Download Amy Beach, Passionate Victorian: The Life and Work of an by Adrienne Fried Block PDF

By Adrienne Fried Block

Amy Marcy Cheney seashore (1867-1944), the main extensively played composer of her iteration, used to be the 1st American lady to be successful as a writer of large-scale artwork track. Her "Gaelic" Symphony, given its top-rated through the Boston Symphony Orchestra in 1896, was once the 1st paintings of its variety by way of an American lady to be played through an American orchestra. just about all of her greater than three hundred works have been released quickly once they have been composed and played, and this present day her tune is discovering new advocates and audiences for its strength, depth, and sheer attractiveness. but, beforehand, no full-length serious biography of Beach's lifestyles or entire severe evaluate of her tune existed. This biography admirably fills that hole, absolutely studying the connections among Beach's lifestyles and paintings in gentle of social currents and dominant ideologies. Born right into a musical relations in Victorian instances, Amy seashore all started composing as a toddler of 4 and was once both talented as a pianist. Her expertise used to be famous early by means of Boston's best musicians, who gave her unqualified help. even if seashore believed that the lifetime of a qualified musician was once the single lifestyles for her, her mom and dad had raised her for marriage and a occupation of novice music-making. Her reaction to this parental (and later spousal) competition was once to discover inventive methods of attaining her target with no direct disagreement. Discouraged from a full-scale live performance profession, she as an alternative chanced on her m?tier in composition. good fortune as a composer of paintings songs got here early for seashore: certainly, her songs outsold these of her contemporaries. however, she was firm to split her paintings from the genteel parlor track ladies have been writing in her day via developing large-scale works--a Mass, a symphony, and chamber music--that challenged the accredited proposal that ladies have been incapable of making excessive artwork. She gained the distinction of peers and the allegiance of audiences. many that praised her paintings, despite the fact that, thought of her an exception between girls. Beach's response to this used to be to affix with different ladies composers of great tune by way of selling their works together with her personal. Adrienne Fried Block has written a biography that takes complete account of problems with gender and musical modernism, contemplating seashore within the contexts of her time and of her composer contemporaries, either female and male. Amy seashore, Passionate Victorian can be of significant curiosity to scholars and students of yankee tune, and to song fans in most cases.

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Additional info for Amy Beach, Passionate Victorian: The Life and Work of an American Composer, 1867-1944

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One must live through such an experience to properly appreciate it. 63 This inexperienced child, totally devoid of stage fright and playing with orchestra for the first time, had vied with the conductor for control and won. At least nine Boston papers as well as a monthly and the New York Tribune, which sent its Boston correspondent, covered the concert. All agreed that the chief event of the evening was Amy Cheney's debut. The critic for the Gazette summed it all up: Her natural gifts and her innate artistic intelligence were made apparent in the very first phrases she played.

Paine, William Mason, Richard Hoffmann, Louis Moreau Gottschalk, and Amy Cheney's teacher Ernst Perabo. It may have been that very evening that Essipoff listened to Amy Cheney play and responded with enthusiastic praise for the eleven-year-old's private performance. 24 For the Cheneys, family ties were sometimes stronger than the attraction of musical life in Boston. 25 Just before they left Boston, Clara Cheney had sung in the final concert of the Handel and Haydn Society's season. This was the important and eagerly awaited American premiere of Verdi's "Manzoni" Requiem.

This was a sudden release from the isolation of the studio and the relative anonymity of the student. 68 The hall was full, and according to one critic, there was "a fine audience, representing . . " The reviewers agreed that the recital "justified fully all the expectations" aroused by her debut. "70 All else was high praise and further predictions of a great future. One critic gave a finely detailed description of her playing: The almost imperceptible poising over a note, and the almost imperceptible pausing upon it; the caressing touch in a melodious phrase, or the airy turn of an ornament; the sharpness or the softness of a trill; the justness of taste which keeps feeling from crossing the narrow line into exaggeration or bathos—these are the characteristics which .

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