| dc.description.abstract | ABSTRACT As performers, teachers, and composers, resident pianists were an integral part of the bustling musical scene in nineteenth-century New York City. The constant presence of such musicians was critical to America’s artistic development, shaping our tastes and consumptions in a way that resonates well into the twentieth- and twenty-first centuries. Through performances, New York’s resident pianists introduced audiences in the United States to many standards of the piano repertoire from concertos to chamber music, from sonatas to various character pieces. Often giving local premieres, they populated concert programs with works by Ludwig van Beethoven, Johannes Brahms, Frédéric Chopin, Wolfgang Amadeus Mozart, Franz Schubert, Robert Schumann, and others, which helped shape the country’s artistic appetite and its enduring musical expectations. Throughout the nineteenth century, several of Europe’s most celebrated virtuosos toured the United States; however, in many cases, it was resident pianists who gave primary and continuous exposure of their music to American audiences. Through performances of works by Franz Liszt (1811-1886), Sigismund Thalberg (1812-1871), and other European superstars, resident pianists provided audiences with a taste of showmanship, which ultimately contributed to the early American perception of what it meant to be a piano virtuoso. Many of New York’s resident pianists were also teachers. Their pedagogical influence began locally, but soon expanded to include the entire country as their own students established themselves throughout the United States. By the twentieth century, New York and other American cities became important destinations for aspiring pianists the world over who sought the best teachers—a tradition of excellence established by New York’s resident pianists. Many resident musicians were also composers and New York’s top keyboardists were no exception. Their works stand as material evidence, representing what was popular and appealing to audiences and consumers in America. Much of their music is forgotten today; however, it was composed by capable musicians who understood piano logistics and effects, and in many cases demonstrates a high level of competency and creativity. Although many resident pianists actively contributed to the artistic growth and musical development of nineteenth-century America, this dissertation focuses primarily on the broad-based careers of three—Richard Hoffman (1831-1909), Sebastian Bach Mills (1838-1898), and Rafael Joseffy (1852-1915)—while highlighting the activities of several others including Daniel Schlesinger (1799-1839), Henry Christian Timm (1811-1892), William A. King (1817?-1867), William Scharfenberg (1819-1895), and Alfred Humphreys Pease (1838-1882). The pianistic realm of nineteenth-century New York City was vibrant and exciting—resident pianists not only underscore that notion—they have a fascinating and important story tell. | |
