Advertisement

From Songs to Psalms: Grieg’s Cosmopolitan Aesthetic

  • Ryan R. Weber
Chapter
Part of the Palgrave Studies in Music and Literature book series (PASTMULI)

Abstract

Despite his important status in Denmark, many critics and scholars alike have proclaimed that Otto Benzon was not an effective choice of poet for Grieg’s songs, Opp. 69 and 70. This chapter argues that the composer’s decision was not as puzzling as it has been portrayed. On the contrary, by situating these works within the context of the cosmopolitan conditions outlined in Chap.  2, their significance comes into better focus. This chapter thereby offers an analytical survey of the experiments Grieg generated for the purpose of interweaving rich layers of national and cosmopolitan identities. It also demonstrates how techniques such as chromatic juxtapositioning and tetrachordal transformation, which were developed as musical analogues for literary practices, became common strategies for cosmopolitanizing national sources in his late songs and last choral works, Four Psalms, Op. 74.

References

  1. Agawu, Kofi. 1992. Theory and Practice in the Analysis of the Nineteenth-Century ‘Lied.’. Music Analysis 11 (1): 3–26.CrossRefGoogle Scholar
  2. Beck, Ulrich. 2006. Cosmopolitan Vision. Cambridge: Polity Press.Google Scholar
  3. Berman, Patricia. 2007. In Another Light: Danish Painting in the Nineteenth Century. New York: Vendome.Google Scholar
  4. Bohlman, Philip V. 2002. World Music at the End of History. Ethnomusicology 46 (1): 1–32.CrossRefGoogle Scholar
  5. Brennan, Timothy. 1997. At Home in the World: Cosmopolitanism Now. Cambridge: Harvard University Press.Google Scholar
  6. Carley, Lionel. 2006. Edvard Grieg in England. Woodbridge: The Boydell Press.Google Scholar
  7. Christie, Francis A. 1917. Unitarianism. The American Journal of Theology 21 (4): 554–570.CrossRefGoogle Scholar
  8. Clough, John, John Cuciurean, et al. 1997. Hyperscales and the Generalized Tetrachord. Journal of Music Theory 41 (1): 67–100.CrossRefGoogle Scholar
  9. Dahl, Erling Jr. Four Psalms, Op. 74—Grieg’s Last Immersion into the Source of Folk Music and Faith of His Childhood. http://www.griegsociety.org/utskrift.asp?id=4792&kat=1022&sp=2. Accessed 5 April 2011.
  10. Dahlhaus, Carl. 1989. Nineteenth-Century Music. Trans. J. Bradford Robinson. Berkeley: University of California Press.Google Scholar
  11. Foster, Beryl. 1999. Edvard Grieg: The Choral Music, 156–172. Aldershot: Ashgate.Google Scholar
  12. ———. 2007. The Songs of Edvard Grieg. Suffolk, UK: The Boydell Press.Google Scholar
  13. Garborg, Arne. 1999. Weary Men. Trans. Sverre Lyngstad. Evanston: Northwestern University Press.Google Scholar
  14. Grieg, Edvard. 2000. Edvard Grieg: Letters to Colleagues and Friends, ed. Finn Benestad and Trans. William H. Halverson. Columbus: Peer Gynt Press.Google Scholar
  15. ———. 2001. Edvard Grieg: Diaries, Articles, Speeches, ed. Finn Benestad and Trans. William H. Halverson. Columbus: Peer Gynt Press.Google Scholar
  16. Grimley, Daniel. 2006. Grieg: Music, Landscape and Norwegian Identity. Woodbridge: Boydell & Brewer.Google Scholar
  17. Heidelberg, Knut. An Outline of the History of the Unitarian Movement in Norway 1893–1937. http://unitarforbundet.org. Accessed 3 Jan 2011.
  18. Holton, Robert J. 2009. Cosmopolitanisms: New Thinking and New Directions. New York: Palgrave Macmillan.CrossRefGoogle Scholar
  19. Horton, John. 1974. Grieg. London: J. M. Dent & Sons.Google Scholar
  20. Mednick, Thor. 2009. Skagen: Art and National Romanticism in Nineteenth-Century Denmark. PhD diss., Indiana University.Google Scholar
  21. Monrad-Johansen, David. 1938. Edvard Grieg. New York: Tudor.Google Scholar
  22. Oxfeldt, Elisabeth. 2005. Nordic Orientalism: Paris and the Cosmopolitan Imagination, 1800–1900. Copenhagen: Museum Tusculanum Press.Google Scholar
  23. Richey, Russell E. 1973. From Puritanism to Unitarianism in England: A Study in Candour. Journal of the American Academy of Religion 41 (3): 371–385.CrossRefGoogle Scholar
  24. Rosand, Ellen. 1979. The Descending Tetrachord: An Emblem of Lament. The Musical Quarterly 65 (3): 346–359.CrossRefGoogle Scholar
  25. Schjelderup-Ebbe, Dag. 1953. A Study of Grieg’s Harmony with Special Reference to his Contributions to Musical Impressionism. Oslo: Johan Grundt Tanum.Google Scholar
  26. Steinberg, Michael P. 2004. Listening to Reason: Culture, Subjectivity, and Nineteenth-Century Music. Princeton: Princeton University Press.Google Scholar
  27. Taruskin, Richard. 2009. Music in the Nineteenth Century. Oxford: Oxford University Press.Google Scholar
  28. Taylor, Benedict. 2017. Towards a Harmonic Grammar of Grieg’s Late Piano Music: Nature and Nationalism. London: Routledge.CrossRefGoogle Scholar
  29. Tymoczcko, Dmitri. 2007. Scale Networks and Debussy. Journal of Music Theory 48 (2): 215–292.Google Scholar
  30. Walkowitz, Rebecca L. 2006. Cosmopolitan Style: Modernism Beyond the Nation. New York: Columbia University Press.Google Scholar
  31. Weber, William. 2011. Cosmopolitan, National, and Regional Identities in Eighteenth-Century European Musical Life. In The Oxford Handbook of the New Cultural History of Music, ed. Jane F. Fulcher, 209–227. Oxford: Oxford University Press.Google Scholar

Copyright information

© The Author(s) 2018

Authors and Affiliations

  • Ryan R. Weber
    • 1
  1. 1.Misericordia UniversityDallasUSA

Personalised recommendations