Table Of ContentMATTHEW 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
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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-
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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
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of Prokofi ev, Shostakovich and Copland.
This path-breaking book traces the various ways we can fi nd the n
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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
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studies of the role of music in the formation of nations. el nationalism as well.
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BENEDIKTE BRINCKER, Associate Professor at the Department C
of Management, Politics and Philosophy, Copenhagen Business School op
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COVER:
Prague National Theatre from the
River Vltava, Czech Republic, 19th Century
Print. DEA / A. DAGLI ORTI / De Agostini
Picture Library / Getty Images
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Nation and Classical Music
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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.
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Nation and Classical Music
From Handel to Copland
Matthew Riley and Anthony D. Smith
the boydell press
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© 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
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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
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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
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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
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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
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