinist, at a
concert of the Philharmonic Society, New York City, in
Dvo[vr]ák's A minor Concerto for violin.
1895. Nov. 29. American début of Giuseppe Cremonini, tenor, at the
Metropolitan Opera House, New York City.
1895. Nov. 30. The Prelude to d'Albert's opera "Der Rubin" played
by the Boston Symphony Orchestra.
1895. Dec. 7. Reznicek's overture to the opera "Donna Diana" given
by the Boston Symphony Orchestra.
1895. Dec. 11. Massenet's opera "La Navarraise" presented at the
Metropolitan Opera House, New York City, with Emma Calvé in the
title-rôle.
1895. Dec. 17. American début of Yvette Guilbert at Hammerstein's
Music Hall, New York. N. Y.
1895. Willy Burmester, violinist, toured the United States.
1895. Alfred Reisenauer, pianist, first appeared in America.
1895. Cincinnati Orchestral Association founded, with Frank van
der Stucken as conductor.
1895-6. German opera given in New York and several of the large
cities by Walter Damrosch, with a company including Johanna
Gadski, Marie Brema, Rose Sucher, Rothmühl (tenor) and others.
1896. Jan. 4. Lalo's Suite "Namouna," given by the Boston Symphony
Orchestra.
1896. Jan. 23. Edward MacDowell's "Indian Suite" given by the
Boston Symphony Orchestra at the Metropolitan Opera House, New
York City.
1896. American début of Milka Ternina, soprano, as _Brunnhilde_ in
"Die Walküre" in Boston.
1896. Feb. 7. Chaikovsky's First Symphony (G minor) given by the
Philharmonic Society, New York City.
1896. Feb. 11. Stage production of Walter Damrosch's opera "The
Scarlet Letter," at the Boston Theatre, Boston, Mass., with
Gadski, Berthald and Mertens.
1896. Feb. 13. Scharwenka's opera "Mataswintha" given in concert
form by the Manuscript Society in New York City.
1896. Feb. 22. H. Zöllner's orchestral fantasia "Midnight at
Sedan" given by the Boston Symphony Orchestra.
1896. Mar. 21. "Three Hungarian Dances" by Brahms, given by the
Boston Symphony Orchestra.
1896. April 4. Production of Gustav Strube's Symphony in C minor,
by the Boston Symphony Orchestra.
1896. April 17. Handel's Concerto in F, for strings, given by the
Chicago Symphony Orchestra, and on the 24th Smetana's symphonic
poem "Vysehrad."
1896. April 24. Henschel's "Stabat Mater" given by the Oratorio
Society, New York City, conducted by the composer.
1896. Oct. 17. Bourgault-Ducoudray's "L'Interrement d'Ophélie"
given by the Boston Symphony Orchestra.
1896. Oct. 23. Balakireff's symphonic poem "Thamar" given by the
Chicago Symphony Orchestra.
1896. Oct. 24. Chabrier's Overture to "Gwendoline" given by the
Boston Symphony Orchestra.
1896. Oct. 31. Production of Mrs. H. H. A. Beach's "Gaelic
Symphony" (from MS.) by the Boston Symphony Orchestra.
1896. Nov. 7. The "Sevilliana" from Massenet's opera "Don César de
Bazan" given by the Boston Symphony Orchestra.
1896. Nov. 8. American début of Karl Halir, violinist, in
Beethoven's Violin Concerto, with the Philharmonic Society, New
York City.
1896. Nov. 13. Giordano's opera "Andrea Chénier" given at the
Academy of Music, New York City, by Mapleson, with
Bonaplato-Bau, Scalchi and Durot.
1896. Nov. 13. Smetana's symphonic poem "Richard III," Duparc's
symphonic poem "Lenore," and Glazunof's "Oriental Rhapsody,"
given by the Chicago Symphony Orchestra.
1896. Nov. 21. The Intermezzo from Goldmark's opera "Das Heimchen
am Herd" given by the Boston Symphony Orchestra.
1896. Nov. 24. American début of C. Gregorovitch, violinist, at
Chickering Hall, New York City, with the American Symphony
Orchestra.
1896. Dec. 11. Roentgen's "Balla
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