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Reviewing Our Musical Heritage
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17201 |
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Section : |
THE ARTS
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| Issue
Date : |
2 / 1990 |
1,964 Words |
| Author
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Tom Pniewski
Tom Pniewski is a musicologist at Hunter College in New York. |
American music was "colonial" for a long time after the colonies won political independence from Britain. Up until the First World War, Americans who were serious about their music were expected to go to Europe for their training, and European artists were given preference over their American counterparts by audiences and impresarios.
The Great War shook up the established nineteenth-century order of world powers and brought America onto the international stage. In the years that followed, American cultural life flourished, nurtured by economic and political progress. By 1939, the United States was a world power in every sense; the New York World's Fair simply underlined what everyone already acknowledged, that America had "arrived."
That same year marked the founding of the American Music Center, an organization to promote the composition and performance of music by American composers. Set up by the most prominent composers, performers, and administrator/educators of the day, the New York-based American Music Center was to play a vital role in the development of national musical excellence.
The Center has long sponsored an annual American Music Week, during which concerts across the country feature works both old and new by American composers. It is always a bit of a festival, as critics scramble from concert trying to hear as many works as possible, since this music is often neglected for the rest of the year. In New York, three of the city's major orchestras joined in last autumn's American Music week. The Orchestra of St. Luke's played in Carnegie Hall on Monday, November 6; the New York Philharmonic performed in Avery fisher Hall on
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