By E. Douglas Bomberger
The sequence of biographical sketches released by means of Brainard's Musical international among 1877 and 1889 is impressive for the variety of the musicians profiled and for the interesting own info supplied. this era witnessed the institution of musical associations and attitudes towards song that experience formed American song to the current day. The biographies current a cross-section of yankee musicians within the past due nineteenth century, together with singers, instrumentalists, writers, academics, and composers. one of the musicians incorporated are a few of America's so much well-liked conductors, reminiscent of Theodore Thomas and Leopold Damrosch; composers, similar to John Knowles Paine and George F. Root; writers, corresponding to John S. Dwight and Amy Fay; lecturers, reminiscent of William Mason and Erminia Rudersdorff; and performers, resembling Emma Abbott and Maud Powell. ratings of much less regularly occurring musicians who have been additionally instrumental in shaping America's song are integrated besides. initially meant for normal readers, the biographical sketches not just make clear musical themes but additionally contain own info that's seldom present in a standard dictionary and which speaks to the attitudes and matters of the past due nineteenth century society.This paintings may be of price to students and researchers of 19th-century American tune and to these attracted to the improvement of renowned music. Entries are alphabetically prepared and comprise pick out bibliographies. A normal bibliography and index also are incorporated.
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Extra resources for Brainard's Biographies of American Musicians (Music Reference Collection)
Pappenheim became somewhat unmanageable, being unwilling to sing at the rehearsal. She had shown her independence and almost ungovernable will to several leaders, but when Balatka took the baton, one could at once see that a man ruled whom even a Pappenheim was forced to obey. Mr. Balatka was the conductor of the last Saengerfest in Chicago. The eminent success of the festival is no doubt largely due to his energy, his skill, and foresight. Hans Balatka was among the first of over three million German immigrants to come to the United States in the decades following the failed revolutions of 1848/1849, and he played an important role in the early history of art music in the upper Midwest.
He was bom on March 5, 1827,1 in Hoffnungsthal, Moravia, Austria. He began his musical career as chorister or choirboy in the Olmiitz Cathedral. While filling that position, the foundation for that musical education was laid, which has made him prominent in the musical history of this country. His parents were well-to-do people, and when the boy had therefore reached the age of sixteen, they sent him to Vienna with the intention of making a lawyer of him. He continued, however, his musical studies under Heinrich Proch and Simon Sechter and made such marked progress that a year later, when but seventeen years of age, he was chosen director of the Academa choir of Vienna, soon after which he gave a few concerts which called for many, and very favorable comments.
This he did with great credit to himself. After that concert he was asked to settle in Chicago, which he at once did. His activity continued unabated. He organized German and English societies. He was engaged as director of the Philharmonic Society, which has grown and prospered under his able leadership. He also became leader of the Musical Union, a position which, like all others he held, he filled with honor to himself and to the satisfaction of the members of the society. He also was at the head of the Liederkranz and Orpheus.