Theodore Thomas: A Musical Autobiography (Google eBook)

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McClurg, 1905 - Concert programs
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Page 194 - To make a complete showing to the world of musical progress in this country in all grades and departments, from the lowest to the highest. " 2. To bring before the people of the United States a full illustration of music in its highest forms, as exemplified by the most enlightened nations of the world.
Page 1 - The man who does not know Shakespeare is to be pitied, and the man who does not understand Beethoven, and has not been under his spell, has not half lived his life.
Page 158 - Understand that no benefit scheme is contemplated by this suggestion. Mr. Thomas would be the first to turn his back upon such a proposition. Let him simply take his orchestra and give, in the various cities, as he always does, a quid pro quo and more, for all he receives, but let the tour be understood to be a distinctive opportunity for the people to testify the high estimation they place upon Mr. Thomas's lifework in behalf of the music of his country. If Mr. Thomas doubts there is a deep feeling...
Page 20 - TT" I kept a supply of these posters in my trunk, and when I had no money I first obtained permission to use the dining hall of a hotel for a concert, and then I went around on the day before the concert took place and put up my posters with tacks. When the time for the concert arrived, I would stand at the door of the hall and take the money until I concluded that my audience was about gathered, after which I would go to the front of the hall, unpack my violin, and begin the concert.
Page 127 - Throughout my life my aim has been to make good music popular, and it now appears that I have only done the public justice in believing, and acting constantly in the belief, that the people would enjoy and support the best in art when continually set before them in a clear and intelligent manner.
Page 38 - The New York Dispatch" said with philosophical resignation: " The Brahms Trio is a composition in the ultra new school of which we may say briefly that we do not yet understand it. Whether this be due to our dullness of perception, or lack of appreciation, or the intricate character of the music, we do not pretend to say. . . Yet we feel obliged to Messrs. Mason and Bergmann for the opportunity they afforded us for hearing and becoming acquainted with this peculiar and outri style of music.
Page 220 - To see Thomas lead ... is music itself ! His baton is alive, full of grace, of symmetry ; he maketh no gestures, he readeth his score almost without looking at it, he seeth everybody, heareth everything, warneth every man, encourageth every instrument, quietly, firmly, marvelously.
Page 222 - When you play Offenbach or Yankee Doodle, you can keep your doors open. When I play Handel . . . they must be shut. Those who appreciate music will be here on time" (1988: 188). Levine argues that this latenineteenth-century American audience lost a sense of itself as an active force, a "public," and became instead a passive "mute receptor" of the will of the artist through this discipline.
Page 69 - Chicago is the only city on the continent, next to New York, where there is sufficient musical culture to enable me to give a series of fifty successive concerts.
Page 48 - TN 1862 I concluded to devote my energies to the * cultivation of the public taste for instrumental music. Our chamber concerts had created a spasmodic interest, our programmes were reprinted as models of their kind, even in Europe, and our performances had reached a high standard. As a concert violinist, I was at that time popular, and played much.

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