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Music in the United States

arthur, culture, symphony, damrosch, country, emma and home

MUSIC IN THE UNITED STATES is largely the history of the past quarter of a century. Before that, 'Italian opera ruled the eastern shore of the land, and previous to the advent of Italian opera in I825—a company that included Garcia and his daughter, Malibran—the p*almody was the sole music-al pabulum of our nation. Struggling for independence, transfixed by many wants and dan gers, it is not surprising that hymn-tunes of the most primitive order should prevail. Our an cestors Were ton busy fighting, or toiling for daily food, to find solace in the arts. And the Puritan draped the country in the deepest mo rality, so that music with difficulty conquered a place. Thomas Tlastings, Lowell Mason, and Dudley Buck have done much to elevate church music, though our real musical culture began not with the numerous visits of Italian opera, but with the formation of local orchestras; the Philharmonic Society of New York, the Boston Symphony Orchestra, the Chicago Symphony Orchestra, the Pittsburg and Philadelphia or chestras, and also the litany choral societies throughout the country. Theodore Thomas was our pioneer in matters symphonic. and. both with the Philharmonic and Chicago Symphony Orchestra, his work will never be forgotten. Carl Zerrahn, Carl Bergmann, Henschel, Louis Maas, Leopold Damrosch, Asger Ilamerik, Anton Seidl —who first taught us the beauties of the Wagner music-drama—Frank Van der Stucken, Arthur Nikisch, Wilhelm Gericke, and Emil Paur have all contributed their quota to the general fund of culture. Resident conductors are George Chad wick, Victor Herbert, time Damrosch brothers. Walter and Frank, Fritz Scheel, Arthur Mees, F. X. Arens, B. J. Lang, E. Heimendahl, Jules Jordan, and many others, while in the domain of popular music the names of Gilmore and Sousa have become classic. The so-called vein of negro music, so dear to folklorists, was mostly written by white men. John lloward Payne wrote "Home, Sweet Home," to which Stephen C. Foster's "Old Folks" is a close second in popularity. But the present generation of composers contains men in its ranks of real worth, though their culture has been attained under European masters: John K.

Paine. William Mason, Pratt, Gleason. George W. Chadwick, \V. W. Gilchrist, Arthur Foote, Converse, Edward A. MaeDowell, lloratio W. Parker, Frank Van der Stucken, Henry llolden Huss, Harry Rowe Shelley. Edgar Stillman Kel ley, Walter Damrosch, Arthur Whiting, Reginald de Novell, Rubin Goldmark, and last but not least that most brilliant pianist and composer of Creole music. Louis Moreau Gottschalk (18°_9 G9), who was long considered a representative American by Europeans. Music is now a neces sity in America, and the culture of choral singing makes several of the larger universities like Har vard. Vale, Columbia. Pennsylvania, Ann Arbor, and Oberlin, have chairs of mnsic. Foreign artists find in the United States a veritable gold mine. for singers draw higher salaries here than in any other part of the globe. So we have enjoyed the great music-makers of the world, front Malibran to Teraina. Many of the famous virtuosi. Thal berg, Von Billow, Essipoff. Rubinstein, Joseffy. Rosenthal. Paderewski. de Pachmann. d'Albert. Fannie Bloomfield Zeisler among pianists; and Vieuxtemp-s, Sivori, Ole Bull, Camilla Ursa, Wieniawski. Sarasate, Wilhelmj, Remisnyi, Cesar Thomson. and Ysaye, violinists. are a few of the prominent artists who have earned applause and money on these shores. Dr. Antonin Dvoi5k made New York his home for three years as the director of the National Conservatory. and com posed here his \ cu• World Symphony. .American singers, especially women, are better known abroad than our native composers: Albani, Clara Louise Kellogg, Annie Louise Cary, :Nlionie Hank, Emma Thursby, Antoinette Sterling, Lillian Nor diva, Emma Nevada, Emma Eames, Sibyl San derson, Lilian Blauvelt, Zelie de Lussan. and others have honored their country with artistic triumphs. Adelina Patti spent the early years of her life in New York, and, as well as Chris tine Nilsson, Parepa, Gerster, \lelba, Sembrich, and LiIli 1.elimann, has been adored by enthusi astic operagoers. Thus far America has not produced a genuinely representative composer.