Nineteenth-Century Music Review最新文献

{"title":"John Field's Russian Landscape and the Early Nineteenth-Century Piano Nocturne","authors":"K. Clark","doi":"10.1017/S1479409822000209","DOIUrl":"https://doi.org/10.1017/S1479409822000209","url":null,"abstract":"This article examines the creation and early dissemination of John Field's nocturnes, tracing this œuvre through initial publications in St Petersburg by Dalmas (1812; H24–25) to the posthumous collected editions by Schuberth and Liszt first released in the 1850s. Inspired by discourse on music and environment, I take the peculiar qualities of Russian night landscapes as a key factor in understanding how these works were composed and then marketed internationally. Although little documentation remains of Field's Russian experiences as described in his own voice, it is possible to reconstruct the place in which he worked through his musical publications, related contemporary descriptions, images and recollections of friends and admirers. These sources shed fresh light on his shift in musical style on relocation from England to Russia. Viewing Field's nocturnes through the lens of this landscape, both real and as imagined by later promoters such as Liszt, offers the opportunity to reach a newly nuanced understanding of Field's array of national identities – Irish, English and Russian – and of his nocturne as a Russia-based idiom.","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":"20 1","pages":"285 - 304"},"PeriodicalIF":0.3,"publicationDate":"2022-07-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47838998","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Navigating the Local Elites: Travelling Musicians and their Encounters with the Russian Court and Aristocracy in the Mid-Nineteenth Century","authors":"R. Helmers","doi":"10.1017/S147940982200012X","DOIUrl":"https://doi.org/10.1017/S147940982200012X","url":null,"abstract":"This article studies the interactions of travelling musicians with the Russian court and aristocracy from the 1830s to the 1870s. Drawing on a broad corpus of memoirs, travel reports and personal documents of musicians who visited St Petersburg and Moscow in the course of their careers, it discusses the courtly dimensions of the Italian Opera; the role of the aristocracy and court in the organization of concert life under Nicholas I (r. 1825–1855); the relevant changes and continuities under Alexander II (r. 1855–1881), when concert life would undergo rapid professionalization; and finally, the symbolic dimensions of the rewards offered by the Russian elites. The persistent significance of imperial and noble recognition in this period, it is argued, added considerably to Russia's appeal for foreign musicians. Many visitors developed a positive, reciprocal relation with the Russian regime and its elites, even if the values, hierarchies and traditions of the autocratic regime could be at odds with the social status and sense of independence of successful performers. In musical discourse, reports of musicians’ visits circulated an image of Russia – an urban image of luxury, refinement and high society – that contrasted with the stereotype of wild and barbarous expanses that have so far attracted most attention in music historiography; and their descriptions of the imperial court and family tended to match the image – of imposing authority and benevolence – the Romanov monarchy sought to project.","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":"20 1","pages":"305 - 333"},"PeriodicalIF":0.3,"publicationDate":"2022-07-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46142840","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"International Networking in Russian Music Theatre around 1800: Sheremetev, Yusupov and Grand Duke Pavel Petrovich","authors":"A. Giust","doi":"10.1017/S1479409822000131","DOIUrl":"https://doi.org/10.1017/S1479409822000131","url":null,"abstract":"This article investigates the role played by aristocrats in the exchange of repertoire and musical personnel between Russia and Western Europe in the late eighteenth and early nineteenth centuries. It discusses the involvement of three significant figures in the political and cultural milieus of the Russian Empire: Count Nikolay Petrovich Sheremetev (1751–1809), Prince Nikolay Borisovich Yusupov (1750–1831) and the Grand Duke Pavel Petrovich Romanov (who ruled as Paul I from 1796 to 1801). The central focus is on Sheremetev, whose correspondence with Marie-François Hivart, a Parisian cellist he met during a grand tour, allows us to reconstruct a clear picture of how French opera was imported and adapted at his estate theatres in the Moscow area. Yusupov and the grand duke likewise established international musical contacts during their European tours of the 1770s and 80s, and exploited them in their private and public theatrical activities in Russia. Yusupov, who was particularly fond of Italian opera, may be regarded as Sheremetev's counterpart in St Petersburg, while Tsarevich Pavel Petrovich channelled the musical contacts he established in Italy to the Russian court and crown theatres. Together, these cases suggest some of the ways in which Russia was entangled in European musical life around 1800, revealing mechanisms of exchange in which grand tours, diplomatic contacts and the personal interests of patrons played a significant part.","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":"20 1","pages":"261 - 284"},"PeriodicalIF":0.3,"publicationDate":"2022-07-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49519360","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Tsarist Russia and the Musical World","authors":"Tamsin Alexander, R. Helmers","doi":"10.1017/S1479409822000271","DOIUrl":"https://doi.org/10.1017/S1479409822000271","url":null,"abstract":"Extract The articles in this issue address and illustrate elements that are essential for furthering the current understanding of Russia's embeddedness in the international musical culture of the long nineteenth century: the exchange of musicians and repertoires; the social and political conditions in which these exchanges took place; the range of mediators, from aristocratic patrons to musical professionals; the methods of movement; and the ways in which Russia was imagined and experienced by foreigners.","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":"20 1","pages":"253 - 260"},"PeriodicalIF":0.3,"publicationDate":"2022-07-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41572009","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Night Music, Music for a Viennese Salon Steven Zohn eight-keyed fl, Rebecca Harris vln, Marika Holmqvist vln, Daniel Elyar vla, Rebecca Humphrey Diederich vc, Heather Miller Lardin violone Avie 2423, 2020 (1 CD: 66 minutes).","authors":"Emily Eubanks","doi":"10.1017/s1479409822000222","DOIUrl":"https://doi.org/10.1017/s1479409822000222","url":null,"abstract":"The recently released album Music for a Viennese Salon by the chamber ensemble Night Music transports listeners to one of Vienna’s leading musical salons during the late eighteenth and early nineteenth centuries. The host of the musical gathering is Fanny von Arnstein (1758–1818), a Jewish salonnière, notable amateur keyboardist and singer, music patron, and founder of Vienna’s Gesellschaft der Musikfreunde. According to Steven Zohn’s liner notes for the album, this imagined performance in Arnstein’s salon took place in 1801, two decades after Arnstein began hosting her salon (p. 4). During her nearly 40-year tenure as a salonnière, Arnstein became one of the best-known salon hosts in Viennese society. This album, then, offers a glimpse into the musical activities of a central figure in the city’s musical identity and ongoing legacy. The musical portion of this 1801 salon gathering includes three multi-movement works for chamber ensemble. Joseph Martin Kraus’s Quintet in D for Flute and Strings (VB188; 1799) begins the concert with three movements (I. Allegro Moderato, II. Largo, III. Finale: con brio). The next work attendees hear is Carl Ditters von Dittersdorf’s Duetto in E flat (Kr219) for viola and violone (I. Allegro, II. Menuetto I, III. Adagio, IV. Menuetto II, V. Andante [Tema con variazioni]). Johann Peter Salomon’s 1801 arrangement of Joseph Haydn’s Symphony No. 94 in G major ‘Surprise’ (Hob1:94) serves as the finale to the evening’s performance (I. Adagio – Vivace assai, II. Andante, III. Minuetto, IV. Allegro di molto). Arnstein’s salon was active in twomain periods – one beginning in 1780 and the second in 1803; this album thus emulates the musical performances that took place in the earlier salon. Lauded for its elaborate style and long guest lists, Arnstein’s salon gatherings during this earlier period were originally modelled on the grand French salons of the eighteenth century, like many other late eighteenthcentury salons in Germany and Austria. During the two decades of her earlier salon, Arnstein established a reputation for herself as one of the only successful Jewish salonnières in Vienna, a city in which religious freedom for the Jewish population had only been legally granted in 1781.","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":"19 1","pages":"367 - 371"},"PeriodicalIF":0.3,"publicationDate":"2022-07-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42868945","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Robert Doran, ed., Liszt and Virtuosity (New York: University of Rochester Press; Suffolk: Boydell & Brewer, 2020). vii + 433 pp. £95.00.","authors":"Sevastiana Nourou","doi":"10.1017/s1479409822000258","DOIUrl":"https://doi.org/10.1017/s1479409822000258","url":null,"abstract":"","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":"19 1","pages":"625 - 629"},"PeriodicalIF":0.3,"publicationDate":"2022-07-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43630434","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Katherine K. Preston, George Frederick Bristow (Urbana: University of Illinois Press, 2020). viii+204 pp. Cloth $110; Paper $29.95.","authors":"E. Bomberger","doi":"10.1017/S1479409822000210","DOIUrl":"https://doi.org/10.1017/S1479409822000210","url":null,"abstract":"alsowho is included and excluded from academic conversations. To be clear, I do not wish to place blame onLacombe or anyofmy colleagues for this; I see this instead as a structural concern, albeit one that became visible with particular clarity while considering this book. In privileging archives as a precondition for determining originality and value, we quietly push to the side thosewho cannot access such resources due to disability, funds or distance, and we thus inadvertently create an increasingly homogeneous, wealthy, privileged, abled andwhite norm for scholars in our field. This has likely biased our field, but it can be overcome. It helps, for example, thatmassive digitization projects like Bibliothèque nationale’s Gallica have made an ever-growing number of sources from Paris available remotely. Such projects, however, continue to prioritize better-known materials whose scholarly value is readily apparent rather than materials whose potential may yet be unrecognized. This is especially true of material that remains uncatalogued. Thus – for now, at least – scholars able to consult materials in situ hold an advantage within a discipline that favours such archival work. Projects that embrace the globalization and creolization of archival work will also help: Jann Pasler’s current European Research Council project could prove a crucial litmus test here, just as Claire Rowden and Richard Langham Smith’s Carmen Abroad has already created an excellentmodel for howa project withworldwide aspirations might look. Beyond this, crafting scholarly space for critical rereadings and reconsiderations of pieces, practices and evidence (as happens constantly in the study of literature) could bring critical minds from more diverse backgrounds into the fold without demanding archival access as a precondition for academic value. Thus this collection does more than just highlight and celebrate the exemplary work on nineteenth-century French opera that has been conducted so far. Looking ahead, it also indicates both implicitly and explicitly the innovative work that remains. May it serve as a firm foundation for new scholars whose work will explore horizons we can barely see.","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":"19 1","pages":"357 - 361"},"PeriodicalIF":0.3,"publicationDate":"2022-06-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43485078","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Cosmopolitan Connections: Yevgeny Onegin as realist drame lyrique in Nice","authors":"Tamsin Alexander","doi":"10.1017/S1479409822000118","DOIUrl":"https://doi.org/10.1017/S1479409822000118","url":null,"abstract":"In the build-up to the French premiere of Tchaikovsky's Yevgeny Onegin in Nice in 1895, critics, speakers and writers on music were declaring the opera a masterpiece of psychological realism. Such a reading seems to resonate more with recent assessments of the opera; but in 1890s France, a combination of interest in the Russian realist novel and new trends in realist opera had led critics to make the literary link already. With the Franco-Russian Alliance recently finalized and hostility towards the Triplice mounting, many even suggested that the opera might form the lyric equivalent of the Russian realist novel and, in so doing, offer a morally and politically superior alternative to the so-called verismo operas of the new Italian school. The optimism surrounding Onegin, I'd like to show, was part of a broader move in late nineteenth-century France to celebrate cosmopolitanism, if not in the sense one might expect. Tchaikovsky and Onegin were very much deemed representatively Russian. What was cosmopolitan, and in turn modern, was the act of cultural transfer – exploiting international personal networks – and the opera's realism: its evocations of ordinary life and of the contemporary psychological condition. As such, a Russian opera like this could be applauded not for its revelations of an exotic or disconnected country, but for the potential it posed to integrate with and revitalize French culture.","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":"20 1","pages":"335 - 357"},"PeriodicalIF":0.3,"publicationDate":"2022-05-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46744786","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Songs of Famine and War: Irish Famine Memory in the Music of the US Civil War","authors":"Sarah Gerk","doi":"10.1017/S1479409822000088","DOIUrl":"https://doi.org/10.1017/S1479409822000088","url":null,"abstract":"This article illuminates ways in which memory of Ireland's Great Famine or ‘an Gorta Mór’ (1845–1852) shaped US music during the US Civil War (1861–1865). Among scholarship on Irish Americans in the Civil War, few sources substantively address lingering memories and trauma from the Great Famine. Yet, a significant amount of the estimated 1.6 million Irish immigrants living in the US in 1860, 170,000 of whom enlisted in the war, were famine survivors. Music's unique role in emotional life offers robust source material for understanding famine memory in this transnational context. Adopting a concept of ‘private, secret, insidious trauma’ from Laura Brown and Maria P.P. Root, as well as understanding Jeffrey Alexander's ideas about cultural trauma as a sociological process, the article highlights a some of the ways in which famine memories emerged in music-making during the war. Case studies include a survey of US sheet music, the transnational performance and reception history of the song ‘Kathleen Mavourneen’, and research on the life of the northern Union army's most successful bandleader, Patrick Gilmore, who left Athlone, in Ireland famine-ravaged West, as a teenager in the late 1840s. The approach is inherently transatlantic, accounting for histories that occurred in the United States, Ireland and the broader Atlantic world dominated by Britain. The essay illustrates how music can contribute to social history, ways in which the application of research on trauma can inform musicological work, and ways in which traumatic memories can emerge across time and distance, particularly in diasporic contexts.","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":"20 1","pages":"61 - 85"},"PeriodicalIF":0.3,"publicationDate":"2022-05-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49381273","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"François Le Roux and Romain Raynaldy, Le Chant Intime: The Interpretation of French Mélodie, trans. Sylvia Kahan (New York: Oxford University Press, 2021). x + 283 pp. $99.00.","authors":"J. Sobaskie","doi":"10.1017/S147940982200009X","DOIUrl":"https://doi.org/10.1017/S147940982200009X","url":null,"abstract":"This book addresses students, teachers, performers, and scholars who wish to fathom the unique nature of the French vocal genre of the mélodie, doing so in a warmly personal manner that may surprise as well as please. Le chant intime: De l’interprétation de la mélodie française originally was published in 2004, and this slightly expanded English-language version is welcome, given the globally increasing interest in nineteenth-century French aural culture among musicians and audiences today. Although there is an expanding array of resources devoted to themélodie, this one differs in design and substance. Within the Foreword, journalist Romain Raynaldy reveals its origins as interviews with the baritone François Le Roux: ‘I suggested that François not take amusicological approach to French art song, but rather to write the kind of work that would allow his readers to discover and expand their understanding in a lively and accessible language’ (p. ix). Within the Introduction, Le Roux surveys its structure:","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":"19 1","pages":"343 - 348"},"PeriodicalIF":0.3,"publicationDate":"2022-05-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45454069","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}