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By Daniel M. Grimley

Whereas Grieg's track keeps to take pleasure in a famous position within the live performance corridor and recording catalogues, it has but to draw sustained analytical cognizance in Anglo-American scholarship. Daniel Grimley examines the function which track and panorama performed within the formation of Norwegian cultural identification within the 19th century, and the functionality that panorama has played in Grieg's paintings. It offers new views at the relationships among song, panorama and id. This stress among competing musical discourses - the folklorist, the nationalist and the modernist - deals some of the most brilliant narratives in late-nineteenth and early-twentieth-century song, and means that Grieg is a extra advanced and hard ancient determine than his serious reception has usually seemed to recommend. it really is throughout the contested classification of panorama, this publication argues, that those tensions should be contextualised and finally resolved.

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Extra resources for Grieg: Music, Landscape and Norwegian Identity

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Stanley Sadie and John Tyrrell, XVII (Basingstoke: Macmillan, 2001), 687–706. Note the use of the singular in the title of Taruskin’s entry; Jim Samson prefers the plural form in the rst section of his article, ‘Nations and Nationalism’, in The Cambridge History of Nineteenth-Century Music, ed. Samson (Cambridge: Cambridge University Press, 2001), 568–600. 23 Taruskin, ‘Nationalism’, 689. 17 Grieg: Music, Landscape and Norwegian Identity and hence of the full diversity of musical nationalisms, is inevitably absent.

In many senses, identifying a distinctive national song was no less pressing for Denmark in the nineteenth century than for Norway. It was not until the 1840s, however, that serious interest began to be paid towards the collection of Norwegian folk music within Norway itself. 71 Wergeland’s address at Eidsvoll in 1834, ‘Til Forfædrenes Minde’ (‘To the Memory of the Ancestors’), had called for a reunion of the old medieval kingdom and a new Norwegian nation state as ‘two broken parts of the same ring’.

This sense of displacement is a common property of the Romantic landscape, one upon which Grieg’s music particularly dwells. But it also invokes the dual temporality which Benedict Anderson and others have identied as a crucial component of nineteenth-century nationalist discourses: the belief that the nation was both a primordial site of shared origins and a future state of political community. Musically, however, the shift in temporality is arguably achieved less through the kulokk’s individual characteristics, the use of dialect, modal inections and folk instruments or idioms, but rather through its sense of difference.

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