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Musical Metropolis Los Angeles and the Creation of a Music Culture, 1880–1940

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Musical Metropolis Los Angeles and the Creation of a Music Culture, 1880–1940 Musical Metropolis Los Angeles and the Creation of a Music Culture, 1880–1940 Kenneth H. Marcus This eBook does not include ancillary media that was packaged with the printed version of the book. MUSICAL METROPOLIS © Kenneth H. Marcus 2004 All rights reserved. No part of this book may be used or reproduced in any manner whatsoever without written permission except in the case of brief quotations embodied in critical articles or reviews. First published in 2004 by PALGRAVE MACMILLAN™ 175 Fifth Avenue, New York, N.Y. 10010 and Houndmills, Basingstoke, Hampshire, England RG21 6XS Companies and representatives throughout the world. PALGRAVE MACMILLAN is the global academic imprint of the Palgrave Macmillan division of St. Martin’s Press, LLC and of Palgrave Macmillan Ltd. Macmillan® is a registered trademark in the United States, United Kingdom and other countries. Palgrave is a registered trademark in the European Union and other countries. ISBN 1–4039–6418–1 hardcover ISBN 1–4039–6419–X paperback Library of Congress Cataloging-in-Publication Data Marcus, Kenneth H. Musical Metropolis: Lost Angeles and the creation of a music culture, 1880–1940 / by Kenneth H. Marcus. p. cm. Includes bibliographical references (p.) and index. ISBN 1–4039–6418–1 (alk. paper)—ISBN 1–4039–6419–X (pbk.: alk paper) 1. Music—California—Los Angeles—19th century—History and criticism. 2. Music—California–Los Angeles—20th century—History and criticism. 3. Music—Social aspects—California—Los Angeles. I. Title. ML200.8.L7M37 2004 780Ј.9794Ј94—dc22 2004042843 A catalogue record for this book is available from the British Library. Design by Newgen Imaging Systems (P) Ltd., Chennai, India. First edition: December 2004 10987654321 Printed in the United States of America. To the memory of my mother Laura Hearne Marcus (1922–2003) This page intentionally left blank Contents List of Illustrations vi List of Tables viii List of Recordings ix Acknowledgments x Introduction 1 1. Theater Music During the Boom Years 11 2. “Making Friends with Music”: Music Education in the Classroom and Concert Hall 37 3. “Symphonies Under the Stars”: The Romance of the Hollywood Bowl 65 4. The Art of Pageants, Plays, and Dance 87 5. Leaving a Legacy: Early Recordings of Indigenous, Classical, and Popular Music 119 6. “An Invisible Empire in the Air”: Broadcasting the Classics during the Golden Age 143 7. Music on Film: Hollywood and the Conversion to Sound 165 Epilogue 191 Notes 199 Bibliography 245 Appendix 261 Abbreviations 263 Index 265 A CD containing musical selections discussed in this book can be found on the back cover. List of Illustrations Prelims Southern California, ca. 1920 xii Chapter 1 1.1 Los Angeles, ca. 1920 12 1.2 Main Street and Second, with Grand Opera House on Right, ca. 1889 16 1.3 Hazard’s Pavilion 17 1.4 Los Angeles Theatre 18 1.5 National Opera Company 26 1.6 Adolph Willhartitz 29 1.7 Harley Hamilton 30 1.8 Lynden Behymer 31 Chapter 2 2.1 Miguel Arévalo, ca. 1872 45 2.2 Heinrich von Stein, ca. 1911 47 2.3 Neighborhood Music School 52 2.4 William Wilkins with Class, ca. 1932 53 2.5 Walter Henry Rothwell 58 2.6 Philharmonic Auditorium 60 2.7 Philharmonic Auditorium, interior view 61 Chapter 3 3.1 Founders in dish: Charles Toberman, Harriet Grey, Mr. Sibertson, Artie Mason Carter, Frederick Blanchard, unidentified, Ellis Reed 69 3.2 Easter Sunrise Service, 1924 73 3.3 Founders and patrons signing up, 1927 75 3.4 Hollywood Bowl, 1930 76 LIST OF ILLUSTRATIONS vii 3.5 Eugene Goossens 79 3.6 Princess Tsianina 81 Chapter 4 4.1 John Steven McGroarty 92 4.2 Juan Zorraquinos and Juanita Vigare 94 4.3 Fiesta scene, The Mission Play 95 4.4 Garnet Holme 103 4.5 José Arias and Troubadours 106 4.6 Indian Christening scene, Ramona Pageant 108 Chapter 5 5.1 Manuela García 123 5.2 Rosendo Uruchurtu 125 5.3 Charles Wakefield Cadman, Margaret Messer Morris, Arthur Alexander 133 Chapter 6 6.1 KECA Program: Beethoven, 1935 154 6.2 KECA Survey, 1936 157 Chapter 7 7.1 Max Steiner 170 7.2 Erich Wolfgang Korngold 174 7.3 Alfred Newman 178 List of Tables 6.1 Top 12 Composers on Standard Hour Broadcasts, 1929–35 148 6.2 Origin of Composers on Standard Hour Broadcasts, 1929–35 148 List of Recordings 1. Rosa and Luisa Villa, “La Serenata” (1904) 2. Zoellner Quartet, Medley: “Dixie” and “Swanee River” (1915) 3. Kid Ory’s Sunshine Orchestra, “Ory’s Creole Trombone” (1922) 4. Margaret Messer Morris and Charles Wakefield Cadman, “At Dawning” (1922) 5. Charles Wakefield Cadman, piano solo, “Land of the Sky Blue Water” (1926) 6. Olga Steeb, Edward MacDowell’s “Rigaudon, Op. 48/s” (1922) 7. Olga Steeb, Frederic Chopin’s “Mazurka in B-flat, Op. 7” (1923) 8. Grauman’s Symphony Orchestra, cond. by Ulderico Marcelli, Erno Rapée’s “Echoes From the Iron Horse” (1925) 9. Aimée Semple McPherson, “I Ain’t Gonna Grieve” (1926) 10. Don Clark Orchestra, with Bing Crosby and Al Rinker, “I’ve Got the Girl” (1926) 11. Los Angeles Philharmonic, cond. by Eugene Goossens, Antonin Dvorak’s “Carnival Overture” (1928) 12. Percussion Ensemble, cond. by Nicolas Slonimsky, Edgard Varèse’s “Ionisation” (1933) 13. RKO Studio Orchestra, cond. by Max Steiner, Vincent Youmans’s “Carioca” from Flying Down to Rio (1933) 14. Lawrence Tibbett, Elinor Remick Warren’s “Sweetgrass Range” (1935) 15. Johnny Green and male quartet, George Gershwin’s “Bidin’ My Time” (1937) 16. Arnold Schoenberg, Gershwin eulogy, Gershwin Memorial Broadcast (1937) 17. Bob Crosby and His Orchestra, “Panama” (1937) 18. WPA Los Angeles Federal Symphony, with Colored Chorus, cond. by William Grant Still, excerpts from “Lenox Avenue” (1938) 19. José Arias Troubadours, “El capotin” (1949) 20. José Arias Troubadours, “Cielito lindo” (1949) Acknowledgments Several institutions helped make this book possible. The Huntington Library granted two short-term fellowships in 2001 and 2002, the latter of which was as a John Randolph Haynes and Dora Haynes Foundation Fellow. The Historical Society of Southern California granted two Research Stipends through the Haynes Foundation, which enabled me to research archives at the Seaver Center for Western History Research, at Special Collections at the University of Southern California, and at the Huntington Library. The Faculty Research Committee at the University of La Verne provided a gener- ous grant to cover the costs of photographs, copyright fees, and the produc- tion of the CD, as well as time off from teaching, for which I am very grateful. I would like to thank four scholars in particular who gave me the benefit of their knowledge and wisdom. Gloria Lothrop’s enthusiasm in Los Angeles studies is truly inspiring. She read through each chapter, sometimes multiple drafts, and her insightful suggestions greatly improved the manuscript and enriched this study beyond measure. Gloria first suggested I contact Lance Bowling, who is a tremendous source of knowledge about Los Angeles music and musicians. Lance read through and commented on all the chapters, and opened up his private archive of theater programs, photographs, and memo- rabilia, which revealed a wealth of detail without which this book would have been a lesser work. His wide experience in historical recordings made possible the production of the CD that accompanies the book. John Koegel proved a highly valuable colleague. He was willing to read carefully through the drafts, writing meticulous notes on every page, and on numerous occasions even sending copies of related materials he had come across. I very much appreciate his sharing his great knowledge of music in the Southwest, and his helping me to avoid the traps that can befall a historian who steps into another field. Another musicologist, Bill Thomson, provided very useful suggestions after a thorough reading of the manuscript, corrected some errors, and for good measure revealed details of the Los Angeles jazz scene of the 1930s and ’40s. Several historians and musicologists read through one or more of these chapters, each sharing his or her particular area of expertise: Martin Ridge, Robert Dawidoff, Mike Engh, Bill Deverell, Laura Marcus, Hal Barron, Andrew Rolle, Mark Wild, Peter Blodgett, Catherine Parsons Smith, John and Lyn Pohlmann, Alan Marcus, and Dave Smith. I thank them all. The Los Angeles History Research Group provided much useful feedback on the book’s first chapter, and the guidance of Mike Engh and Clark Davis made the ACKNOWLEDGMENTS xi group a delightful source of fellowship. I also presented ideas in this book at Robert Dawidoff’s Thursday Forum at Claremont Graduate University; a Faculty Forum at the California State Polytechnic University, Pomona; and at a conference I organized on Community and Culture in Los Angeles at the University of La Verne. I further thank the students from my course, “Los Angeles: The Study of a City,” for their input and suggestions. Several individuals made unique contributions. My editor at Palgrave Macmillan, Brendan O’Malley, believed in this project and helped make it a reality. On the production side, both Donna Cherry and Theresa Lee proved highly beneficial in the final stretch. I would like to thank those who shared their experiences with me, some of whom saw the events in these pages firsthand. They are Thomas Cassidy; David Raksin; José Arias Jr.; Glenarvon Behymer Jr.; Robert Kursinski; and Leni Boorstin. For their efforts in facilitating archival materials or photographs, I thank Steve Lacoste at the Los Angeles Philharmonic Archives, Julio Rodriguez at the Music Center Archives, Dace Taube at Special Collections, University of Southern California, Phil Brigandi at the Ramona Pageant Association Archives, Dennis Bade at the Los Angeles Philharmonic Association, John Cahoon at the Seaver Center for Western History Research, Carol Merrill- Mirsky at the Hollywood Bowl Archives, Warren Sherk at the Margaret Herrick Library, Academy of Motion Picture Arts and Sciences, Kim Walters at the Southwest Museum Braun Research Library, and Marc Wanamaker at Bison Archives.
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