Early Twentieth Century Orchestra Education Outreach in Minneapolis: Young People's Symphony Concert Association and the Repertoire Programmed and Conducted by Emil Oberhoffer 1911–1922

Abstract

Young people's concerts in America began in the second half of the nineteenth century. (1) Germania Society Orchestra of Boston held an afternoon concert for children in April 1849. (2) Theodore Thomas and Walter Damrosch both produced concerts for children in the 1880s and the 1890s. (3) In Minneapolis, young people's concerts began in 1911, eight years after the Minneapolis Symphony Orchestra was formed. (4) This article will relate the early history of that series, which was created by the Young People's Symphony Concert Association (known as YPSCA). YPSCA, the Minneapolis community and its schools, orchestral leaders, and conductor Emil Oberhoffer established the traditions which still exist today. primary source of Oberhoffer's contributions to the series is his handwritten notes, which reveal his enthusiasm. His written plans conveyed useful and meaningful ways to teach children to appreciate symphonic repertoire he chose was varied and contemporary for his time. Emil Oberhoffer's insightful and inspiring presentations, along with the women's association support, secured the future of symphonic music in Minnesota. Developing a future audience became their mission. From 1911 until the present, hundreds of thousands of children have benefited from their efforts. Early Young People's Concerts: A National View In 1911, Walter Damrosch and his work presenting children's programming in New York City served as inspiration for young people's concerts in Minneapolis. Although Minneapolis was one of the earliest and perhaps one of the few cities to establish and maintain a consistent program each school year, it was not the only city to offer such a series. Between 1923 through 1930, orchestras in the following cities also presented children's concerts: Kansas City, Missouri; Detroit, Michigan; Rochester, New York; (5) Cincinnati, Ohio; (6) San Diego, California; (7) Topeka, Kansas; (8) Cleveland, Ohio; (9) and, Bloomington, Illinois. (10) Margaret Lowry, a specialist in music appreciation from Kansas City, Missouri, wrote in 1928: Children's concerts as we know them are primarily an American idea. They were born of the large vision and boundless enthusiasm which makes all things possible because it recognizes no obstacles and does not hesitate to try a thing merely because it has not been tried before. (11) Teaching children to appreciate classical music was the main objective of those organizing these concerts. Mabelle Glenn, Music Supervisor of the Kansas City, Missouri, Schools, wrote: The great majority of people will become listeners rather than performers of Therefore music listening, under skillful guidance, should constitute a large part of a child's musical (12) Preparing students to attend young people's concerts became an inherent part of that training. Two of the primary tools for studying compositions were the phonograph and the player piano. In the San Diego elementary schools, under the music supervision of Annie Marie Clarke: pieces are presented to the children in the schools by means of phonograph records. In presenting the work 'the drawing out' rather than the 'pouring in' process is used, that is by adroit questioning the children are made to think about the musical content of the piece and develop an active rather than a passive listening attitude. At all times the music is studied rather than the hundred and one things that might be taught 'about' the (13) Edward B. Birge wrote in a 1924 Music Supervisors Journal, One of the inevitable results of the use of the phonograph and player-piano in the school is the desire on the part of the children to not only hear but see the artists who are performing the music. (14) A third way of preparing students for a live concert was to have a guest speaker visit classes prior to an upcoming concert. …