Nationalism Flashcards
How does Parry’s ‘I was Glad’ musically demonstrate English nationalism?
- Coronation anthem for Edward VIII in 1902
- Example of an extreme national celebration
- Emblematises confidence and self-image of a nation
- Use of brass and 4/4 important because of emphasis on marches
- Processional, regal
- Brass: military associations. Organ: religious associations
- Other music at coronation showcases best of what was considered English music: Handel, Purcell, renaissance (e.g. Tallis, Gibbons), Stanford etc – plunging deep into heritage
o But no representation of colonies - Male-dominated ceremony: officiants, king, choir. Women are onlookers.
Why didn’t Dream of Gerontius originally appeal as a nationalist work?
- Strong Germanic influence – Wagnerian parallels, e.g. similar leitmotif/instrumentation of Parisfal prelude; also death of Gerontius similar to transformation of Parsifal
- Very successful in Germany – may have hindered English appreciation. Some Germans even saw it as having a place in Germanic national canon
- English musical Renaissance spearheaded by Stanford/Parry – did not fit with this style, much more intensely chromatic.
- Left without a clear English identity
What nuances can be considered regarding the reception of DoG?
o Germans saw it as masculine, nationalist (described with military language e.g. command)
o Germans also saw it as new English school of music, comparing him to Parry (ironic!)
o English sound hadn’t been entirely English before then and wasn’t yet developed…Handel and Mendelssohn!
What about Wagner suggests his nationalist stance?
- One of most outspoken nationalists. Wrote a lot of nationalist essays
- German destiny of music and universal German notions – his 1870 essay on Beethoven fuses ideas of German unification and German art to produce an essay on his own great inheritor.
- 1871 German unification
How did Wagner push forward German nationalism with his music?
- Idea that nationalist music needs to be big and strong and convey particular message: nationalism as non-functional high-art
- Wagner wanted to become international centre point against whom everyone else is measured – Bayreuth opera house acts as hub to german music and site of international pilgrimage. Taking international centre away from Paris.
- Wants to exclude other national styles as superficial e.g. French and Italian – not intellectually rich enough or too melodic
What nationalist themes are demonstrated by Die Meistersinger?
- About the triumph of creativity over mediocrity: reflects ideas of German musical superiority over superficial/intellectually poor music of e.g. Italy and France
- Closing speech of cobbler/Meistersinger (on pp) – tries to build an emblem of what Germany should be – focus on health and decay. Gendered aspect. Uses parts of the overture – diatonic, processional, march-like with thick orchestration to talk about pillars of stability.
- Ideas of nationalism all dealt with by male characters: only female character, Eva, lacks political agency.
- Victim at end is the critic, Beckmesser who is parodied and expelled
Briefly describe the tragectory of French nationalist music over the period.
Start: aligning itself with Germany to forge strong musical national identity; centering French heritage, strong masculine music.
End: Other nationalism bubbling under the surface: neoclassicism, about refinement, restraint, balance etc (v different from big martial military ideas.)
How did Augusta Holmes become a serious composer?
- Born Irish (Holmes) and naturalised as French
- One-off, not many other female composers during this period who inserts herself into nationalist debate
- She naturalised French at a moment of increasing nationalist tension – 1871, year after Third Republic created as a result of defeat by Germany (and same year as German unification)
- Success through use of nationalist themes.
- Using programmatic music as a way of inserting herself into nationalist debate and giving her own work weight.
What themes can we trace through Holmes’ music?
France the new Republic as New Rome, equating France with Classical Antiquity
o Les Argonautes (1880 dramatic symphony)
o Andromède (1883 symphonic poem)
Tapping into French heritage
o Roland furieux (symphony 1876)
Causes ongoing or in recent past. o Irelande (1882 symphonic poem) – Irish nationalist, anti-British o Pologne (1883 symphonic poem) – about polish uprising.
How was Holmes’ nationalist work received?
- She was an exception to the rule of women composers: critical responses to Lucète (1877 dramatic symphony) use words like ‘vigour, virility…boldness, inspiration’ – same terms used to describe men – this is especially with reference to nationalist musics.
- Seen as part of tradition in societe nationale de musique (1871 – to bring French orchestral chamber music closer to what Germany was doing). She counted herself as a Wagnerian.
What is significant about her Ode Triomphale?
- Nationalism as official/ceremonial
- 1889 at Exposition Universelle, centenary of French Revolution
- Competition to write cantata to celebrate it: all entries rejected, so she put hers forward and got the contract
- Showcases themes of revolution, Christianity, republicanism, France as ‘new Rome’, militarism, industry, agriculture.
- Work hasn’t survived – occasional piece.
- Was very successful with Republicans– saw combination of virility and patriotism.
