Unlikely Cornerstone

Between 1867 and 1900 Theodore Thomas orchestrated twenty-two pieces for inclusion in his programs. These works were integral to his popularity with American audiences, yet they are among the most overlooked factors contributing to Thomas's unprecedented success touring America throughout the latter half of the nineteenth century. They have been overlooked in part because of Thomas's efforts to emphasize the significance of other aspects of his career over these orchestrations. These transcriptions were so successful with Thomas's audiences because of the dual purpose they served on his programs. They entertained the populace while validating the concert's high-art status through the names of Europe's most venerable composers. American audiences in the latter half of the nineteenth century were eager to establish their cultural sophistication alongside that of Europe but not at the sacrifice of accessibility in the music that they attended. Through these orchestrations Thomas found a formula by which he could entertain his audiences while nevertheless encouraging their aspiration toward high culture. He was able to understand the needs of American audiences, because in many ways he represented their insecurities, lacking the formal education and life experiences to earn European validation as an orchestral conductor. The similarities in his struggles and those of his public prepared him for his role performing throughout America.