The Idea of Art Music in a Commercial World, 1800-1930

369 Pages·2016·23.622 MB·English

by  Roberta Montemorra Marvin (editor)

26mm
NOTIONAL
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Art and money, culture and commerce, have long been seen as e

uncomfortable bedfellows. Indeed, the connections between them m I
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have tended to resist full investigation, particularly in the musical
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sphere. The Idea of Art Music in a Commercial World, 1800–1930, is r e
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a collection of essays that present fresh insights into the ways in c
which art music, i.e., classical music, functioned beyond its newly i o
established aesthetic purpose (art for art’s sake) and intersected a f
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with commercial agendas in nineteenth- and early twentieth- A
century culture. Understanding how art music was portrayed and W r
perceived in a modernizing marketplace, and how culture and t
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commerce interacted, are the book’s main goals.
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In this volume, international scholars from musicology and
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other disciplines address a range of unexplored topics, d u
including the relationship of sacred music with commerce in , s
the mid nineteenth century, the role of music in urban 18 ic
cultural development in the early twentieth, and the 0
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marketing of musical repertories, performers and instruments n
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across time and place, to investigate what happened once art music 1
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began to be understood as needing to exist within the wider 3
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framework of commercially oriented culture. Historical case
studies present contrasting topics and themes that not only vary
geographically and ideologically but also overlap in significant R
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ways, pushing back the boundaries of the ‘music as commerce’ o D
discussion. Through diverse, multidisciplinary approaches, the b IT
volume opens up significant paths for conversation about how e E
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musical concepts, practices and products were shaped by t
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interrelationships between culture and commerce. a
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CHRISTINA BASHFORD is Associate Professor of Musicology at the M C
University of Illinois. o h
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ROBERTA MONTEMORRA MARVIN is Director of the Opera Studies t a i
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Forum in the Obermann Center for Advanced Studies at the University e n t
of Iowa, where she is also on the faculty. m d i
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Banknotes featuring Claude Debussy and Giuseppe Verdi (photos courtesy of Conrad
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Marvin) and musical instruments (© Deutsche Bundesbank, Frankfurt am Main).
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COVER DESIGN: JAN MARSHALL s I A M
M h The dea of rt usic in a
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EDITED BY Christina Bashford and
Roberta Montemorra Marvin
The Idea of Art Music in a
Commercial World,
1800–1930
Idea of Art.indb 1 02/02/2016 15:13
Music in Society and Culture
issn 2047-2773
Series Editors
vanessa agnew, katharine ellis,
jonathan glixon, & david gramit
Consulting Editor
tim blanning
This series brings history and musicology together in ways that will embed social
and cultural questions into the very fabric of music-history writing. Music in
Society and Culture approaches music not as a discipline, but as a subject that
can be discussed in myriad ways. Those ways are cross-disciplinary, requiring
a mastery of more than one mode of enquiry. This series therefore invites
research on art and popular music in the Western tradition and in cross-cultural
encounters involving Western music, from the early modern period to the
twenty-first century. Books in the series will demonstrate how music operates
within a particular historical, social, political or institutional context; how
and why society and its constituent groups choose their music; how historical,
cultural and musical change interrelate; and how, for whom, and why music's
value undergoes critical reassessment.
Proposals or queries should be sent in the first instance to the series editors
or Boydell & Brewer at the addresses shown below.
Dr Vanessa Agnew, University of Duisburg-Essen,
Department of Anglophone Studies, r12 s04 h,
Universitaetsstr. 12, 45141 Essen, Germany
email: [email protected]
Professor Katharine Ellis, Department of Music, University of Bristol,
Victoria Rooms, Queen’s Road, Clifton, bs8 1sa, UK
email: [email protected]
Professor Jonathan Glixon, School of Music, 105 Fine Arts Building,
University of Kentucky, Lexington, ky 40506–0022, USA
e-mail: [email protected]
Professor David Gramit, Department of Music, University of Alberta,
3–82 Fine Arts Building, Edmonton, Alberta, t6g 2c9, Canada
e-mail: [email protected]
Boydell & Brewer, PO Box 9, Woodbridge, Suffolk, ip12 3df, UK
email: [email protected]
Previously published titles in the series are listed at the back of this volume.
Idea of Art.indb 2 02/02/2016 15:13
The Idea of Art Music in a
Commercial World,
1800–1930
Edited by
Christina Bashford and
Roberta Montemorra Marvin
the boydell press
Idea of Art.indb 3 02/02/2016 15:13
© Contributors 2016
All Rights Reserved. Except as permitted under current legislation
no part of this work may be photocopied, stored in a retrieval system,
published, performed in public, adapted, broadcast, transmitted,
recorded or reproduced in any form or by any means,
without the prior permission of the copyright owner
First published 2016
The Boydell Press, Woodbridge
isbn 978 1 78327 065 1
The Boydell Press is an imprint of Boydell & Brewer Ltd
PO Box 9, Woodbridge, Suffolk ip12 3df, UK
and of Boydell & Brewer Inc.
668 Mt Hope Avenue, Rochester, ny 14620–2731, USA
website: www.boydellandbrewer.com
A catalogue record for this book is available
from the British Library
The publisher has no responsibility for the continued existence
or accuracy of URLs for external or third-party internet websites
referred to in this book, and does not guarantee that any content
on such websites is, or will remain, accurate or appropriate
This publication is printed on acid-free paper
Designed and typeset in Adobe Warnock Pro by
David Roberts, Pershore, Worcestershire
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Contents
List of Figures vii
List of Tables ix
Notes on Contributors x
Acknowledgements xiii
A Note on Translations xiii
Bibliographic Abbreviations xiv
introduction
The Idea of Art Music in a Commercial World
Christina Bashford 1
part i publishers
1 Selling ‘Celebrity’: The Role of the Dedication in Marketing Piano
Arrangements of Rossini’s Military Marches
Denise Gallo 18
2 Creating Success and Forming Imaginaries: The Innovative Publicity
Campaign for Puccini’s La bohème
Michela Ronzani 39
3 Novello, John Stainer and Commercial Opportunities in the Nineteenth-
Century British Amateur Music Market
David Wright 60
part ii personalities
4 Jenny Lind, Illustration, Song and the Relationship between Prima Donna and
Public
George Biddlecombe 86
5 A German in Paris: Richard Wagner and the Masking of Commodification
Nicholas Vazsonyi 114
6 Conductors and Self-Promotion in the British Nineteenth-Century
Marketplace
Fiona M. Palmer 130
v
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part iii instruments
7 ‘What the Piano[la] Means to the Home’: Advertising of Conventional and
Player Pianos in the Saturday Evening Post and Ladies’ Home Journal, 1914–17
Catherine Hennessy Wolter 152
8 Art, Commerce and Artisanship: Violin Culture in Britain, c. 1880–1920
Christina Bashford 178
part iv repertoires
9 Read All About It! Ancient Greek Music Hits American Newspapers,
1875–1938
Jon Solomon 202
10 Selling a ‘False Verdi’ in Victorian London
Roberta Montemorra Marvin 223
part v settings
11 Schicht, Hauptmann, Mendelssohn and the Consumption of Sacred Music in
Leipzig
Jeffrey S. Sposato 250
12 The Business of Music on the Peripheries of Empire: A Turn-of-the-Century
Case Study
David Gramit 274
13 ‘Disguised Publicity’ and the Performativity of Taste: Musical Scores in
French Magazines and Newspapers of the Belle Époque
Jann Pasler 297
Index 327
vi
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Figures
1.1 Cover of Schott’s four-hand piano edition of the Marche du Sultan,
pl. no. 13296, 1854 (Courtesy of The Library of Congress, Music Division) 35
1.2 Frontispiece for Troupenas’s four-hand piano edition of pas redoublé,
no. 1, dedicated to Charlotte de Rothschild, pl. no. T. 351, no. 1, 1837
(Courtesy of The Library of Congress, Music Division) 36
2.1 Ricordi’s poster for La bohème, designed by Adolf Hohenstein, 1895
(Courtesy of MiBACT, Soprintendenza BAEP, for the provinces of
Venice, Belluno, Padua and Treviso) 49
2.2 Cover of the Gazzetta musicale di Milano, 13 February 1896, Mimì’s
Act I costume, designed by Hohenstein 51
2.3 One of the series of postcards Ricordi printed for La bohème, Mimì
and Rodolfo, Act I (Courtesy of Civica Raccolta delle Stampe Achille
Bertarelli, Castello Sforzesco, Milan) 53
2.4 Ricordi’s envelope seal, Mimì (from Eufremio Malorzo, Catalogo degli
erinnofili italiani, Turin: Edizioni Digitalis, 2006, p. 15) 54
2.5 (a) Cover of The Bohemians, An Opera in Four Acts […] Composed
by G. Puccini, New York: Boosey & Co., 1897 (Courtesy of Brown
University Library); (b) Cover of La Bohème di G. Puccini – Impressioni
di C. Graziani Walter, op. 250, for two mandolins, mandola and guitar,
pl. no. 100026, Milan: G. Ricordi & Co., 1911 (Courtesy of Civica
Raccolta delle Stampe Achille Bertarelli, Castello Sforzesco, Milan) 55
4.1 Eduard Magnus, replica (c. 1861) of portrait of Jenny Lind (1846)
(© National Portrait Gallery, London) 94
4.2 Richard James Lane, lithograph (1847) of Jenny Lind, after Conrad
L’Allemand (© National Portrait Gallery, London) 95
4.3 William Kilburn, daguerreotype of Jenny Lind (1848) (Royal Collection
Trust / © Her Majesty Queen Elizabeth II 2015) 96
4.4 John Brandard, lithographic title page of ‘Gently Sighs the Breeze’,
London: C[harles] Jefferys [1849] (The Bodleian Libraries, The
University of Oxford: John Johnson Collection) 98
4.5 John Brandard, colour lithographic print of Jenny Lind as Amina in
La sonnambula [1848] (© Victoria and Albert Museum, London) 100
4.6 Daniel Maclise, drawing in pencil of Jenny Lind as Amina in
La sonnambula [1848] (© Victoria and Albert Museum, London) 101
4.7 Napoleon Sarony, lithographic title page of ‘Lonely I Wander’, New
York: Firth Pond & Co. / Jollie, 1850 (Courtesy of The Library of
Congress, Music Division) 107
vii
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viii Figures
4.8 Napoleon Sarony, lithographic title page of ‘Jenny Lind’s Greeting to
America’, New York: Firth, Pond & Co. / S. C. Jollie, 1850 (Courtesy of
The Library of Congress, Music Division) 108
7.1 Men as active ‘players’ in Saturday Evening Post player-piano
advertisements (Courtesy of The University Library, University of
Illinois at Urbana-Champaign): (a) Aeolian Company, ‘We’ll Rally
’Round The Flag’, 13 October 1917; (b) Baldwin Piano Company, ‘The
Baldwin Manualo’, 22 April 1916; (c) Hallet & Davis Piano Co., ‘Bring
Back Old College Days – At Home Around the Virtuolo’, 27 June 1914 160
7.2 Courtship and the conventional piano in Ladies’ Home Journal
advertising: (a) Steinway & Sons, ‘The Music That Brings Back the
Dreams’, December 1915 (Courtesy of the University of Chicago
Library); (b) Steinway & Sons, ‘When Dreams Come True’, December
1916 (Courtesy of The University Library, University of Illinois at
Urbana-Champaign); (c) Ivers & Pond Piano Co., ‘The Princess Grand’,
December 1914 (Courtesy of The University Library, University of
Illinois at Urbana-Champaign) 163
7.3 Aeolian Company, ‘We’ll Rally ’Round The Flag’, advertisement for the
Aeolian Pianola, Saturday Evening Post, 13 October 1917 (Courtesy of
The University Library, University of Illinois at Urbana-Champaign) 165
7.4 Family music-making at the player piano in Saturday Evening Post
advertising (Courtesy of The University Library, University of Illinois at
Urbana-Champaign): (a) Gulbransen-Dickinson Company, ‘Nationally
Priced’, 31 March 1917; (b) Gulbransen-Dickinson Company, ‘What
Should a Truly Fine Player-Piano Cost?’, 13 October 1917; (c) Baldwin
Piano Company, ‘Everybody in Your Family was born to play the
Baldwin Manualo’, 18 November 1916; (d) Baldwin Piano Company,
‘Your Christmas Spirit in Every Note’, 1 December 1917; (e) Hallet &
Davis Piano Co., ‘America’, 21 February 1914 166–7
7.5 Advertisements for the conventional piano in Ladies’ Home Journal
(Courtesy of The University Library, University of Illinois at Urbana-
Champaign): (a) Ivers & Pond Piano Co., ‘For Bungalow or Apartment’,
November 1917; (b) Ivers & Pond Piano Co., ‘A New Small Grand’,
September 1914; (c) Ivers & Pond Piano Co., ‘A Distinctive Upright’,
September 1915 173
7.6 ‘Silent’ conventional pianos in Saturday Evening Post and Ladies’ Home
Journal advertising (Courtesy of The University Library, University
of Illinois at Urbana-Champaign): (a) Aeolian Company, ‘The Passing
of the Silent Piano’, Saturday Evening Post, 16 September 1911;
(b) Steinway & Sons, ‘Steinway’, Ladies’ Home Journal, December 1914;
(c) Kranich & Bach, ‘In the Best Homes’, Ladies’ Home Journal, October
1917 174
8.1 Advertisement for J. W. Owen’s violin business, from the programme
booklet for the Leeds Bohemian Concerts, 15 March 1905 (Courtesy of
Leeds Library and Information Service) 184
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Figures & Tables ix
8.2 Advertisement for ‘Cathedral’ strings, a product of British Music
Strings, Ltd., from The Violinists’ Gazette, October 1922 (Copyright
© The British Library Board, All rights reserved) 195
8.3 Advertisement for John Broadhouse’s book The Art of Fiddle-Making,
London: Haynes, 1894, from Strings, July 1894 (Courtesy of the Sibley
Music Library, Eastman School of Music, University of Rochester) 197
9.1 Display advertisement for the performance of Euripides’s Hecuba,
placed by the College of the Holy Cross in the Boston Globe, 14 May
1926 (Courtesy of the College of the Holy Cross) 220
10.1 Scene from Don Carlo at the Royal Italian Opera, Illustrated London
News, 13 July 1867 (Courtesy of the University of Iowa Libraries, Special
Collections) 233
10.2 Adelina Patti as Aida at the Royal Italian Opera in 1876, Illustrated
London News, 24 May 1879 (Courtesy of the University of Iowa
Libraries, Special Collections) 241
11.1 Gewandhaus Concert, programme of 2 March 1809 (Courtesy of
Stadtgeschichtliches Museum Leipzig) 260
11.2 Sample Kirchenmusik listing from the Leipziger Tageblatt (Courtesy of
Universitätsbibliothek Leipzig, Bibliotheca Albertina) 262
13.1 ‘Qu’avez-vous fait?’, Le Figaro, 29 May 1897 (Courtesy of Bibliothèque
Nationale de France) 319
Tables
3.1 Print runs of selected anthems in Novello’s Octavo Anthems Series 82
3.2 John Stainer’s royalty earnings from Novello, 1895–1900 83–4
11.1 Timeline of Leipzig Thomaskantors and the Kapellmeisters of the city’s
leading subscription concert series 253–4
12.1 City of Edmonton population, 1892–1920 279
12.2 Edmonton musicians and music teachers in relation to general
population, 1895–1920 280
12.3 City of Edmonton population by sex, 1901–16 283
12.4 Music-business workers in Edmonton, 1895–1920 287
13.1 Composers of sight-reading pieces for the piano exams at the Paris
Conservatoire, 1879–1914 321
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