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By James M. Doering


This biography charts the profession and legacy of the pioneering American song supervisor Arthur Judson (1881–1975), who rose to prominence in Philadelphia and long island before everything of the 20th century. A violinist by means of education, Judson grew to become supervisor of the Philadelphia Orchestra in 1915 lower than the enduring conductor Leopold Stokowski. inside of many years, Judson additionally took on administration of the hot York Philharmonic, navigating a interval of swap and the tenures of a number of vital conductors who incorporated William Mengelberg, Arturo Toscanini, and John Barbirolli. Judson additionally begun dealing with person artists, together with pianists Alfred Cortot and Vladimir Horowitz, violinist Jasha Heifetz, and cellist Gregor Piatigorsky. He additionally geared up the U.S. excursions of numerous widespread composers, together with Igor Stravinsky and Vincent d'Indy. even as, Judson started dealing with conductors. His first consumers have been Stokowski and Fritz Reiner. by way of the Nineteen Thirties, Judson's conductor record integrated many of the vital conductors operating in America.


Drawing on wealthy correspondence among Judson and the conductors and artists he served, James M. Doering demonstrates Judson's multifaceted roles, together with involvement with programming offerings, construction audiences, negotiating with orchestra participants and their unions, and exploring new applied sciences for extending the orchestras' achieve. as well as his colourful profession backstage at preeminent American orchestras, Judson was once vital for a couple of suggestions in arts administration. In 1922, he based a national community of neighborhood managers and later grew to become desirous about the really unexplored medium of radio, operating first with WEAF in ny urban after which later forming his personal nationwide radio community in 1927.

Providing invaluable perception into the workings of those orchestras and the early life of arts administration, The nice Orchestrator is a beneficial portrait of 1 of the main robust managers in American musical history.

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The stakes were not very high; Freund requested the column for Musical America’s Fall Issue, a thick annual volume designed to promote the musical events of the coming concert season. Judson’s article—a commentary on the influence of the brass band—was buried on page 75 of the 130-page volume. The following year, Freund made the same request and Judson’s contribution had a similar placement. But this second column, “Business and the Modern Musician,” must have struck a chord with Freund, for Judson’s visibility in the pages of the magazine increased markedly thereafter.

Judson did not respond to Charlton directly but instead wrote to Bauer. He apologized for any offense he had caused and tried to clarify his position. 24 Bauer answered Judson’s letter personally and assured him that the criticisms were not taken personally, though he found Judson’s harsh critique of the concerto reckless. Bauer hoped it would not discourage an “earnest music student” from studying the work. He also dismissed Judson’s claim that the audience applauded merely in appreciation of the soloist’s efforts.

The city also had numerous well-respected concert organizations. For an aspiring violinist, New York City was the only logical destination. Before completing his move to New York in the summer of 1907, however, Judson stopped first in Ocean Grove to fulfill his duties as concertmaster. His work for the bustling concert venue seemed a good transition to the artistic community he would soon encounter in New York City. But actually the opposite was true. When he finally settled in the city in fall 1907, Judson struggled to find work and soon realized that surviving in New York would be a great challenge.

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