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150:. Burleigh, who mopped floors to pay for his tuition, sang spirituals as he worked and drew the interest of Dvorak. Burleigh's rendering of African-American spirituals had a profound effect on Dvorak's compositions and served as the basis for one of his best-known symphonies, (with a title suggested by Thurber, it is said), "From the New World". Dvorak said, "In the Negro melodies of America I discover all that is needed for a great and noble school of music." Burleigh went on to assist Dvorak in copying sections of his work as his amanuensis, and ultimately became a well-known baritone and composer in his own right, as well as a faculty member at the Conservatory.
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basis for the curriculum now taken for granted in the colleges and conservatories of this country. Its achievements resulted from the endeavors of a single visionary: Jeannette M Thurber, a wealthy, idealistic New Yorker who devoted most of her life to the school ... Although her innovative design for the
Conservatory was influential in shaping the course of American music for the 20th century, Mrs. Thurber and her school have slipped into undeserved obscurity."
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103:, which inspired her to advocate for government funding of her school, as was done in France. On September 15, 1869, at the age of 19, she married Francis Beatty Thurber (Delhi, November 13, 1842 – Manhattan, July 4, 1907), who would later become a millionaire grocery wholesaler. The couple had two daughters, Marianne and Jeannette. The family had a summer home at
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138:. But the Conservatory seemed to be her real love, and she grew it from 84 students when it opened to 3,000 students in 1900. Her success was due, in part, to her conviction that her school required an outstanding and publicly-celebrated faculty: its first director was Jacques Bouhy, a world-renowned baritone.
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Thurber lived to be almost 96, dying in 1946 as a woman who "combined her love of music with an entrepreneurial imagination, the management skills of the labor negotiator, and a profound dedication to music education—qualities that mark her, even to this day, as one of the most intelligent, effective
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Thurber's continuing difficulties in securing funding for her school—either public or private—and her flagging energy as she grew older, contributed to the demise of the school, but her success did as well: music schools started springing up, competing for faculty and students. On the other hand, her
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to the United States to head her conservatory, where he remained until 1895. Dvořák, who refused her offer several times, was ultimately persuaded by his wife, Anna Dvorak, when she learned of the staggering annual salary of $ 15,000, which was 25 times his current income. He was to receive four
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The
National Conservatory of Music of America was the outstanding institution for professional musical preparation in the United States for some 25 years or more. At its height in the 1890s it boasted a faculty of international renown ... and initiated a course of studies whose features became a
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Thurber founded the school in part because of her belief that a nation should cultivate its own unique music—an unusual stance when the prevailing attitude was that all cultured art, especially orchestral music, came from
Germany or Italy. While running the school, she sponsored competitions for
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In addition to race and gender issues, Thurber championed the idea of a federally-funded conservatory and was very pointed about the fact that the United States was the only industrialized nation that did not provide government monies for the arts. Thurber "precipitated public debate over the
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in 1885—the first of its kind and an endeavor that some say ushered in the first orchestral music with a distinctively
American sound. But in a very radical stance for the day, Thurber championed the rights of women, people of color and the handicapped to attend her school, sometimes on full
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Scholars suggest it could be because the school had been pigeon-holed as being "specifically successful in helping students of foreign birth and certain special classes, like the blind and those of Negro blood". Or because the orchestra had a "a sprinkling of girls", as the
162:. (Carnegie also was a founding patron of Thurber's Conservatory though some research suggests that other than a small amount from L. Horton and Andrew Carnegie, Thurber is the only one who contributed financial backing.)
158:, was a privately funded institution and became her chief competition, and there is no indication in the public record that they accepted blacks, the handicapped or even women. The school ultimately morphed into the
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appropriateness of a federally funded
Conservatory of music in a capitalist society". In fact, the Institute of Musical Art of the City of New York, chartered in 1904 with the backing of
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months' summer leave in exchange for three hours of daily teaching and six annual concerts. It was there that he met 26-year-old
African-American student
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school was written out of the record of musical history well before the doors had even closed. "It is conspicuously absent from Elson's
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Rubin, Emmanuel (Autumn 1990). "Jeannette Meyers
Thurber and the National Conservatory of Music".
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Jeannette Meyers was the daughter of Henry Meyers, an immigrant violinist from
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by Tali Makell, music director of the
Chamber Philharmonia of New York
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417:"View From Even Further East: The Importance of Being Europe"
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In 1892, she was responsible for bringing the Czech composer
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scholarship. This was 1885—two decades since the end of the
453:"AntonĂn Dvořák and the National Conservatory of Music"
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The
National Conservatory of Music of America building
196:patrons ever to take a stand for American music".
122:In 1884 Thurber sponsored New York City's first
81:American musicians to develop American music.
68:in the United States. Thurber established the
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223:(3). University of Illinois Press: 294–325.
300:"The Music Magazine and National Courier".
332:"The Deal that Brought Dvorak to New York"
282:"The Deal That Brought Dvořák to New York"
375:Grove's Dictionary of Music and Musicians
128:National Conservatory of Music of America
70:National Conservatory of Music of America
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45:Anna Dvorak with Antonin in London, 1886
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169:Jeannette Meyers Thurber in her office
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126:festival. In 1885 she founded the
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504:20th-century American women
499:19th-century American women
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494:Women in classical music
469:American philanthropists
54:Jeannette Meyers Thurber
18:Jeannette Meyers Thurber
445:connection to Dvořák's
419:by Daniel Freisenfeld,
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132:American Opera Company
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56:; January 29, 1850 in
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435:" by Molly Sheridan,
378:(3rd ed.). 1920.
266:"W. E. Connor to Wed"
189:New York Evening Post
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60:– January 2, 1946 in
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474:American impresarios
413:at Wikimedia Commons
250:"F. B. Thurber Dead"
62:Bronxville, New York
479:American socialites
443:Jeannette Thurber's
284:by Michael Cooper,
425:, November 1, 2003
338:. August 23, 2013.
336:The New York Times
287:The New York Times
270:The New York Times
254:The New York Times
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109:Catskill Mountains
101:Paris Conservatory
75:American Civil War
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411:Jeannette Thurber
409:Media related to
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16:(Redirected from
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361:Rubin 1990
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200:References
97:Copenhagen
447:Te Deum
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107:in the
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91:Life
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