Rediscovering George Bristow

A Review of Katherine K. Preston's George Bristow

Charlottesville, Virginia -- George Frederick Bristow (1825–1898) is recognized by scholars for his advocacy of American composers, most notably through his participation in a public debate in early 1854 with critics Richard Storrs Willis and John Sullivan Dwight. The exchange centered on the New York Philharmonic Society's limited support for works by native musicians. In George Frederick Bristow (University of Illinois Press, 2020), Katherine K. Preston examines this episode while providing a broader view of Bristow's life and career, drawing on previously underexplored family materials.

Katherine PReston's Book

Preston, professor emerita at the College of William & Mary, makes use of the Bristow Collection at the New York Public Library, including letters, photographs, and other documents acquired from the composer's descendants. These sources help to present Bristow as a working musician in 19th-century New York: a violinist in orchestras, a church organist and choir director, a private and public school teacher, and a composer across multiple genres.

The book follows a chronological structure. It begins with Bristow's early years and his emergence as a composer in the 1840s and early 1850s, including his involvement with figures like Louis Jullien. The narrative then covers the 1850s, a period that saw the premiere of his opera Rip Van Winkle in 1855 and the completion of Symphony No. 2, known as the "Jullien" symphony. The 1860s are addressed next, with attention to the Oratorio of Daniel from 1866 and the effects of the Civil War on Bristow's personal and professional life. The account continues into the 1870s, when Bristow was described in contemporary sources as a composer of "native independence and originality," and extends to the 1880s and 1890s, when he remained active as an educator and composer until his death in 1898.

Separate interludes focus on specific aspects of his work. One examines his private teaching, another his direction of church music and composition of sacred pieces, a third his instruction in public schools, and a fourth his activities as a businessman and musical authority. Preston describes Bristow's output, which included five symphonies, overtures, chamber music, songs, piano pieces, secular choral works, and sacred compositions. She notes contemporary praise for features such as melodic clarity and effective orchestration for winds. The book also mentions lighter elements in his music, such as the polka-influenced scherzo in Symphony No. 2, which reflects the popular dance styles of the era.

Contemporary accounts from letters and periodicals reveal Bristow as patient with students, devoted to family, and equipped with a dry sense of humor. Preston places his activities within the broader musical culture of New York, illustrating the range of opportunities available to professional musicians at the time.

The biography, an approach to rediscovering George Bristow, has been well received. Douglas Shadle describes it as a detailed resource on 19th-century American music. E. Douglas Bomberger notes its perspective on the era through Bristow's experiences. A review in Music & Letters calls it clear and authoritative, while Nineteenth-Century Music Review recommends it as useful reading for understanding transatlantic musical connections.

Preston's account offers a balanced look at Bristow's contributions and the environment in which he worked. It serves as a reference for those studying American music before 1900.