Gleason's father was a banker. Like many other well-to-do gentlemen, Gleason senior was an amateur flautist. He considered music a pleasant pastime but not a serious occupation. He wanted his son to enter the ministry - a good old New England tradition. But the son insisted on becoming a composer, and the father yielded. Gleason spent much of his early life in the neighboring city of Hartford, as a pupil of Dudley Buck, going in 1869 to Leipzig to study with Ignaz Moscheles and Hans Richter.[1] After six years in Europe he returned to America, and in 1877 went to Chicago as a member of the faculty of the Hershey School of Music, of which Clarence Eddy (also a pupil of Buck) was the general director.[1] Gleason was also active as a music critic. In 1897 he became president of an organization called the 'American Patriotic Musical League'. He was general director of the Chicago Conservatory from 1900 to 1903.[2] His students included composer Elsa Swartz.[3] According to Philo A. Otis, Gleason "was an idealist, a dreamer, though too much of a follower to be a leader."[1]
Gleason's compositions include: the Festival Ode (words by Harriet Monroe) sung by 500 voices with orchestra at the opening of the Auditorium Theatre, Chicago on 9 December 1889;[4][5]Processional of the Holy Grail written for the Chicago World's Fair; a symphonic Poem, Edris, based on a novel by Marie Corelli; the tone poemSong of Life (after a poem by Swinburne); a Piano Concerto; a cantata with orchestra, The Culprit Fay; and two operas: Otho Visconti and Montezuma. The former was produced at Chicago in 1907. He left other scores in manuscript, with instructions that they were not to be publicly performed until fifty years after his death.
Buck, Dudley (2005). N. Lee Orr (ed.). American Victorian Choral Music. Recent researches in American music, Volume 53. A-R Editions, Inc. ISBN9780895795731.
Flinn, John J. (1893). Chicago the Marvelous City of the West: a History an Enyclopedia and a Guide (2nd ed.). Chicago: National Book and Picture Co. pp. 117–8.
Otis, Philo Adams (1924). The Chicago Symphony Orchestra : Its Organization Growth and Development 1891-1924. Chicago: Clayton F. Summy.
frederick, grant, gleason, born, december, 1848, middletown, connecticut, died, chicago, december, 1903, american, composer, director, chicago, conservatory, from, 1900, 1903, portrait, gleason, father, banker, like, many, other, well, gentlemen, gleason, seni. Frederick Grant Gleason born 17 December 1848 in Middletown Connecticut died Chicago 6 December 1903 was an American composer and director of the Chicago Conservatory from 1900 to 1903 Portrait of Frederick Grant Gleason Gleason s father was a banker Like many other well to do gentlemen Gleason senior was an amateur flautist He considered music a pleasant pastime but not a serious occupation He wanted his son to enter the ministry a good old New England tradition But the son insisted on becoming a composer and the father yielded Gleason spent much of his early life in the neighboring city of Hartford as a pupil of Dudley Buck going in 1869 to Leipzig to study with Ignaz Moscheles and Hans Richter 1 After six years in Europe he returned to America and in 1877 went to Chicago as a member of the faculty of the Hershey School of Music of which Clarence Eddy also a pupil of Buck was the general director 1 Gleason was also active as a music critic In 1897 he became president of an organization called the American Patriotic Musical League He was general director of the Chicago Conservatory from 1900 to 1903 2 His students included composer Elsa Swartz 3 According to Philo A Otis Gleason was an idealist a dreamer though too much of a follower to be a leader 1 Gleason s compositions include the Festival Ode words by Harriet Monroe sung by 500 voices with orchestra at the opening of the Auditorium Theatre Chicago on 9 December 1889 4 5 Processional of the Holy Grail written for the Chicago World s Fair a symphonic Poem Edris based on a novel by Marie Corelli the tone poem Song of Life after a poem by Swinburne a Piano Concerto a cantata with orchestra The Culprit Fay and two operas Otho Visconti and Montezuma The former was produced at Chicago in 1907 He left other scores in manuscript with instructions that they were not to be publicly performed until fifty years after his death References EditCitations a b c Otis 1924 p 121 Buck 2005 p xx Wier Albert Ernest 1938 The Macmillan Encyclopedia of Music and Musicians Macmillan Dedicated to music and the people Chicago Tribune 10 December 1889 Retrieved 12 October 2015 with artist s sketch of Patti on stage Flinn 1893 pp 117 8 SourcesBuck Dudley 2005 N Lee Orr ed American Victorian Choral Music Recent researches in American music Volume 53 A R Editions Inc ISBN 9780895795731 Flinn John J 1893 Chicago the Marvelous City of the West a History an Enyclopedia and a Guide 2nd ed Chicago National Book and Picture Co pp 117 8 Otis Philo Adams 1924 The Chicago Symphony Orchestra Its Organization Growth and Development 1891 1924 Chicago Clayton F Summy External links EditFree scores by Frederick Grant Gleason at the International Music Score Library Project IMSLP Frederic Grant Gleason Papers at Newberry Library Retrieved from https en wikipedia org w index php title Frederick Grant Gleason amp oldid 1064296001, wikipedia, wiki, book, books, library,
