The presence of an orchestra in the
theaters had ramifications beyond introducing many
Bostonians to orchestral music. Until at least
1850 instrumental concert life was too sporadic for and
orchestral musician to earn a living at it. The theatre,
however, provided regular, steady employment promoting
the presence of a core of instrumental musicians in
Boston and later the professionalization of the
orchestra, with both musical and social consequences.
Instrumental music simply would not have developed in
the manner that it did in America had not theaters been
present in most large cities. … Throughout the first
half of the nineteenth century the theater and concert
organizations competed for the services of musicians,
and because the theater provided more steady employment,
concert organizations had to work around the theater
schedule.
[Broyles, Music of the Highest Class, pp. 102-103]
An orchestral musician in Boston between 1800 and 1840
could expect to earn roughly between $400 and $600 a
year from his trade. As we recall, the most steady
employment, indeed the only employment sufficient to
provide a living, came from the theater. Theater
musicians normally earned between $10 and $15 a week
throughout the this period. Because the theater
season only ran from October to May, annual income from
that source would be approximately between $300 and
$400. Many of the theatre [sic] musicians performed with
other organizations, like the Handel and Haydn Society
or the Boston Academy of Music, which brought in another
$20 to $40 a year. That sum varied
considerably because of the range of the number of
performances as well as he various negotiating
strategies that the organizations emplyoyed.
As the theater usually had performances at least five
nights a week, there was little opportunity for
the theater musician to engage in freelance work, such
as playing dances… The income that the average musician
earned from teaching is unclear. The going rate for
private lessons was between seventy-five cents and $1 an
hour, so if a musician averaged only a half-dozen
lessons a week, his annual income could increase by
about $200….
An income of between $400 and $600 a year placed
musicians at the high end of the income range for
skilled workers and roughly equal to the earnings of a
small artisan shop owner.
[Broyles, Music of the Highest Class, pp. 329-330]
Toward the close of the Eighteenth Century the theatres
generally had engaged regular orchestras. On June 1,
1796, fourteen performers, members of various theatre
orchestras, assisted Mrs Arnold, a well-known vocalist
of the day, in a benefit concert given at Theatre Hall,
Boston; and on May 15, 1798, Gottlieb Graupner, with the
" assistance of the best musicians in Boston," gave an
orchestral concert in Salem. Graupner came from Germany
to America in 1795, and in October, 1796, his name
appears in connection with a concert given in Norfolk,
Virginia. The program states that he will play a
concerto on the oboe, and as his name appears in a
violin duet he evidently was a performer on that
instrument as well. In 1797 Graupner moved to Boston,
and in 1810 in conjunction with others he founded the
Philharmonic Society, which was active until 1824. A
writer of the time remarks that the orchestra of this
society " confined (their) work to the simpler fields of
classical music. . . . Occasionally Graupner would
insist upon trying a Haydn symphony."
http://www.tribalsmile.com/music/article_13.shtml
Handel and Haydn Society founded April 20, 1815
Two years before [the founding of the NY Philharmonic,
1840?], the Boston Academy Orchestra had sprung
into existence. This organization averaged from thirty
to forty performers, with George J. Webb as its
conductor. During its seven years of existence it made a
brave endeavor to educate the people into an
appreciation of classical music. Here, too, the first
advance was made in the modern method of conducting, Mr.
Webb using the baton instead of playing an instrument as
was the custom with our earlier orchestra conductors. As
a matter of fact European orchestral leaders did not
adopt the baton until the beginning of the Eighteenth
Century.
http://www.tribalsmile.com/music/article_13.shtml
When in 1847 the Boston Academy Orchestra broke up, a
new organization, known as the Musical Fund Society, was
formed by Thomas Comer. Its founder was not a man of
high artistic ideals and consequently the music
presented under his direction was of light order.
Subsequently Geo. J. Webb assumed charge of the society
and to some extent improved on the work of his
predecessor. But the Musical Fund Society never attained
to any eminence, and like its Philadelphia namesake it
lasted but a few years, closing up its affairs in 1855.
In the same year Carl Zerrahn, who had come to Boston as
a flute player with the Germania Orchestra, instituted
an organization which, under the title of the
Philharmonic Orchestra, gave a series of concerts each
year up to 1863. The Civil War caused music to languish
at this time and for three years Boston was without any
orchestra worthy the name.
http://www.tribalsmile.com/music/article_13.shtml
Members of the Handel and Haydn Society Orchestra in
1817 as stated by Mr. Sharp: …Niebuhr, 1st Horn;
S. Wetherbee, 2nd horn.
[Perkins and Dwight, 1885-1893, p. 50, note 4.]
[Charles C. Perkins and John S. Dwight, History of the
Handel and Haydn Society of Boston Massachusetts, Alfred
Mudge and Son, Boston 1885-1893, Vol. 1]
CONCERT
Mr. and Mrs. PAPANTI
Respectfully inform the Ladies and Gentle-
men of Salem and vicinity
that they will give a
CONCERT
Of Vocal and Instrumental Music
At Concert Hall
TO-MORROW EVENING, Sept. 1. [1826]
PART I.
1. Song – Mrs. Papanti. “ Like the gloom of night
retiring.” Bishop.
2. Solo – French Horn. Mr. Papanti.
Robin Adair, with variations Pinzanti.
3. Sacred Song – Mrs. Papanti. Eve’s
Lamentation
King.
4. Solo – French Horn. Mr. Papanti.
Hunter’s Horn
Phillips.
5. Song – Mrs. Papanti, Love
Letter.
Bishop.
6. Song – Mrs. Papanti. Harp of
Love
Mazzinghi.
PART II.
7. Song – Mrs Papanti, “Go, my
love.”
Bishop.
8. Solo – French Horn. Mr. Papanti.
Tyrolese Air with variations Miseria.
9. Sacred Song. Mrs. Papanti. “If e’er when
solemn stillness.” Mozart.
10. Divertimento. French Horn. – Mr. Papanti.
Affamati.
11. Italian Song. Mrs. Papanti. – “Una voce poco fa,”
from the
the Barber of
Seville.
Rossini.
12. Finale. Horn and Piano Forte. Grand
Waltz.
Mozart.
Performance to commence at 1-2 past 7 o’clock.
Tickets at 50 cents – to be had at the Book stores of
Messrs. Whipple & Lawrence, J. R. Buffum, J. M.
Ives, and at the door.
Aug. 31.
Gazette, 1826
[Brooks, (1888), pp. 178-179]
April 10, 1852 Mozart’s Musical Joke (Vienna, 1787)
performed [no mention of horns]
[Dwight’s Journal, I, 1 April 10, 1852, p. 6]
Fourth Musical Fund Concert [1/15/1853] We congratulate
the Society on the accession of so artistic a horn
player as Mr. Hamann. His solo was well selected, an
expressive Adagio, not too long, and without the
fashionable nuisance of absurd variations; and from the
sweet, pure, feelingly modulated tones of his instrument
it breathed like a mysterious voice of melody from
forest depths. All was within the true sphere and
genius of the instrument. [Note: composer unknown and
was not mentioned in the ad. for this concert. ]
[Dwight’s Journal, II, 13 (1 January 1853) pp. 125-25]
Sixth Musical Fund Concert – Feb 12, 1853 Beethoven Sym.
7
[Dwight’s Journal, II, 20, (19 February 1853) p. 158]
Otto Dresel’s Fifth and last musical soirée [March 2,
1853] the septet by Hummel. …The accompaniments
(for flute, oboe, horn, viola, violoncello and double
bass) played by members of the “Germania Society,”
blended in with a most grateful warmth of coloring; some
of these effects from Herr Küstenmacher’s horn,
(especially in that
Passage of the trio to the Scherzo, where its mellow
monotone, sounding on, as if rescuing the last chord
from dying into silence, leads back the theme and sets
all the instruments at work with it again,) were quite
enchanting. The septet was a luxurious feast of tones.
[Dwight’s Journal, II, 22 (5 March 1853) p. 128]
Jullien’s Orchestra – The London Musical World names the
following performers, who were to follow their leader to
this country in the steamer from Liverpool on the 3rd
inst. [3 Ausgust 1853] … Horns, Stenebrugger and Hughes
– the former from Brussels, and both tried performers.
[Dwight’s Journal, III, 20 (20 August 1853) p. 159]
Jullien’s First Grand Promenade Concert [from the N.Y.
Tribune]. As nearly as we could discern, Jullien’s
orchestra numbered ninety-seven perfomers as follows … 4
horns… Of these, twenty-five were brought by M. Jullien
from Europe and the remainder engaged here.
[Dwight’s Journal, III, 22 (3 September 1853) p. 173]
End of Boston Musical Fund Society ca. 1854?
Dwight’s “Diarist” identified as Alexander W. Thayer
(June, 1854)
Boston Conservatory announced, August 12, 1854
The new conductor of the Handel and Haydn Society, Mr.
Zerahn, has collected an orchestra of really choice
materials, numbering thirty instruments for the
oratorios in the Boston Music Hall and possibly for
afternoon symphony concerts (let us not say “public
rehearsals” any more) besides. It includes about
half of he late Germanians who remain here, the members
of the late [sic, their soirées will continue]
Mendelssohn Quintette Club and others of the best
resident musicians as follows: Horns: Rudolphsen and
Hamann.
The old Musical Fund Society has received impulse from
its new president, Mr. Charles C. Perkins and is in a
fair way to realize an efficient orchestra upon a larger
scale… All the old Germanians, who remain here, have
taken into the Fund orchestra.
[Dwight’s Journal, VI, 1 (7 October 1854) p. 6]
Music Fund Society Corni: Rudolphsen, Kluge, H.Fries,
Dorn
[Dwight’s Journal, VI, 2 (14 October 1854) p. 14]
The “Orchestral Union” - such is the name happily chosen
by Mr. Zerrahn’s orchestra, seeing that it unites the
cream of the Germania, the Musical Fund, the Quintette
Club, &c, - have definitely decided to undertake
public afternoon cheap concerts in the Music Hall
similar to the old Germania “rehearsals” upon joint
account. The first will be Wednesday the 15th inst.
[November, 1854] Mozart’s “Jupiter” symphony will be the
pièce de resistance.
[Dwight’s Journal, VI, 5 (4 November 1854) p. 38]
Mendelssohn Quintett Club [November 21, 1854]…Also (for
opening the second part) an Andante from a Quintet by
Mozart, for horn and quartet of strings, a posthumous
work. We could not find it so interesting as what Mozart
produced in less exceptional forms, although of course
it could not wand his characteristic grace and
fluency. The horn part, a pretty difficult one, was
smoothly and clearly played by Mr. Hamann; but the
nature of the case, all horn tones are so telling, it
sounded out of proportion with the strings. We wondered
whether Mozart ever tried the experiment of adding a
horn part to the stringed quartet more than once; and
even whether he did it this once in obedience to and
instinct of his own. The posthumous chance
discoveries of great men’s works are frequently things
made to order, or in momentary freaks of experimenting,
which they therefore showed no anxiety themselves to
have preserved. But we speak only from a single
hearing of one movement only of a work in classical
form, which ought in justice to be heard in entire.
[Dwight’s Journal, VI, 8 (25 November 1854) p. 61]
First Music Fund Concert [December, 2, 1854] Our old
Musical Fund Society re-organized with fifty
instruments, all carefully selected from the best
material in the city, including a third part of the late
Germania…
With the performance of the “Heroic” Symphony [Beethoven
Third] the attentive and exacting listener had every
reason to be pleased… The Marcia Funebre especially was
faultless; the trio for horns in the Scherzo was as
smooth and prompt as one could wish – really a triumph
after attempts which we all remember;
[Dwight’s Journal, VI, 10 (9 December 1854) p. 76]
Boston Musical Fund Society [December 16, 1854] Trio for
horns executed by Messrs. Rudolphsen, H. Fries, and E.
Kluge.
The trio for French-horns [sic] (how expressive the
German name Wald or forest horns!) by Messrs.
Rudolphsen, H. Fries and Kluge, was a piece of execution
better than anything of the kind that we remember, and
worthy to be classed with virtuosity like that of
Jullien’s solo players. Such purity and smoothness
of tone, such ready, free and rapid utterance we had
scarcely credited to these not very glib or loquatios
[sic, loquacious] instruments. The piece itself,
however, was rather out of character for horns, whose
best virtue resides in the orchestra, in the mellow
light which they pour in as it were from the background
of he picture, warming the whole, rather than in these
artificial variations and exceptional caperings in the
foreground. Yet it displayed a fund of executive
force in the performer, which makes one always sure of
them in their orchestral function.
[Dwight’s Journal, VI, 12 (23 December 1854) p.
12]
Orchestral Union [January 3, 1855] On Wednesday the
program of the week before as repeated. The Fourth
Symphony of Beethoven was found lovelier than ever.
There was almost an encore of the Adagio. In the
arrangement of the popular song of Abt’s: “When the
swallows homeward fly, “ &c. the admirably
clear and singing manner in which the melody was given
out, first by the horn of Mr. Hamann, another by the
trumpet of Mr. Heinicke, was worthy of he warm applause
that both elicited.
[Dwight’s Journal, VI, 14 (6 January 1855)
p. 110]
Orchestral Union [January 17, 1855] The Adagio from
Mendelssohn’s “Song of Praise,” and the overture to
“Sermiramide, ” made up the remainder of the solid part
of the programme, both giving samples of the brass side
of the orchestra, the horns – such as we have never had
before – executing most perfectly the opening theme of
the overture.
[Dwight’s Journal, VI, 16 (20 January 1855) p.
126]
The Cambridge Musical Association gave a concert last
evening [March 23, 1855] at the Athenaeum to a crowded
audience… Mr. August Hamann, of the Orchestral Union,
acted as conductor.
[Dwight’s Journal, VI, 25 (24 March 1855) p. 199]
Mr. [Gustav] Satter’s third concert, [April, 7, 1855]
benefit to John P. Groves [a young American
violinist]… But what pleased as most, what gave us
the newest sensation, was the Quartet for French horns,
composed by Mr. Eckhardt, and played by Messrs. Hamann,
Fries, Eckhardt, and Kluge. In he execution we do
not remember anything of he kind so true, so flowing, so
luscious in the blending of tones. In the soft
passages the quadruple stream of harmony flowed as
smoothly as from organ pipes. The genius of the
instrument was nowhere perverted, by attempting a kind
of solo virtuosity out of its own sphere, and yet there
was all the light and shade, the free melodious movement
of a quartet of voices. The composition was not only
perfectly adapted to the instruments, but interesting in
itself, and solid. Throughout a considerable
length of contrapuntal movement, imitation, &c., it
charmed the listener along with it. We
congratulate the author on producing something so much
more felicitous than the usual attempts at ingenious
novelties of this art.
[Dwight’s Journal, VII, 2 (14 April 1855) p. 13]
The Mendelssohn Choral Society give a concert tonight on
a novel plan. It is mostly instrumental and is given in
compliment to the Ladies of the Society. The orchestra
of 42 members, under Mr. Eckhardt, will play Beethoven’s
Seventh Symphony which we have had no chance to hear
before this winter although we have had all the others,
save the Ninth, … and that horn quatour of Mr.
Eckhardt’s will be played again.
[Dwight’s Journal, VII, 2 (14 April 1855) p. 15]
The disastrous concert season of the last winter in our
city seems to have a somewhat paralyzing effect on those
organizing efforts which should by this time have
entirely ripened, for the first class of concerts in the
season fast approaching…We are happy to be able to say
that there is now a serious movement on foot, whose
success admits scarcely of a doubt, for the arrangement
of a series of classical orchestra concerts in the
Music Hall, with Carl Bergmann as conductor, with and
orchestra of at least fifty members, and with most
positive guaranty that whatever programme shall be
announced shall be fulfilled to the letter.
[Dwight’s Journal, VII, 25 (22 September 1855) p.
198]
[Bergmann had left Chicago in the spring to conduct the
final concerts of the season of the New York
Philharmonic due to the illness of it’s concductor,
Eisfeld. Instead of coming to Boston for the coming
season he instead stayed on with the New York
Philharmonic Society. A series of six orchestral
concerts was subscribed.]
Orchestral Concerts. We have an excellent conductor in
Mr. Carl Zerrahn [former Germania flute] whose exercise
of that function in the concerts of the Handel and
Hayden Society, and the Orchestral Union, last year, won
him extensive and deserved favor.
[Dwight’s Journal, VIII, 1 (6 September 1855) p.
5]
Fifth Orchestral Concert [January 19, 1856]… The
exquisite romantic overture to Oberon, … was the best
played piece of the evening. The horn passage cam out
with delicious purity. … Andante and Variations,
and Finale from Beethoven’s Septet, op. 20
[Hamann, horn].. three wind instruments were
beautifully played.
[Dwight’s Journal, VIII, 17 (26 January 1856) pp.
133-34]
At the third Sunday Evening concert of Bergmann’s
Orchestra, a Symphony by Schumann (new in Americal
NUMBER??
[Dwight’s Journal, IX, 1 (5 April 1856) p. 7]
Mr. Henry Ahner with an orchestra which he has organized
into a permanent society is giving concerts every
Saturday afternoon in Providence, Rhode Island.
[Dwight’s Journal, IX, 2 (12 April 1856) p. 15]
Last Wednesday afternoon concert [April 16, 1856?
“crowded out last week”] drew another full hall. … The
horn solo by M. Trojsi was a remarkably smooth and clear
performance.
[Dwight’s Journal, IX, 4 (26 April 1856) p. 31]
Another season is approaching, and we begin to see signs
of movement along our various Societies. The
committee who managed the “Orchestral Concerts” last
winter are already taking measure to secure a similar
series of eight grand concerts under the name of “The
Beethoven Concert Society”, of which more hereafter.
[Dwight’s Journal, IX, 26 (27 September 1856) p.
206]
Manchester, New Hampshire The first of a series of
Orchestral Concerts came off last evening [November 18,
1856] and was a complete success…What can we say of the
orchestra? We surely have never heard such a complete
and well drilled band in this city before. – Manchester
Mirror, 19th.
[Dwight’s Journal, X, 8 (22 November 1856) p. 63]
Beethoven Concert Society - From a want of the requisite
number of subscribers [1500 sets of tickets] it has been
found impossible to give the Eight Concerts as
heretofore promised.
Plan number two [Four concerts] concerts abandoned.
[Dwight’s Journal, X, 8 (22 November 1856) p. 63
and X, 10 (6 December 1856) p. 78]
Dwight’s Journal whimpers:
While here in this famed citadel of class of classical
music, where stands the statue of Beethoven, there are
no symphonies to be heard, and while here after some
twenty years of symphony concerts, we have not yet a
permanent society for classical orchestral music, it is
curious to turn to the young city of Milwaukee, where
the sixty-eighth concert of its “Musical Society” was
given on the 26th ult. [November 26, 1856] with the
following program: Symphony in C minor, [Fifth] by
Beethoven… Song of the Pilgrims at their return- Wagner,
Song for Soprano with piano accomaniment; “Good Night” –
Serenade for male voices; Song for Tenor with Piano
accompaniment; Overture to “der Freyschütz” [Weber].
[Dwight’s Journal, X, 10 (6 December 1856) p. 78]
Manchester, N.H. Second Orchestral Concert took place
last week.. . one of the Boston performers remarked that
“there could not be found (out of Boston) in this part
of the country, and orchestra so well drilled and
complete as this, “ which no doubt is true.
[Dwight’s Journal, X, 11 (13 December 1856) p. 85]
First [Boston] Philharmonic Concert [January 3, 1857] –
Program Beethoven Fourth Syomphony, Overture to Der
Freyschutz, Wagner’s Faust Overture, Nocturne from
Midsummernights Dream, Pilgrims’s Chorus from
Tannhauser Violin sole by DeBeriot, Oveture to William
Tell. [no mention of horn personnel or performance in
review]
[Dwight’s Journal, X, 15 (10 January 1857) p. 117]
Thalberg’s third concert (January 10, 1857) Orchestra of
the Philharmonic Concerts repeats Overture to Der
Freyschutz, Andante of Beetoven Fourth Symphony,
Overture to William Tell, plus March from le Prophète,
(Meyerbeer), and Piano Concerto in C minor of Beethoven.
[Dwight’s Journal, X, 16 (17 January 1857) p.
126]]
Thalberg’s last concert [23 January 1857] included the
last three movements of Septet by Hummel: Scherzo,
Andante with variations, and Finale with Mr. Hamann,
horn… The horn with its all penetrating sweetness told
better; but that delicious passage in the Trio where it
sustains a final note and leads back with a happy
surprise into the theme, was ineffective, from the poor
blending of the half starved tones;
[Dwight’s Journal, X, 17 (24 January 1857) p. 132]
Mendelssohn Quintette Club: Andante by Haydn, arranged
for Violoncello and Piano by Burchard, Messrs. W. Fries
and A. Hamann
…of the Pianist, Mr. Hamann, we may say that he
acquitted himself very credibly for a first public
appearance in that character, and for one who has only
devoted himself to the piano during the past year or
two. (He has been better known and of late missed
as an excellent horn-ist in our ourchestras a young man
of artistic and musician-like character.) His
playing was evidently timid and therefore a little tame,
but showed good compassion and capacity.
[Dwight’s Journal, X, 21 (21 February 1857) p.
166]
March 10 1857: Mendelssohn Quartet concert
Piano trio, in B-flat for piano, clarinet and
violoncello. Messrs. Hamman, Ryan and W. Fries … The
pianist evinced progress, but had not overcome the
stiffness of comparatively a beginner.
[Dwight’s Journal, X, 25 (21 March 1857) p. 197]
The Grand [or “Great”) Musical Festival of Handel and
Haydn Society, Carl Zerrahn conductor, May 21, 22, and
23, 1857. Horns: Hamann, Trojsi, Regestein, I, Jacobus.
This is the place to speak of the composition of the
orchestra, of 78 instruments … All of these were
resident musicians with the exception of about a dozen,
chiefly violins and ‘cellos, from New York. Here was a
noble orchestra for Boston.
Third Day the program included Beethoven Seventh
Symphony and
Duet – The Thirteenth Psalm, with French Horn and
Violoncello Obligato, by Messrs Hamman and W. Fries
composed expressly for this occasion, and dedicated to
the Handel and Haydn Society by the President of the New
York American Music Association, Miss Phillips and Dr.
Guilmette.
The “Thirteenth Psalm” an attempt after the manner of
old English writers, concluding with a canon movement,
had a crude air of learning without much inspiration.
[Dwight’s Journal, XI, 9 (30 May 1857) p. 65ff]
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