Table Of ContentOrchestrating the Nation
Orchestrating the Nation
The Nineteenth-Century American
Symphonic Enterprise
x x
w
Douglas W. Shadle
1
1
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Library of Congress Cataloging-in-Publication Data
Shadle, Douglas W., author.
Orchestrating the nation : the nineteenth-century American
symphonic enterprise / Douglas W. Shadle.
pages cm
Includes bibliographical references and index.
ISBN 978–0–19–935864–9 (hardcover) — ISBN 978–0–19–935865–6 (ebook)
1. Symphony—United States—19th century. 2. Music—United States—19th century—
History and criticism. I. Title.
ML1255.S53 2015
784.20973′09034—dc23
2015013939
9 7 5 3 1 2 4 6 8
Printed in the United States of America
on acid-free paper
Contents
Acknowledgments vii
About the Companion Website ix
Introduction 1
1. The Launch of the Enterprise 15
2. Anthony Philip Heinrich, Hapless Wanderer 35
3. William Henry Fry, Operatic Translator 56
4. George Frederick Bristow, American Stalwart 69
5. The Rivalry of Nations 81
6. The End of an Era 109
Interlude: The Country Divided 134
7. Louis Moreau Gottschalk, Pan-American Republican 137
8. John Knowles Paine, Universal Classicist 158
9. The Rivalry of Generations 172
10. Ellsworth Phelps, Brooklyn Patriot 191
11. The Winds of Change 221
12. Antonín Dvořák, Bohemian Prophet 242
Epilogue 263
Notes 279
Works Cited 303
Index 319
( v )
ACknowledgments
This book is indebted to many individuals and institutions. Several pro-
vided direct material aid: Vanderbilt University’s Vice Provost for Research
Dennis Hall and Assistant Provost Elizabeth Rapisarda, who provided a
generous subvention to defray the costs of permissions and an index; the
Graduate School of the University of North Carolina (UNC) at Chapel Hill;
Dr. Thomas S. Royster Jr. and Caroline Royster, who funded my graduate
fellowship at UNC; the music department at UNC; and the Library Company
of Philadelphia and the Historical Society of Pennsylvania, which jointly sup-
ported a month-long residency. Oren Vinogradov provided research assis-
tance at key moments. Elena Avalos-Bock helped me with sound clips for the
website.
Several libraries and librarians made my work much easier: Mark Dickson
(interlibrary loan requisition expert), James Procell, Matt Ertz, and Donald
Dean at the University of Louisville Anderson Music Library; Holling
Smith-Borne, Sara Manus, Jacob Schaub, Robert Rich, and Michael Jones
at the Vanderbilt University Potter Music Library; Phil Nagy of Vanderbilt
University’s Special Collections Division; Connie King and James Green of
the Library Company of Philadelphia; Sara Borden of the Historical Society
of Pennsylvania; Gabe Smith at the New York Philharmonic Archives; Sharon
Thayer and Jeff Marshall at the University of Vermont; Jackie Penny at the
American Antiquarian Society; the Library of Congress Music Division and
Newspaper Division; the New York Public Library for the Performing Arts
Music Division; the Houghton Library at Harvard University; and the New
England Conservatory Archives and Special Collections. Phil Vandermeer,
Diane Steinhaus, and Carrie Monette at the University of North Carolina
Music Library deserve the lion’s share of thanks for getting me started.
A number of receptive and collegial groups invited me to share thoughts
related to the book with them: the School of Music and Center for
Collaborative and International Arts at Georgia State University; gradu-
ate musicology colloquia at Michigan State University and the University
of Kentucky; the University of Louisville Faculty Humanities Forum; the
Society for American Music; the South-Central and Midwest chapters of the
( vii )
( viii ) Acknowledgments
American Musicological Society; and the organizers of nineteenth-century
music conferences on two continents—a fitting transatlantic experience.
My doctoral dissertation committee helped get this work off the ground,
as did several members of the Society for American music, all of whom gave
valuable and constructive criticism at various points along the way. In partic-
ular I thank Denise Von Glahn, Michael Broyles, John Graziano, and Nancy
Newman for their insights. The anonymous readers for Oxford University
Press, who graciously revealed their identities to me later, made great sug-
gestions for improving every aspect of the book. James Davis and Patrick
Warfield generously agreed to read a draft of the full manuscript before final
submission and offered invaluable advice. Friends whom I bugged to read
various smaller sections include William Gibbons, Glenda Goodman, Kevin
Bartig, and Marie Sumner Lott. I owe them. (And now I’ve paid back Ryan
Raul Bañagale.)
My colleagues at Vanderbilt’s Blair School of Music—Melanie Lowe, Joy
Calico, Jim Lovensheimer, Gregory Barz, Robbie Fry, and Ryan Middagh—
provided me with much needed moral support and professional guidance (as
well as a few read-throughs—thanks again, Joy!) as the book neared comple-
tion. Blair School Dean Mark Wait likewise offered his unbridled support.
Suzanne Ryan at Oxford University Press got behind this project during
its earliest stages, and I will be eternally grateful for her sustained confi-
dence and assistance. Her assistants, Jessen O’Brien and Dan Gibney, made
the process easy for me. Production editor Mary Jo Rhodes and copy edi-
tor Bonnie Kelsey cleaned up the messes in my manuscript and transformed
them into this beautiful volume.
A handful of others deserve individual recognition. Jack Ashworth
became one of my closest friends as I wrote the book. Travis Stimeling and
Laurie McManus acted as sounding boards almost daily. They define friend-
ship. Evan Bonds’s generosity as a mentor has been matchless. It was also his
seminar on the nineteenth-century American symphony that inspired me to
pursue this research. Joe Vick and Jim Hatch of Little Rock, Arkansas were
my first string teachers. They fed my passion for orchestral music from a very
young age. Violists Timothy Nelson, Larry Wheeler, and Evan Wilson, my
private instructors over a period of nearly fifteen years, only made that pas-
sion stronger. Finally, my wife Karen and I discussed every idea in this book
during many miles of walking together. The final product certainly bears her
imprint, though I was never able to convince her that Fry’s music is better
than Bristow’s.
About the CompAnion website
http://global.oup.com/us/orchestratingthenation/
Oxford University Press has created a website to accompany Orchestrating
the Nation that includes supplemental items designed to enhance the reading
experience. First, the website features recorded clips of the works highlighted
in the text, where available. Since many of the printed examples are reduc-
tions of large orchestral scores, these clips will allow the reader to experience
the music’s full orchestral palette. The recordings also eliminate the neces-
sity for readers to have an advanced level of note-reading ability. Second,
I have included supplementary web links and source notes that will be useful
for researchers and musicians interested in pursuing new leads related to the
subject matter. In both cases, new items will be added as they become avail-
able. Readers are encouraged to check for updates often.
( ix )
