The art of music, Vol. 04 (of 14) : $b Music in America
History
The art of music, Vol. 04 (of 14) : $b Music in America
Music -- History and criticism; Musicians
'_Collini's Odes on the Passions_ (!), to be spoken by Mr. Hodgkinson.
With music representative of each passion; as performed at the
_Anacreontic Society_, composed by J. Hewitt.' This, Mr. Sonneck
notes, 'is in all probability the earliest example of melodramatic
music composed in America.' Unfortunately we have no other data on the
nature of the music performed at the concerts of the society. These
were held usually at the Tontine Coffee House, and it may be assumed
that they were devoted chiefly to catches, glees, and other songs
similar to those performed by the English society, but perhaps not so
intimately frank. Unlike the English society, but curiously like every
American stag society, before or since, the Columbian Anacreontic held
an annual ladies' night. The custom carries an unpleasantly philistine
flavor, which is further emphasized when we read an announcement that
such members of the society as chose to attend a benefit performance
for John Hodgkinson would be accommodated in the 'Shakespeare Box' and
would 'wear their badges.' But in spite of all this it seems to have
been of some value in the musical life of New York.
II
During the first half of the nineteenth century the chief musical
societies in New York seem to have been the New York Choral Society,
the Philharmonic Society, the Euterpean Society, the Handel and
Haydn Society, The Musical Fund, and the Sacred Music Society. Of
the Euterpean Society we have already spoken as having been founded
probably in 1800. Apparently it was composed chiefly of wealthy
amateurs and was somewhat dilettante in its activities. A contemporary
critic thus arraigns it: 'This society, from its long standing, the
respectability of its officers, and the individual talent of its
members, might possess the most extensive influence in the musical
community. It has in its possession funds, and the largest library of
instrumental music in the country; and yet, with all these advantages
on its side, what has the Euterpean done, or what does it do? It can
be summed up in a few words. A few of its members meet every Friday
evening and play overtures and symphonies; and every year they give
an indifferent concert and a ball, the last of which is the chief
attraction. Now, we ask the Euterpean if, like a horse in a mill, they
are forever to pursue this eternal round?'
Public-domain text, read in full here on John Shaqi.
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