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19th-Century Music
Journal Prestige (SJR): 0.122
Number of Followers: 23  
 
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ISSN (Print) 0148-2076 - ISSN (Online) 1533-8606
Published by U of California Press Homepage  [30 journals]
  • Vernacular Song and the Folkloric Imagination at the Fin de Siecle
    • Authors: Cole R.
      Pages: 73 - 95
      Abstract: This article foregrounds discrepancies between vernacular singing in England and the work of London’s Folk-Song Society during the 1890s. Figures such as Lucy Broadwood, Kate Lee, and Hubert Parry acted as gatekeepers through whom folk culture had to pass in order to be understood as such. Informed by colonialist epistemology, socialist radicalism, and literary Romanticism, what may be termed the "folkloric imagination" concealed the very thing it claimed to identify. Folk song, thus produced, represents the popular voice under erasure. Situated as the antidote to degeneration, burgeoning mass consumer culture, and escalating urbanization, the folk proved to be the perfect tabula rasa upon which the historiographical, political, and ethnological fantasies of the fin de siècle could be inscribed. Positioned as a restorative bulwark against the shifting tides of modernity, the talismanic folk and their songs were temporal anachronisms conjured up via the discursive strategies that attempted to describe them. Increased attention should hence be paid to singers such as Henry Burstow and the Copper brothers of Rottingdean in order to rescue their histories from the conceptual apparatus of folk song.
      PubDate: 2019-02-13T16:04:24-08:00
      DOI: 10.1525/ncm.2018.42.2.73
      Issue No: Vol. 42, No. 2 (2019)
       
  • A Reading of Massenets Esclarmonde by Chabrier: How Should French
           Composers Respond to Wagnerian Music Drama'
    • Authors: Branger; J.-C.
      Pages: 96 - 122
      Abstract: At the time of the 1889 world premiere of Massenet’s Esclarmonde, Emmanuel Chabrier copiously annotated a copy of the piano-vocal score of this opera, which is considered, despite its unique features, one of the most Wagnerian works of the author. This remarkable and little-known document allows us once again to investigate the challenges of musical creation in a period when all dramatic composers were obliged to position themselves in relation to Wagner, particularly in France where lively debates were taking place between supporters and detractors of the master of Bayreuth. This new source also enriches our knowledge of two composers who, each in his own way, sought to respond to Wagnerian theater, all the while being inspired by it: from Wagner’s example both composers drew subjects based on legends, used reminiscence motifs or enriched their orchestral and harmonic palettes with Wagnerian techniques; but Massenet remained faithful to closed vocal forms, which Chabrier rejected in favor of more continuous composition. Chabrier, however, shows himself captivated by Esclarmonde, for Massenet’s score attests to the desire, very clear in both composers, to avoid blind submission to Wagner’s influence, especially to the point of losing one’s own identity.
      PubDate: 2019-02-13T16:04:24-08:00
      DOI: 10.1525/ncm.2018.42.2.96
      Issue No: Vol. 42, No. 2 (2019)
       
  • Sentimentalism, Joseph Joachim, and the English
    • Authors: Downes S.
      Pages: 123 - 154
      Abstract: Joseph Joachim’s role in nineteenth-century English concert life is long celebrated. As yet unexamined, however, is how his performances and reception informed critical debates on sentimentalism. Joachim was a prominent celebrity in the domestic salons of mid-century, for example the Holland Park Circle, where his performances were described as perfect echoes of beautiful interior designs and his status confirmed by G. F. Watts’s famous portrait. This article builds on the relationship between "sublime sentimentality" and "domestic aestheticism" in the writings of John Ruskin, a prominent member of these salons. It explores how Ruskin’s idea of moving from domestic "sites," through "patterns" to "states" in which the heartfelt is expressed in coded, synecdochal or allusive evocation, even in abstract design, can offer insight into the sentimental dimensions of Joachim’s salon performances.Crucially, Ruskin considered both domesticity and sentimentalism as designs and expressions of feeling which are capable of expansion into large forms and contexts, of moving from the intimate to the public. The second part of this article explores sentimentalism in works composed for the concert hall, provoking critical debate at the turn of the century. Tovey’s Victorian tastes were strongly influenced by both Joachim and Ruskin, but Tovey’s assessments of Joachim as the violinist reached the end of his career exemplify the wide critical turn against mid-century sentimentalism. In 1902 Tovey praised Joachim for making no concession to public sentimentalism, in particular through demonstrating a "Classical" grasp of form, by contrast with those who seek sentimental effect through slowing down the performance of "beautiful" passages. In a late echo of Ruskin, Tovey desired that one must be susceptible to the beauty of "design." The article ends by comparing Sargent’s late portrait of Joachim, presented at the Jubilee celebrations of 1904, with that of Watts.
      PubDate: 2019-02-13T16:04:24-08:00
      DOI: 10.1525/ncm.2018.42.2.123
      Issue No: Vol. 42, No. 2 (2019)
       
  • Directions to Contributors
    • Pages: 156 - 156
      PubDate: 2019-02-13T16:04:24-08:00
      DOI: 10.1525/ncm.2018.42.2.156
      Issue No: Vol. 42, No. 2 (2019)
       
 
 
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