Harvard Musical Association

The Harvard Musical Association is a private charitable organization founded by Harvard University graduates in 1837 for the purposes of advancing musical culture and literacy, both at the university and in the city of Boston. Though initially a spin-off of the Pierian Sodality, the association broke its ties with Harvard soon after its founding. The association's most important notable accomplishments include the creation of the country's finest music library of the time, the sponsorship of the first professional and public chamber music series in the United States, the erection of the Boston Music Hall, and the formation of the orchestra which ultimately gave rise to the Boston Symphony Orchestra. The association's library catalog may be searched on OCLC with the initials HVDMA.

History

Founding

In July 1837, the Pierian Sodality, a society of musically inclined Harvard undergraduates, held its annual meeting. They proposed the organization of a new society, the chief object of which would be "... the promotion of musical taste and science in the University ... to enrich the walls of Harvard with a complete musical library ... and to prepare the way for regular musical instruction in the College." By general agreement, and with the help of various past members, the organization now known as The Harvard Musical Association was created at a subsequent meeting on August 30, 1837 under the name "The General Association of Past and Present Members of the Pierian Sodality". The name was shortened in 1840.
The new association, advocating the teaching of music at Harvard, sent the following series of resolutions to Josiah Quincy, Harvard's president at that time.
Proposals from outsiders for the improvement of the university were considered presumptuous, and Quincy never acknowledged that he had received the document. It was not until 1862, when John Knowles Paine was appointed Harvard's first professor of music, that music became an established part of the curriculum. In light of the College's attitude and decreasing undergraduate participation, the membership agreed not to mention Harvard at its meetings and turned its capacities toward the advancement of music in Boston.

Music in Boston

The association's first undertaking was the establishment of an annual lecture series, delivered on erudite musical topics by qualified individuals. The lecture series in itself lasted five years, with speakers Henry R. Cleveland, John Sullivan Dwight, William Whetmore Story, Ezra Weston, and Christopher P. Cranch. Starting in 1842, chamber concerts accompanied the annual lectures.
From 1844 to 1849, the association sponsored a series of chamber music concerts open to the public. Though this concert series lasted only five years, it had a profound impact on music in the United States, both by increasing public knowledge of chamber music, and by helping music in general gain legitimacy as an art form.
In 1850, under the leadership of member Dr. Jabez Upham, the association raised in sixty days the sum of US$100,000 to build a new Music Hall between Tremont and Washington Streets. This hall, seating over two thousand, was dedicated by Jenny Lind in 1852. Ten years later the members of the association raised an additional $60,000 to install in the hall an organ built in Germany by Walcker. Regarded as the largest organ in the United States, this instrument contained 5,474 pipes and 84 registers and may now be heard in its own hall in Methuen.
On December 28, 1865, the association began its sponsorship of public concerts by the Harvard Orchestra, conducted by Carl Zerrahn. Of these concerts, which took place in the Music Hall, King's Dictionary of Boston reported in 1883: "The greatest works of the greatest masters have been given at these concerts, the standard of whose programmes has been kept at the highest, with the view, in part, of educating the taste of the musical public in what is greatest and best without regard to fashion or popular demand." The orchestra, however, had humble beginnings. Though composed of sixty-two players, the orchestra often lacked necessary instruments. As Arthur Foote said: "When a harp was needed in the orchestra..., one of us would do the best we could to replace it by playing its part on an upright piano." In 1882, after having suffered monetary losses for eight years, the Harvard Orchestra was dissolved and turned over the last of its funds, $1,000 to the association.
Association member Henry Lee Higginson, however, sought to revivify orchestra music in Boston, and in 1881 placed an ad in the Boston newspapers, which would lead to the creation of the first professional symphony orchestra in Boston:
Although Higginson had intended for members of Harvard Orchestra to play in the new one, most were not good enough musicians to reach the level of perfection required to fulfill Higginson's hopes for the professional orchestra. After the disbanding of the Harvard Orchestra in 1882, the association stopped all direct participation in the Boston music scene, and continued to host concerts for the pleasure of members only.

Library

The association's library, however, remained open to the public, and is still an integral part of the association's daily operations. With bequests from [|various members], it soon assembled many books and scores which were assessed by the Salem Register in 1843 as constituting the "largest and best musical library in the country." Today, the library has over 11,000 volumes, including many rare and notable works. A few examples:

A collection of sheet music published by the Van Hagens, the first sheet music publishers in Boston
An archive of the complete running of Dwight's Musical Journal
Malcolm Alexander's A Treatise of Musick, Speculative, Practical, and Historical, the first history of music in the English language.
A signed first edition of César Franck's Pièces pour harmonium
A first edition of Mozart's ''Sei quartetti per due violin, viola, e violoncello''
Premiere of ''Parsifal''

In 1880, German composer Richard Wagner encountered difficulty in getting Parsifal performed in Bayreuth. Annoyed because of his large expenditures on the Festival Theater, the venue at which he had intended to hold the performance, and bureaucratic opposition, he said in a letter to American dentist Newell S. Jenkins: "It seems to me as if, in my hopes of regarding Germany and her future, my patience would very soon be exhausted." In a display of his notorious ego, Wagner proposed that if an American organization would give him $1,000,000, he would agree to come to the United States, to live there permanently, and to put on the first performance of Parsifal. Jenkins forwarded the letter to Andrew D. White—then the American ambassador to the German Empire—who in turn sent it to John Sullivan Dwight. Although the association briefly considered the proposal, Wagner's difficulties in Bayreuth were resolved before any plans were finalized. Parsifal was produced in 1882, and Wagner died the following year.

Locations

"Social evenings" for members and guests were held first in Cambridge and then in such renowned Boston locations as the Revere House, the Tremont House, and the original Parker House. Then, the association would gather ten to twelve times a year to hear some of the leading chamber musicians of the day and to share a post-concert supper. Whether the white-tie-and-oyster affair of the 19th century or the baked bean, Welsh rarebit, and ale collation of the present, the social evening remains the heart of the organization.
From its beginning and through the 1880s, the association's rooms were moved from time to time. From 1858 to 1869, its Library was placed in the Athenæum. In 1892, the association acquired the Malcolm Greenough house at 1 West Cedar Street. Opened with a reception for Antonín Dvořák, this has remained the association's residence for over 100 years. The main floor was dropped four feet in 1907, which required relocating the main entrance to Chestnut Street and taking a new number, 57A. With a bequest from Julia Marsh, widow of Charles Marsh, the association renovated the upper floors in 1913. The third floor, with its warren of leased rooms, was gutted and the resulting space joined to the second floor to create space for a highly ornamented, double-height hall thereafter known as the Marsh Room. The condition of Marsh's bequest was that the room in her honor be open during weekdays to local musicians for practice.

Famous members

Of the builders of the association, particular mention should be made of John Sullivan Dwight, a noted transcendentalist and member of the Brook Farm movement, who for many years published a recondite Journal of Music and was widely known as one of the nation's outstanding musicologists. It was largely through his efforts that the Library was established, the Music Hall was built, and the Harvard Orchestra was organized. He served as president of the association from 1873 until his death in 1893, at which time he was a resident in the new house of the association.
Other significant figures in the association's affairs include Henry Ware Jr., first president; Henry White Pickering, president from 1852 to 1873; Arthur Foote, the celebrated composer, who importantly reorganized the library during his membership from 1875 to 1937; and Charles R. Nutter, historian of the association and an active member from 1893 to 1965.
Courtenay Guild, an important figure during the first half of the 20th century, served as president of the association for twenty-five of the sixty years he was a member. At his death in 1946, a substantial portion of his estate was bequeathed to the association and added to its capital funds.
Noted Harvard musicologist Hugo Leichtentritt had his autobiography published by the Harvard Musical Association.
Following the retirement of Richard Wait, a Boston lawyer, as president of the association in 1979, and in light of his unprecedented thirty-one years in office, the concert hall on the first floor was named in his honor as the Richard Wait Room.