Nationalism

Question 1

How does Parry’s ‘I was Glad’ musically demonstrate English nationalism?

Answer 1

• 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.

Question 2

Why didn’t Dream of Gerontius originally appeal as a nationalist work?

Answer 2

• 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

Question 3

What nuances can be considered regarding the reception of DoG?

Answer 3

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!

Question 4

What about Wagner suggests his nationalist stance?

Answer 4

• 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

Question 5

How did Wagner push forward German nationalism with his music?

Answer 5

• 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

Question 6

What nationalist themes are demonstrated by Die Meistersinger?

Answer 6

• 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

Question 7

Briefly describe the tragectory of French nationalist music over the period.

Answer 7

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.)

Question 8

How did Augusta Holmes become a serious composer?

Answer 8

• • 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.

Question 9

What themes can we trace through Holmes’ music?

Answer 9

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.

Question 10

How was Holmes’ nationalist work received?

Answer 10

• 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.

Question 11

What is significant about her Ode Triomphale?

Answer 11

• 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.