123:(Danish Concert Association) (1901-40). It was therefore more thanks to its name than to its success that the Music Society maintained its status as the city's leading concert provider well into the 20th century. As a private association, it was totally dependent on its members, but as opportunities for concerts increased elsewhere, membership fell steadily. At the height of Gade's term, there had been as many as 2,500 members and each concert was presented twice. By the 1913–14 season, membership had fallen to 900 and concerts were only performed once.
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95:, who held the post for a year, but had to resign for health reasons. Franz Neruda then took over, conducting concerts until his death in 1915. During the early years, the association supported modern developments but even under Gade's leadership policy became more conservative. Under Neruda, the repertoire widened somewhat but still varied little from the classical repertoire of
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Around 1922, interest drastically declined, not just as a result of the economic recession but especially because the Music
Society was increasingly seen as an outdated institution. Poor reviews, triggered perhaps by his lack of professional experience as a conductor, led Nielsen to leave in 1927. He
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As the Music
Society was a private organisation, its concerts were also considered private events although the press were admitted. Financing consisted of membership dues, an annual State subsidy and the receipts of additional concerts open to the public. The Society had an unpaid amateur choir which
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Following Neruda's death, Carl
Nielsen took over the management of the Music Society's concerts in 1915. There had already been talk of abolishing the association which had been in a state of steady decline ever since the great days of Niels Gade. But Nielsen managed to revive interest, reorganising
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and Edvard Collin. Its objective was to publish Danish musical works "for which failure to publish would represent a loss to art". In addition, the association was also to present awards and organise concerts. The mandate for putting on concerts soon became by far the most important function for the
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In the late 19th and early 20th century, the
Copenhagen music scene developed rapidly. The Music Society, once the only institution to present orchestral concerts in the winter season, suddenly faced competition from many other organisations such as
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There were usually three or four concerts each season which stretched from
November to April. From time to time, there were additional concerts open to the paying public. Performances were held at 8 pm on Thursday evenings at
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was its chairman from 1839 to 1892, whilst Gade was a most effective leader of the orchestra and choir until his death in 1890. Gade was succeeded by
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the choir and somewhat modernising the rather conservative repertoire. He started to include works by contemporary Nordic composers such as
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38:'s most important concert venue in the 19th century. It operated from 1838 to 1931 but it was especially under the leadership of
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took part in all its concerts. The orchestra, engaged specially for each concert, consisted of members of the
42:(1850–90) that it became a meeting place for the city's music life with its own symphony orchestra and choir.
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who, despite considerable experience, was unable to prevent the Music
Society's closure in 1931.
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C.E.F. Weyse's
Romancer og Sange published by Musikforeningen in 1853
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Society, making it the leading concert institution in
Copenhagen.
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Niels Bo
Foltmann, "Dirigenten Carl Nielsen og Musikforeningen"
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in
Copenhagen, Musikforeningen's venue for concerts
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311:Arts organizations disestablished in the 1930s
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185:). Late German romantic composers such as
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251:, Fund og Forskning, Bind 42 (2003),
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173:and contemporary French music by
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218:"Musikforeningen i København"
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127:Structure of the organisation
259:Retrieved 15 November 2010.
85:Johan Peter Emilius Hartmann
80:Johan Peter Emilius Hartmann
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228:Retrieved 14 November 2010.
156:Carl Nielsen's chairmanship
111:(from 1883), the so-called
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286:Classical music in Denmark
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144:(often simply called the
30:(The Music Society) in
121:Dansk Koncert-Forening
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276:Danish music history
119:(1895-1931) and the
193:were not included.
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117:Odd Fellows Mansion
21:Odd Fellows Mansion
163:Wilhelm Stenhammar
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56:Franz Neruda
48:Franz Gläser
44:Carl Nielsen
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257:(in Danish)
226:(in Danish)
171:Louis Glass
270:Categories
205:References
40:Niels Gade
32:Copenhagen
150:Bredgade
91:’ son,
62:History
36:Denmark
97:Vienna
189:and
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