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.
Read Online or Download Grieg: Music, Landscape and Norwegian Identity PDF
Similar sheet music & scores books
That Johann Sebastian Bach is a pivotal determine within the heritage of Western track is infrequently information, and the significance of his fulfillment is so massive that it may be tough to understand. In approximately Bach, fifteen students convey that Bach's value extends from choral to orchestral tune, from sacred song to musical parodies, and in addition to his scribes and scholars, his predecessors and successors.
Dmitry Shostakovich's memoirs, Testimony, `related to and edited via Solomon Volkov', were the topic of fierce debate seeing that their e-book in 1979. was once Testimony a forgery, made up by way of an impudent impostor, or was once it the deathbed confession of a tendency, yet unbroken, guy? Even now, years after the autumn of the communist regime, a coterie of well-placed Western musicologists have on a regular basis raised objections to Testimony, hoping with every one assault to undermine the image of Shostakovich provided in his memoirs that of a guy of huge ethical stature, bitterly dissatisfied with the Soviet procedure.
Extra resources for Grieg: Music, Landscape and Norwegian Identity
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 identied 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 inections and folk instruments or idioms, but rather through its sense of difference.