(Dwight sJ ournal of Music was written by John Sullivan Dw...)
Dwight sJ ournal of Music was written by John Sullivan Dwight in 1856. This is a 385 page book, containing 662952 words and 29 pictures. Search Inside is enabled for this title. (Typographical errors above are due to OCR software and don't occur in the book.) About the Publisher Forgotten Books is a publisher of historical writings, such as: Philosophy, Classics, Science, Religion, History, Folklore and Mythology. Forgotten Books' Classic Reprint Series utilizes the latest technology to regenerate facsimiles of historically important writings. Careful attention has been made to accurately preserve the original format of each page whilst digitally enhancing the aged text. Read books online for free at www.forgottenbooks.org
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John Sullivan Dwight was born on May 13, 1813 at Boston, Massachusetts, United States. He was the eldest of the four children of Dr. John and Mary (Corey) Dwight. His father, who had studied for the ministry and then become a physician, was a radical freethinker. The boy, a sensitive, affectionate, gentle lad, early gave evidence of literary ability, and before he was sixteen, of an absorbing love of music.
Prepared at the Boston Latin School, Dwight entered Harvard College in 1829, maintained a “respectable standing” in his class, and was happily associated with the musical club, the Pierian Sodality. After graduation in 1832, when he delivered the class poem, he became a student in the Harvard Divinity School, where he formed lasting friendships with Theodore Parker and Christopher Pearse Cranch. He completed his course in August 1836, giving a dissertation upon “The Proper Character of Poetry and Music for Public Worship”, and entered upon a period of supplying various pulpits, writing literary reviews for periodicals, and studying and translating German poetry.
In 1837 Dwight was one of the leaders in the formation of the General Association of the Members of the Pierian Sodality, later the Harvard Musical Association. He was responsible for most of the translation and all of the notes in Select Minor Poems translated from the German of Goethe and Schiller (1839).
In 1840 he was called to the pastorate of the Unitarian church at Northampton. On May 20 he was ordained and installed, George Ripley preaching the sermon and William Ellery Channing delivering the charge. During the year that followed, two of his sermons, “The Religion of Beauty” and “Ideals of Every Day Life, ” were published in the first volume of the Dial. Although esteemed by his parishioners for his amiability and purity of soul, he did not have the power of disciplined thought which the Northampton congregation required of its preacher. Accordingly, after about a year he resigned, and before long “quietly dropped out of a profession which he felt was no longer congenial. ”
He had been a member of the Transcendental Club from its beginning and in November 1841 joined Ripley at Brook Farm, where he became one of the leaders.
He was a constant contributor to the Harbinger, of articles on “Association, ” literary reviews, and poems, as well as musical criticism; for a while, with Ripley, he edited it, and after its removal to New York upon the break-up of the Brook Farm community in October 1847 he was one of its editorial contributors.
During the next four years, residing in Boston, he directed the choir of W. H. Channing’s Religious Union of Associationists; lectured on musical subjects; wrote reviews and musical criticisms for Boston and New York journals; contributed a series of monthly articles to Sartain’s Magazine; for a few months conducted in the Boston Daily Chronotype a department devoted to Association; and for the first six months of 1851 was musical editor of the Boston Commonwealth.
In the next year, aided by the Harvard Musical Association, he issued the first number of Dwight’s Journal of Music: A Paper of Literature and Art, of which he was publisher as well as editor and chief contributor until Oliver Ditson & Company took over the publishing in 1858. In the columns of his Journal he “translated music into literary form, showed the public what to find in it and how to discover its profound spiritual charm and power”, and for nearly thirty years exerted an unparalleled influence on the formation of musical taste in America.
At the end of that time its purpose had been to some extent accomplished; new schools of music, with whom the editor could not wholly sympathize, were coming into prominence; and the issue of September 3, 1881, was the last. Although the Journal absorbed most of his energy, Dwight found time to translate a number of lyrics and several works on music from the German, to lecture frequently, and to contribute to other periodicals. The Atlantic Monthly for September and November 1870 contained two parts of a notable lecture delivered earlier in that year: “Music a Means of Culture” and “The Intellectual Influence of Music. ”
He wrote the chapter on music for Justin Winsor’s Memorial History of Boston (1881); completed Vol. I (1883) of The History of the Händel and Haydn Society of Boston, Massachusetts, begun by Charles C. Perkins; from 1885 to 1890 assisted in the revision of musical definitions for Webster’s International Dictionary; and in 1890, for six months, substituted for W. F. Apthorp as musical editor of the Boston Transcript. An essay, “Common Sense, ” in which he discussed philosophy, religion, and politics, written in 1885, appeared in the Unitarian Review, May 1890.
After the death of his wife, in 1860, while he was in Europe on his only trip abroad, he made his home for a time with his mother and sister, then in an apartment near the Journal office, and after 1873, in the rooms of the Harvard Musical Association.
Dwight organized Mass Clubs both at West Roxbury and in Boston to sing the great compositions of Mozart, Bach, and Beethoven, and made the Harbinger, the organ of Brook Farm and later of the American Union of Asso- ciationists, “one of the best musical journals the country has ever possessed”. Dwight was for eighteen years a trustee of the Perkins Institution for the Blind, and gave to it enthusiastic service. He was vice-president of the Harvard Musical Association from 1855 to 1873 and president and librarian from 1873 until his death. In 1865 he was instrumental in the formation among its members of the Philharmonic Society; in 1876 with the establishment of a professorship of music at Harvard he saw the accomplishment of the Association’s stated object.
(Dwight sJ ournal of Music was written by John Sullivan Dw...)
In 1837 Dwight was one of the leaders in the formation of the General Association of the Members of the Pierian Sodality, later the Harvard Musical Association.
He was a member of the Transcendental Club from its beginning and in November 1841 joined Ripley at Brook Farm, where he became one of the leaders.
He was one of the earliest members of the Saturday Club, and from 1877 had a large share in the handling of the Club’s affairs.
Unpractical, gentle, visionary, Dwight “lived sunnily in life-long poverty, loved his friends, loved flowers and music, ” and by “his rare gift of appreciation and enthusiasm diffused a sense of beauty throughout a whole community”.
On February 12, 1851 Dwight married Mary Bullard, a member of his choir.
