American Music At The Fair: A White Man’s Suggestions on Concerts, Opera, Art, and Education

Poster advertising the World’s Columbian Exposition, hosted in Chicago, IL in 1893

As the pinnacle of culture and phenomena, the World’s Fair serves as a global platform for innovation and cultural exchange, showcasing the latest advancements and celebrating the diverse traditions of nations worldwide. At the turn of the 20th century, the World’s Fair was hosted in Chicago, Illinois in 1893 as the World’s Columbian Exposition, from May 1st to October 30th. While the World’s Fair is a place to display the world’s accomplishments, there are also instances where criticisms and suggestions hog the spotlight. Enter “American Music At The Fair: Mr. Stanton’s Suggestions As To Concerts And Operas–Education And Art”.  

This primary source was found in a magazine article entitled “The Musical Visitor”, whose primary purpose was to report on music literature and news during the latter part of the 19th century. In this article, the author is not listed, however, the interviewee is the more appealing topic of discussion. Edmund C. Stanton was the Secretary and Managing Director of the Metropolitan Opera House in New York City, New York from 1884 to 1891. Throughout his career, Stanton was well-known in the music and operatic circles for bringing notable European artists (such as Lilly Lehman, Max Alvary, and Ivan Fischer) to sing for American audiences, as well as taking risks and introducing French, Italian, and German operas to New York “surpassed by none [other than Stanton] in the world”. Through his efforts, Stanton contributed significantly to the American opera scene through his administrative and musical influence. 

Edmund C. Stanton, Managing Director & Secretary of The Metropolitan Opera House, New York, NY (from 1884-1891).

At the time the article was written, Stanton had been “appointed to represent the amusement interests on the World’s Fair committee”, where he spoke with a reporter and shared his opinions on what the exhibition ought to “accomplish”. Included in the article are multiple quotations from Stanton:

“I think that the fair ought to be made to show to Europeans what America has accomplished in education, in music, and in art… [But] I think that American composers and American musicians ought to have such a chance to show the world what they can do as they have never had before.” 

“I would suggest a large concert hall on the grounds of the fair, where daily concerts should be given. Of course, they would not be confined to the works of Americans, but most of them are naturalized or are likely to be, and they could represent the music of the country. There might be orchestral concerts and vocal and choral concerts, and I would not leave out the military bands such as Gilmore’s, Cappa’s, and others. I think they do a great deal to popularize good music.” 

AMERICAN MUSIC AT THE FAIR.: MR. STANTON’S SUGGESTIONS AS TO CONCERTS AND OPERAS–EDUCATION AND ART.

In the readings on Monday by Thompson and Shadle, European influence in American music has often overshadowed the development of a distinct identity of American music. Stanton’s suggestions further enforce the idea that “white music traditions” (concert halls, military bands, etc) should be recognized and celebrated on the world’s stage. Therefore, European influence in American music is a defining hallmark of the general public’s understanding of  “American” music, omitting the rich diversity of sounds and traditions that come from non-white groups. 

WORKS CITED

“AMERICAN MUSIC AT THE FAIR.: MR. STANTON’S SUGGESTIONS AS TO CONCERTS AND OPERAS–EDUCATION AND ART.” The Musical Visitor, a Magazine of Musical Literature and Music (1883-1897), vol. 18, no. 11, 11, 1889, pp. 287. ProQuest, https://www.proquest.com/magazines/american-music-at-fair/docview/137493784/se-2.

“EDMUND C. STANTON DEAD: One Time Managing Director of the Metropolitan Opera House Company Passes Away in England.” The New York Times, The New York Times, timesmachine.nytimes.com/timesmachine/1901/01/22/101177358.html?pageNumber=9.

“Libguides: World’s Fair Collection: Chronological List by Decades.” Chronological List by Decades – World’s Fair Collection – LibGuides at California State University Fresno, Fresno State Library, guides.library.fresnostate.edu/c.php?g=289187&p=1928035.

“The Metropolitan Opera Archives .” Metropolitan Opera Archives, The Metropolitan Opera, archives.metopera.org/MetOperaSearch/search.jsp?q=%22Edmund+C.+Stanton%22&src=browser&sort=PDATE.

Blest Be the Tie That Binds: Connecting Races with Music

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The World’s Columbian Exposition, commonly known as the Chicago World’s Fair, of 1893 served as a turning point for America in many ways. The fair brought almost 1/3 of the country to see a Chicago reborn out of the ashes of the Great Fire of 1871, a shining White City representing the beautiful, though definitely idealized, America. As the world came to see the fair, many dignitaries and VIPs also visited.

Quinn Chapel, Chicago, IL.

In his mid-70s, the orator and abolitionist Frederick Douglass was one of these VIPs. His visit to Chicago elicited a reception in his honor at the Quinn Chapel of the African Methodist Episcopal Church. The program welcomed men and women of all races to celebrate and honor the achievements of the Hon. Mr. Douglass by presenting on topics like “Why our ministers love him,” “From a business standpoint,” “The mothers of the race,” etc. Between the presentations and speeches (many notably by African American speakers), the assembly joined in the singing of songs and hymns.

The reception’s organizers knew the power of music to connect people. Hymns especially unite the Christian faith together, reminding how similar people really are, no matter the color of their skin or their eyes, or the amount of money they have (“Amazing Grace” immediately comes to mind). One of the hymns sung at the event strikes me as especially poignant, “Blest Be the Tie That Binds” by Rev. John Fawcett, the pastor at a small church in Wainsgate, England, in the 18th century:

Blest be the tie that binds
Our hearts in Christian love;
The fellowship of kindred minds
Is like to that above.

Before our Father’s throne
We pour our ardent prayers;
Our fears, our hopes, our aims are one
Our comforts and our cares.

We share each other’s woes,
Our mutual burdens bear;
And often for each other flows
The sympathizing tear.

When we asunder part,
It gives us inward pain;
But we shall still be joined in heart,
And hope to meet again.

This glorious hope revives
Our courage by the way;
While each in expectation lives,
And longs to see the day.

From sorrow, toil and pain,
And sin, we shall be free,
And perfect love and friendship reign
Through all eternity.

I can only imagine the power of that moment, races coming together to sing a message of unity and hope, praying for the future of love and friendship to come soon and free all from toil and pain. As modern-day musicians, we must remember that the ability of music to proclaim messages calling for social change makes it the responsibility of musicians to write about, compose, and trumpet messages like this one. Sometimes we need a reminder, for as Frederick Douglass, calling for the end of lynch law, said in his final remarks, “What [Americans] needed was a higher Christianity, one that is not ashamed of any of God’s children.” We still need that higher Christianity today.


“The Douglass Reception: An Exceptional Affair in Many Respects–Something of the Programme and Certain Participants.” Cleveland Gazette. December 9, 1893. http://docs.newsbank.com/openurl?ctx_ver=z39.88-2004&rft_id=info:sid/iw.newsbank.com:EANX&rft_val_format=info:ofi/fmt:kev:mtx:ctx&rft_dat=12DB0E0CC3A99F40&svc_dat=HistArchive:ahnpdoc&req_dat=102FE1F6CA316FA2.

Quinn Chapel A.M.E. Church, 2401 South Wabash Avenue, Chicago, Cook County, IL. Library of Congress Prints and Photographs Online Catalog, http://www.loc.gov/pictures/item/il0843.sheet.00006a/ (accessed April 7, 2015).