The Rise of the Piano in the 19 th Century

Transcription

1 The Rise of the Piano in the 19 th Century

2 The Harpsichord The piano was invented in One keyboard (manual) played loud, the other soft

3 A Fortepiano (ca 1805) Leather-covered hammers and thin, harpsichord-like strings Not to be confused with the Pianoforte

4 Bartolomeo Cristofori invented the Pianoforte (Piano) ca This 1722 piano in the Museo Nazionale degli Strumenti Musicali in Rome.

5 Josas Chickering started producing pianos in Boston in the Price? $275 ($5,268 in 2013 money)

6 Steinway Piano Factory, New York Founded in 1853 Henry E. Steinway ( ) A German immigrant Photo by Mathew Brady

7

8 The Rise and Fall of Piano Sales

9 Year U.S. Population Pianos Sold Per Capita Sales US Life Expectancy 1600 about ,000 First Piano Built ,205, ,309, ,638, ,866, ,069, ,191, ,443, ,189, ,948, ,212, , ,228, , ,021,537 Player Pianos , , , , , , ,140 95, ,973 37, ,202, ,370 2, ,164, , ,323, , ,542, , ,421, ,

10 Piano Sales in America (2007) Vertical (Upright) pianos 31,861 Grand Pianos 22,189 Electric Pianos 8,536 Total Piano Sales in America= 62,536 Per capita US = 1/4866 in 2007 In 2010 there were 2,991,260 guitars sold in America at an average price of $372 Per capita US = 1/100 in 2007

11 The American Household in the 1800 s Business moved out of the house into the office. There was a shift of commerce and industry into office buildings. The home became more of a center for family and cultural activity. Husbands left for work in the morning into a competitive world and returned home in the evening to their wives. Men gave up involvement with domestic affairs. Domestic affairs became the domain of women. Music making was deeply influenced by the change. Women were responsible for raising children, managing household affairs and beautifying their surroundings. The sheet music traces came to assume that parlor piano playing was a female activity. Piano music published in the 1840 s coincided with women s taste and capacities.

12 Before the phonograph, music notation was the key to musical commerce. Notated music came in two forms: Musical scores and Sheet Music Scores were to be played in such an way as to express a composers intent. Sheet Music was played in such a way as to accommodate the skill of the various performers, skilled and unskilled. Edison Phonograph The figure is made out of Edison Cement, an improvement over Portland Cement

13 Sheet Music and Home Music Making Late 1820 = 600 sheet music titles 1840 s = 1600 sheet music titles 1850 s = 5000 sheet music titles Copyright law protected only authors who were America Citizens or residents. It was cheaper to publish Foreign (European) music. The publishing industry was very risky- only a fraction of the publications did well. When they did, variants of the song were exploited. In the 1800 s the perception was that Old World music as superior to American Music.

14 The Great Divide posed a philosophical question to musicians: Does one write composer s music ; authoritative scores? Pieces had to be written down in order to be bought and sold Notation stressed the authority of the composer Musicians are careful to follow the written music and remain faithful in the composers intent. Does one write performer s music Performer s music was springboard to an individual, personalized, and more or less interpreted approach to music. In performer s music the top line of the piano part is the same as the vocal melody and accompaniment was simple and designed for players with moderate musical skills.

15 Composer s Music=highly noted classical music. The performer is a vehicle for the composition. Performer s music=pop sheet music which is a skeletal outline inviting interpretation. In Musical Theatre, for example, the emphasis was on pleasing an audience rather than performing a work with the authority of a composer.

16 , American Revolution , French Revolution , Serbian Revolution against the Ottoman Empire , Greek War of Independence against the Ottoman Empire , Belgian Revolution , Revolution in Poland and Lithuania 1848, Nationalist revolts in Hungary, Italy and Germany , Italy unified. 1863, Polish national revolt , Germany unified. 1867, Hungary granted autonomy. 1867, Irish uprising 1878, Serbia, Romania granted independence

17 (The Common-Practice Period ) The Rise of Musical Nationalism Poland - Frédéric Chopin ( ) Finland - Jean Sibelius ( ) Germany Richard Wagner ( ) Spain - Enrique Granados ( ) Mexico Manuel Ponce ( ) and Carlos Chávez ( ) Russia - Pyotr Ilyich Tchaikovsky ( ) and Nikolai Rimsky-Korsakov ( ) and Modest Mussorgsky ( ) United Kingdom - Edward Elgar ( ) and Ralph Vaughan Williams ( ) United States - Edward MacDowell ( ) Amy Beach ( ) and Aaron Copland ( ) and, later, an interest in American Roots Music

18 The rise of romanticism in the 19th century revived interest in traditional, nationalistic folk stories, nationalist music, national literature, and culture The Grimm brothers publish volume one of Children' and Household Tales Brothers Grimm: Jacob Ludwig Carl Grimm Wilhelm Carl Grimm Included are: Snow White and the Seven Dwarfs Hansel and Gretel Cinderella Little Red Riding Hood Tom Thumb Sleeping Beauty Rapunzel Rumpelstiltskin The Goose the Laid the Golden Egg Beauty and the Beast

19 19 th c. American Nationalist Composers The Boston Six John Knowles Paine ( ) Arthur Foote ( ) George Chadwick ( ) Amy Beach ( ) Edward MacDowell ( ) Horatio Parker ( )

20 George W. Chadwick ( ) The Yankee Composer: A musician at home in European genres, but with an American sensibilities such as Pentatonic scales Anglo-American psalmody African-Carribean dance syncopations Parallel voice leading Virtuoso orchestrations He wrote in many musical genres: opera, chamber music, choral works, and songs, and orchestral music

21 Each Sketch begins with a poem No. 1, "Jubilee No cool gray tones for me! Give me the warmest red and green, A cornet and a tambourine, To paint my Jubilee! For when pale flutes and oboes play, To sadness I become a prey; Give me the violets and the May, But no gray skies for me.

22 Symphonic Sketches First Movement: Jubilee Review of his 1908 Performance Critic Henry Taylor Parker who reviewed his 1908 performance. He heard in Jubilee echoes of negro songs and he fancied that the work was set in an American Farmhouse. He also delighted in the music s high and volatile spirits the sheer rough and tumble of it, concluding: The music shouts because it cannot help it, and it sings because it cannot help it, and each as only Americans would shout and sing George W. Chadwick: Symphonic Sketches: I (excerpt)

23

24 Amy Beach: Achievements She wrote over 300 works She was a performer AND composer First American-trained concert pianist First generation of female instrumentalists First woman to compose for largescale works for the concert hall Mrs H.H.A. Beach ; a proper name for a Bostonian married woman. Amy Beach - Symphony in E Minor (1894) 1 st and 2 nd Movement (Excerpts) Amy Beach ( )

25 Edward MacDowell ( ) He is best known works are: Woodland Sketches Sea Pieces New England Idylls The Indian Suite He was a music professor at Columbia University. He suffered from frequent depressions, stressful overwork, and insomnia. Woodland Sketches To A Wild Rose Edward MacDowell and his wife Marian Nevins MacDowell

26 At age 44 he gets run over by at Hansom cab and started suffering from dementia. He died four years later under the care of his wife.

27

28 The Saxhorn was patented in Paris in 1845 by Adolphe Sax A year later he patents the Saxophone. The saxhorn was the most common brass instrument in American Civil War bands. The instruments pointed at the troops behind the band,

29 Famous 19 th Century Band Leaders J.P. Sousa and the Marine Band

30 Patrick Gilmore ( ) Composer and bandmaster Famous 22nd Regiment March (1874), played by the United States Marine Band Wrote the lyrics to When Johnny Comes Marching Home In 1855, his Promenade Concert in America became the forerunner to the Boston Pops Coliseums were built to hold his concerts. The largest coliseum held twenty thousand people. He set up "Gilmore's Concert Garden", which became Madison Square Garden in New York In 1888 he apparently started the tradition of seeing in the New Year in Times Square, New York In 1891, he played for some of Thomas Edison's first commercial recordings

31 John Philip Sousa ( ) The March King At age 25 he becomes the leader of the U.S. Marine Band Compositions include: 136 marches 15 operettas 70 songs Many other pieces

32 A typical Sousa Concert First Half: A classical work such as an Overture This was followed by one or more encores which he would call out. (not on the printed program, the audience and band were kept on their toes ) Instrumental Soloist Ensemble piece such as a suite by Sousa Vocal Selection by a soprano Rousing Instrumental finishing number All selections were encored. Second Half: Same with variety of music being stressed: Classical and popular, solo and ensemble. He tailored his music around his audience, spontaneity being the key.

33 Sousa s distaste for Dance Music and Syncopated Rhythms Like many of his contemporaries, Sousa subscribed to the notion of high and low music. He likened a syncopated tune to a low-born woman made respectable by the band s attentions. I have washed its face, put a clean dress on it, and put a frill around its neck. It is now and attractive thing, completely different from the frowzly-headed (messy) thing of the gutter.

34

35 American March Form Introduction A B C D C First Strain 2nd Strain Trio Break Strain" Plus Trio The Stars and Stripes Forever J.P. Sousa

36 American March Form Introduction A B C D C First Strain 2nd Strain Trio Break Strain" Plus Trio The Stars and Stripes Forever J.P. Sousa

37 American March Form Introduction A B C D C First Strain repeat 2nd Strain Trio Break Strain" Plus Trio The Stars and Stripes Forever J.P. Sousa

38 American March Form Introduction A B C D C First Strain 2nd Strain Trio Break Strain" Plus Trio The Stars and Stripes Forever J.P. Sousa

39 American March Form Introduction A B C D C First Strain 2nd Strain repeat Trio Break Strain" Plus Trio The Stars and Stripes Forever J.P. Sousa

40 American March Form Introduction A B C D C First Strain 2nd Strain Trio Break Strain" Plus Trio The Stars and Stripes Forever J.P. Sousa

41 American March Form Introduction A B C D C First Strain 2nd Strain Trio repeat Break Strain" Plus Trio The Stars and Stripes Forever J.P. Sousa

42 American March Form Introduction A B C D C First Strain 2nd Strain Trio Break Strain" Plus Trio The Stars and Stripes Forever J.P. Sousa

43 American March Form Introduction A B C D C First Strain 2nd Strain Trio Repeat D and C The Stars and Stripes Forever J.P. Sousa

44 John Philip Sousa and the Phonograph Sousa thought music should not be subject to technology Sousa s dilemma: Block the band from recording or allow the medium to keep the band s name before the public. He turned over the conducting task to others so he would be absolved of negative criticism from the recording process. Record companies did not issue royalties to composers He testified before Congress in 1906 that the phonograph was discouraging many Americans from singing and playing themselves, saying it could ruin the artistic development of music in this country The first recordings were crude and unartistic. Examples: Stars and Stripes (1909)

45 US Marine Band Recording in 1891

46 Victor Talking co 1902

47 1880s Fisk Jubilee Singers popularized the American Spiritual Spirituals blended European hymn harmony and formal organizational structure with an African rhythmic emphasis and melodic inflection.

48 Deep River anon Spiritual Deep river, my home is over Jordan, Deep river, Lord, I want to cross over into camp-ground. Deep river, my home is over Jordan Deep river, Lord, I want to cross over into camp-ground. Oh, don't you want to go to that gospel feast, That promised land where all is peace? Oh deep river, Lord, I want to cross over into camp-ground Life is symbolized as the deep river. Heaven is symbolized as the camp-ground.