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George Frederick Bristow, Symphony No. 2 (‘Jullien’); Overtures - Symphony in D minor op. 24 - Overture to Rip Van Winkle op. 3 - Overture to The Winter’s Tale op. 30 - Royal Northern Sinfonia, Rebecca Miller cond - New World Records 80768–2, 2015 (1 CD: 61 minutes) $16
Published online by Cambridge University Press: 17 October 2016
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References
1 ‘The Philharmonic Society’, New York Musical World and Times, 4 Mar. 1854, p. 100.
2 [James Creelman], ‘Real Value of Negro Melodies’, New York Herald, 21 May 1893.
3 ‘American Music’, Boston Herald (28 May 1893).
4 These changes are especially evident in the recordings of Bristow’s symphonies, which remained unpublished during his lifetime.
5 On Bristow, Heinrich, and Fry, see Shadle, Douglas, Orchestrating the Nation: The Nineteenth-Century American Symphonic Enterprise (New York: Oxford University Press, 2016): 35–133 Google Scholar.
6 See Preston, Katherine K., ‘Encouragement from an Unexpected Source: Louis Antoine Jullien, Mid-Century American Composers, and George Frederick Bristow’s Jullien Symphony ’, Nineteenth-Century Music Review 6 (2009): 65–88 CrossRefGoogle Scholar.
7 Bristow, George Frederick, Symphony No. 2 in D Minor, Op. 24 (‘Jullien’), ed. Katherine K. Preston (Middleton, WI: A-R Editions, 2011)Google Scholar; see my review in Notes: Quarterly Journal of the Music Library Association 70 (2013): 176–80.
8 On the use of instrumental passages as substitutes for a choral finale, see Bonds, Mark Evan, ‘Beethoven’s Shadow: The Nineteenth Century’, in The Cambridge Companion to the Symphony, ed. Julian Horton (Cambridge: Cambridge University Press, 2013): 340–341 Google Scholar.
9 A critical edition of the overture to Rip van Winkle is available in Horel, Kira L., ‘The Overture to George Frederick Bristow’s Rip Van Winkle: A Critical Edition’ (DMA diss., University of Iowa, 2012)Google Scholar; the edition is available from the author, who now goes by Kira Omelchenko. There is unfortunately no comparable edition of The Winter’s Tale.
10 Steinbeck, Wolfram, ‘Antonín Dvořák: XI. Sinfonie E-Moll, ‘Aus der neuen Welt’ – Die Geburt der amerikanischen Nationalmusik?’ in Meisterwerke neu gehört: Ein kleiner Kanon der Musik – 14 Werkporträts, ed. Hans-Joachim Hinrichsen and Laurenz Lüttaken (Kassel: Bärenreiter, 2004): 246 Google Scholar; my translation.
11 See, for example, Beckerman, Michael, New Worlds of Dvorak: Searching in America for the Composer’s Inner Life (New York: W.W. Norton, 2003)Google Scholar.
12 On the music and practices of English melodramas, see Pisani, Michael V., Music for the Melodramatic Theater in Nineteenth-Century London and New York (Iowa City: University of Iowa Press, 2014)Google Scholar and Kimber, Marian Wilson, The Elocutionists: Women, Music, and the Spoken Word (Urbana: University of Illinois Press, 2017)CrossRefGoogle Scholar.
13 On Farwell and his relationship to Native American music, see Levy, Beth, Frontier Figures: American Music and the Mythology of the American West (Berkeley and Los Angeles: University of California Press, 2013)Google Scholar.
14 For more details, see Horowitz, Joe, ‘Dvorak [sic] on the Reservation’, Unanswered Question: Joe Horowitz on Music (9 March 2016), www.artsjournal.com/uq/2016/03/dvorak-on-the-reservation.html Google Scholar.