Theodore Thomas: Building American Orchestras and Choirs

• Published in: American choral review 2014-07, Vol.56 (2), p.1-7
• Main Author: DeVenney, David P
• Format: Article
• Language: English
• Subjects: Autobiographies; Bibliographic literature; Biographies; Choirs; Composers; Directors; Festivals; Musical performances; Musicians & conductors; Orchestras; Parks & recreation areas; Singers; Thomas, Theodore
• ISSN: 0002-7898; 2163-3169

There were few full-time ensembles devoted to the first-rate performance of classical music, and those orchestras that did exist usually hired their players from dance bands and theatre orchestras, players who often had little experience with or knowledge of symphonic repertoire. An offer to be the Musical Director of the newly formed Cincinnati College of Music came in 1881, which appealed to Thomas: he could continue to work with great choruses and orchestras at the May Festivals, but he could also educate a new generation of students and at the same time regularize his income. The large force of his decision, because of his touring activities and guest conducting of music festivals, meant that every organ in every hall where he played on tour (as well as any player who wanted to play for him) needed to conform to this new standard; so with his decision he standardized musical pitch throughout the country. New York is the only city in the country in which an orchestral player can make a living, and even here he must give lessons or play at balls and parties, thereby losing or injuring the finer qualities of an orchestral player.9 Thomas felt that, in developing a national musical culture, the place to begin was not with orchestras but with singing as the basis for a fuller flowering of the musical art.