Books › Pratt (ed.), Grove's Dictionary of Music and Musicians: American Supplement (1920) — the Squier, Juhan, Gemünder and Elias Howe entries, 1920 › scan 29
Scan 29
Pratt (ed.), Grove's Dictionary of Music and Musicians: American Supplement (1920) — the Squier, Juhan, Gemünder and Elias Howe entries, 1920
12 lines. Read by computer on 9 September 2026. Printed page 15. See the scan on archive.org.
1making important impressions through the passing vogue of talented vocalists or through the drawing of trained instrumentalists into permanent residence.
3A third point in the development from soon after 1800 was the founding in several centers of energetic instrument-manufacture, especially the making of pianos, with a large consequent effect on popular interest through the extensive sale and use of the products. Part of this was simply a phase of the general awakening to mechanical pursuits. But the rapid expansion of trade in pianos—not to mention other instruments—implies that a considerable demand for them existed or was impending, and the display of original ingenuity in novel construction—often preceding similar advances abroad—bespeaks something more than a mere desire for profits. In the single year 1829 it has been estimated that 2500 pianos were made, valued at $750,000. In 1850 there were over 200 establishments at work upon musical instruments, the value of the annual product being nearly $2,600,000.1 Progress was greatly stimulated by competitive exhibitions held in Philadelphia from 1824 by the Franklin Institute and in New York from 1830 by the Mechanics' Institute.2
5It is to be noted that, whereas in the later 18th century foreign influences in music came almost wholly from England or France, after perhaps 1810 the impress of Germany began to be notable in certain cities, like Baltimore, Philadelphia and New York. It is said that in New York as late as 1835 there still remained a decided prejudice in piano-making against German workmen, which was overcome only with some difficulty. But ten years later in such trade-circles the German element had become highly respected.3 A parallel transition was even more evident among executive musicians. After 1840 able German players and leaders began to arrive in increasing numbers, and wherever they settled they became centers of fruitful influence. And from that date American students began to go to Germany for training, especially after the Leipzig Conservatory entered the field. Significant events were the advent of the so-called Germania Orchestra in 1848 and the formation of the Mendelssohn Quintette Club in 1849. Even more significant in its way was the arrival in 1845 of the boy Theodore Thomas.
7The most striking organizations of the period were the Handel and Haydn Society of Boston, founded in 1815, the Musical Fund Society of Philadelphia, founded in 1820, and the New York Philharmonic Society, founded in 1842, representing more or less different lines of interest, but all making for substantial progress. From time to time ambitious opera-houses were erected, of which probably the most famous was the Academy of Music in New York, opened in 1854. Almost equally notable was the Boston Music Hall, erected in 1852, in which just at the end of the period (1863) was set up the first elaborate concert-organ in the country (made by Walcker of Ludwigsburg). New Orleans had a series of opera-houses from 1808, the latest and finest being opened in 1859.
91 See Bishop, History of the Arts and Industries of the United States, 1864, pp. 339, 486.
102 Regarding piano-making in America important books of reference are Spillane, History of the American Pianoforte, New York, 1890, and Dolge, Pianos and their Makers, 2 vols., Covina, Cal., 1911-13, together with Hipkins, History of the Pianoforte, London, 1896, and his article in Vol. iii. 716-32 of this Dictionary.
113 See Spillane, pp. 186-8.
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