“The Artstars” in “The American Symphony Orchestra”
“absolute” music, 26, 191
Adams, John, 17
Adamowski String Quartet, 147
Aesthetics; philosophy of, 30, 203, 204, 208, 293, 381; doctrine of artistic supremacy, 30, 115; of romantic period, 291; “subjectivism”, 403. (See also under Taste)
Ahner, Henry, 101
Alexander, Arthur, 177
Alfven, Hugo, 143
Allgemeine Musikalische Zeitung, 201, 203.
Altschuler, Modest, 37
America: musical life in colonial, 16, 17; other arts in early, 17, 18; Puritans, 17; early centers of culture, 18, 32; concert life in Boston, 19, 32; concert life in Philadelphia, 19; early programs, 19, 20; grounded on European culture, 21; influx of European artists, 22; 18th century musical life, 32, 210.
American music: in repertoire, 69, 95, 112, 120, 144, 149, 160, 164; American Festivals, 177, 250, 259; nativist movement, 266-270; jazz, 271, 272; definition of, 271, 273.
American Orchestral Association (ye* National Orchestral Association).
American Society of Composers, 351
American Symphony Orchestra League, 36
Antheil, George, percentage in repertoire, 188
Apthorp, William, 204, 326, 365
Arne, Thomas, 123, 210
Atterberg, Kurt, 143, 237
Auber, Daniel, 99
Audience, 352; relation to artist, 288; eighteenth century, 288, 289, 326; nineteenth century, 289, 290, 353; size of, 352; deportment of, 132, 353-355; reaction, 356-359.
Augenmusik, 219
Auric, Georges, 272
Austro-German music: in repertoire, 67, 99, 112, 121, 136, 149, 172; reasons for dominance, 258, 259
Bach, J. C. (“London”), 20
Bach, Karl Philipp Emanuel, 8, 26, 123
Bach, Johann Sebastian, 7, 15, 17, 65, 68, 13, 135, 143, 164, 200; Bach revival, 201-204; transcriptions, 207, 208; trend line, 209; percentage in repertoire, 135, 188, 206, 209; St. Matthew Passion, 15, 201, 202, 203, 209, 327; Well Tempered Clavier, 202, 205; Toccata in F, 205; Inventions, 205; Β Minor Mass, 202; Suite in Ό, 205; Passacaglia, 205, 209; Chaconne, 205; Fantasia and Fugue, G minor, ick)\ Suite No. 2, 209; No* 3, 209; Brandenburg concerto, No. 209, 377; Christmas Oratorio, 209;
Balatka, Hans, 101, 300
Baltimore Symphony, 176
Bantock, Granville, 77, 208
Barber, Samuel, 96, 144, 278; percentage in repertoire, 188, 277
Barbirolli, John, 48, 61, 170, 208, 247, 264
Barrere, Georges, 262
Bartok, Bela, 160, 232, 273; percentage in repertoire, 188, 227; Concerto for Orchestra, 233
Beach, Mrs. Η. H.A., 95
Beecham, Sir Thomas, 25, 156, 199
Beethoven, Ludwig van, 7, 8, 19, 64, 66, 68, 113, 135, 143, 149, 154, 160; appreciated in his day, 183; trend line, 184; factors in decline, 184, 185; stability of, 186; cycles, 187, 198; percentage in repertoire, 64, 65, 67, 112, 121, 149, 159, 172, 184, 187, 188, 206; Symphony No. 1, 376; Symphony” No. 2, 39, 144, 377; Symphony No. 3, 39, 186, 376; Symphony No. 4, 376; Symphony No. $, 84, 85, 184, 186, 376; Symphony No. 6, 376; Symphony No. 7, 20, 186, 376; Symphony No. 8, -$j6’ fSSymphony No. 9, 183, 186, 187, 377; Mass in C, 145; Battle Symphony, 20, 186; Concerto for Piano, No. 376; Violin Concerto, 376; Overtures,Leonore No. 3, Egmont, Coriolanus, 376; Fidelio, 377; C072-certos for Piano, No. 3 and 4, 377
Bellini, Vincenzo, 25
Bennett, Robert Russell, 272
Bendy, John, 123
Berezowski, Nicholas, 96, 274, 278; percentage in repertoire, 277
Berg, Alban, 273
Bergmann, Carl, 33, 48, 64, 101, 189, 192, 196, 239
Berkshire Festival, 94
Berlin Philharmonic orchestra, 23
Berlioz, Hector, 8, 25, 26, 41, 68, 76, 77, 121, 149, 160, 238, 262, 312, 313; percentage in repertoire, 65, 188, 206, 235, 238,Symphonie Fantastique, 238, 376; Damnation of Faust, 238; Romeo and Juliet, 238; Harold in Italy, 238; Overture,Carnaval Romain, 238, 376; Rakozcy March, 365; UArt du chef (Γorchestre, 313; Treatise on conducting, 303, 313
Bernstein, Leonard, 37, 234
Billings, William, 17, 20; Psalm Singer,
Bilse, Benjamin, 23, 111
Birge, Edward, 178
Bloch, Ernest, 68, 77, 96, 144, 160, 164, 249, 250, 274, 278; percentage in repertoire, 188, 250, 277; America, 249; Concerto Grosso, 250; Schelomo, 250; Israel Symphony, 250; Three Jewish Poems, 250
Boccherini, Luigi, 264
Bodansky, Artur, 55, 141
Boessenroth, 143, 208
Boi’eldieu, Francois, 99
Bollinger, Samuel, 149
Borodin, Alexander, 143, 263; percentage in repertoire, 206
Borowski, Felix, 107; percentage in repertoire, 277
Boston Symphony Orchestra, 21, 23, 78; founding, 78-80; under Henschel, 81; Gericke’s reforms, 83; Under Nikisch, 84-87; Muck; 88, 89; financial reorganization, 90; strike, 91; Koussevitzky, 92-95; unionization, 93; repertoire, 95 fî; 154; 161
Boulanger, Nadia, 75, 222, 231
Bour, Felix, 343
Braga, 265
Brahms, Johannes, 64, 66, 68, 99, 113, 121, 135, 143, 160, 187; trend line, 189, 190, 363; percentage in repertoire, 65, 99, 149, 159, 172, 188, 190, 206; Serenade No. 2, 189; Symphony No. i, 189, 190, 376; Symphony No. 2, 190, 376; Symphony No. 3, 190, 376; Symphony No. 4, Academic Festival Overture, 190, 376; Variations on a Theme by Haydn, 190, 376; Concertos for Piano, No. 1 and 2, 190,Violin Concerto, 190, 376; Hungarian Dances, 190
Brand, George, 115
Brand, Michael, 115
Brant, Henry, percentage in repertoire, 277
Bremer, Alexander, 345
Bremner, James, 123
Bristow, George, 266, 267, 268, 269; Dramatic Overture, Columbus, 369
Britten, Benjamin, 247, 284; percentage in repertoire, 188
Brodsky, Adolf, 73, 343
Brooks, Ernest, 135
Bruch, Max, percentage in repertoire, 206
Bruckner, Anton, 68, 77, 224; trend line, 225; percentage in repertoire, 188, 206, 216; Symphonies No. 1, 2, 3,4, 5, 6, 7,8, % 224, 225
Buck, Dudley, 276
Biilow, Hans von, 23, 44, 300; virtuoso conductor, 314, 319
Burney, Charles, 8, 26, 27, 287, 328
Busby, Thomas, 27
Busch, Fritz, 24, 75
Caillet, 208
Cameron, Basil, 49, 156
Cardozo, Benjamin, on mutability of norms, 405
Carillo, Julian, 135
Carpenter, John Alden, 96, 160, 278; percentage in repertoire, 277
Caruso, Enrico, 52
Carvalho, Eleazor de, 265
Casadesus, Robert, percentage in repertoire, 188
Casals, Pablo, 147
Casella, Alfredo, 264
Castelnuovo-Tedesco, Mario, 68
Chabrier, Emmanuel, 160
Chadwick, George, 95, 112, 120, 149, 274, 276, 278; percentage in repertoire, 277
Chasins, Abram, 69; Flirtation in a
Chinese Garden, 69; Farade, 69
Chausson, Ernest, 160; Symphony in Β flat, 377
Chavez, Carlos, 94, 160, 173, 265, 284
Cherubini, Maria Luigi, 7, 99, 198; percentage in repertoire, 206
Chicago Civic Orchestra, 109
Chicago Symphony Orchestra, 101, founding of, 101-103; guarantors, 103; early difficulties, 104, 105; under Thomas, 102-107; under Stock 107-110; union problem, 109; Chicago Civic Orchestra, 109; repertoire, 110-113
Children’s Concerts, 147, 162, 166, 170, 373; conductors of, 373
Chopin, Frederic, 361; percentage in repertoire, 206. Concerto for Piano No. 1, 377; Concerto for Piano No. 2, 361
Choral Societies, 27, relation to symphony, 29; 114, 187; Apollo Club, 28; Arion Society, 28, 70; Euterpian Society, 21; “Filharmonix” Choral Society, 136; Handel and Haydn Society, 20, 28, 77; Liederkranz, 28; Mannerchors, 28; St. Louis Choral-Symphony Society, 28
Cimarosa, Domenico, 7
Cincinnati College of Music, 114, 116
Cincinnati Symphony Orchestra, early history, 113, 114; founding, 115; financial problems, 116, 117; Auditorium, 120; repertoire, 120-122
City Center Orchestra, 37
Cleveland Orchestra, beginnings, 161; Musical Arts Association, 161; founding, 162; Severance Hall, 163; conductors, 162, 163; repertoire, 164
Coates, Albert, 74,77, 141, 170, 248
Cole, V., percentage in repertoire, 277
Colonne, Edouard, 50
Composer: great, appreciated in his day, 183, 236; problems of con-‘. temporary composer, 284, 285; as craftsman, 289
Composers: life spans in repertoire, 182 ίϊ.; most pre-eminent: Beethoven, 183-187; Brahms, 187-190; Wagner, 190-195; Tschâikowsky, 196-198; Mozart, 198-200; Bach, 200-209; with stable popularity: Haydn, 210-212; Handel, 212-214; Weber, 214; Gluck, 215; ascending phases: Strauss, 215-219; Sibelius, 219-222; Franck, 222; Stravinsky, 222-223; Debussy, 223; Bruckner, 224-225; Rachmaninoff, 225; Shostakovitch, 226-228; Mahler, 228-229; Prokofieff, 229, 230; Schoenberg, 230; Copland, 231; Vaughan Williams, 231; Hindemith, 232; Milhaud, 232; Bartok, 232; Schuman, 233; Walton, 233; Ives, 233; descending phase: Schumann, 234; Shubert, 235-237; Berlioz, 237, 238; Liszt, 239, 240; Rubinstein, 240, 241; full life cycle of: Dvorak, 242; Saint-Saens, 243; Grieg, 245; Smetana, 245; MacDowell, “245; Rimsky-Korsakoff, 246; Elgar, 247; D’Indy, 248; Glazounoff, 248; Scriabin, 249; Respighi, 249; Bloch, 249; Falla, 250; Harris, 250; “forgotten”: 64, 250-252. (See also under name of composer)
Composing for the future, 10, 285
Concert, function of, 100, 292
Concertgebouw, 55, 158
Concert halls: Ν. Y. Academy of Music, 43, 71; Carnegie Hall, 45, 197; Metropolitan Opera House, 43; Symphony Hall, 88; Chicago Auditorium, 103; Orchestra Hall, 105; Cincinnati Music Hall, 115, 120; Philadelphia Academy of Music, 124; Northrup Auditorium, 137; Kiel Municipal Auditorium, 148; War Memorial Opera House, 157; Severance Hall, 163; Philharmonic Auditorium, 170; Constitution Hall, 181
Concert Series, 371, necessity for, 371, 372; “public rehearsal,” 296, 372; children’s series, 373; “pop” concerts, 359, 373; decline of “pop” concerts, 374; Sunday concerts, 374
Concerts Golschmann, 148
Concerts Koussevitzky, 92
Concerts Spirituels, 15, 358, 369
Concert System, origins of, 14; patronage, church and noble, 14; earliest public concert, 15; early series, 15, 16; early American series, 20
Conducting: history of, 310; romantic school of, 66, 313, 314, 318; Liszt-Wagner-Biilow-Nikisch school, 72, 83, 86, 313; conservative, 106, 107; psychological effect of gestures, 131; batonless, 132, 142, 169, 318; without score, 319; Mendelssohnian tradition, 83, 315, 316; fashions in, 325, 326
Conductor: virtuoso, 83, 311; as plaţform lecturer, 132, 319; function of, 313; as interpreter, 313, 322; position of, 315; prestige of, 315; increasing authority of, 316; demand for adequate rehearsals, 317; arbiter of taste, 318, 397; as recreator, 323; as educator, 362
Conductorless orchestra, 320, 321
Conductors: operatic, 24; primarily orchestral, 24; German, 261; salaries of, 57, 81, 115, 118, 127, 133, 145, 153, 166; Ν. Y. Philharmonic, 44, 45, 50, 51, 53, 56 61, 62, 63; Ν. Y. Symphony Society, 69, 72; Boston, 82, 83, 87, 88, 91, 92, 94; Chicago, 102, 107; Cincinnati, 113, 115, 117, 118, 119; Philadelphia, 125, 127, 133; Minneapolis, 136, 141, 142; St. Louis, 146, 147, 148; San Francisco, 152, 154, 155, 158; Cleveland, 162, 163; Los Angeles, 167, 169, 170, 172; Detroit, 175; Baltimore, 176; Rochester, 177; Indianapolis, 178; Washington, D. C., 180, 181. (See also name of individual conductor)
Converse, Frederick S., 95, 112, 149, 276, percentage in repertoire, 277
Cooley, Carleton, 164
Copland, Aaron, 76, 77, 96, 231, 278; percentage in repertoire, 188, 227, 231, 277. Symphony for Organ and Orchestra, 231; A Lincoln Portrait, 231; Billy the Kid, 231; Quiet City, 231; Appalachian Spring, 231
Copley, John Singleton, 17
Corelli, Arcangelo, 123, 212
Costa, Michael, 302, 305, 310, 312
Cowell, Henry, percentage in repertoire, 277
Crawford, Thomas, 18
Creston, Paul, 69, 278; percentage in repertoire, 188, 277
Czech music, 65, 66, 259
Damrosch, Leopold, 22, 40, 44, 45, 48, 55, 69; competition with Thomas, 71, 189; romantic conductor, 72
Damrosch, Walter, 24, 47, 48, 55, 141, 151, 231, 250, 263, 271, 273, 319, 320; criticism of, 72; friend of philanthropists, 73; tours, 73, 74; contribution to cause of music, 74; retirement, 75, 77; showmanship, 76
Dasch, George, 108
Debussy, Claude, 68, 76, 121, 143, 160, 223, 262; percentage in repertoire, 172, 188, 206, 216; Nuages et Fetes, 162, 377; Nocturnes, 223; VApresmidi d’un Faune, 223, 376; Iberia, 223, 376; La Mer, 223, 376
Defauw, Desire, 48, no DeKoven, Reginald, 180
DeLamarter, Eric, 108, 109; percentage in repertoire, 277.
Dello Joio, Norman, percentage in repertoire, 277
Delius, Frederick, 247, 264
De Sabata, Victor, 68
Detroit Symphony, 175
Devrient, Eduard, 201, 203, 315
Diaghileff Ballet, 119, 158, 160
Diamond, David, 278; percentage in repertoire, 188, 277
D’Indy, Vincent, 68, 76, 113, 121, 247, 248; percentage in repertoire, 188; lstar, 247; Medea suite, 247; Symphony on a French Mountain Air, 248; Symphony No. 2, 248; Wallenstein’s Ca?np, 248
Dobrowen, Issay, 156
Donizetti, Gaetano, 25; percentage in repertoire, 206
Dorati, Antal, 49; conductor Minneapolis Symphony, 142
Doremus, R. Ogden, 43
Dubensky, Arcady, 77
Dukas, Paul, 377
Dukelsky, Vladimir, percentage in repertoire, 277
Dvořák, Antonin, 65, 66, 77, 149, 159, 16o, 242; percentage in repertoire, 66, 67, 68, 172, 188, 206, 242, 244; Symphony No. 66, 242, 376; Slavonic Rhapsodies, 77, 242; Scherzo Capriccioso, 242; Carnival Overture, 242; Cello Concerto, 242, 377
Dwight, John S., 97, 293 Dwighfs Journal of Music, 44, 79, 354
Eichheim, Henry, 160, 164, 278; percentage in repertoire, 277
Eisfeld, Theodore, 48, 65, 311
Elgar, Sir Edward, 68, 69, 77, 208, 247, 264; percentage in repertoire, 188, 247; Dream of Gerontius, 247; Enigma Variations, 247, 377; Introduction and Allegro for Strings, 247; Violin Concerto, 247; Pomp and Circumstance, 247; Cockaigne Overture, 247
Elkus, Albert, 160
Elman, Mischa, 351
Elson, L. C., 83, 99
El well, Herbert, 164
Emerson, Ralph Waldo, 269, 294
Emery, Mrs. Thomas J., 120
Enesco, Georges, 377; Roumanian Rhapsody No., 1, 377
Ernestinoff, Alexander, 178
Ernst, Alfred, 146
Falla, Manuel de, 68, 250; percentage in repertoire, 188, 250; El Amor brujo, 250; The Three-Cornered Hat, 250, 276; La Vida breve, 250; Nights in the Gardens of Spain, 250
Farrar, Geraldine, 52
Farwell, Arthur, percentage in repertoire, 277
Fay, Amy, 313
Fernandez, 265
Fesca, Friedrich Ernst, 7
Fiedler, Max, 48, 88, 100
Financing of orchestras: philanthropic support, 35, 47; pattern of, 78; plutocratic, 35, 166, 334; private enterprise, 35, 331; public taxation, 134, 156, 158, 176, 179, 338; cooperative plan, 35, 329, 330, 331, 341; endowments, 335, 330, deficit financing, 336, 337; public subsidy, 340; systems of, 329. (See also history of each orchestra) Finck, Henry T., 195, 293, 355, 362
Fischer, Emil, 65
Fontainebleau, American Conservatory, 74, 222
Foote, Arthur, 95, 120, 149, 274, 276
Foss, Lukas, percentage in repertoire, 277 ^
Fradkin, Frederic, 91
Franck, Cesar, 25, 68, 76, 121, 149, 172, 222, 262; percentage in repertoire, 188, 20ό, 216, 222; Symphony in D minor, 222, 376; Symphonic Variations, 222
French music, 76, 100, 112, 121, 147, 160, 164, 172, 259; reputation of woodwinds, 261; percentage in repertoire, 262 Fry, William Henry, 122, 266, 267, 268, 269
Fuleihan, Anis, 274, 278; percentage in repertoire, 277
Furtwängler, Wilhelm, 23, 60, 61, 75, 327
Gabrilowitsch, Ossip, 75, 118,141, conductor Detroit Symphony, 175
Gade, Niels, 99, 252; percentage in repertoire, 206; Symphony No. 1, 252; Symphony No. 4, 252
Gadski, Johanna, 52
Ganz, Rudolph, 49; conductor St. Louis Symphony, 147; 158
Garden, Mary, 52
Gatti-Casazza, Giulio, 52 Gebrauchsmusik, 232
Geminiani, Francesco, 123
Gericke, Wilhelm, 24, 48; conductor of Boston Symphony, 82, 87, 99, 189, 300
Germania orchestra, 32, 79, 124, 144, 192
German immigration, 115; source of competition, 342
Gershwin, George, 69, 76, 77, 173, 271, 278; percentage in repertoire, 188, 277; Rhapsody in Blue, 271, 272; An American in Paris, 271; Second Rhapsody, 271
Gewandhaus Orchestra, 7, 16, 23, 38, 63, 205, 300; seating plan, 301
Ghione, Franco, 175
Gilbert, Henry, 276
Gilchrist, W. W., 125
Gillespie, Mrs. E. D., 125
Gilfis, Don, percentage in repertoire, 277
GlazounofF, Alexander, 66, 68, 112, 248, 262; percentage in repertoire, 188, 206; Violin Concerto, 248; Symphonies No. 4, 6, 248; Symphonic Poem,Stenka Razine, 248
Gleason, Frederick Grant, 274
Glinka, Michael, 66, 263
Gluck, Christoph Willibald, 8, 19, 26, 68, 215; percentage in repertoire, 188, 206, 215; Alceste, 215; Iphigenia in Aulis, 215; Ballet Suite (Mottl), 215
Goldmark, Karl, 68, 135, 160; percentage in repertoire, 206, 244
Goldschmidt, Hugo, 323
Golschmann, Vladimir, 24, 48, 74, 77; conductor St. Louis Symphony, 148
Gomez, 265
Goossens, Eugene, 24, 48, 74, 77; conductor Cincinnati Symphony, 119; conductor Rochester Philharmonic, 177; 247, 264, 278; percentage in repertoire, 277
Gould, Morton, 69, 278; percentage in repertoire, 188, 277
Gounod, Charles, 145; Redemption, 145
Gossec, Francois, 210
Grainger, Percy, 156, 245; percentage in repertoire, 277
Graupner, Gottlieb, 20, 78, 211; orchestra of, 20, 32
Great Britain, music of, 122, 247, 259, 264
Greenough, Horatio, 18
Gretry, Andre, 210
Grieg, Edvard, 143, 245; percentage in repertoire, 188, 206, 244•,Peer Gynt Suite, 148; Piano Concerto, 245
GrifFes, Charles T., 144, 278; percentage in repertoire, 277
Gruenberg, Louis, 278; percentage in repertoire, 277
Guarnieri, Camargo, 173, 265
Gyrowetz, Adalbert, 20, 32, 210
Habeneck, Francois, 24, 25, 26, 38, 312
Hadley, Henry K., 48, 77, 118, 149; conductor San Francisco Symphony, 152; percentage in repertoire, 277; In Bohemia, 154; Midsummer High Jinks, 154
Hale, Philip, 85, 87, 251, 362, 371
Hallé, Sir Charles, 25
Hammerstein Opera Company, 52
Hamilton, Harley, 165
Handel, George Frederick, 7,16,17,19, 68,212; choral works, 213; transcriptions, 213; trend line, 213, 214, 264; percentage in repertoire, 188, 214; Almira, 16; Rinaldo, 16; Messiah, 19, 142, 143, 145, 212, 213; Water Music, 213, 376; Concerto Grosso No. u, 213
Hanslick, Eduard, 7, 22, 224, 354
Hanson, Howard, 67, 77, 94, 96, 160, 177, 278; percentage in repertoire, 188, 277; Symphony No. 2, 67
Harpsichord, 326
Harris, Roy, 96, 144, 250, 278; percentage in repertoire, 277; Six Symphonies,, 250
Harty, Hamilton, 213
Harvard Musical Association, 20, 79
Hausserman, percentage in repertoire, 277
Haydn, Franz Joseph, 7, 8, 17, 20, 32, 68, 121, 123, 152, 198, 210; trend line, 211; percentage in repertoire, 188, 206, 211; Creation, 142; Emperor Quartet, 152; Symphonies: No. η3 (La Chasse), 211; No. 8$ (La Reine), 211; No. 94 (Surprise), 211; No. 100 (Military), 211; No. 88 G major, 212, 376; No. 101 (Clock), 212; No. 102, 104, 92, 95, 97, 99> 212; Toy Symphony, 212
Haydn, J. Emmett, 156
Hayes, Catherine, 150
Hegel, Georg Wilhelm, 30, 204
Hegner, Anton, 343
Heiden, Bernhard, 175
Hekking, Anton, 73
Henschel, Georg, 48, 65; conductor of Boston Symphony, 81, 82; repertoire of, 98, 99; 189; 302, 303; Overture, 81
Herbert, Victor, 118, 120, 174
Herold, Rudolph, 151
Herrmann, Bernard, percentage in repertoire, 277
Hertz, Alfred, 24, 49; conductor San Francisco Symphony, 154; 171
Herz, Henri, 150
Hill, Edward Burlingame, 77,149; percentage in repertoire, 277
Hill, Ralph, 134
Hill, Ureli C., 48, 251
Hindemith, Paul, 160, 173, 232, 273, 284; percentage in repertoire, 188, 227, 232; Mathis der Mahler, 230, 232
Hinrichs, Gustave, 151
Histories of Music, 7
History of music as performance, 8, 9
Hoffman, Richard, 300, 316
Hoffmann, Ε. Τ. Α., 199
Hofmann, Josef, percentage in repertoire, 277
Hoist, Gustav, 77; Egdon Heath, 77
Homeier, Louis, 151
Homer, Louise, 52
Honegger, Arthur, 76, 160, 208, 284; percentage in repertoire, 188, 206
Hopkinson, Francis, 20, 122
Hubermann, Bronislaw, 60
Hummel, Johann Nepomuk, 7, 64, 252; percentage in repertoire, 206; Septet, 252; Piano Concerto in Β minor, 252
Ibert, Jacques, 284; percentage in repertoire, 188
Indianapolis Symphony Orchestra, 177-179
Instrumental music, rise of, 27, 29; French interest in, 25
Interpretation: authentic, 324, 327; “intent of composer,” 323, 324, 327
Israel Philharmonic, 60
Italian music, 69, 259, 263, 264
Iturbi, Jose, conductor Rochester Philharmonic, 177
Ives, Charles, 233; Three Places in New England, 234; Symphonies No. 2 and 3, 234
Jacobi, Frederick, 160; percentage in repertoire, 277
James, William, 293
Janssen, Werner, 221
Jazz, 77, 232, 271; influence on European composers, 272
Johnson, H. Earle, 5
Johnson, Thor, 48; conductor Cincinnati Symphony, 119
Judson, Arthur, 55, 349
Jullien, Louis Antoine, 33
Jullien orchestra, 33, 123
Kabalevsky, Dmitri, 284
Kalliwoda, Johann, 64, 252; percent age in repertoire, 206; Fifth Symphony, 252
Kant, Immanuel, 30 Kapellmeister, 14, 53, 310 Kapellmeistermusik, 128, 228
Keffer, Edward I., 126
Kelley, Edgar Stillman, 160; percentage in repertoire, 277
Khachaturian, Aram, 284; percentage in repertoire, 188, 206
Kindler, Hans, conductor National Symphony, 180
Klemperer, Otto, 49, 74, 77, conductor Los Angeles Philharmonic, 169, 173; 174
Kneisel, Franz, 82
Kodaly, Zoltan, 68
Kolar, Victor, 175
Kotzwara, Franz, 19; Battle of Prague, 19
Koussevitzky, Serge, 20, 24, 48, 221, 226, 249, 250, 271; conductor Boston Symphony, 92; European career, 92; criticism of, 93; Berkshire Festival, 94; farewell to Boston, 95; on function of symphony concerts, 100
Kozeluh, Leopold, 210
Krehbiel, Henry Edward, 52, 85, 106, 371
Kreisler, Fritz, 261
Krenek, Ernest, 272; Jonny spielt auf, 272
Kroeger, E. R., 149
Krueger, Karl, 175
Kubelik, Rafael, 48, no Kunwald, Ernst, 48; conductor Cincinnati Symphony, 117
Lalo, Victor Antoine Edouard, percentage in repertoire, 206; Symphonic Espagnole, 377
Lamoureux, Charles, 356
Latin American music, 173, 264, 265
La Violette, Wesley, 160
Lehmann, Lilli, 65
Leinsdorf, Eric, 24, 49; conductor Cleveland Orchestra, 16j; conductor Rochester Philharmonic, 177; Lind, Jenny, 22, 123, 150
Lindpaintner, Peter Joseph von, 64, 252; percentage in repertoire, 206
Listemann, Bernhard, 82
Liszt, Franz, 20, 44, 64, 68, 152, 239; percentage in repertoire, 65, 66, 67, 121, 172, 188, 206, 235,>39; Les Preludes, 152; Hungarian Rhapsodies, 239; Faust Symphony, 239; Piâno Concertos No. 1 and 2, 239
Loder, 48
LoefHer, Charles Martin, 69, 96, 149, 162, 164, 274, 278; percentage in repertoire, 277
London Philharmonic, 25, 63; with Nikisch, 87; 198
Longy, Georges, 262
Lopatnikov, Nicolai, percentage in repertoire, 277
Los Angeles Philharmonic Orchestra, forerunners, 165; Los Angeles Symphony Society, 165; founding of, 167; philanthropic support, 168; Hollywood Bowl concerts, 168; Auditorium, 170; competition with Hollywood, 171; repertoire, 172, 173
Lully, Jean Baptiste, 312
MacDonald, Harl, 278
MacDowell, Edward, 95, 112, 120, 149, 245, 246, 251, 274, 278, 364; percentage in repertoire, 206, 244, 246, 277; Piano Concerto No. 2, 245, 246; Indian Suite, 246; Suite in A minor, 246
Mahler, Gustav, 21, 24, 48; conductor Ν. Y. Philharmonic, 51; difficulties in his regime, 52; 66, 68, 128, 160, 164, 172, 173, 227, 228; trend line, 229; percentage in repertoire, 188, 206, 229; Symphony No. 8, 128, 129, 229; Das Lied von der Erde, 228; Symphony No. 1, 377
Malipiero, G. Francesco, 264 Manifesto of German Intellectuals, 217
Mannheim orchestra, 26
Marschner, Heinrich August, 7
Martini, Giovanni Battista, 123
Martinu, Bohuslav, percentage; in repertoire, 188
Martucci, Giuseppe, 68
Mason, Lowell, 274
Mason, Daniel Gregory, percentage in repertoire, 277; 278
Mason, R. Osgood, 39
Mason, William, 95
Matinee concerts, origin of, 296
McCormack, John, 52
Méhul, Étienne Nicolas, 7
Meiningen orchestra, 23, 300, 314
Melba, Nellie, 52 melos, 85, 86, 313
Mendelssohn, Felix, 7, 64, 68, 83, 99; Bach revival, 201, 205, 239, 240, 301, 305, 310, 313, 354; percentage in repertoire, 65, 172, 188, 206, 235, 239, 240 Elijah, 142; FingaVs Cave Overture, 85, 314; Sy?nphony No. 3, 239, 377; Symphony No. 4, 239, 377; Midsummer Nighfs Dream, 239, 377; Concerto for Violin, 239, 376; Lovely Melusine, 239
Mengelberg, Willem, 48,50, 55,74,107
Mennin, Peter, percentage in repertoire, 277
Menotti, Gian Carlo, percentage in repertoire, 277, 278
Menuhin, Yehudi, 234, 247
Mero, Yolanda, percentage in repertoire, 277
Messager, Andr, 262
Messiaen, Olivier, percentage in repertoire, 188
Metropolitan Opera, 52
Meyerbeer, Giacomo, percentage in repertoire, 206
Miaskowsky, Nicolas, 112, 135, 263; percentage in repertoire, 188; Fifth Symphony, 112; Sixth Symphony, 112; Symphony No. 21, 113
Mignone, Francisco, 173, 265
Milhaud, Darius, 76, 160, 232, 272, 284; percentage in repertoire, 188, 227; Suite Proven gale j 232
Miller, Owen, 342
Minneapolis Symphony Orchestra, founding of, 136; Auditorium, 137; Minneapolis Orchestral Association, 137; children’s concerts, “highway”, 138; relation with University, 139; financial arrangement, 139; Sunday popular concerts, 143; repertoire, 142
Mitchell, Howard, conductor National Symphony, 181
Mitropoulos, Dimitri, 24, 48, 49, 63, 208; conductor Minneapolis Symphony, 142, 143
Monteux, Pierre, 24, 48, 49, 262; conductor Boston Symphony, 91, 100; conductor San Francisco Symphony, 158; repertoire of, 160
Moore, Douglas, percentage in repertoire, 277
Morris, William, 294 v Moscheles, Ignaz, 7
Mottl, Felix, 107, 364
Moussorgsky, Modest, 68, 263; Pictures at an Exhibition, 377; Prelude to Khovantchina, 377
Mozart, Wolfgang Α., 7, 8, 15, 17, 68, i2i, 123, 135; trend line, 199, 200; percentage in repertoire, 188, 198, 200, 206; Symphonies: G minor (Κ $$o), 199, 200, 376; C major (Κ SSO, 1.99, 20°> 37ό”> E flat maiot (Κ 543), i99, 200> 376; D major (Κ5, 8j), 199, 200, 376; C major (K 338), 200; D major (K $04), 200; Κ 20i, 200; Κ 42 2oo; Κ 200 y 200; Κ 183, 2oo; Eine kleine Nachtmusik, 200; Overtures to the operas, 200; Serenades, 200, Piano concertos, 200; Violin concertos, 200; Idomeneo, 287
Muck, Karl, 20, 24, 48; with Boston Symphony, 88, 89; 154
Munch, Charles, 48; conductor Boston Symphony, 94
Munich orchestra, 23
Musard, Orchestra, 123
Music: Social history of, 8; function of, 30, 286, 292, 297
Music history as performance, 9 Musical Courier, 130
Musical forms, historical continuity of, 8, 238
Musicians’ Union, Boston strike, 91; Chicago problem, 109; Washington problem, 180, sources of friction, 341; origins of, 341, 342; Am. Fed. of Musicians, 342; Alien Contract Labor Law, 342; Musical Mutual Protective Union, 343; “six-months” rule, 343; strike against Damrosch, 344; local autonomy, 346; regulations, 347; increased power, 348; Boston open shop, 349; strike and unionization of Boston, 350; recordings and radio, 351
Nationalism, 203, 214, 253; folkmusic, 254; influence in repertoire, 253, 255, 257; definition of, 256; American nativist movement, 266-270
National Orchestral Association, 109
National Symphony Orchestra (Washington, E). C.), 179-181
National Symphony of New York: 54, 55; merger with N. Y. Philharmonic, 55
Naumann, Johann Gottlieb, 7
Neuendorff, Adolph, 45, 48, 70 Neue Zeitschrift für Musik, Der, 7
New York Philharmonic Society, 21, 27; founding of, 37-42; cooperative organization, 40; instrumentation, 40; vocal music in, 42; programmatic interpretations, 42; social support, 43; competition with opera, 44, 52; competition of Thomas orchestra, 44; decline, 45, 46; attempt at reorganization, 47; guest conductors, 50; abandonment of cooperative organization, 51; endowments, 53; revival of public interest, 54; merger with National Symphony and Symphony Society, 56; initial program (1842), 361
New York Philharmonic-Symphony Society, 56; Centennial year, 62; guest conductors, 63; in Roxy theatre, 63; soloist policy, 65; analysis of repertoire, 63-68; 303, 351
New York Symphony Society, 44, 54, 69-77, as competitor of Philharmonic, 55; merger with Philharmonic, 56; founding of, 71; tours, 73, 74, 161; repertoire, 76, 77
Nichols, George Ward, 114
Nicolai, Otto, 39, 99; Merry Wives of Windsor, 39
Nikisch, Arthur, 20, 23, 48, conductor Boston Symphony, 83-86; European career, 87; 189, 224,225,300, 319, 323
Nordica, Lillian, 52 norm of “fair” competition, 271
Oberhoffer, Emil, 40, 49, 136, 169; conductor of Minneapolis Symphony, 140, 143
Onslow, George, 7
Opera, prestige in Europe, 24, 25, 26
Orchestra: quality of American, 21; shares prestige with opera in Europe, 23; function of, 286; criteria of “permanent” orchestra, 36; “permanent,” 73, 80; civic asset, 294, 295; as fashionable event, 295; financial structure of (see Financing of Orchesta)
Orchestral Compositions: titles of (see Composers); playing time of, 13, 365; quality of, 13
Orchestras:see name of orchestra (as Boston Symphony, etc.); major orchestras, 11, 37; minor orchestras, 37; community orchestras, 37
Orchestre National of Paris, 94
Ormandy, Eugene, 24, 48, 49, 208; Musical Director of Philadelphia Orchestra, 133; conductor of Minneapolis Symphony, 141, 142, 143
Ornstein, Leo, 135
Otten, Joseph, 145
Oxford Music Room, 16
Paderewski, Ignace Jan, 22
Paganini, Niccolo, 20, 300; Moto Per-petuo, 300
Paine, John Knowles, 95, 112, 274, 276
Palestrina, 15
Paray, Paul, 119
Parker, Horatio W., 120, 274
Pater, Walter, 294
Patti, Adelina, 123
Paur, Emil, 46, 48, 66; conductor Boston Symphony, 87, 100; conductor Pittsburgh Symphony, 174, 189, 241, 300
Peale, Charles Sprague, 17
People’s Philharmonic Orchestra, 154
Pergolesi, Giovanni Battista, 212
Persichetti, Vincent, percentage in repertoire, 277
Petri, Egon, 321
Petrillo, James C., 94, 108, 342, 351
Philadelphia Orchestra, 54; Quaker traditions, 122; Musical Fund Society, 123; Academy of Music, 124; founding, 124; Philadelphia Symphony Society, 125; Orchestral Association, 125; Woman’s Committee, 125; protests against European personnel, 126; tax support, 134; tours, 134; analysis of repertoire, 134-136
Philharmonic Society of London, 38
Philanthropists, 35, 47, 103, 113, 335, 349; Mrs. Leonora Wood Armsby, 157, 335; Edward Bok, 35, 126, 334; Robert S. Brookings, 145, 334; Andrew Carnegie, 47, 51, 71, 73, 174; Elbert L. Carpenter, 137, 334, 335, 349; William A. Clark, 35, 165; WiL• liam Andrews Clark, Jr., 165, 166, 167, 168, 334, 335; Ε. B. Dane, 90, 334; Cora Dow, 335; George Eastman, 177; Charles Norman Fay, 102, 334; Marshall Field, 102, 349; Η. H. Flagler, 35, 54, 56, 73, 334, 349; Hamill, 349; Henry Higginson, 35, 78, 80, 90, 334; Mrs. Victoria Hoover, 120; Mrs. Adella Prentiss Hughes, 161, 335, 349; A. D. Juilliard, 349; Otto Kahn, 349; A. Lewisohn, 54; Mrs. Maria Nicholas Longworth, 113, 120, 335; Clarence Mackay, 35, 54, 56; J. P. Morgan, 51, 71, 73; Joseph Pulitzer, 51, 53, 67, 335; Η. H. Reichhold, 175; John D. Rockefeller, 50, 71, 73; J. L. Severance, 336; Mrs. George R. Sheldon, 51; Mrs. Caroline Estes Smith, 349; Henry Steinway, 71; William Steinway, 34; Mr. and Mrs. Charles P. Taft, 334, 335; Mrs. William Howard Taft, 115; W. K. Vanderbilt, 71, 73; Alexander van Rensselaer, 126, 349; Frances A. Wister, 126
Philidor, Andre, 15
Pick-Mangiagalli, Riccardo, 208
Pinto, 265
Piston, Walter, 278; percentage in repertoire, 188, 277
Pittsburgh Symphony Orchestra, 174
Pizzetti, Ildebrando, 68, 264
Pleyel, Ignaz, 20, 210
Pohlig, Karl, 48; conductor Philadelphia Orchestra, 127; 134
Poulenc, Francis, percentage in repertoire, 188
Powell, John, 77; percentage in repertoire, 277
Powell, Maud, 222
Powers, Hiram, 18
Program: 360; “tutti-frutti,” 19, 198; choral, 199, 236; cycles, 67, 221, 224, 229; principles of, 360; variety in, 361; fragmentation of symphony, 361; position of symphony in, 363; “genre,” 68, 120, 135, 363, 364; all-American, 364; protest against ail-American, 364; key-relations in, 365; limiting factors, 365; encores, 366; “box-office” numbers, 367; opera in concert form, 367; soloists, 368; American premieres, 77, 136
Program notes, history of, 369; types of, 369, 370, 371
ProkofiefF, Serge, 68, 100, 113, 128, 150, 160, 172, 229, 262, 263, 284; percentage in repertoire, 188, 206, 229; Pas d’acier, 128; Classical Symphony, 229, 377; Symphony No. 377; Love of Three Oranges, 229; Scythian Suite, 230; Peter and the Wolf, 230
Promenade Concerts, 25
Purceii, Henry, 69, 212
Rabaud, Henri, 48, 262; with Boston Symphony, 91, 100
Rachmaninoff, Serge, 68, 76, 77, 136, 143, 147, 149, 164, 172, 173, 273; percentage in repertoire, 188, 216, 225; Piano Concerto No. 2, 225, 376; Piano Concerto No. 77, 225, 263, 377; Symphony No. 2, 225, 377; Rhapsody on a Theme by Paganini, 225, 376
Radio, relation to orchestra, 4; union, 351; NBC orchestra, 37
Raff, Joseph Joachim, 77, 99, 251; Im Walde, 251; Symphony No. 5, 251
Rapee, Erno, 229
Ravel, Maurice, 68, 69, 76, 143, 160, 262, 272; percentage in repertoire, 188, 227; Bolero, 69, 377; Daphnis et Chloe, 376; La Valse, 376; Rhapsodie Espagnole, 376; Alborada del Gracioso, 377
Recordings, relation to orchestra, 4; union, 351
Reichardt, Friedrich, 358, 369
Reinagle, Alexander, 20, 122, 123
Reiner, Fritz, 24, 48; conductor Cincinnati Symphony, 118; conductor Pittsburgh Symphony, 174
Remenyi, Edouard, 65
Repertoire: analysis of (see names of individual orchestras); composer’s percentage in, (see composer’s name; see also repertoire of each orchestra); reservoir of, 10; as basis for measure, 11, 13; changing, 12; survival of, 12; American compared with European, 20; basically German, 23; opera in, 164; effect of World War I on (see World War I); balanced, 65, iii, 143, 172, 173; “experimental,” 135, 144; geographical factors in, 220, 279; personal factors in, 225, 229, 279; social factors in, 220, 225, 229, 279; social factors in, 220, 225, 226, 241; nationalities in, 259 if. (see also under each nationality); American composer in, 274-278; American percentage in, 276; contemporary American composers in, 280, 282; contemporary foreign composers in, 280, 282; competition of American and foreign composers, 281; popularization of, 296; definition of “standard,” 375; standard list of, 376, 377
Respighi, Ottorino, 68, 143, 160, 208, 249, 264; percentage in repertoire, 188; Pines of Rome, 249, 377; Fountains of Rome, 249
Revueltas, S., 265
Richter, Hans, 24, 25, 87, 107, 319
Righini, Vincenzo, 7
Rimsky-Korsakoff, Nicholas, 66, 68, 135, 164, 246, 262; percentage in repertoire, 135, 188, 246; Spanish Caprice, 246; Russian Easter Overture, 246, 377; Scheherazade, 246
Ritter, F. L., 115; Music in America, 115
Rivé, Julia, 65
Rochester Philharmonic, 177
Rodzinski, Artur, 48,49, 226; builder of orchestras, 62; conductor Chicago Symphony, no; conductor Cleveland, 163, 164; conductor Los Angeles, 169
Rogers, Bernard, percentage in repertoire, 277
Rosenthal, Manuel, percentage in repertoire, 188
Rossini, Gioacchino, 7, 25, 68, 198, 264; percentage in repertoire, 206; William Tell Overture, 148
Rothwell, Walter, 49, 118, 140; conductor Los Angeles Philharmonic, 167, 168, 172
Rousseau, Jean Jacques, 26* 305
Roussel, Albert, 68
Royal Opera of Covent Garden, 25
Rubinstein, Anton, 22, 65, 66, 77, 240, 241, 262, 369; percentage in repertoire, 65, 206, 235, 241; Ocean Symphony, 241; Piano Concerto No. 3, 241, 369; Piano Concerto No. 4, 241
Rubinstein, Beryl, 164
Ruskin, John, 294
Russian Symphony, 37, 249
Russo-Soviet Union, music of, 66, 100, 121, 149, 164, 172, 259, 262, 263; percentage in repertoire, 262
Safonoff, Vassily, 48, 50, 66 y
St. Louis Philharmonic Society, 145
St. Louis Symphony Society, 144; forerunners to, 144, 145; origin in St. Louis Choral Society, 145; St. Louis Musical Union, 146; organization as St. Louis Symphony, 146; Sunday “pops,” 146, 147; children’s concerts, 147; Municipal Auditorium, 148; financial support of, 148; repertoire, 149, 150. St. Paul Symphony Orchestra, 140
St. Petersburg Philharmonic Society of, 15
Saint-Saëns, Camille, 25, 68, 99, 100, 121, 160, 172, 243, 244, 262; percentage in repertoire, 121, 149, 188, 243; Symphony No. 3, 244; Cello concerto, 244; Violin Concerto, 244; Piano Concerto No. 2, 244; Piano Concerto No. 244; Danse Macabre, Hymn to California, 244
Sainte-Beuve, Charles Augustin, 196
Salieri, Antonio, 7
Salomon-Haydn concerts, 16, 211
Salzedo, Carlos, percentage in repertoire, 277
Sari Francisco Symphony, 150; founding, 152; financing, 152; early obstacles, 153; popular concerts, 155; municipal tax, 156; revitalization, 157; War Memorial, 157; forum, 158; Youth concerts, 158; lack of summer activity, 159; repertoire, 159, 160
Scandinavian music, 143, 359
Scarlatti, Domenico, 264
Schaefer, Ferdinand, 178
Scheel, Fritz, 36, 48, 125, 134, 151
Schelling, Ernest, 67, 68, 158, 278; percentage in repertoire, 277; Impressions of an Artist’s Life, 67
Schneevoigt, Georg, 49; conductor Los Angeles Philharmonic, 169, 172
Schneider, Karl, 178
Schoenberg, Arnold, 68, 77, 128, 132, 208, 230, 273; percentage in repertoire, 188, 227; Five Orchestral Pieces, 132, 230, 359; Gurrelieder, 128; Verklarte Nacht, 230
Scholes, Percy, 10
Schopenhauer, Arthur, 30
Schradiek, Henry, 115
Schreiber, Ottmar, 23
Schubert, Franz, 68, 99; Centennial, 172, 235; trend line, 236; percentage in repertoire, 65, 172, 188, 206, 235, 236; Symphony in C major, 236; Symphony No. 7, 237, 376; Symphony No. 8, 237, 377; Symphony No. 5, 237; Symphony in E, 237
Schuman, William, 233, 278; percentage in repertoire, 188, 227, 277; American Festival Overture, 233
Schumann, Clara, 20
Schumann, Robert, 7, 8, 68, 121, 145, 204, 234, 252, 316; percentage in repertoire, 65, 188, 206, 234, 235; Trâumerei, 102; Manfred Overture, 234; Concerto for Piano, 234, 276; Violin Concerto, 234; Symphonies No. i, 84, 377; No. 2, 3,, 4, 377
Scriabin, Alexander, 66, 68, 76, 100, 249, 263; Reverie, 249; Symphony No. i, 249; Symphony No. 5, 249; Symphony No. 4, 249; Prometheus, a Poem of Fire, 249
Seating Plan: 298 ff.; performers standing, 300; seated, 301; Leipzig Gewandhaus, 301; principles of, 301, 303; early Ν. Y. Philharmonic, 303; London Philharmonic, 302, 305; Berlioz plan basic, 303; Boston Symphony, 302; division of celli and basses, 305; Stokowski reforms, 130, 307; position of celli, 307
Seidl, Anton, 24, 45, 48, 65, 115
Sembrich, Marcella, 52
Serkin, Rudolph, 94
Sevitzky, Fabien, conductor Indianapolis Symphony, 178
Sgambati, Giovanni, 264
Shapero, H. S. percentage in repertoire, 277
Shaw, George Bernard, 355, 358
Shepherd, Arthur, 164; percentage in repertoire, 277
Shostakovitch, Dmitri, 68, 100, 113, 135, 150, 164, 173, 226, 227; trend line, 228, 262, 263, 284; percentageTn repertoire, 206, 216; Symphony No. i, 226, 377; Symphony No. f, 226, 376; Symphonies No. 6, 7, 8, 9, 226
Sibelius, Jan, 68, 77, 100, 113, 121, 135, 136, 143, 160, 172; trend line, 220, 221; American visit, 220; violin concerto, 222; percentage in repertoire, 121, 188, 206, 216, 221; Tapiola, 77; Symphony No. 2, 220, 377; Valse Triste, 220; Finlandia, 220; The Oceanides, 220; Symphony No. 5, 221, 377; Symphony No. j, 377
Siloti, Alexander, 208
Siqueira, 265
Slonimsky, N., 234
Smetana, Bedrich, 245; percentage in repertoire, 188, 244, 245; The Bartered Bride, 245, 377; The Moldau, 245, 356, 377; First String Quartet, 245
Smith, David Stanley, 149
Sobolewski, Eduard de, 145
Societe des Concerts du Conservatoire, 24, 38, 63
Sokoloff, Nicolai, 49, 154, 161; conductor Cleveland Orchestra, 162, 163
Sonneck, Oscar G., 5
Sontag, Henrietta, 123
Sowerby, Leo, percentage in repertoire, 277, 278
Spalding, Albert, 77
Spohr, Ludwig, 7, 251, 310, 314; percentage in repertoire, 206, 251; Violinschule, 251; Symphony No. 4, 251; Jessonda, 251; Violin Concerto No. 8, 251
Spontini, Gasparo Luigi, 7
Stamitz, Johann, 20, 123, 210
Stamm, A. J., 165
Stewart, Reginald, 176
Still, William Grant, percentage in repertoire, 277; 278
Stock, Frederick, 24, 48; conductor Chicago Orchestra, 107-110; 208; percentage in repertoire, 277; March and Hymn to Democracy, 108
Stokowski, Leopold, 24, 37, 48, 54, 63; conductor Cincinnati, 117; as innovator, 127, 130•, personality, 128; conductor Philadelphia Orchestra, 127; genius for publicity, 129; salary, 132; Bach transcriptions, 135, 208; experimental repertoire, 135; 170, 221, 226, 307, 319, 320
Stransky, Josef, 24, 48; conductor of Ν. Y. Philharmonic, 53, 54, 55; 66, 194, 239, 245, 200
Strauss, Johann, 144; Wiener-Walzer, r44
Strauss, Richard, 8, 50, 63, 65, 68, 77, 106, 112, 121, 135, 136, 143, 164, 199, 215, 216; visit to America, 217, 218, 219, 260; percentage in repertoire, 67, 121, 172, 188, 206, 215, 216; Macbeth, 77; Guntram, 77; Ein Heldenleben, 106, 180; Till Eulenspiegel, 112, 180, 218, 376; Symphony in F minor, 112, 218; Salome, 154, 219; Der Rosenkav alter, 154, 219, 377; Death and Transfiguration, 218, 376; Don Juan, 218, 376; Alp ens ymphonie, 219; Don Quixote, 376; Symphonia Domestica, 219; Elektra y 2 219
Stravinsky, Igor, 68, 100, 113, 118, 119, 128, 132, 135, 143, 160, 164, 172, 173, 222, 262, 263, 272, 273; percentage in repertoire, 188, 216, 222; Sacre du Printemps, 100, 118, 132, 227; The Fire Bird, 222, 376; Petrouchka, 222, 377; Oedipus Rex, 128
Stringham, Edwin, percentage in repertoire, 277
Strong, George, percentage in repertoire, 277
Strube, Gustav, 149, 176
Stuart, Gilbert, 17
Summer Concerts, 141, 159, 171, 350
Svendsen, Johân, 143
Symphony: significance as musical form, 29; aesthetic philosophy of, 30; reasons for ascendancy, 31
Symphony Orchestra: priority of in America, 23; as symbol of culture, 30; rise in America, 31-35; “symphonic soirees,” 31; forms of organization, 35, 40 (see also under history of each orchestra) Szell, Georg, 24, 49; conductor Cleveland Orchestra, 163, 245
Szigeti, Joseph, 94
Tailleferre, Germaine, 160
Taktschlăger, 42
Talley, Marion, 351
Tandler, Adolf, 166
Tansman, Alexandre, 208, 272, 284; percentage in repertoire, 188
Taste: factors in formation of, 3, 9, 29, 397, 398; in Leipzig, 7; character of before 1800, 10; church factor, 14, 202; changing 63, 96, 202, 203, 384, 394; popular, 287; concept of beauty, 380; variety of, 381; art vs. science, 382; critics’ influence, 383; beauty as experience, 384, 388, 389; “spirit of the age,” 8; meaning of, 387; criticism of “spirit of the age” concept, 385, 386; specific tonal habits, 388; satiety of, 390; conductor as missionary of, 391; norms of, 392; a folkway, 392, 393; aesthetic taste, social nature of, 394; stability of norms, 395; cultural inheritance, 395, 396; conductor’s influence on, 397, 398; and Technology, 399, 400; meanings of “good” taste, 400, 401; good taste a social norm, 402; conditioning of, 403
Taste trends, 4, national trend, 13; political factors, 203, 220, 225, 243, 289, 290; geographical factors, 220; personal factors, 193, 225, 229, 242; social factors, 10, 193, 202, 204, 211, 220, 289, 290; trend lines, 184, 187, 193, 196, 199, 209, 2ii, 213, 214, 215, 221, 222, 223, 225, 228,229, 231, 234, 236, 238, 239, 240, 241, 242, 243, 248
Tavares, 265
Taylor, Deems, 77, 278; percentage in repertoire, 277
Tetrazzini, Luisa, 52
Thomas, Theodore, 22, 24, 27; founded Thomas orchestra, 34; first modern American conductor, 34, 40, 65; Director Ν. Y. Philharmonic, 45, 50, 87; conductor Chicago Orchestra, 102; failures, 102; personality, 104, 114; progressive repertoire, 106; Cincinnati Music Festivals, 113; 151, 239, 273
Thomas Orchestra, competitor of Ν. Y. Philharmonic, 44; model for other orchestras, 79; “highway” 101, 125, 138, 144, 161, 193; seating arrangement, 79
Thompson, Randall, percentage in repertoire, 188, 277, 278
Thomson, Virgil, percentage in repertoire, 188, 277, 278
Thunder, Henry Gordon, 124
Timm, Henry C., 48
Tommasini, Vincenzo, 68, 264
Toscanini, Arturo, 24, 37, 48, conductor Metropolitan opera, 52;• traits of, 56; debut with Ν. Y. Philharmonic, 57; appeal, 57, 58; repertoire of, 58; farewell concert, 59, 60; 67, 226
Tovey, Donald, 383
Transcriptions: of Bach, 135, 205, 208; aesthetic philosophy of, 135, 208
Trumbull, John, 17
Tschaikowsky, Peter Ilich, 64, 65, 68, 77, 107, 121, 135, 136, 143, 149, 152, 160, 164, 188, 196, 262, 263; visit to America, 197; trend line, 197; premiere in U. S., 197; percentage in repertoire, 66, 67, 121, 136, 172, 188, 196, 197, 206; Symphony No. 4,, 197, 376; Symphony No. 197, 376; Symphony No. 6, 66, 77, 107, 152, 197, 376; Concerto for Piano No. 1, 197, 376; Concerto for Violin, 197, 376; Romeo and Juliet, 196, 197, 376; Francesca da Rimini, 197, 377•, Marc he Slave, 198; Nutcracker Suite, 198; Overture 1812, 198; Eugene One gin, 367
Vaughan Williams, Ralph, 68, 77, 231, 247, 269; percentage in repertoire, 188, 227; London Symphony, 231; Fantasia on a Theme by Thomas Tallis, 231, 377
Verbrugghen, Henri, 49; conductor Minneapolis Symphony, 141
Van der Stucken, Frank, 48; conductor Cincinnati Symphony, 115, 116; Americanism of, 120, 249
Vanhal, Jan, 210
Varesé, Edgar, 54, 135
Verdi, Giuseppe, 25, 68; percentage in repertoire, 206
Vienna Philharmonic, 23, 63, 331
Vienna Royal Opera Orchestra, 39
Vieuxtemps, Henri, 118; percentage in repertoire, 206
Villa-Lobos, Heitor, 160, 173, 265; Choros No. 8, 359
Vivaldi, Antonio, 68, 264
Vocal music, early prestige of, 26; persistence of, 26, 27, 28
Vogler, Georg Joseph, 7
Wagenaar, Bernard, 67, 274, 278; Symphony No. 2, 67
Wagner, Richard, 8, 26, 41, 44, 64, 65, 68; in Boston, 96, 97, 104, 121, 135, 143, 149, 152, 160, 190; anti-Wagner, 192; essentially symphonic composer, 191; first American performances, 192, 193; trend line, 193; romanticism of, 194; percentage in repertoire, 66, 67, 112, 136, 159, 172, 188, 193, 206; Die Μeistersinger, 152, 376; Parsifal, 154, 194, 377; Tannhăuser, 192, 194, 377; Flying Dutchman, 193, 377; Die Walkiire, 194; Siegfried Idyll, 195, 377; Tristan, 230, 356, 376; Faust Overture, 195; Centennial March, 195; Über das Dirigieren, 313
Wallenstein, Alfred, 49, conductor Los Angeles Philharmonic, 170, 173
Walter, Bruno, 24, 74, 77, 94, 141, 169, 199, 205
Walton, William, 233, 247, 264, 284; percentage in repertoire, 188, 206, 277; Fagade, 233; Portsmouth Point, 233; Belshazzar’s Feast, 233
Ward, R., percentage in repertoire, 277
Weber, Joseph N., 342
Weber, Karl Maria von, 7, 8, 26, 68, 214, 310; percentage in repertoire, 188, 206, 214; Der Freischiitz, 39, 214, 376; Conzertstuck, 214; Invitation to the Dance, 214; Ober on, 214, 376; Euryanthe, 214, 376
Webern, Anton von, 359; Symphonie, 359
Weinberger, Jaromir, 143, 284; Schwanda, 143
Weiner, Lazar, 208
Weingartner, Felix, 50, 107 Weltanschauung, 253
West, Benjamin, 17
Wetzler, Hans, 69, 278; percentage in repertoire, 277; Basque Venus, 69
Whiteman, Paul, 271, 272
Whithorne, Emerson, percentage in repertoire, 277; 278
Whiting, Thomas, 276
Wieniawski, Henri, 65, 118
Wilhelmj, August, 65
Willhartitz, Adolf, 165
Willis, Richard Storrs, 269
Women as orchestra members, 309, 310
Wood, Sir Henry, 25, 50, 208, 307, 309
World War I, 89, 100, 108, 154, 163, 186, 193, 194, 215, 243, 248, 260, 261
Youth Orchestra, 134
Ysaye, Eugene, 48; conductor Cincinnati Symphony, 118, 262
Zach, Max, 49; conductor St. Louis Symphony, 147
Zelter, Friederich, 204, 207
Zerrahn, Carl, 79
Zimbalist, Efrem, 94, percentage in repertoire, 277; 351
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