Shadle - Orchestrating the Nation: The Nineteenth-Century American Symphonic Enterprise

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This volume is published with generous support of the AMS 75 PAYS Endowment of the American Musicological Society, funded in part by the National Endowment for the Humanities and the Andrew W. Mellon Foundation.

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Library of Congress Cataloging-in-Publication Data

Shadle, Douglas W., author.

Orchestrating the nation : the nineteenth-century American symphonic enterprise / Douglas W. Shadle.

pages cm

Includes bibliographical references and index.

ISBN9780199358649 (hardcover) ISBN9780199358656 (ebook) eISBN 9780190493783

1.SymphonyUnited States19th century.2.MusicUnited States19th centuryHistory and criticism.I.Title.

ML1255.S53 2015

784.2097309034dc23

2015013939

This book is indebted to many individuals and institutions. Several provided direct material aid: Vanderbilt Universitys Vice Provost for Research Dennis Hall and Assistant Provost Elizabeth Rapisarda, who provided a generous subvention to defray the costs of permissions and an index; the Graduate School of the University of North Carolina (UNC) at Chapel Hill; Dr. Thomas S. Royster Jr. and Caroline Royster, who funded my graduate fellowship at UNC; the music department at UNC; and the Library Company of Philadelphia and the Historical Society of Pennsylvania, which jointly supported a month-long residency. Oren Vinogradov provided research assistance at key moments. Elena Avalos-Bock helped me with sound clips for the website.

Several libraries and librarians made my work much easier: Mark Dickson (interlibrary loan requisition expert), James Procell, Matt Ertz, and Donald Dean at the University of Louisville Anderson Music Library; Holling Smith-Borne, Sara Manus, Jacob Schaub, Robert Rich, and Michael Jones at the Vanderbilt University Potter Music Library; Phil Nagy of Vanderbilt Universitys Special Collections Division; Connie King and James Green of the Library Company of Philadelphia; Sara Borden of the Historical Society of Pennsylvania; Gabe Smith at the New York Philharmonic Archives; Sharon Thayer and Jeff Marshall at the University of Vermont; Jackie Penny at the American Antiquarian Society; the Library of Congress Music Division and Newspaper Division; the New York Public Library for the Performing Arts Music Division; the Houghton Library at Harvard University; and the New England Conservatory Archives and Special Collections. Phil Vandermeer, Diane Steinhaus, and Carrie Monette at the University of North Carolina Music Library deserve the lions share of thanks for getting me started.

A number of receptive and collegial groups invited me to share thoughts related to the book with them: the School of Music and Center for Collaborative and International Arts at Georgia State University; graduate musicology colloquia at Michigan State University and the University of Kentucky; the University of Louisville Faculty Humanities Forum; the Society for American Music; the South-Central and Midwest chapters of the American Musicological Society; and the organizers of nineteenth-century music conferences on two continentsa fitting transatlantic experience.

My doctoral dissertation committee helped get this work off the ground, as did several members of the Society for American music, all of whom gave valuable and constructive criticism at various points along the way. In particular I thank Denise Von Glahn, Michael Broyles, John Graziano, and Nancy Newman for their insights. The anonymous readers for Oxford University Press, who graciously revealed their identities to me later, made great suggestions for improving every aspect of the book. James Davis and Patrick Warfield generously agreed to read a draft of the full manuscript before final submission and offered invaluable advice. Friends whom I bugged to read various smaller sections include William Gibbons, Glenda Goodman, Kevin Bartig, and Marie Sumner Lott. I owe them. (And now Ive paid back Ryan Raul Baagale.)

My colleagues at Vanderbilts Blair School of MusicMelanie Lowe, Joy Calico, Jim Lovensheimer, Gregory Barz, Robbie Fry, and Ryan Middagh provided me with much needed moral support and professional guidance (as well as a few read-throughsthanks again, Joy!) as the book neared completion. Blair School Dean Mark Wait likewise offered his unbridled support. Suzanne Ryan at Oxford University Press got behind this project during its earliest stages, and I will be eternally grateful for her sustained confidence and assistance. Her assistants, Jessen OBrien and Dan Gibney, made the process easy for me. Production editor Mary Jo Rhodes and copy editor Bonnie Kelsey cleaned up the messes in my manuscript and transformed them into this beautiful volume.

A handful of others deserve individual recognition. Jack Ashworth became one of my closest friends as I wrote the book. Travis Stimeling and Laurie McManus acted as sounding boards almost daily. They define friendship. Evan Bondss generosity as a mentor has been matchless. It was also his seminar on the nineteenth-century American symphony that inspired me to pursue this research. Joe Vick and Jim Hatch of Little Rock, Arkansas were my first string teachers. They fed my passion for orchestral music from a very young age. Violists Timothy Nelson, Larry Wheeler, and Evan Wilson, my private instructors over a period of nearly fifteen years, only made that passion stronger. Finally, my wife Karen and I discussed every idea in this book during many miles of walking together. The final product certainly bears her imprint, though I was never able to convince her that Frys music is better than Bristows.

http://global.oup.com/us/orchestratingthenation/

Oxford University Press has created a website to accompany Orchestrating the Nation that includes supplemental items designed to enhance the reading experience. First, the website features recorded clips of the works highlighted in the text, where available. Since many of the printed examples are reductions of large orchestral scores, these clips will allow the reader to experience the musics full orchestral palette. The recordings also eliminate the necessity for readers to have an advanced level of note-reading ability. Second, I have included supplementary web links and source notes that will be useful for researchers and musicians interested in pursuing new leads related to the subject matter. In both cases, new items will be added as they become available. Readers are encouraged to check for updates often.