George Frederick Bristow (1825–98), considered by many of his contemporaries to be among the best American composers of the second half of the nineteenth century, was a pillar of the New York musical community. He wrote his Symphony no. 4 in E minor, op. 50 (“Arcadian”), in 1872–73 on a commission from the Philharmonic Society of Brooklyn. Unlike his earlier symphonies, which had been faulted by some contemporary critics as being too “Europeanist,” the Arcadian follows an overtly American extramusical program that depicts pioneers’ trek across the country. Early performances of the symphony met with widespread acclaim, but this work, like many compositions by other American composers, was shelved. This edition is the first publication of the Arcadian Symphony and joins a welcome body of new scholarship on Bristow just in time for the bicentennial of his birth in 2025 and the two hundred fiftieth birthday of the nation in 2026.
URL: https://www.areditions.com/rr/rra/a072.html George Frederick Bristow (1825¿98), American composer, conductor, teacher, and performer, was a pillar of the New York musical community for the second half of the nineteenth century. His participation in an important mid-century battle-of-words (between William Henry Fry and the journalist Richard Storrs Willis and concerning a lack of support for American composers by the Philharmonic Society) has unfortunately overshadowed his accomplishments as a composer, which were significant. Bristow is remembered today primarily for his opera Rip van Winkle (1855) and oratorio Daniel (1866), but he was also a skillful and productive composer of orchestral music¿one of only a handful of American orchestral composers active at mid-century.Bristow wrote his Symphony no. 2 (Jullien) in 1853. It is a substantial work in four movements, scored for the standard orchestra of the early nineteenth century, and strongly influenced by the personal styles of Beethoven and Mendelssohn (whose works were performed regularly by the Philharmonic Society). The symphony is skillfully crafted, melodious, and an intrinsically worthy work of musical artistry. It was named to honor the French conductor Louis Jullien, who visited the United States in 1853¿54 with an unparalleled orchestra. While in the United States Jullien both commissioned and performed American works (including this symphony); his support served as the catalyst for the Fry/Willis battle. The introductory essay to this symphony examines Bristow¿s career, the composition of orchestral music in America at mid-century, and Jullien¿s role in the musical battle; the edition makes available for the first time an important work that has been undeservedly forgotten for over 150 years.
This book is the literary legacy of a national music festival in St. Louis, organized to identify as clearly as possible the specifically native character of music originating in the United States of America. The festival—the Bicentennial Horizons of American Music and the Performing Arts (B.H.A.M.)—sponsored more than 250 performances and workshops between Flag Day and Independence Day 1976. It was the only event of the Bicentennial celebration to address itself to a survey and evaluation of the musical development of this country.
George Whitefield Chadwick (18541931), a Massachusetts native identified with the so-called second New England School of composers, is among the most important and creative American composers in the generation that bridged the nineteenth and twentieth centuries. Trained in part in Germany, he spent much of his working life educating other musicians at the New England Conservatory of Music, which he led from 1897 until his death. Chadwick fashioned a compelling individual musical voice rooted in a Euro-American musical idiom; his orchestral and chamber music was performed with some frequency in his own day and has been revived in ours. His opera The Padrone, set to a libretto by David K. Stevens (based on an idea from Chadwick himself), was composed in 1912; it was strongly influenced by the verismo operas of the time (such as Leoncavallos Pagliacci and Puccinis Tosca), which attempted to bring to opera the naturalism of such late nineteenth-century writers as Zola and Ibsen. The Padrone is set in an American city (presumably the North End of Boston) in the present. The story, a tragic tale in two acts with an orchestral interlude, revolves around a ruthless member of the Italian community (the padrone) and his exploitation of more recently arrived immigrants. Chadwick composed The Padrone for submission to the Metropolitan Opera Company in New York, but the opera was rejected, probably because of its gritty realism, and was never staged during Chadwicks lifetime. (The Padrone exists only in manuscript form and has never been published; its only public performance so far took place in 1997.) In contrast to American operas of its generation that dramatize myths and legends from the ancient past, The Padrone brings a modern story to the stage, set to music of dramatic power and superb craftsmanship.
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