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Freedom Highway by Rhiannon Giddens (review)

Freedom Highway by Rhiannon Giddens (review) 116 American Music, Spring 2019 Hiawatha Symphony without Thomas present (the composer conducted). Despite critical plaudits and appeals for more hearings, the work was not performed again. At the close of the nineteenth century, Shadle sees growing support for sym- phonists. george Whitefield Chadwick’s works received more performances and critical praise, but only when they sounded german enough (234). louis maas also received more support for his On the Prairies. Nevertheless, when Antonín Dvořák arrived in New York City in october 1892 with a mandate to foster an American compositional style, critics perceived a lack of American composers in what Shadle elsewhere describes as a “willful ignorance of the country’s compositional past” (263). Dvořák’s visit tends to be the entry point for study of the nineteenth- century uS symphony, with everything before it all but forgotten. The Czech visitor arrives only at the end of this book, after Shadle has shown us that a host of other composers wrote American symphonies far earlier. in Orchestrating the Nation, Shadle has reconstructed not just a single composer or a group of composers. He has shown us that we know little about this history because of entrenched institutional bias rather than intrinsic http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png American Music University of Illinois Press

Freedom Highway by Rhiannon Giddens (review)

Miyake, Mark Y.
American Music , Volume 37 (1) – May 7, 2019
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Publisher
University of Illinois Press
ISSN
1945-2349

Abstract

116 American Music, Spring 2019 Hiawatha Symphony without Thomas present (the composer conducted). Despite critical plaudits and appeals for more hearings, the work was not performed again. At the close of the nineteenth century, Shadle sees growing support for sym- phonists. george Whitefield Chadwick’s works received more performances and critical praise, but only when they sounded german enough (234). louis maas also received more support for his On the Prairies. Nevertheless, when Antonín Dvořák arrived in New York City in october 1892 with a mandate to foster an American compositional style, critics perceived a lack of American composers in what Shadle elsewhere describes as a “willful ignorance of the country’s compositional past” (263). Dvořák’s visit tends to be the entry point for study of the nineteenth- century uS symphony, with everything before it all but forgotten. The Czech visitor arrives only at the end of this book, after Shadle has shown us that a host of other composers wrote American symphonies far earlier. in Orchestrating the Nation, Shadle has reconstructed not just a single composer or a group of composers. He has shown us that we know little about this history because of entrenched institutional bias rather than intrinsic

Journal

American Music – University of Illinois Press

Published: May 7, 2019

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