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Stravinsky in the Americas explores the "pre-Craft" period of Igor Stravinsky's life, from when he first landed on American shores in 1925 to the end of World War II in 1945. Through a rich archival trove of ephemera, correspondence, photographs, and other documents, eminent musicologist H. Colin Slim examines the twenty-year period that began with Stravinsky as a radical European art-music composer and ended with him as a popular figure in American culture. This collection traces Stravinsky's rise to fame-catapulted in large part by his collaborations with Hollywood and Disney and marked by his extra-marital affairs, his grappling with feelings of anti-Semitism, and his encounters with contemporary musicians as the music industry was emerging and taking shape in midcentury America. Slim's lively narrative records the composer's larger-than-life persona through a close look at his transatlantic tours and domestic excursions, where Stravinsky's personal and professional life collided in often-dramatic ways.

Music --- History and criticism. --- Stravinsky, Igor, --- Stravinsky, Igor, --- Travel --- Criticism and interpretation. --- 1925. --- america. --- american culture. --- american shores. --- anti semitism. --- collaborations. --- contemporary musicians. --- correspondence. --- disney. --- ephemera. --- extra marital affairs. --- hollywood. --- igor stravinsky. --- larger than life. --- midcentury america. --- music industry. --- musicologist. --- photographs. --- popular figure. --- pre craft period. --- radical european art music composer. --- rise to fame. --- transatlantic tours. --- world war 2.

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Studies of concert life in nineteenth-century America have generally been limited to large orchestras and the programs we are familiar with today. But as this book reveals, audiences of that era enjoyed far more diverse musical experiences than this focus would suggest. To hear an orchestra, people were more likely to head to a beer garden, restaurant, or summer resort than to a concert hall. And what they heard weren't just symphonic works-programs also included opera excerpts and arrangements, instrumental showpieces, comic numbers, and medleys of patriotic tunes. This book brings together musicologists and historians to investigate the many orchestras and programs that developed in nineteenth-century America. In addition to reflecting on the music that orchestras played and the socioeconomic aspects of building and maintaining orchestras, the book considers a wide range of topics, including audiences, entrepreneurs, concert arrangements, tours, and musicians' unions. The authors also show that the period saw a massive influx of immigrant performers, the increasing ability of orchestras to travel across the nation, and the rising influence of women as listeners, patrons, and players. Painting a rich and detailed picture of nineteenth-century concert life, this collection will greatly broaden our understanding of America's musical history.

Orchestra --- Music --- Art music --- Art music, Western --- Classical music --- Musical compositions --- Musical works --- Serious music --- Western art music --- Western music (Western countries) --- Orchestras --- Musical groups --- History. --- 1800s, history, historical, america, united states, music, musical, orchestral, instruments, violin, viola, cello, bass, strings, conservatory, culture, cultural, concert, era, time period, audience, audio, symphonic, instrumental, musicology, musicologist, socioeconomic, immigrant, performer, performance, tune, criticism, women, new york, beethoven, composer, urban, city, conductor.

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The Danger of Music gathers some two decades of Richard Taruskin's writing on the arts and politics, ranging in approach from occasional pieces for major newspapers such as the New York Times to full-scale critical essays for leading intellectual journals. Hard-hitting, provocative, and incisive, these essays consider contemporary composition and performance, the role of critics and historians in the life of the arts, and the fraught terrain where ethics and aesthetics interact and at times conflict. Many of the works collected here have themselves excited wide debate, including the title essay, which considers the rights and obligations of artists in the aftermath of the 9/11 terrorist attacks. In a series of lively postscripts written especially for this volume, Taruskin, America's "public" musicologist, addresses the debates he has stirred up by insisting that art is not a utopian escape and that artists inhabit the same world as the rest of society. Among the book's forty-two essays are two public addresses-one about the prospects for classical music at the end of the second millennium C. E., the other a revisiting of the performance issues previously discussed in the author's Text and Act (1995)-that appear in print for the first time.

Musical criticism. --- Music trade. --- 21st century art criticism. --- 21st century music criticism. --- aesthetics. --- anti utopian thought. --- art post 9/11. --- arts. --- bach. --- beethoven. --- boris goudenow. --- career. --- classical music. --- colonialism. --- contemporary composition. --- contemporary performance. --- critics. --- ethics. --- ezra pound. --- hindemith legacy. --- historians. --- lifetime. --- modernism. --- music. --- musicology. --- nationalism. --- nature. --- optimism. --- performance. --- political art. --- politics. --- public musicologist. --- pundits. --- sterility. --- stravinsky. --- terrorist attacks. --- teutonic train wreck. --- the new york times. --- wagner.