Quakers never cared much for music, but the city has nonetheless musically flourished into international fame. At the same time, quarrels and internal battles have also been world class.
Particular Sights to See:Center City
Taxi drivers tell tourists that Center City is a "shining city on a hill". During the Industrial Era, the city almost urbanized out to the county line, and then retreated. Right now, the urban center is surrounded by a semi-deserted ring of former factories.
Conventions and Convention Centers
When you have a big convention center, some circus is always coming to town. Philadelphia has always been a convention town, has had and still has lots of convention sites, and hopes to have more of the kind of famous convention we have had in the past.
Tourist Walk in Olde Philadelphia
Colonial Philadelphia can be seen in a hard day's walk, if you stick to the center of town.
Sixth and Walnut over to Broad and Sansom
In 1751, the Pennsylvania Hospital at 8th and Spruce was 'way out in the country. Now it is in the center of a city, but the area still remains dominated by medical institutions.
At the corner of 808 Locust stands a condominium building with a colorful history. It was originally the First Presbyterian Church, and then in 1820 the famous architect William Strickland converted it into the largest musical auditorium in the City. For several years, a group of music lovers had been meeting to discus the problem of aging and retired musicians, most of them impoverished. The idea arose of giving several benefit performances each year to raise money for retired musicians, and the idea was enlarged to create a Musical Fund Society to put on regular concert series. Since it was by far the largest public auditorium, it also served for graduations, speeches, conventions.
|John C. Fremont|
It thus came about that in 1856 the Republican Party held its first national convention there, nominating for President John C. Fremont, the famous explorer of the West. The Republicans had two main components, the advocates of the abolition of slavery, and the residual of the Whig Party, which had come apart. The Whigs were mainly concerned with using government effort to promote the economy, building canals and roads, and similar ideas for public benefit. Abraham Lincoln had been a fervent Whig.
|Musical Fund Hall|
As a musical society, the Musical Fund was quite instrumental in persuading this Quaker City that music could be used for purposes other than religious incantations and frivolous entertainments. And it was useful in bringing the new instruments and musical concepts from Europe to the New World. Louis Madeira has written an interesting history of the early musical significance of the Musical Fund. When the Academy of Music opened in 1856, the old hall on Locust Street became a relic of the past. It had assets, however, and the organization continues to function as a granting agency for musical production and development in the Philadelphia area, even though it is itself no longer in the business of musical production.
And then the third strain of history in this old place is the development of Musical Unions. This is natural enough, in view of the original purpose of helping indigent musicians. But unfortunately, several competing unions appeared, most of them on Locust Street, and the dissention was bitter and continuing. In 1871 Philadelphia was the scene of the creation of the National Musical Association, and although the local 77 became a part of the national movement, it was stormy. Competitive musical unions had a history of calling the police to shut down speakeasies run as private clubs by their competitors. During the Depression of the 1930's there were many accusations of Communist infiltration, and counter accusations that Joseph Petrillo, the national president, was a Nazi. An underlying theme among musicians was that foreign immigrants were willing to work for less than the standard wage, and hence many of the coercive features of the union were aimed at forcing immigrant musicians to become members, and to refuse to work for substandard pay.
Some idea of the bitterness in the situation can be gained from the strike against the Philadelphia Orchestra in 1956. Ten years later, only one member of the union in ten was employed.
|Music in Philadelphia: and the Musical Fund Society, Louis C. Madeira ISBN: 1-932109-44-7||Ross and Perry Inc.|
|Musical Notes of a Physican: F. William Sunderman Sr. ISBN 0963292706||Alibris|
|Posted by: Bob Skiba | Aug 4, 2012 12:26 PM|
|Posted by: catherine | Nov 8, 2008 8:15 PM|