By Dorothy T. Potter
Food for Apollo via Dorothy Potter, describes and evaluates the expansion and scope of cultivated track in Philadelphia, from the early eighteenth-century to the arrival of the Civil struggle. in lots of works facing American tradition, dialogue of music's effect is proscribed to a couple major performances or individuals, or missed altogether. The research of music's position in cultural background in all fairness contemporary, in comparison to literature, paintings, and structure. no matter if vernacular or according to ecu versions, a extra thorough figuring out of tune should still comprise cognizance to similar matters. This booklet examines live performance and theatre performances, tune publishing, pre-1861 manufacture of pianos, and British and American literature which promoted tune, informing readers approximately participants akin to Wolfgang Amadeus Mozart, whose works and repute generated curiosity on each side of the Atlantic.
Though first and foremost hindered through the Society of pals' competition to entertainments of all types, numbers of non-Quakers supported dancing, concert events, and drama by way of the 1740s; this curiosity speeded up after the Revolution, with the construction of a few of America's earliest theatres, and through the years, Musical Fund corridor, the Academy of tune, and different venues. Emigrant musicians, significantly Alexander Reinagle, brought new works by way of modern Europeans akin to Franz Joseph Haydn, Mozart, C.P. E. Bach, and so forth, in concert events mixed with favourite tunes, just like the "President's March." Later within the 19th century, Philadelphia's famous African-American composer and band chief Francis Johnson, endured the culture of combining classical and vernacular works in his renowned prom concert events. As they marketed and shipped their track to an ever-growing marketplace, post-Revolutionary emigrant track publishers, together with Benjamin Carr and his kin, George Willig, and George Blake, created winning companies that inspired American flavor a long way past Philadelphia.
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Additional info for 'Food for Apollo': Cultivated Music in Antebellum Philadelphia (Studies in Eighteenth-Century America and the Atlantic World)
10 After a year’s lapse Philadelphia’s City Concerts resumed in 1786, with Reinagle replacing John Bentley. Abandoning the familiar Lodge Alley Assembly Room for a newer venue, Reinagle, Capron, Alexander Juhan, and William Brown chose City Tavern for their ﬁ rst concert on October 19 and remained there two seasons, until March 1788. Taverns were popular concert sites in both Britain and America. London’s fashionable Anacreontic Society, founded in 1766, met once a fortnight in the 36-by-81 foot Long Room of the Crown and Anchor Tavern in the Strand.
That the ﬁrst part of the program featured the overture to Démophon (1789) by Johann Vogel, a song from Antonio Sacchini’s Oedipe (1787), and a duo by Miss de Brueys and Chateaudun from Niccolò Piccini’s Atys (1780) shows that Chateaudun maintained his ties to Paris publishers. The “full band” tribute to Marie Antoinette, from her imprisonment to her death, began part 2, which included two unattributed Mozart songs, a duet and a quartet by de Brueys, a Mr. ”69 Even as Philadelphia elites and middling class could congratulate themselves on the greater variety and quality of entertainments, and a growing number of talented performers, American’s foreign policy became increasingly enmeshed in the ongoing struggle between Britain and Napoleonic France.
Georgina Oldmixon was Philadelphia’s best-known female performer during this period. Having begun her career in London’s Haymarket Theatre in 1783 and married a violinist, a decade later she was part of Reinagle and Wignell’s company, and appeared in both plays and concerts. Mrs. Oldmixon, Reinagle, Gillingham, and Chateaudun were the featured artists in a concert of February 7, 1804, in the Philharmonic Society’s Hall on Fourth Street. Her songs were accompanied on the violin and harp by Gillingham and Chateaudun.