Podcast appearances and mentions of Karl Muck

Antonia Brico foi uma regente e pianista neerlandesa. Ela foi a primeira maestrina a conquistar respeito internacional e conduzir importantes orquestras sinfônicas. Nascida em 1902, filha de uma mãe solteira em Rotterdam, Antonia Brico foi acolhida por uma família adotiva, com a qual migrou para os Estados Unidos em 1908. Ao se formar no Ensino Médio, Antonia Brico já era uma pianista talentosa, e começava a dar seus primeiros passos rumo à carreira de regente. Durante seus anos estudando na Universidade da Califórnia, em Berkeley, Antonia Brico trabalhou como assistente do diretor da Ópera de São Francisco. Depois, ingressou na Escola Estatal de Música e Belas Artes de Berlim, tornando-se a primeira americana a se formar em regência pela instituição. Durante esse período, foi aluna e pupila de Karl Muck, maestro da Orquestra Filarmônica de Hamburgo. Em 1930, Brico fez sua estreia profissional regendo a Orquestra Filarmônica de Berlim. Esse evento, e suas aparições subsequentes junto às orquestras de Los Angeles, São Francisco e Hamburgo, foram aclamadas por crítica e público. Em 1934, ela foi nomeada regente da Orquestra Sinfônica das Mulheres que, em 1939 (após a admissão de homens), passou a se chamar Orquestra Sinfônica Brico. Em 1938, AB se tornou a primeira mulher a reger a Orquestra Filarmônica de Nova Iorque. Em 1946, Brico fez uma longa turnê pela Europa, como pianista e também como regente. Ainda assim, foi na década de 1940 que sua popularidade começou a diminuir, e as oportunidades de trabalho de Brico começaram a desaparecer, sendo seu meio quase que dominado por homens. Em ‘42, se estabeleceu no Colorado, em '48 a maestrina fundou a que viria a ser a Orquestra Filarmônica de Denver, que regeu até se aposentar, em 1985. Antonia Brico faleceu em 1989, aos 87 anos.

Sección del programa de Rpa "La radio es mía" que demuestra que la modernidad es algo que viene de antiguo. Emisión del 12/4/2021, vigésimoquinta de la sexta temporada, dedicada a la directora de orquesta norteamericana, de origen holandés, Antonia Brico. El otro día, mi amiga Lara Diloy decía en una entrevista que hacían falta referentes femeninos en la música clásica. En Modernos de otros tiempos hemos pensado que era buena idea recoger el guante y acercarnos a la historia de Antonia Brico, la primera mujer que ocupó el podio de la Filarmónica de Berlín. Era 1930 y si encontrar instrumentistas femeninas en una orquesta profesional era casi una excentricidad, que una mujer dirigiera el cotarro era impensable. Pero, ¿qué era eso para Antonia Brico? Ya no le cabían palos en las ruedas, se los habían puesto todos. Había estudiado música en Berkeley, ¿pero dirección de orquesta? ¿Para qué quieres estudiar algo que nunca podrás hacer? Lo intentó en Nueva York, y nada. Después fue a Alemania, en la tierra de Beethoven todo sería más sencillo. ¡Y un rábano! Le costó, pero consiguió convencer al legendario Karl Muck para que la acogiera como discípula, como su única alumna y consiguió graduarse en dirección en la Hochschule für Musik de Berlín. Ningún norteamericano lo había conseguido antes. Sus méritos musicales se impusieron y consiguió dirigir la Filarmónica de Berlín en enero de 1930. «Miss Brico –publicó el Allgemeine Zeitung– ha demostrado dotes sorpresivas e inequívocas como directora. Es más habilidosa, lista y musical que muchos de sus colegas masculinos que nos aburren aquí en Berlín». Pese a eso, no repitió. Volvió a EEUU y repitió su triunfo, pero un tenor se negó a actuar con ella por si le restaba protagonismo. En los años 30 fundó y dirigió la Orquesta Sinfónica de Mujeres de Nueva York con la que cerró las muchas bocas que decían que las músicas no estaban preparadas para tocar determinados instrumentos, pero cuando acabó la guerra quedó alejada del gran público en Denver. De poco sirvió que Bruno Walter, Arthur Rubinstein, Albert Schweitzer, Jan Sibelius o Wilhelm Fürtwangler se rindieran ante su talento, nunca consiguió que una orquesta profesional la nombrara directora titular. Tuvo que conformarse con las orquestas amateurs que fundó o con las invitaciones para dirigir conciertos que recibía desde Europa. «Doy cinco conciertos al año aunque tenga fuerzas para dar cinco conciertos al mes. Enseño, pero estoy frustrada. Es como dar una miga de pan a alguien que se está muriendo de hambre». En 1971, la cantante de folk Judy Collins, que había sido alumna suya en la infancia, hizo un magnífico documental: Antonia: Retrato de la mujer (pongo el enlace en los comentarios), que le dio un pequeño reconocimiento y le permitió dar varios conciertos con orquestas de primera y hasta que saliera un disco con sus oberturas de Mozart. Murió sola y olvidada en 1889. Un reciente biopic, La directora de orquesta, recoge de forma bastante edulcorada (mercators rules) su historia. A mi, me ha hecho saber de su existencia. He ecuchado las pocas grabaciones que hizo y me pregunto: ¿Por qué ni siquiera a los aficionados más recalcitrantes a la música clásica nos suena esta mujer? ¿Precisamente por esto último? ella decía que «No me llamo a mí misma una mujer directora, me defino como un director que resultó ser mujer».

In the fall of 1918, a fever gripped Boston. The streets emptied as paranoia about the deadly Spanish flu spread. Newspapermen and vigilante investigators aggressively sought to discredit anyone who looked or sounded German.  And as the war raged on, the enemy seemed to be lurking everywhere: prowling in submarines off the coast of Cape Cod, arriving on passenger ships in the harbor, or disguised as the radicals lecturing workers about the injustice of a sixty-hour workweek.  War Fever: Boston, Baseball, and America in the Shadow of the Great War (Basic Books, 2020) explores this delirious moment in American history through the stories of three men: Karl Muck, the German conductor of the Boston Symphony Orchestra, accused of being an enemy spy; Charles Whittlesey, a Harvard law graduate who became an unlikely hero in Europe; and the most famous baseball player of all time, Babe Ruth, poised to revolutionize the game he loved. Together, they offer a gripping narrative of America at war and American culture in upheaval. Zach McCulley (@zamccull) is a historian of religion and literary cultures in early modern England and PhD Candidate in History at Queen's University Belfast. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm

In the fall of 1918, a fever gripped Boston. The streets emptied as paranoia about the deadly Spanish flu spread. Newspapermen and vigilante investigators aggressively sought to discredit anyone who looked or sounded German.  And as the war raged on, the enemy seemed to be lurking everywhere: prowling in submarines off the coast of Cape Cod, arriving on passenger ships in the harbor, or disguised as the radicals lecturing workers about the injustice of a sixty-hour workweek.  War Fever: Boston, Baseball, and America in the Shadow of the Great War (Basic Books, 2020) explores this delirious moment in American history through the stories of three men: Karl Muck, the German conductor of the Boston Symphony Orchestra, accused of being an enemy spy; Charles Whittlesey, a Harvard law graduate who became an unlikely hero in Europe; and the most famous baseball player of all time, Babe Ruth, poised to revolutionize the game he loved. Together, they offer a gripping narrative of America at war and American culture in upheaval. Zach McCulley (@zamccull) is a historian of religion and literary cultures in early modern England and PhD Candidate in History at Queen's University Belfast. Learn more about your ad choices. Visit megaphone.fm/adchoices

In the fall of 1918, a fever gripped Boston. The streets emptied as paranoia about the deadly Spanish flu spread. Newspapermen and vigilante investigators aggressively sought to discredit anyone who looked or sounded German.  And as the war raged on, the enemy seemed to be lurking everywhere: prowling in submarines off the coast of Cape Cod, arriving on passenger ships in the harbor, or disguised as the radicals lecturing workers about the injustice of a sixty-hour workweek.  War Fever: Boston, Baseball, and America in the Shadow of the Great War (Basic Books, 2020) explores this delirious moment in American history through the stories of three men: Karl Muck, the German conductor of the Boston Symphony Orchestra, accused of being an enemy spy; Charles Whittlesey, a Harvard law graduate who became an unlikely hero in Europe; and the most famous baseball player of all time, Babe Ruth, poised to revolutionize the game he loved. Together, they offer a gripping narrative of America at war and American culture in upheaval. Zach McCulley (@zamccull) is a historian of religion and literary cultures in early modern England and PhD Candidate in History at Queen's University Belfast. Learn more about your ad choices. Visit megaphone.fm/adchoices

In the fall of 1918, a fever gripped Boston. The streets emptied as paranoia about the deadly Spanish flu spread. Newspapermen and vigilante investigators aggressively sought to discredit anyone who looked or sounded German.  And as the war raged on, the enemy seemed to be lurking everywhere: prowling in submarines off the coast of Cape Cod, arriving on passenger ships in the harbor, or disguised as the radicals lecturing workers about the injustice of a sixty-hour workweek.  War Fever: Boston, Baseball, and America in the Shadow of the Great War (Basic Books, 2020) explores this delirious moment in American history through the stories of three men: Karl Muck, the German conductor of the Boston Symphony Orchestra, accused of being an enemy spy; Charles Whittlesey, a Harvard law graduate who became an unlikely hero in Europe; and the most famous baseball player of all time, Babe Ruth, poised to revolutionize the game he loved. Together, they offer a gripping narrative of America at war and American culture in upheaval. Zach McCulley (@zamccull) is a historian of religion and literary cultures in early modern England and PhD Candidate in History at Queen's University Belfast. Learn more about your ad choices. Visit megaphone.fm/adchoices

In the fall of 1918, a fever gripped Boston. The streets emptied as paranoia about the deadly Spanish flu spread. Newspapermen and vigilante investigators aggressively sought to discredit anyone who looked or sounded German.  And as the war raged on, the enemy seemed to be lurking everywhere: prowling in submarines off the coast of Cape Cod, arriving on passenger ships in the harbor, or disguised as the radicals lecturing workers about the injustice of a sixty-hour workweek.  War Fever: Boston, Baseball, and America in the Shadow of the Great War (Basic Books, 2020) explores this delirious moment in American history through the stories of three men: Karl Muck, the German conductor of the Boston Symphony Orchestra, accused of being an enemy spy; Charles Whittlesey, a Harvard law graduate who became an unlikely hero in Europe; and the most famous baseball player of all time, Babe Ruth, poised to revolutionize the game he loved. Together, they offer a gripping narrative of America at war and American culture in upheaval. Zach McCulley (@zamccull) is a historian of religion and literary cultures in early modern England and PhD Candidate in History at Queen's University Belfast. Learn more about your ad choices. Visit megaphone.fm/adchoices

In the fall of 1918, a fever gripped Boston. The streets emptied as paranoia about the deadly Spanish flu spread. Newspapermen and vigilante investigators aggressively sought to discredit anyone who looked or sounded German.  And as the war raged on, the enemy seemed to be lurking everywhere: prowling in submarines off the coast of Cape Cod, arriving on passenger ships in the harbor, or disguised as the radicals lecturing workers about the injustice of a sixty-hour workweek.  War Fever: Boston, Baseball, and America in the Shadow of the Great War (Basic Books, 2020) explores this delirious moment in American history through the stories of three men: Karl Muck, the German conductor of the Boston Symphony Orchestra, accused of being an enemy spy; Charles Whittlesey, a Harvard law graduate who became an unlikely hero in Europe; and the most famous baseball player of all time, Babe Ruth, poised to revolutionize the game he loved. Together, they offer a gripping narrative of America at war and American culture in upheaval. Zach McCulley (@zamccull) is a historian of religion and literary cultures in early modern England and PhD Candidate in History at Queen's University Belfast. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, Ross and Karbo trace the experiences of Karl Muck. A celebrated German conductor who emigrated to Boston struggles against anti-German American elites during the First World War and returns to Germany to support the rise of Adolf Hitler. View Show Notes Find Us Online - website: http://wdav.org/powerplay - support: https://donate.wdav.org/pledge/ (Add “Power Play” to the Comments) Resources - Burrage, Melissa. The Karl Muck Scandal: Classical Music and Xenophobia in World War I America. Rochester: University of Rochester Press, 2019. - Ross, Alex. “The ‘Star-Spangled Banner' Hysteria of 1917.” The New Yorker. July 2, 2019.

There has been a recent trend in books that explore one year in detail: 1914, 1927, and 1968 have all received this treatment. E. Douglas Bomberger’s new book Making Music American: 1917 and the Transformation of Culture from Oxford University Press (2018) is new twist on this phenomenon. Rather than primarily trace historical events while touching on cultural matters as many of these books do, Bomberger follows the events in jazz and classical music during this crucial year while framing them within America’s entry into World War One. Written for the general public as well as a scholarly audience, each chapter puts the events of one month in conversation with each other, allowing readers to grasp the busy cultural landscape in the period. Bomberger focuses on eight key figures. Classical musicians Fritz Kreisler, Karl Muck, Walter Damrosch, Olga Samaroff, and Ernestine Schumann-Heink contended with the fallout from mounting anti-German feeling within the United States in different ways as audiences turned against the German music which was the core of their repertory, and viewed German musicians with suspicion. Only Olga Samaroff was born in the US. The others were German-speaking, and some were not U.S. citizens. Through canny marketing and patriotic concerts, Ernestine Schumann-Heink maintained her singing career even though she had sons fighting on both sides of the conflict, while conductor Karl Muck ended up in an internment camp. Meanwhile popular musicians Freddie Keppard, Dominc LaRocca, and James Reese Europe worked to establish their careers and popularize the fledging musical style of jazz. James Reese Europe spent most of the year staffing and then training the band for the Fifteenth Regiment (Colored) of the New York National Guard, an all-black unit that went on to distinguish itself in battle, but not before encountering racism at home. Bomberger also explains the legal and recording challenges jazz musicians faced in 1917. Over the course of the book, Bomberger skillfully makes the case that 1917 saw crucial developments in American music that changed the cultural landscape in the United States forever. E. Douglas Bomberger is Professor of Musicology at Elizabethtown College in Pennsylvania. A prolific author, Bomberger has published six books and over one hundred articles on subjects ranging from the medieval origins of keyboard instruments to mid-twentieth century American music. His primary research areas are in the piano literature, nineteenth-century American music, and transatlantic musical connections. He received the Elizabethtown College 2018–2019 Ranck Prize for Research Excellence. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices

There has been a recent trend in books that explore one year in detail: 1914, 1927, and 1968 have all received this treatment. E. Douglas Bomberger’s new book Making Music American: 1917 and the Transformation of Culture from Oxford University Press (2018) is new twist on this phenomenon. Rather than primarily trace historical events while touching on cultural matters as many of these books do, Bomberger follows the events in jazz and classical music during this crucial year while framing them within America’s entry into World War One. Written for the general public as well as a scholarly audience, each chapter puts the events of one month in conversation with each other, allowing readers to grasp the busy cultural landscape in the period. Bomberger focuses on eight key figures. Classical musicians Fritz Kreisler, Karl Muck, Walter Damrosch, Olga Samaroff, and Ernestine Schumann-Heink contended with the fallout from mounting anti-German feeling within the United States in different ways as audiences turned against the German music which was the core of their repertory, and viewed German musicians with suspicion. Only Olga Samaroff was born in the US. The others were German-speaking, and some were not U.S. citizens. Through canny marketing and patriotic concerts, Ernestine Schumann-Heink maintained her singing career even though she had sons fighting on both sides of the conflict, while conductor Karl Muck ended up in an internment camp. Meanwhile popular musicians Freddie Keppard, Dominc LaRocca, and James Reese Europe worked to establish their careers and popularize the fledging musical style of jazz. James Reese Europe spent most of the year staffing and then training the band for the Fifteenth Regiment (Colored) of the New York National Guard, an all-black unit that went on to distinguish itself in battle, but not before encountering racism at home. Bomberger also explains the legal and recording challenges jazz musicians faced in 1917. Over the course of the book, Bomberger skillfully makes the case that 1917 saw crucial developments in American music that changed the cultural landscape in the United States forever. E. Douglas Bomberger is Professor of Musicology at Elizabethtown College in Pennsylvania. A prolific author, Bomberger has published six books and over one hundred articles on subjects ranging from the medieval origins of keyboard instruments to mid-twentieth century American music. His primary research areas are in the piano literature, nineteenth-century American music, and transatlantic musical connections. He received the Elizabethtown College 2018–2019 Ranck Prize for Research Excellence. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices

There has been a recent trend in books that explore one year in detail: 1914, 1927, and 1968 have all received this treatment. E. Douglas Bomberger’s new book Making Music American: 1917 and the Transformation of Culture from Oxford University Press (2018) is new twist on this phenomenon. Rather than primarily trace historical events while touching on cultural matters as many of these books do, Bomberger follows the events in jazz and classical music during this crucial year while framing them within America’s entry into World War One. Written for the general public as well as a scholarly audience, each chapter puts the events of one month in conversation with each other, allowing readers to grasp the busy cultural landscape in the period. Bomberger focuses on eight key figures. Classical musicians Fritz Kreisler, Karl Muck, Walter Damrosch, Olga Samaroff, and Ernestine Schumann-Heink contended with the fallout from mounting anti-German feeling within the United States in different ways as audiences turned against the German music which was the core of their repertory, and viewed German musicians with suspicion. Only Olga Samaroff was born in the US. The others were German-speaking, and some were not U.S. citizens. Through canny marketing and patriotic concerts, Ernestine Schumann-Heink maintained her singing career even though she had sons fighting on both sides of the conflict, while conductor Karl Muck ended up in an internment camp. Meanwhile popular musicians Freddie Keppard, Dominc LaRocca, and James Reese Europe worked to establish their careers and popularize the fledging musical style of jazz. James Reese Europe spent most of the year staffing and then training the band for the Fifteenth Regiment (Colored) of the New York National Guard, an all-black unit that went on to distinguish itself in battle, but not before encountering racism at home. Bomberger also explains the legal and recording challenges jazz musicians faced in 1917. Over the course of the book, Bomberger skillfully makes the case that 1917 saw crucial developments in American music that changed the cultural landscape in the United States forever. E. Douglas Bomberger is Professor of Musicology at Elizabethtown College in Pennsylvania. A prolific author, Bomberger has published six books and over one hundred articles on subjects ranging from the medieval origins of keyboard instruments to mid-twentieth century American music. His primary research areas are in the piano literature, nineteenth-century American music, and transatlantic musical connections. He received the Elizabethtown College 2018–2019 Ranck Prize for Research Excellence. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices

There has been a recent trend in books that explore one year in detail: 1914, 1927, and 1968 have all received this treatment. E. Douglas Bomberger’s new book Making Music American: 1917 and the Transformation of Culture from Oxford University Press (2018) is new twist on this phenomenon. Rather than primarily trace historical events while touching on cultural matters as many of these books do, Bomberger follows the events in jazz and classical music during this crucial year while framing them within America’s entry into World War One. Written for the general public as well as a scholarly audience, each chapter puts the events of one month in conversation with each other, allowing readers to grasp the busy cultural landscape in the period. Bomberger focuses on eight key figures. Classical musicians Fritz Kreisler, Karl Muck, Walter Damrosch, Olga Samaroff, and Ernestine Schumann-Heink contended with the fallout from mounting anti-German feeling within the United States in different ways as audiences turned against the German music which was the core of their repertory, and viewed German musicians with suspicion. Only Olga Samaroff was born in the US. The others were German-speaking, and some were not U.S. citizens. Through canny marketing and patriotic concerts, Ernestine Schumann-Heink maintained her singing career even though she had sons fighting on both sides of the conflict, while conductor Karl Muck ended up in an internment camp. Meanwhile popular musicians Freddie Keppard, Dominc LaRocca, and James Reese Europe worked to establish their careers and popularize the fledging musical style of jazz. James Reese Europe spent most of the year staffing and then training the band for the Fifteenth Regiment (Colored) of the New York National Guard, an all-black unit that went on to distinguish itself in battle, but not before encountering racism at home. Bomberger also explains the legal and recording challenges jazz musicians faced in 1917. Over the course of the book, Bomberger skillfully makes the case that 1917 saw crucial developments in American music that changed the cultural landscape in the United States forever. E. Douglas Bomberger is Professor of Musicology at Elizabethtown College in Pennsylvania. A prolific author, Bomberger has published six books and over one hundred articles on subjects ranging from the medieval origins of keyboard instruments to mid-twentieth century American music. His primary research areas are in the piano literature, nineteenth-century American music, and transatlantic musical connections. He received the Elizabethtown College 2018–2019 Ranck Prize for Research Excellence. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices

There has been a recent trend in books that explore one year in detail: 1914, 1927, and 1968 have all received this treatment. E. Douglas Bomberger’s new book Making Music American: 1917 and the Transformation of Culture from Oxford University Press (2018) is new twist on this phenomenon. Rather than primarily trace historical events while touching on cultural matters as many of these books do, Bomberger follows the events in jazz and classical music during this crucial year while framing them within America’s entry into World War One. Written for the general public as well as a scholarly audience, each chapter puts the events of one month in conversation with each other, allowing readers to grasp the busy cultural landscape in the period. Bomberger focuses on eight key figures. Classical musicians Fritz Kreisler, Karl Muck, Walter Damrosch, Olga Samaroff, and Ernestine Schumann-Heink contended with the fallout from mounting anti-German feeling within the United States in different ways as audiences turned against the German music which was the core of their repertory, and viewed German musicians with suspicion. Only Olga Samaroff was born in the US. The others were German-speaking, and some were not U.S. citizens. Through canny marketing and patriotic concerts, Ernestine Schumann-Heink maintained her singing career even though she had sons fighting on both sides of the conflict, while conductor Karl Muck ended up in an internment camp. Meanwhile popular musicians Freddie Keppard, Dominc LaRocca, and James Reese Europe worked to establish their careers and popularize the fledging musical style of jazz. James Reese Europe spent most of the year staffing and then training the band for the Fifteenth Regiment (Colored) of the New York National Guard, an all-black unit that went on to distinguish itself in battle, but not before encountering racism at home. Bomberger also explains the legal and recording challenges jazz musicians faced in 1917. Over the course of the book, Bomberger skillfully makes the case that 1917 saw crucial developments in American music that changed the cultural landscape in the United States forever. E. Douglas Bomberger is Professor of Musicology at Elizabethtown College in Pennsylvania. A prolific author, Bomberger has published six books and over one hundred articles on subjects ranging from the medieval origins of keyboard instruments to mid-twentieth century American music. His primary research areas are in the piano literature, nineteenth-century American music, and transatlantic musical connections. He received the Elizabethtown College 2018–2019 Ranck Prize for Research Excellence. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices

There has been a recent trend in books that explore one year in detail: 1914, 1927, and 1968 have all received this treatment. E. Douglas Bomberger's new book Making Music American: 1917 and the Transformation of Culture from Oxford University Press (2018) is new twist on this phenomenon. Rather than primarily trace historical events while touching on cultural matters as many of these books do, Bomberger follows the events in jazz and classical music during this crucial year while framing them within America's entry into World War One. Written for the general public as well as a scholarly audience, each chapter puts the events of one month in conversation with each other, allowing readers to grasp the busy cultural landscape in the period. Bomberger focuses on eight key figures. Classical musicians Fritz Kreisler, Karl Muck, Walter Damrosch, Olga Samaroff, and Ernestine Schumann-Heink contended with the fallout from mounting anti-German feeling within the United States in different ways as audiences turned against the German music which was the core of their repertory, and viewed German musicians with suspicion. Only Olga Samaroff was born in the US. The others were German-speaking, and some were not U.S. citizens. Through canny marketing and patriotic concerts, Ernestine Schumann-Heink maintained her singing career even though she had sons fighting on both sides of the conflict, while conductor Karl Muck ended up in an internment camp. Meanwhile popular musicians Freddie Keppard, Dominc LaRocca, and James Reese Europe worked to establish their careers and popularize the fledging musical style of jazz. James Reese Europe spent most of the year staffing and then training the band for the Fifteenth Regiment (Colored) of the New York National Guard, an all-black unit that went on to distinguish itself in battle, but not before encountering racism at home. Bomberger also explains the legal and recording challenges jazz musicians faced in 1917. Over the course of the book, Bomberger skillfully makes the case that 1917 saw crucial developments in American music that changed the cultural landscape in the United States forever. E. Douglas Bomberger is Professor of Musicology at Elizabethtown College in Pennsylvania. A prolific author, Bomberger has published six books and over one hundred articles on subjects ranging from the medieval origins of keyboard instruments to mid-twentieth century American music. His primary research areas are in the piano literature, nineteenth-century American music, and transatlantic musical connections. He received the Elizabethtown College 2018–2019 Ranck Prize for Research Excellence. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

There has been a recent trend in books that explore one year in detail: 1914, 1927, and 1968 have all received this treatment. E. Douglas Bomberger's new book Making Music American: 1917 and the Transformation of Culture from Oxford University Press (2018) is new twist on this phenomenon. Rather than primarily trace historical events while touching on cultural matters as many of these books do, Bomberger follows the events in jazz and classical music during this crucial year while framing them within America's entry into World War One. Written for the general public as well as a scholarly audience, each chapter puts the events of one month in conversation with each other, allowing readers to grasp the busy cultural landscape in the period. Bomberger focuses on eight key figures. Classical musicians Fritz Kreisler, Karl Muck, Walter Damrosch, Olga Samaroff, and Ernestine Schumann-Heink contended with the fallout from mounting anti-German feeling within the United States in different ways as audiences turned against the German music which was the core of their repertory, and viewed German musicians with suspicion. Only Olga Samaroff was born in the US. The others were German-speaking, and some were not U.S. citizens. Through canny marketing and patriotic concerts, Ernestine Schumann-Heink maintained her singing career even though she had sons fighting on both sides of the conflict, while conductor Karl Muck ended up in an internment camp. Meanwhile popular musicians Freddie Keppard, Dominc LaRocca, and James Reese Europe worked to establish their careers and popularize the fledging musical style of jazz. James Reese Europe spent most of the year staffing and then training the band for the Fifteenth Regiment (Colored) of the New York National Guard, an all-black unit that went on to distinguish itself in battle, but not before encountering racism at home. Bomberger also explains the legal and recording challenges jazz musicians faced in 1917. Over the course of the book, Bomberger skillfully makes the case that 1917 saw crucial developments in American music that changed the cultural landscape in the United States forever. E. Douglas Bomberger is Professor of Musicology at Elizabethtown College in Pennsylvania. A prolific author, Bomberger has published six books and over one hundred articles on subjects ranging from the medieval origins of keyboard instruments to mid-twentieth century American music. His primary research areas are in the piano literature, nineteenth-century American music, and transatlantic musical connections. He received the Elizabethtown College 2018–2019 Ranck Prize for Research Excellence. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections.

There has been a recent trend in books that explore one year in detail: 1914, 1927, and 1968 have all received this treatment. E. Douglas Bomberger’s new book Making Music American: 1917 and the Transformation of Culture from Oxford University Press (2018) is new twist on this phenomenon. Rather than primarily trace historical events while touching on cultural matters as many of these books do, Bomberger follows the events in jazz and classical music during this crucial year while framing them within America’s entry into World War One. Written for the general public as well as a scholarly audience, each chapter puts the events of one month in conversation with each other, allowing readers to grasp the busy cultural landscape in the period. Bomberger focuses on eight key figures. Classical musicians Fritz Kreisler, Karl Muck, Walter Damrosch, Olga Samaroff, and Ernestine Schumann-Heink contended with the fallout from mounting anti-German feeling within the United States in different ways as audiences turned against the German music which was the core of their repertory, and viewed German musicians with suspicion. Only Olga Samaroff was born in the US. The others were German-speaking, and some were not U.S. citizens. Through canny marketing and patriotic concerts, Ernestine Schumann-Heink maintained her singing career even though she had sons fighting on both sides of the conflict, while conductor Karl Muck ended up in an internment camp. Meanwhile popular musicians Freddie Keppard, Dominc LaRocca, and James Reese Europe worked to establish their careers and popularize the fledging musical style of jazz. James Reese Europe spent most of the year staffing and then training the band for the Fifteenth Regiment (Colored) of the New York National Guard, an all-black unit that went on to distinguish itself in battle, but not before encountering racism at home. Bomberger also explains the legal and recording challenges jazz musicians faced in 1917. Over the course of the book, Bomberger skillfully makes the case that 1917 saw crucial developments in American music that changed the cultural landscape in the United States forever. E. Douglas Bomberger is Professor of Musicology at Elizabethtown College in Pennsylvania. A prolific author, Bomberger has published six books and over one hundred articles on subjects ranging from the medieval origins of keyboard instruments to mid-twentieth century American music. His primary research areas are in the piano literature, nineteenth-century American music, and transatlantic musical connections. He received the Elizabethtown College 2018–2019 Ranck Prize for Research Excellence. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices

Från 1845 gjorde den tyske tonsättaren, läraren, pianisten och dirigenten Carl Reinecke vidsträckta resor i Europa. Han utnämndes till hovpianist i Köpenhamn 1846 och i Leipzig blev han varmt mottagen av familjerna Mendelssohn och Schumann. 1860 blev han lärare vid Leipzigkonservatoriet och från 1897 var han dess rektor. Han gjorde konservatoriet till ett av de mest kända i Europa. Bland eleverna fanns: Edvard Grieg, Karl Muck, Christian Sinding, Johan Svendsen, Arthur Sullivan och Felix Weingartner. Mer information på sverigesradio.se/p2

Från 1845 gjorde den tyske tonsättaren, läraren, pianisten och dirigenten Carl Reinecke vidsträckta resor i Europa. Han utnämndes till hovpianist i Köpenhamn 1846 och i Leipzig blev han varmt mottagen av familjerna Mendelssohn och Schumann. 1860 blev han lärare vid Leipzigkonservatoriet och från 1897 var han dess rektor. Han gjorde konservatoriet till ett av de mest kända i Europa. Bland eleverna fanns: Edvard Grieg, Karl Muck, Christian Sinding, Johan Svendsen, Arthur Sullivan och Felix Weingartner. Mer information på sverigesradio.se/p2