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Selling Orchestral Music in the Vaudeville Age: The Duncan-Damrosch Tours, 1908–1911
Published online by Cambridge University Press: 23 February 2021
Abstract
Between 1908 and 1911, New York Symphony Orchestra conductor Walter Damrosch engaged the modern dancer Isadora Duncan to perform with his orchestra in New York and on three tours of the Midwest. Posing considerable risk to his reputation as an elite conductor, this unusual alliance grew in part from his concert manager's wish to compete with the Salomé dance craze raging in vaudeville halls across the country. Damrosch's “pioneering spirit” allowed him a genuine appreciation of Duncan's expressive, transcendent dancing. Yet for his critics, the shockingly under-dressed dancer, just back from her conquest of Europe, represented yet another sensational Salomé eager to capitalize on the popular profanities of market-driven entertainment. Music critics and Protestant clergymen from St. Louis to Boston berated Damrosch for what they saw as an immoral capitulation to mass consumerism and a desecrating abuse of the sacred repertoire he guarded—a repertoire defined in part by its distance from dancing. This article draws on critiques in the daily press, Damrosch's personal papers, and scholarship in dance and religious studies to situate Damrosch's marketing experiment with Duncan in the wider context of Progressive-era devotional life, where similar concessions to mass entertainment arose in the urban revival movement of the Third Great Awakening. Damrosch's recourse to Duncan's “barefoot dancing”—oddly akin to the tactics of big tent revivalists espousing Muscular Christianity and epitomized by Billy Sunday's pulpit pantomimes—illuminates the collision of spiritual and economic concerns that shaped both musical and ecclesiastical arenas of the American “sacred.”
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- Research Article
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- Copyright
- Copyright © The Author(s), 2021. Published by Cambridge University Press on behalf of the Society for American Music.
Footnotes
Research for this article was generously supported by a New York Public Library Short-Term Research Fellowship. I am grateful to the journal's anonymous readers and to JSAM editor David Garcia for their valuable comments and suggestions.
References
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Boston HeraldGoogle Scholar
Cincinnati InquirerGoogle Scholar
Columbus JournalGoogle Scholar
Decatur HeraldGoogle Scholar
Evening Times-Republican (Marshalltown, Iowa)Google Scholar
Jackson Daily NewsGoogle Scholar
Kansas City PostGoogle Scholar
Minneapolis Star TribuneGoogle Scholar
Music ReviewGoogle Scholar
Musical AmericaGoogle Scholar
Musical CourierGoogle Scholar
New Castle HeraldGoogle Scholar
New York Daily TribuneGoogle Scholar
New York Evening PostGoogle Scholar
New York Evening WorldGoogle Scholar
New York HeraldGoogle Scholar
New York Herald TribuneGoogle Scholar
New York SunGoogle Scholar
New York TimesGoogle Scholar
New York TribuneGoogle Scholar
Philadelphia TimesGoogle Scholar
Pittsburgh Daily PostGoogle Scholar
Pittsburgh PressGoogle Scholar
Richmond PalladiumGoogle Scholar
San Francisco ExaminerGoogle Scholar
St. Louis GlobeGoogle Scholar
St. Louis Post-DispatchGoogle Scholar
VarietyGoogle Scholar
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Blair, Frederika. Isadora: Portrait of the Artist as a Woman. New York: McGraw-Hill, 1986.Google Scholar
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Caddy, Davinia. “Variations on the Dance of the Seven Veils.” Cambridge Opera Journal 17, no. 1 (March 2005): 37–58.CrossRefGoogle Scholar
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Dahlhaus, Carl. The Idea of Absolute Music. Translated by Roger Lustig. Chicago: University of Chicago Press, 1989.Google Scholar
Daly, Ann. “Isadora Duncan and the Distinction of Dance.” American Studies 35, no. 1 (Spring 1994): 5–23.Google Scholar
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Damrosch, Walter. “Hans von Bülow and the Ninth Symphony.” Musical Quarterly, 13, no. 2 (April 1927): 280–93.CrossRefGoogle Scholar
Denison, Lindsay. “The Rev. Billy Sunday and His War on the Devil.” American Magazine 64, no. 5 (September 1907): 451–68.Google Scholar
Dickinson, Edward Ross. “Modern Dance Before 1914: Commerce or Religion?” Dance Chronicle (September 2013): 297–327.CrossRefGoogle Scholar
DiMaggio, Paul. “Cultural Entrepreneurship in Nineteenth-Century Boston: The Creation of an Organizational Base for High Culture in America.” In Media, Culture and Society: A Critical Reader, edited by Collins, Richard, et al. , 194–211. London: Sage Publications, 1986.Google Scholar
Dorsett, Lyle W. Billy Sunday and the Redemption of Urban America. Grand Rapids: Wm. B. Eerdmans, 1991.Google Scholar
Duncan, Irma. Duncan Dancer: An Autobiography. Middletown, CT: Wesleyan University Press, 1966.Google Scholar
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Duncan, Irma, and Macdougall, Allan Ross. Isadora Duncan's Russian Days and Her Years in France. London: Victor Gollancz, 1929.Google Scholar
Duncan, Isadora. The Art of the Dance. Edited by Cheney, Sheldon. New York: Theatre Arts Books, 1969.Google Scholar
Durkheim, Emile. The Elementary Forms of the Religious Life. Translated by Joseph Ward Swain. New York: Collier Books, 1961.Google Scholar
Ellis, William T. “Billy” Sunday, The Man and his Message: With His Own Words Which Have Won Thousands for Christ. Philadelphia, PA: John C. Winston Company, 1914.Google Scholar
Finck, Henry. My Adventures in the Golden Age of Music. New York: Funk and Wagnalls, 1926.Google Scholar
Frankenbach, Chantal. Disdain for Dance, Disdain for France: Choreophobia in German Musical Modernism. PhD diss., University of California, Davis, 2012.Google Scholar
Frankenbach, Chantal. “Dancing to Beethoven in Wilhelmine Germany: Isadora Duncan and Her Critics.” Journal of Musicology 34, no. 1 (2017): 71–114.CrossRefGoogle Scholar
Gienow-Hecht, Jessica C. E. Sound Diplomacy: Music and Emotions in Transatlantic Relations 1850–1920. Chicago: University of Chicago Press, 2009.CrossRefGoogle Scholar
Giffin, Frederick C. “Billy Sunday: The Evangelist as ‘Patriot.’” Social Science 48, no. 4 (Autumn 1973): 216–21.Google Scholar
Gilman, Sander. Disease and Representation: Images of Illness from Madness to AIDS. Ithaca, NY: Cornell University Press, 1988.CrossRefGoogle Scholar
Glenn, Susan A. Female Spectacle: The Theatrical Roots of Modern Feminism. Cambridge, MA: Harvard University Press, 2000.Google Scholar
Goddell, Elaine M. Walter Damrosch and his Contributions to Music Education. PhD diss., Catholic University of America, 1973.Google Scholar
Hanslick, Eduard. The Beautiful in Music. Translated by Cohen, Gustav. New York: Da Capo Press, 1974.Google Scholar
Harris, Joanna Gewertz. Beyond Isadora: Bay Area Dancing 1915–1965. Berkeley, CA: Regent Press, 2009.Google Scholar
Head, Matthew. “‘Like Beauty Spots on the Face of a Man’: Gender in Eighteenth-Century North-German Discourse on Genre.” Journal of Musicology 13, no. 2 (1995): 143–67.CrossRefGoogle Scholar
Henderson, W. J. “Walter Damrosch.” Musical Quarterly 18, no. 1 (January 1932): 1–8.CrossRefGoogle Scholar
Higgs, Robert J. God in the Stadium: Sports and Religion in America. Lexington: University Press of Kentucky, 1995.Google Scholar
Horowitz, Joseph. “Music and the Gilded Age: Social Control and Sacralization Revisited.” Journal of the Gilded Age and Progressive Era 3, no. 3 (July 2004): 227–45.CrossRefGoogle Scholar
Horowitz, Joseph. “‘Sermons in Tones’: Sacralization as a Theme in American Classical Music.” American Music 16, no. 3 (Autumn 1998): 311–40.CrossRefGoogle Scholar
Horowitz, Joseph. Moral Fire: Musical Portraits from America's Fin de Siècle. Berkeley: University of California Press, 2012.CrossRefGoogle Scholar
Howe, Sondra Wieland. “The NBC Music Appreciation Hour: Radio Broadcasts of Walter Damrosch, 1928–1942.” Journal of Research in Music Education 51, no. 1 (Spring 2003): 64–77.CrossRefGoogle Scholar
Hutcheon, Linda, and Hutcheon, Michael. Bodily Charm: Living Opera. Lincoln: University of Nebraska Press, 2000.Google Scholar
Huyssen, Andreas. After the Great Divide: Modernism, Mass Culture, Postmodernism. Bloomington: Indiana University Press, 1986.CrossRefGoogle Scholar
Kimber, Marion Wilson. The Elocutionists: Women, Music, and the Spoken Word. Urbana: University of Illinois Press, 2017.CrossRefGoogle Scholar
Kimmel, Michael. Manhood in America: A Cultural History. New York: Oxford University Press, 2012.Google Scholar
Kramer, Elizabeth. The Idea of Kunstreligion in German Musical Aesthetics of the Early Nineteenth Century. PhD diss., University of North Carolina, Chapel Hill, 2005.Google Scholar
Kramer, Lawrence. “Culture and Musical Hermeneutics: The Salomé Complex.” Cambridge Opera Journal 2, no. 3 (November 1990): 269–94.CrossRefGoogle Scholar
Leistra-Jones, Karen. “Hans von Bülow and the Confessionalization of Kunstreligion.” Journal of Musicology 35, no. 1 (Winter 2018): 42–75.CrossRefGoogle Scholar
Levine, Lawrence. Highbrow/Lowbrow: The Emergence of Cultural Hierarchy in America. Cambridge, MA: Harvard University Press, 1988.Google Scholar
Locke, Ralph P. “Music Lovers, Patrons, and the ‘Sacralization’ of Culture in America.” 19th-Century Music 17, no. 2 (Autumn 1993): 149–173.CrossRefGoogle Scholar
Macdougall, Allan Ross. Isadora: A Revolutionary in Art and Love. New York: Thomas Nelson, 1960.Google Scholar
Martin, George. The Damrosch Dynasty: America's First Family of Music. Boston: Houghton Mifflin, 1983.Google Scholar
Marty, Martin E. Righteous Empire: The Protestant Experience in America. New York: Dial Press, 1970.Google Scholar
McLoughlin, William G. Jr. Billy Sunday Was His Real Name. Chicago: University of Chicago Press, 1955.Google Scholar
McLoughlin, William G. Jr. Modern Revivalism: Charles Grandison Finney to Billy Graham. New York: Ronald Press, 1959.Google Scholar
McMullen, Josh. Under the Big Top: Big Tent Revivalism and American Culture, 1885–1925. New York: Oxford University Press, 2015.CrossRefGoogle Scholar
Moore, Laurence R. Selling God: American Religion in the Marketplace of Culture. New York: Oxford University Press, 1994.Google Scholar
Mountford, Roxanne. The Gendered Pulpit: Preaching in American Protestant Spaces. Carbondale: Southern Illinois University Press, 2003.Google Scholar
Mueller, John H. The American Symphony Orchestra: A Social History of Musical Taste. Bloomington: Indiana University Press, 1951.Google Scholar
Oberdeck, Kathryn J. The Evangelist and the Impresario: Religion, Entertainment, and Cultural Politics in America. Baltimore, MD: Johns Hopkins University Press, 1999.Google Scholar
Peiss, Kathy. Cheap Amusements: Working Women and Leisure in Turn-of-the-Century New York. Philadelphia, PA: Temple University Press, 1986.Google Scholar
Preston, Katherine. Opera for the People: English-Language Opera and Women Managers in Late 19th-Century America. New York: Oxford University Press, 2017.CrossRefGoogle Scholar
Puffett, Derrick, ed. Richard Strauss: Salomé. Cambridge: Cambridge University Press, 1989.Google Scholar
Rauschenbusch, Walter. A Theology for the Social Gospel. New York: Abingdon Press, 1917.Google Scholar
Rodeheaver, Homer. Twenty Years with Billy Sunday. Nashville, TN: Colesbury Press, 1936.Google Scholar
Rubin, Joan Shelley. The Making of Middlebrow Culture. Chapel Hill: University of North Carolina Press, 1992.Google Scholar
Ruyter, Nancy Lee Chalfa. Reformers and Visionaries: The Americanization of the Art of Dance. New York: Dance Horizons, 1979.Google Scholar
Ruyter, Nancy Lee Chalfa. The Cultivation of Body and Mind in Nineteenth-Century American Delsartism. Westport, CT: Greenwood Press, 1999.Google Scholar
Schabas, Ezra. Theodore Thomas: America's Conductor and Builder of Orchestras, 1835–1905. Urbana: University of Illinois Press, 1989.Google Scholar
Scolari, Paul A. Ted Shawn: His Life, Writings, and Dances. New York: Oxford University Press, 2020.CrossRefGoogle Scholar
Shadle, Douglas W. Orchestrating the Nation: The Nineteenth-Century American Symphonic Enterprise. New York: Oxford University Press, 2016.Google Scholar
Simonson, Mary. “The Call of Salome: American Adaptations and Recreations of the Female Body.” Women and Music 11 (2007): 1–16.CrossRefGoogle Scholar
Simonson, Mary. Body Knowledge: Performance, Intermediality, and American Entertainment at the Turn of the Twentieth Century. New York: Oxford University Press, 2013.CrossRefGoogle Scholar
Small, Christopher. Musicking: The Meanings of Performing and Listening. Middletown, CT: Wesleyan University Press, 1998.Google Scholar
Turner, James. Without God, Without Creed: The Origins of Unbelief in America. Baltimore, MD: Johns Hopkins University Press, 1985.Google Scholar
Wagner, Ann. Adversaries of Dance: From the Puritans to the Present. Chicago: University of Illinois Press, 1997.Google Scholar
Weisberger, Bernard A. They Gathered at the River: The Story of the Great Revivalists and Their Impact upon Religion in America. Boston: Little, Brown, 1958.Google Scholar
Williams, M. B. Where Satan Sows His Seed: Plain Talks on the Amusements of Modern Society. Chicago: Fleming H. Revell, 1896.Google Scholar
Wyatt, Robert, and Johnson, John Andrew, eds. The George Gershwin Reader. New York: Oxford University Press, 2004.Google Scholar
Ziolkowski, Theodore. Scandal on Stage: European Theater as Moral Trial. Cambridge: Cambridge University Press, 2009.CrossRefGoogle Scholar