Nation and Classical Music: From Handel to Copland PDF
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MATTHEW RILEY AND MATTHEW RILEY is Reader in Music ANTHONY D. SMITH This book develops a comparative analysis MUSIC IN SOCIETY AND CULTURE at the University of Birmingham. of the relationship between Western art music, nations and nationalism. It explores M A NA the infl uence of emergent nations and Twahse Plartoef eAssNor TEmHeOritNus Yof DN.a tSioMnaIliTsmH a nd THTTH nationalism on the development of classical OE music in Europe and North America and Ethnicity at the London School of Economics. NW Nation and Y D R examines the distinctive themes, sounds Issues of nation and nationalism are at the heart of both cultural . SILE and resonances to be found in the repertory MY of each of the nations. Its scope is broad, disatulodgieuse aans dt hmeyu sdicoo hloegrey,. yCeht arallreenlgyi nhga vaes twheeslle a ds iislcluipmlinineast einngt,e rthedis ibnotoo k ITH AN Classical Music extending well beyond the period 1848- D off ers a richly comparative approach towards music’s role in 1914 when national music fl ourished most conspicuously. The interplay of music ‘nation-making work’, traversing an extraordinarily wide range C and nation encompasses the oratorios of of repertoire and cultural contexts. Handel, the open-air music of the French SIMON MCVEIGH, Professor of Music, laN From Handel to Copland Revolution and the orchestral works of Goldsmiths, University of London sa s Beethoven and Mendelssohn and extends it ci into the mid-twentieth century in the music o a of Prokofi ev, Shostakovich and Copland. This path-breaking book traces the various ways we can fi nd the n l nation in music and music in the nation. Beautifully written and M a The book addresses the representation of the national community, the incorporation wide-ranging, its great strength is to introduce lovers of classical music n to the sociology of nationalism, and to extend the subject matter of ud of ethnic vernacular idioms into art music, nationalism scholarship to the world of classic music. s the national homeland in music, musical i c adaptations of national myths and legends, BILL KISSANE, Associate Professor in Politics, the music of national commemoration and The London School of Economics and Political Science the canonisation of national music. Bringing F together insights from nationalism studies, r o musicology and cultural history, it will be This book provides a very good and much needed account of how m the nation and music are intimately linked. It is lucid and concise, H essential reading not only for musicologists and, above all, highly original in paving the way into interdisciplinary an but for cultural historians and historians of d studies of the role of music in the formation of nations. el nationalism as well. t o BENEDIKTE BRINCKER, Associate Professor at the Department C of Management, Politics and Philosophy, Copenhagen Business School op l a n d COVER: Prague National Theatre from the River Vltava, Czech Republic, 19th Century Print. DEA / A. DAGLI ORTI / De Agostini Picture Library / Getty Images 097 Nation and Classical Music FV.indd All Pages 11/10/2016 20:44 Nation and Classical Music Nation & Classical.indb 1 18/09/2016 21:19 Music in Society and Culture issn 2047-2773 Series Editors vanessa agnew, katharine ellis, jonathan glixon, & david gramit Consulting Editor tim blanning This series brings history and musicology together in ways that will embed social and cultural questions into the very fabric of music-history writing. Music in Society and Culture approaches music not as a discipline, but as a subject that can be discussed in myriad ways. Those ways are cross-disciplinary, requiring a mastery of more than one mode of enquiry. This series therefore invites research on art and popular music in the Western tradition and in cross-cultural encounters involving Western music, from the early modern period to the twenty-first century. Books in the series will demonstrate how music operates within a particular historical, social, political or institutional context; how and why society and its constituent groups choose their music; how historical, cultural and musical change interrelate; and how, for whom, and why music's value undergoes critical reassessment. Proposals or queries should be sent in the first instance to the series editors or Boydell & Brewer at the addresses shown below. Dr Vanessa Agnew, University of Duisburg-Essen, Department of Anglophone Studies, r12 s04 h, Universitaetsstr. 12, 45141 Essen, Germany email: [email protected] Professor Katharine Ellis, Department of Music, University of Bristol, Victoria Rooms, Queen’s Road, Clifton, bs8 1sa, UK email: [email protected] Professor Jonathan Glixon, School of Music, 105 Fine Arts Building, University of Kentucky, Lexington, ky 40506–0022, USA e-mail: [email protected] Professor David Gramit, Department of Music, University of Alberta, 3–82 Fine Arts Building, Edmonton, Alberta, t6g 2c9, Canada e-mail: [email protected] Boydell & Brewer, PO Box 9, Woodbridge, Suffolk, ip12 3df, UK email: [email protected] Previously published titles in the series are listed at the back of this volume. Nation & Classical.indb 2 18/09/2016 21:19 Nation and Classical Music From Handel to Copland Matthew Riley and Anthony D. Smith the boydell press Nation & Classical.indb 3 18/09/2016 21:19 © Matthew Riley and Anthony D. Smith 2016 All Rights Reserved. Except as permitted under current legislation no part of this work may be photocopied, stored in a retrieval system, published, performed in public, adapted, broadcast, transmitted, recorded or reproduced in any form or by any means, without the prior permission of the copyright owner The right of Matthew Riley and Anthony D. Smith to be identified as the authors of this work has been asserted in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988 First published 2016 The Boydell Press, Woodbridge isbn 978 1 78327 142 9 The Boydell Press is an imprint of Boydell & Brewer Ltd PO Box 9, Woodbridge, Suffolk ip12 3df, UK and of Boydell & Brewer Inc. 668 Mt Hope Avenue, Rochester, ny 14620–2731, USA website: www.boydellandbrewer.com A catalogue record for this book is available from the British Library The publisher has no responsibility for the continued existence or accuracy of URLs for external or third-party internet websites referred to in this book, and does not guarantee that any content on such websites is, or will remain, accurate or appropriate This publication is printed on acid-free paper Designed and typeset in Adobe Warnock Pro by David Roberts, Pershore, Worcestershire Nation & Classical.indb 4 18/09/2016 21:19 Contents List of Illustrations vi List of Music Examples vii Preface ix Introduction 1 1 Music and the National Community: From Monarchs to Citizens 18 2 Folk Music into Art Music 44 3 Music of the Homeland 87 4 Myths and Memories of the Nation 138 5 The Music of Commemoration 161 6 The Canonization of National Music 192 Conclusion: Nations, Nationalism and Classical Music 216 Bibliography 221 Index 241 Nation & Classical.indb 5 18/09/2016 21:19 Illustrations F ig. 1.1 Sängerfahrt on the occasion of the Wartburg Song Festival, August 1847 (litho), German School (nineteenth century) 30 © SZ Photo / Bridgeman Images F ig. 2.1 Bedřich Smetana (1824–84), frontispiece of the March from The Bartered Bride (Prodaná nevěsta), piano transcription 61 De Agostini Picture Library / A. Dagli Orti / Bridgeman Images F ig. 3.1 View of landscape from Edvard Grieg’s (1843–1907) birthplace, from composer’s sketchbook 111 De Agostini Picture Library / A. Dagli Orti / Bridgeman Images F ig. 4.1 Scene from Guillaume Tell by Gioachino Rossini (1792–1868), engraved by Zincke (coloured engraving), Johann Christian Schoeller (1782–1851) (after) 141 Historisches Museum der Stadt, Vienna, Austria / De Agostini Picture Library / A. Dagli Orti / Bridgeman Images F ig. 5.1 Festival of the Federation, 14 July 1790, at the Champ de Mars, late eighteenth century, engraved by Isidore Stanislas Helman (1743–1809) (engraving), Charles Monnet (1732–1808) (after) 163 Bibliothèque nationale, Paris, France / Bridgeman Images F ig. 6.1 The tomb of composer Carl Maria von Weber (1786–1826) in Dresden, Germany (engraving, nineteenth century) 201 De Agostini Picture Library / Bridgeman Images vi Nation & Classical.indb 6 18/09/2016 21:19 Music Examples Ex. 2.1 Beethoven, ‘Sunset’, 25 Schottische Lieder, Op. 108, for violin, cello, voice and piano, bars 12–31 52–3 Ex. 2.2 Chopin, Mazurka in B major Op. 56 No. 1, bars 1–14 58 Ex. 2.3 Chopin, Mazurka in A minor Op. 59 No. 1, bars 1–22 59 Ex. 2.4 Grieg, ‘Knut Luråsens halling I’, Op. 72 No. 10, bars 25–38 63 Ex. 2.5 D’Indy, Symphonie cévenole, first movement: (i) bars 1–10; (ii) bars 27–30 71 Ex. 3.1 Borodin, In the Steppes of Central Asia, bars 1–27 94 Ex. 3.2 Sibelius, En Saga, bars 34–41 115–18 © by Breitkopf & Härtel, Wiesbaden Ex. 3.3 Falla, Harpsichord Concerto, first movement, bars 1–10 130 Copyright © 1926 Chester Music Limited (For Australia/Canada/Japan/ South America/USA). All rights reserved. International Copyright Secured. Used by Permission of Chester Music Limited. Copyright © 1928 Éditions max eschig – Paris, France. All rights reserved. Reproduced by kind permissions of Hal Leonard MGB s.r.l. Ex. 3.4 Copland, Billy the Kid, ‘Introduction: The Open Prairie’, bars 1–18 134 © Copyright 1941 by the Aaron Copland Fund for Music, Inc. Copyright renewed. Boosey & Hawkes, Inc., Sole licensee Ex. 5.1 Shostakovich, Symphony No. 7 (‘Leningrad’), first movement, fig. 60+3–fig. 61+6 176 © Copyright by Boosey & Hawkes Music Publishers Ltd. For the UK, British Commonwealth (excluding Canada) and Eire Ex. 5.2 Elgar, ‘For the Fallen’ (The Spirit of England ), fig. 19–fig. 22 181–3 Ex. 5.3 Vaughan Williams, A Pastoral Symphony, second movement, F+5–G+5 185 Copyright © 1924 by Chester Music Ltd trading as J. Curwen & Sons Ltd. US copyright renewed 1952. Used by permission of Chester Music Ltd trading as J. Curwen & Sons Ltd. All rights reserved. International copyright secured. Copyright © 1990 in the UK, Republic of Ireland, Canada, Australia, New Zealand, Israel, Jamaica and South Africa by Joan Ursula Penton Vaughan Williams, assigned 2008 to The Vaughan Williams Charitable Trust. All rights for these countries administered by Faber Music Ltd, 74–77 Great Russell Street, London wc1b 3da. vii Nation & Classical.indb 7 18/09/2016 21:19 Nation & Classical.indb 8 18/09/2016 21:19 Preface nthony Smith died shortly after this book went into production, after a A long illness that was physically, though not intellectually, debilitating. He was a lifelong lover of classical music, enjoyed attending concerts, owned a sizeable CD collection, and practised the piano into his seventies. His interest in national music went back at least to his experience as an undergraduate of university performances of Mussorgsky’s Khovanshchina. Nation and Classical Music is the last of his many and distinguished publications on aspects of nations and nationalism, and, along with his earlier book The Nation Made Real: Art and National Identity in Western Europe, 1600–1850 (Oxford University Press, 2013), constitutes a sustained application of earlier, more theoretical, writings that placed culture and symbolism at the centre of our understanding of nationalism. Matthew Riley August 2016 ix Nation & Classical.indb 9 18/09/2016 21:19
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