PROGRAMME - Centro Studi Opera Omnia Luigi Boccherini

INTERNATIONAL CONFERENCE
Music and War from Napoleon to the WWI
28-30 November 2014
Lucca, Complesso Monumentale di San Micheletto
PROGRAMME
ORGANIZED BY
IN COLLABORATION WITH
UNDER THE AUSPICES OF
C e n t ro S t u di O pe r a O m n i a L u igi B occ h e r i n i
w w w.luigiboccherini.org
Music and War from Napoleon to the WWI
International Conference
28-30 November 2014
Lucca, Complesso monumentale di San Micheletto
Organized by
Centro Studi Opera Omnia Luigi Boccherini, Lucca
Palazzetto Bru Zane - Centre de musique romantique française, Venice
In collaboration with
OICRM: Observatoire interdisciplinaire de création et de recherche en musique, Montréal
Under the auspices of
Province of Lucca
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Scientific Commitee
Étienne Jardin (Palazzetto Bru Zane, Venice)
Roberto Illiano (Centro Studi Opera Omnia Luigi Boccherini)
Fulvia Morabito (Centro Studi Opera Omnia Luigi Boccherini)
Luca Lévi Sala (Université de Poitiers)
Massimiliano Sala (Centro Studi Opera Omnia Luigi Boccherini)
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Keynote Speakers
Martin Kaltenecker (Université Paris-Diderot)
Svanibor Pettan (University of Ljubljana/ICTM, Secretary General)
FRIDAY 28 NOVEMBER
9.00-10.00: Welcome and Registration
Room 1: 10.00-10.30: Opening
• Massimiliano Sala (President Centro Studi Opera Omnia Luigi Boccherini)
• Étienne Jardin (Palazzetto Bru Zane, Venice)
Room 1 Panel: Musique et musicologie en France: Grande Guerre et paix
11.00-13.00
(Chair: Luca Lévi Sala, Université de Poitiers)
• Michel Duchesneau (Université de Montréal) « La Revue musicale » ou le phoenix musical
• Martin Guerpin (Université Paris-Sorbonne/Université de Montréal): Le « Courrier
musical » comme instrument de propagande. Nouveaux discours sur la musique et
réinvestissements des débats d’avant-guerre
• Liouba Bouscant (Université de Montréal): « La musique pendant la guerre »: questions
d’esthétique au temps de l’Union sacrée. Catégorisation et formes du discours esthétique
dans la presse de guerre
• Federico Lazzaro (Université de Montréal): L’artiste, le soldat et l’athlète. Musique de
guerre, musique de sport
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13.00 Lunch
Room 1: 15.30-16.30 – Keynote Speaker 1
• Martin Kaltenecker (Université Paris-Diderot): Listening to the War from Afar
Room 1 Music and Economics in Napoleonic Era
17.00-18.30
(Chair: Massimiliano Sala, Centro Studi Opera Omnia Luigi Boccherini)
• Henri Vanhulst (Université libre de Bruxelles): Les relations commerciales de Jean-Jérôme
Imbault d’après l’acte de vente notarié du 14 juillet 1812
• David Rowland (The Open University, Milton Keynes, UK): European Music Publishing
during the Napoleonic Wars
• Nancy November (The University of Auckland, NZ): Selling String Quartets in Napoleonic
Vienna: What Can Statistics Tell Us?
Room 2 Music and Revolution
17.00-19.00
(Chair: Roberto Illiano, Centro Studi Opera Omnia Luigi Boccherini)
• Renato Ricco (Università degli Studi di Salerno): Virtuosi spadaccini e suggestioni
napoleoniche nella ‘scuola violinistica francese’: i casi de Le Chavalier de Saint Georges e
di Alexandre Boucher
• Alessandra Palidda (Cardiff University, School of Music): Milan and the Music of Political
Transitions in the Napoleonic Period: The Case of Ambrogio Minoja (1752-1825)
• Michaela Krucsay (Leopold-Franzens-Universität Innsbruck): «…Frau von Cibini will
not return as long as one student in Vienna is left.» Katharina Cibbini-Koželuch and the
Revolution of 1848 in Austria
• Walter Kreyszig (University of Saskatchewan – University of Vienna): Franz Joseph von
Sauer’s «Allgemeines Wiener Aufgeboth» of April 4, 1797 in the Musical Depiction by
Johann Baptist Vanhal (1739-1813): On the Nexus of «stile galant», «stilus mixtus»,
«Fortspinnung» and Alberti Bass
SATURDAY 29 NOVEMBER
Room 1 Opera and French Revolution
9.30-11.00
(Chair: Martin Kaltenecker, Université Paris-Diderot)
• Maxime Margollé (Université de Poitiers): Du « Nouveau d’Assas » (1792) aux « Mariniers
de Saint-Cloud » (1799) : l’influence de la guerre sur le répertoire d’opéra-comique pendant
la Révolution
• Sonia Mazar (Hebrew University, Jerusalem): Opera and Revolution: Political Critique in
Opera by Daniel-Francois-Esprit Auber «La Muette de Portici»
• Maria Birbili (University of Chicago): Battle and Siege in the Opera of the French Revolution
and in the Opera of the Napoleonic Era
11.30-12.30 Opera and War
• Yaël Hêche (Orchestre de Chambre de Lausanne): « C’est par mes bienfaits que je veux
t’enchaîner ». Napoléon ier, la guerre et la paix dans « Fernand Cortez ou La conquête du
Mexique » de Gaspare Spontini
• Riccardo La Spina (Castro Valley, CA): «Ecco il loco destinato» – Original Italian Opera as
a Response to European Invasion in 1863 Mexico
Room 2 Military Music and Military Bands I
9.30-11.00
(Chair: David Rowland, The Open University, Milton Keynes, UK)
• Michaela Freemanová (Ethnological Institute of the Academy of Sciences of the Czech
Republic): Václav František Červený (1819-1896) and his Followers
• Bruce Gleason (University of St. Thomas, St. Paul, MN): Horse-Mounted Bands of Europe:
«La Fanfare de Cavalerie de la Garde Républicaine»
• Morag Josephine Grant (Independent researcher; www.mjgrant.eu): Music at the Moment
of Violence: The Great Highland Bagpipe in the Long Nineteenth Century
11.30-13.00
• Vesna Mikić (University of Arts in Belgrade) – Maja Vasiljević (Belgrade University):
Music Tours of Serbian Military Orchestras in Great War: A Quest for Cultural Cooperation
and Alliance
• Manfred Heidler (Bundeswehr Military Music Center, Bonn): German Military Music
during World War I: Remarks on a Musical Phenomenon Manifesting itself between the
Glory of Prussia, Concert Halls and Materiel Battles
• George Brock-Nannestad (Patent Tactics, Gentofte, DK): From the Battlefield to the
Drawing Room – The Domestication of the Military Band
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13.00 Lunch
Room 1: 15.30-16.30 – Keynote Speaker 2
• Svanibor Pettan (University of Ljubljana/ICTM, Secretary General): How Research on
Music and ‘Modern Wars’ Benefits Our Understanding of the Links Between Music and
War in Historical Perspective
Room 1 Music in France during the WWI
17.00-18.30
(Chair: Étienne Jardin, Palazzetto Bru Zane)
• Eric Sauda (Université Paris iv-Sorbonne): Song at the Home Front during the Great War
• Yves Rassendren (Université Pierre-Mendès-France, Grenoble 2): Composer au front –
1914-1918 : Le cas des musiciens français
• Frédéric de La Grandville (Université de Reims Champagne Ardenne): Guerre et paix à
Paris entre 1795 et 1815 : incidences du militaire sur le Conservatoire de musique Room 2 Military Music and Military Bands II
17.00-18.30
(Chair: Svanibor Pettan, University of Ljubljana/ICTM, Secretary General)
• Patrick O’Connell (National University of Ireland, Maynooth): Military Music and
Rebellion, Ireland, 1793 to 1816
• David Gasche (Université de Tours / Wien Universität): «Harmoniemusik» and Military
Music with some Observations on the Wind Octet «Gott erhalte den Kaiser» by Joseph
Triebensee (1810)
• Tobias Fasshauer (Humboldt-Universität zu Berlin): Globalizing the Military Style:
Transatlantic Interrelations in Belle Époque March Composing
SUNDAY 30 NOVEMBER
Room 1 Music and the First World War
(Chair: Luca Lévi Sala, Université de Poitiers)
9.30-10.30
• Cristina Scuderi (Karl Franzens Universität, Graz): I canti italiani di protesta nella Grande Guerra
• Giuseppe Sergi (Università degli Studi di Pavia, Facoltà di Musicologia di Cremona): New
Aesthetics Leanings: E. A. Mario and the «canzone di guerra» during the World War I
11.00-12.30
• Jan Dewilde (Royal Conservatoire Antwerp): The “Great War” in Belgium, Reflected in
Music
• James Garratt (University of Manchester): «Ein gute Wehr und Waffen»: The Functions of
Organ Music in the First World War
• Lucy Church (The Florida State University): Musical Moral Panic: American (over)Reactions
to Enemy Musics during the Great War
Room 2 Music for War / Music and War
(Chair: Svanibor Pettan, University of Ljubljana/ICTM, Secretary General)
9.30-10.30
• Bella Brover-Lubovsky (Hebrew University, Jerusalem): Music for Cannons: Giuseppe
Sarti in the Second Turkish War
• Maria Rose (Repertoire Internationale de Litterature Musicale – RILM): The Death of a
General and the Birth of Romantic Music: General Hoche in 1797
11.00-12.30
• Ryszard Daniel Golianek (Adam Mickiewicz University, Poznań): A Valiant Nation.
Images of Poland and the Poles in German Music ca. 1830
• Chloe Valenti (University of Cambridge): «To Arms! Fair Land of Sweet Music»: Garibaldi
Songs in Late Nineteenth-Century England
• Sara Navarro Lalanda (Universidad Autónoma de Madrid): L’assedio di Tetuan (18591860): un elemento di unità in tempi di instabilità nazionale
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13.00 Lunch
Room 1 Music and Politics: Aesthetic and Ideological Perspectives
(Chair: Martin Kaltenecker, Université Paris-Diderot)
15.30-18.00
• Guillaume Tardif (University of Alberta, Edmond, Canada): Music on Which Wars Open
and End: The Genres of the National Anthem and the Instrumental Elegy in Europe as
They Appear in the Concert Repertoire for Violin in the 19th Century
• Viktor Nefkens (Kunstuniversität Graz): A Cosmopolitan Take on «Deutschtum»: On the
Constitution of Richard Wagner in the Aesthetic-Ideological Context of Austro-Marxism
• Alison Sanders McFarland (Louisiana State University): Gustav Holst, Empire, and
Approaching War
• Mark McFarland (Georgia State University): Musical Masks in Pre-War Paris
• Michael Palmese (University of Miami, Frost School of Music): Reaching for the Past: «Le
tombeau de Couperin» and «Symphonies d’instruments à vent» as Artistic Responses to
World War i
Room 2 Programme Music and Battle Pieces
(Chair: Fulvia Morabito, Centro Studi Opera Omnia Luigi Boccherini)
15.30-17.30
• Rainer Kleinertz (Saarland University, Saarbrücken): Beethoven’s Symphony No. 7: A ‘War
Symphony’?
• Stephanie Klauk (Istituto Storico Germanico di Roma): Musiche italiane sopra battaglie
di Bonaparte
• Maria Teresa Arfini (Università della Valle d’Aosta): «La Victoire de Wellington» di
Beethoven nella teoria della significazione musicale di Adolf Bernhard Marx
• Mariateresa Storino (Fondazione Istituto Liszt): Solidarietà dei popoli e idea di patria: i
poemi sinfonici di Augusta Holmès
Abstracts
Keynote Speakers
Martin Kaltenecker
Listening to the War from Afar
A host of recent scholarly work has been devoted to the transformation of soundscapes,
by historians, anthropologists, and musicologists. More often than not, they try to isolate
stable and permanent types, describing the soundscape of a town, of a landscape, of a region
or a whole country during a given period. Less attention has been dedicated to the moment
when such soundscapes are destroyed. When a war breaks out, noises, new sounds, news
kinds of silences produce the terrifying anamorphosis of the normal situation. This involves
the awareness of the former acoustic environment, as well as the perception of noises as
such: for instance, during the campaign in France, in 1792, Goethe suddenly felt the urge to
precisely put down the sounds entering from outside in his tent.
In my talk I choose one specific situation, the one wherein listeners, either immobilised
in a place that is besieged, or confronted to an enemy out of sight, perceive the war and its
noises from afar, as Chateaubriand did when, on the afternoon of June 18, 1815, sitting under
a poplar tree in the outskirts of Brussels, he listened to the distant rumour of a “yet unnamed
battle” (Waterloo), or writers describing the siege of Paris in 1870, or witnesses reacting to
the sounds in the forests and trenches during World War i. Drawing on sound typologies
established by Pierre Schaeffer, R. Murray Schafer, and Karin Bijsterveld, I try to classify the
noises of war when perceived form afar, showing an extension of what Bijsterveld calls our
“sonic skills”.
As Nietzsche hold, the ear is the organ of fear, and music originally linked to alarm, to
night, to terror and to dusk. Some relations may eventually appear between, on the one hand,
the soundscape of war as grasped by the distant listener, and, on the other hand, musical
works composed within the frame of such soundscapes, or trying to symbolize them. These
relations may either be mimetic, via musical traces of a war, during periods when (as the
German writer Jean-Paul hold) “the noise of the cannon was our thorough bass”, or exemplify
a rejection, when monuments are preferred to documents, and the controlled rhetoric of a
glorious tableau to the openness of sonic chaos.
Svanibor Pettan (University of Ljubljana, Slovenia)
How Research on Music and ‘Modern Wars’ Benefits Our Understanding of the
Links Between Music and War in Historical Perspective
“Never again” is a standard phrase that often marks the end of human and cultural
devastations caused by wars. However, wars are a firm constant in human history, and
furthermore, their frequency worldwide appears to be currently on the rise. Since scholarly
knowledge and understanding accumulated from the past wars obviously failed to provide
humankind with wisdom and tools for preventing new wars, this presentation proposes a
shift into the opposite direction, summarized in the question: can scholarly knowledge and
understanding about the most recent wars help us better understand the war phenomenon in
a historical perspective? My research so far is focused on multifarious relations between music
and modern wars, starting with World War i, which marks the end of the thematic scope of
this conference. The principal aim of this presentation is to bring to the forefront a selection
of key issues in scholarship on music and modern wars and hopefully inspire scholarship on
music and war in any historical and geographical contexts.
The fact that the proverb ‘Inter arma silent musae’ is not applicable to war-related
contexts is well known; wars inspire musical creativity in a variety of ways. Music in war
contexts becomes a tool for the encouragement of our own side, for communication with and
provocation of the enemy side, for mobilization of third parties, for torture, and nevertheless
for personal and group healing and reconciliation processes. My presentation also addresses
connections through music among the wars in different times and places, paying attention to
the soundscapes and contexts alike. The final point brings up the question of applicability of
the acquired scholarly knowledge and understanding for the betterment of human conditions
in the foreseeable future.
Participants
Maria Teresa Arfini (Università della Valle d’Aosta)
La Victoire de Wellington of Beethoven in Adolf Bernhard Marx Theory of
Musical Meaning
Adolf Bernhard Marx (Halle, 1795 – Berlin, 1866), in his early years, promoted a
particular theory on musical meaning from the journal Berliner allgemeine musikalische
Zeitung. Since 1824, when the journal was founded, to 1826 appeared some important articles
about it: particularly interesting was ‘Etwas über die Symphonie und Beethoven Leistungen
in diesem Fache’ (The Symphony and Beethoven’s Contribution to this Genre) of 1824. Here
Marx, after treating the «series of psychological states represented with great psychological
accuracy» in Symphony No. 5, explains also the «musical allegory» (musikalische Allegorie),
the musical representation of extra-musical elements, in Beethoven’s Schlachtsymphonie
(Wellingtons Sieg) Op. 91. Most important, for Marx, is the possibility of representing events,
of narrating the battle with only musical resources, without text or pantomime. Beethoven
composed this overture in order to celebrate the British victory against French troops near
the town of Vitoria, in Spain (21 June 1813). Musical strategies to represent opposite armies
are not new — particularly the employment of popular tunes to indicate national identity —
but acquire incisiveness from tonal and thematic elaborations. The Marx interpretation of
Beethoven’s Op. 91, like the Marx theories in general, strongly influenced Mendelssohn who
produced an exercise of musical semantic in his Reformations-Sinfonie of 1832: we can found
in it a musical narrative, without text, very similar to the Beethoven’s one. In this paper I’ll
aim to analyze some musical procedures of these compositions from the standpoint of Marx
theories and contemporary debate on musical meaning.
Maria Birbili (University of Chicago)
Battle and Siege in the Opera of the French Revolution and in the Opera of the
Napoleonic Era
During the French Revolution, a specific opera sub-genre developed, which I’ve taken
the liberty to call “siege-opera”, because the dramaturgy of this genre concentrates in the
depiction of a siege and battle, ending with the victory of the democratic party over their
opponents. This politicized opera sub-genre not only reflects the organized propaganda of
the Revolutionary regime and the political climate of its time, but constitutes a true and
direct acculturation process, with the immediate reception of contemporary historical and
military events on the opera stage, often just months after their occurrence. The primarily
physical, less politically charged business of battle and final liberation of the assieged town
in the opera of the French Revolution occurred with much visual realism, in quasi real time,
with complex physical movement on the stage. The siege theme was of such importance to
the dramaturgy, that the process of repre-senting it visually completely dominated the staging.
These strong Revolutio-nary impressions lingered through the Napoleonic period, during
which many of these “siege-operas” were performed again, as in Jean-Baptiste Lemoyne’s Miltiade à Marathon and Etienne Nicolas Méhul’s Horatius Coclès. Méhul’s Le pont de Lodi, first
performed in 1797 at the Théâtre Feydeau, featured an authentic siege from the Napoleonic
wars. The genre’s continuity from the Revolution to the Napoleonic era can be identified
next in Etienne Nicolas Méhul’s Adrien, Jean-François Le Sueur’s Le triomphe de Trajan, and
Gasparre Spontini’s Fernand Cortès. My paper will discuss the politicized dramaturgy and
the depiction of battle in the “siege opera’’ of the French Revolution, in the “rescue opera’’
of the French Revolution, and in the opera of the Napoleonic era. Spontini’s Fernand Cortès
embodies, musically as well as in its choice of subject and in its dramaturgy, the shifting of
French opera from the politically charged works of the French Revolution to the historical
opera of the 19th century and to grand opéra. However, despite often being identified just
as a predecessor to grand opéra, Fernand Cortès and its historicized, politicized dra-maturgy
did not occur in a vacuum, but in direct relation to the recent historical event of the French
Revolution. Fernand Cortès is also one of the very first operas of the early 19th century that
deals with the question of colonialism. My paper even considers Fernand Cortès as the first
attempt of an anthropological approach to colonialism that occurred on the operatic stage.
The challenges that the political approach of this opera to colonialism represented for its time
are reflected in the fact that Fernand Cortès had to be rearranged five times into five different
versions, and therefore expresses an everchanging aesthetic and political statement, which is
reflected in each and every one of the different versions of the opera.
Liouba Bouscant (Université de Montréal)
« La musique pendant la guerre »: questions d’esthétique au temps de l’Union
sacrée. Catégorisation et formes du discours esthétique dans la presse de guerre Rare revue musicale paraissant durant la Grande Guerre, créée en octobre 1915 par
l’éditeur de musique Charles Hayet, Ernest Brodier et le compositeur et chef d’orchestre
Francis Casadesus, La Musique pendant la guerre affiche en frontispice son dessein de susciter
une histoire de l’effort de guerre et de la solidarité entre le front et l’arrière sur le plan musical.
Elle n’a jamais fait l’objet d’une étude à la fois complète et indexée. Or, poursuivant une
visée de catalyseur de la vie musicale, elle contribue à la nouvelle réarticulation du “corps
musical” — ensemble de musiciens, d’œuvres, d’esthétiques, d’institutions, d’acteurs
culturels — centrée sur la musique française. Le projet esthétique de la revue, focalisée sur
« le mouvement de l’art musical », est incontestablement français et unificateur. Cependant,
la guerre est conçue, selon les musicographes engagés au sein de ce périodique, comme une
simple interruption de la vie musicale française contre laquelle il faut combattre. S’observe dès
lors un phénomène d’intensification et de contraction du discours esthétique sur la valeur de
la musique « savante » française. Or, avant tout, l’Union sacrée politique au-delà des clivages
entre droites et gauches oblige à une Union sacrée esthétique manifeste dans La Musique
pendant la guerre. Celle-ci repose sur le postulat d’un Beau musical français par définition
diversifié. En effet, revivifier la création et la diffusion que tarissent les tueries de compositeurs
et interprètes au champ d’honneur, non seulement par les moyens financiers, mais aussi par
l’éradication de toutes les querelles esthétiques qui mettraient en danger cette revitalisation, est
essentiel. Quel discours politiquement et esthétiquement correct est publié dans cette revue ?
Dans quelle mesure peut-on parler, dans le champ de la musique savante et en particulier
dans La Musique pendant la guerre, d’une esthétique musicale française de l’Union sacrée et
d’une réarticulation du discours d’avant-guerre? Quelles sont les instances organisationnelles
et énonciatrices dont celui-ci émane ? En réalité, il apparaît que le contexte de guerre n’est
qu’un prétexte à la clarification de la question de la musique française devenue essentielle à
partir des années 1870. Dans l’urgence, le discours esthétique fait jaillir des critères prégnants
et des paradigmes déjà installés depuis des décennies.
Band
George Brock-Nannestad (Patent Tactics, Gentofte, DK)
From the Battlefield to the Drawing Room – The Domestication of the Military
The military band was historically a very early organised body of musicians, and the
purpose was mainly to identify the regiment in battle and to increase the morale of the soldiers,
while at the same time frighten the enemy. Outdoor band instruments wore down and were
replaced much more frequently than contemporary indoor orchestral instruments. Other
reasons for replacing instruments were the changes in standard band pitch. The regimental
bands would obviously also play when not in battle, practicing and for military festivities
and ceremonies. Gradually through the first half of the 19th century the bands would play
publicly outside barracks, not only when practicing marching, but also on days of rest, in
town squares and similar places, thereby to demonstrate a military presence. The repertoire
spread from marches to operatic items, and outdoor concerts with printed programs were
created in public parks. During the latter half of the 19th century this became a fixed part
of public entertainment. About 1890 when sound recording on phonographs and for the
gramophone began, the recording equipment was so insenstitive that only brass bands (and
incidentally the male tenor voice) were suited for creating commercial records. From 1895 to
1920 military bands recorded innumerable gramophone records with a very mixed repertoire
(imagine “Pizzicato” from Délibes: ballet music from Sylvia transcribed for military band),
even though the technical progress of recording was astounding and certainly permitted
the recording of most instruments. In the period to 1940, military bands combined with
soldier’s choirs singing bellingerent songs became a medium for propaganda and the music
was distributed by gramophone record and radio. As the recorded repertoire became broader,
the military importance of the regimental bands diminished, and today we see that many have
disappeared and only maintained in a few places for ceremonial purposes. The military bands
inspired civilian brass bands frequently connected to the workplace, and in the first half of
the 20th century, phenomena such as colliery bands, “motor works bands”, not to mention
the Salvation Army bands that pre-dated them, sprang up. We shall discuss the early recorded
repertoire, which to a high degree was aimed at the civilian population and very similar
to the band concerts in public parks. Although the musical traditions were national, the
choice of repertoire was surprisingly uniform across countries. In the parks themselves, a new
development from 1905 permitted the gramophone to compete with a brass band in volume,
due to the invention of the pneumatic soundbox that amplified the sound by means of high
pressure air. We shall briefly consider recorded military band music from France (Musique de
la Guarde Républicaine), the UK (Coldstream Guards), Austro-Germany (K.u.k. Infanterie).
Bella Brover-Lubovsky (Hebrew University, Jerusalem Academy of Music and
Dance)
Music for Cannons: Giuseppe Sarti in the Second Turkish War
Italian-born Giuseppe Sarti (1729-1802) was recognized in his lifetime as one of
the central figures of his generation. His professional reputation spread from his native
land, where he built a remarkably successful career (Faenza 1748-1752, Venice 1767-1768,
Florence 1777-1778, and Milan 1779-1784) to European capitals: Copenhagen (1753-1765,
1770-1775), Vienna (1784), and St. Petersburg (1784-1787, 1793-1801). Sarti positioned
himself as a truly cosmopolitan composer: he shrewdly, and with impressive flexibility,
combined local traditions with his personal style and composed in various cultural and
political environments. He wrote operas on Italian, French, Danish and Russian librettos;
liturgical compositions for Catholic, Protestant and Orthodox services; oratorios, chamber
cantatas and ceremonial music. Sarti’s talent and personality won him the admiration of
King Frederik v of Sweden, Empress Catherine the Great, Emperors Joseph ii and Pavel i,
and of the European aristocratic elite elsewhere. His international success notwithstanding,
Sarti’s career experienced a strange and unexpected shift: between 1787 and 1791, he secluded
himself in the Ukrainian steppe in the newly colonized Tavrida region, annexed to the Russian
Empire in the wake of the First Turkish War. During this period he was in service of Prince
Grigory Potemkin (1739-1791), at his headquarters in Krementchug and later Ekaterinoslav
(Ukraine). Sarti’s political engagement and service included accompanying the Prince and
the Russian army in Bessarabia during the course of the Second Turkish War (1787-1791).
Sarti’s exceptional position in Potemkin’s retinue required that he follow the Prince in all his
military assaults on the Ottoman fortresses Otchakov and Ismail (Ukraine), Yassy, Dubossary
and Bendery (Bessarabia), and other venues. Each victory of the Russian Army was celebrated
with elaborate ceremonies, which included performances of Sarti’s compositions. Of them, the
most sumptuous was Slava v Vushnikh Bogy (Russian Gloria) for forty parts: double orchestra
and chorus, Russian horn band, bells, cannons and fireworks. Secular compositions on sacred
texts (Russian versions of the Gloria, Kyrie, Te Deum, Miserere, etc.), these works entirely
changed their social function, largely anticipating the vogue for “incidental” compositions in
la battaglia tradition that abound in the Napoleonic era. Sarti’s service for Potemkin breaks
the paradigms of music patronage common in the late 18th century and marks a new form of
social relationship (recreating to some extent the status of the musician in feudal European
courts). Was his participation in peripheral trends in European musical life (both in terms
of geographical remoteness and cultural significance) viewed as a significant downgrading
of Sarti’s social and artistic prestige? My paper will explore two main questions: 1) Sarti’s
“participation” in the Second Turkish War: its social, political and ideological aspects; 2) The
generic and stylistic characteristics of these compositions.
Lucy Church (The Florida State University)
Musical Moral Panic: American (over)Reactions to Enemy Musics during the
Great War
In late October of 1919 New York City erupted in moral outrage. Five hundred
mounted and bayonetted policemen responded to fierce rioting in the streets, resulting in
close to a dozen injuries, one nearly fatal. Rioters brandished stones, bottles, and clubs, threw
bricks into passing street cars, attempted to pierce through police lines, and commandeered
motor army trucks with which to oppose military forces. The cause of the rioting was not
taxation, conscription, or religion. It was an operetta titled The Bat. This story is not the only
one of its kind. During and even after the Great War, it was not abnormal for robberies,
lootings, and bomb threats to accompany desperate pleas for the cessation of German artistic
presentations in America. Although only a small number of citizens participated in this violent
drive against German culture, those who did were committed, set ablaze by a sort of moral
fire that turned them into self-appointed guardians of America’s ethical wellbeing. Music
came to be seen as a conduit through which America’s morality was communicated, and thus
the performance of German music was tantamount to treason. Furthermore, American art
music culture seems to have grasped onto the Great War as a way of expressing a set of beliefs
concerning the nature of music and its relationship to morality that had been gaining ground
throughout the nineteenth and early twentieth centuries. This paper will explore these beliefs
through an examination of some of their main proponents, give an account of a few of the
many stories of moral panic that flooded the American art music scene during the war, and
offer some conclusions about the role that World War i played in re-shaping the American
conception of music and morality.
Jan Dewilde (Royal Conservatoire Antwerp)
The “Great War” in Belgium, Reflected in Music
During the First World War, the music industry was in full swing: the propaganda war
was also being waged with sheet music. In this lecture, the course of the war is documented
through occasional compositions from the viewpoint of Belgium, which was under siege.
The war can be reconstructed minutely from the German invasion on 4 August 1914 to the
armistice on 11 November 1918 via varied musical genres, such as military marches, piano
music, chamber music, symphonic compositions, choirs, songs (classical songs, schlager
music, street songs) and vaudevilles. A selection of compositions by Belgian and international
composers clarifies how this specific type of music was instrumentalised as a patriotic weapon
or as anti-war music, but also as a form of leisure, entertainment, consolation or therapy,
both at the front and behind the lines, as well as in the occupied areas and for the Belgian
refugees in exile in The Netherlands, England and France. In addition to focusing Belgian
compositions, this lecture pays attention to Edward Elgar’s Carillon Op. 75 (published in King
Albert’s Book) en Le drapeau belge Op. 79 en Alfredo Casella’s Pagine di guerra Op. 25 (Nel
Belgio: sfilata di artiglieria pesante tedesca), inspired by horrifying images of the horrendous
mechanised warfare of 1914-1918, as seen on silent cinema newsreels. The way in which the
iconography on the covers of published sheet music reinforces the message of the composition
is looked into as well.
Michel Duchesneau (Université de Montréal)
La Revue musicale ou le phœnix musical
Lorsque Jules Écorcheville, le directeur de La Revue musicale S.I.M., part pour le front
en 1914, il écrit à son ami Émile Vuillermoz : « Si je ne reviens pas, je vous recommande
notre œuvre, cher ami. Et surtout, si vous tenez à me faire plaisir dans l’autre monde,
efforcez-vous de maintenir la concorde et l’harmonie entre les différents éléments qui vont
se trouver en présence à ma disparition. Notre revue est faite de différentes pièces ajustées
(Amis, S.I.M., etc.), qui tiennent en équilibre par miracle, quelques années de cohésion sont
absolument nécessaires encore et c’est précisément cette concentration de nos différentes
forces qu’il faudrait maintenir. En tout cas, il ne faudrait pas que ma disparition entraînât
celle d’une œuvre qui nous a coûté, à tous, tant de peine. N’est-il pas vrai ? » Malgré le souhait
d’Écorcheville, La Revue S.I.M. disparaîtra, mais pas pour longtemps puisqu’elle donnera
naissance à deux nouveaux organismes en 1917 et 1920. Pendant la guerre, les anciens de
La Revue S.I.M. dont Lionel de La Laurencie, vont créer la Société française de musicologie
(SFM) sur les ruines de la Société internationale de musique et publieront un Bulletin qui
deviendra la Revue de musicologie. Loin de l’actualité, s’écartant délibérément du contexte
sociopolitique et culturel, la SFM et son Bulletin favoriseront une approche très « scientifique »
de la musicologique qui sera relativement nouvelle en France tout en étant encore teintée
par les tendances historicisantes à la manière de la Schola Cantorum et écartant pour un
temps toute la musicologie germanique. En parallèle, s’écartant résolument de la SFM, le
musicologue Henry Prunières créée La Revue musicale qui adopte un programme ouvert sur
une musicologie informative et liée à l’actualité artistique tant nationale qu’internationale.
C’est à partir d’un réseau de collaborateurs et de musiciens établis à travers le monde et qui
place la musicologie française au cœur de l’action musicale contemporaine que Prunières
établit de nouvelles alliances avec le milieu des arts et de la littérature pour fonder l’une des
plus célèbres revues musicales de la première moitié du xxe siècle. À partir de documents
inédits, nous étudierons les circonstances qui mènent à la refondation de La Revue musicale
sur les cendres de la Revue S.I.M. entre 1915 et 1919. Nous verrons ainsi comment les hasards
de la guerre mènent Prunières à entreprendre la carrière d’éditeur et comment le musicologue
conçoit le projet international de la revue dans un contexte de guerre qui contribue à une
redéfinition des cultures nationales. Il est difficile d’extrapoler sur ce qu’aurait pu être l’avenir
de La Revue musicale S.I.M. si la guerre n’avait pas eu lieu. Il est par contre possible de
documenter et de comprendre le rôle que la Grande Guerre jouera dans l’essor d’une nouvelle
dynamique pour la musicologie française dont la division d’abord justifiée par le conflit aura
des conséquences à long terme sur l’échiquier international de la discipline.
Tobias Fasshauer (Humboldt-Universität zu Berlin)
Globalizing the Military Style:
Transatlantic Interrelations in Belle Époque
March Composing
Towards the end of the 19th century, the military march in Europe and the New
World evolved into a genre that held an intermediate position between its origins in military
Gebrauchsmusik and the symphonic marches written by composers such as Berlioz, Wagner,
Tchaikovsky, and Elgar. On the one hand, this new type of march is characterized by musical
subtleties that could hardly be executed adequately by a marching band; on the other hand, it
remained true to formal standardization (which does not imply, however, that the formal standards
did not change over time) and to simple, regular periodic syntax. With the military march primarily
conceived for concert performance, one of its original functions — to lift the spirit of the troops —
was transferred to a higher, i.e. social level, insofar as marches could convey nationalist ideology
and, in times of armed conflict, serve as a means of boosting morale on the home front. In my
analysis, the importance of the march as nationally representative music ironically increased as its
form become more and more international. While the American “March King” John Philip Sousa
(1854-1932) played, without a doubt, a crucial role in the development of what could be called the
“military concert march”, his style was itself informed by many sources, including European dance,
military, operetta, and art music. As I argue, his unique synthesis of heterogeneous influences soon
became a model for European composers, who found themselves challenged to express national
identity according to the standards set by Sousa. This paper aims to define and interpret basic
features of the international march style, such as the elimination of the traditional da capo, the
hymn-like character of trio themes (as opposed to the lyric quality of the trios in earlier marches),
and the harmonically elaborate trio interlude or “break strain”. It will reflect on their origins
and describe how they dialectically relate to moments of musical nationalism by comparing the
music of two prolific European march composers, the Frenchman Louis Ganne (1862–1923)
and the Czech Julius Fučík (1872–1916) with Sousa’s works. To clarify the distinction between
international stylistic features and musical Americanisms, special attention will be given to Fučík’s
explicitly ‘American’ marches, Mississippi River (1905) and Uncle Teddy (1910).
Michaela Freemanova (Ethnological Institute of the Academy of Sciences of the
Czech Republic)
Václav František Červený (1819-1896) and his Followers
In the 19th century, Václav František Červený was one of the most important European
army music instrument makers; he not only exhibited and exported his production, but also
invented new types of army music instruments, and supported the activities of Prague Army
Music School. Červený’s pupil and also inventor Josef Šediva extended the Bohemian army music
instrument production to Russia, where also Červený’s army instrument inventions enjoyed new
glory, diminished after the Austrian cavalry and artillery bands were cancelled in 1868.
James Garratt (University of Manchester)
«Ein gute Wehr und Waffen»: The Functions of Organ Music in the First World War
The world of the organ might seem an unlikely focus for exploring the relationship
between music and the First World War, and existing scholarship on the latter has tended to
ignore it. Yet a substantial body of organ compositions relating to the war were produced by
composers from both the allied and central powers, ranging from marches and descriptive
pieces to full-blown sonatas and symphonic poems. In the earliest months of the war,
composers largely limited themselves to bombastic marches and medleys of patriotic tunes.
But as the conflict became more entrenched, organ music acquired more complex cultural
and ideological roles, serving to help shape and give voice to collective mentalities. Focusing
on works produced by both English and German composers, this paper addresses two
key functions that this music had during the war and in its immediate aftermath. First, I
examine how compositions for the organ served — whether consciously or unconsciously —
to affirm the bond between nationhood and religion, and thus helped confirm the view of
the war as religiously justified. In particular, I explore how composers drew on familiar
melodies, topoi, gestures and genres as a means to give historical grounding to this bond,
exploring works such as Paul Gerhardt’s programmatic Fantasie ‘Ein feste Burg ist unser Gott’
Op. 15 (1917), Max Gulbins’s Sonate Nr. 5 (Kriegs-Sonate) Op. 98 (1916) and Charles
Villiers Stanford’s Sonata Eroica Op. 151 (1917). Second, I discuss how organ music
helped provide a medium for working through individual and collective grief, examining
compositions such as Max Reger’s Trauerode Op. 145 No. 1 (1916), Gerhardt’s Totenfeier.
Sinfonische Dichtung Op. 16 (1917) and Hans Fährmann’s Sonate Nr. 12 (Kriegssonate)
Op. 65 (pub. 1921).
David Gasche (Université de Tours / Wien Universität)
Harmoniemusik and Military Music with Some Observations on the Wind Octet
Gott erhalte den Kaiser by Joseph Triebensee (1810)
Vienna imposed itself as the centre of the occasional music for wind bands at the end
of the 18th century. It was a political, social and musical phenomenon that represented the
classical values. Banda and Harmoniemusik were found in various areas of the capital and
offered the possibility to entertain and enjoy the music. The period from the Napoleonic
Wars to the Congress of Vienna matched nevertheless a particular period in the history of
the Austrian empire when numerous developments and reforms took place. The military
music for Harmoniemusik and Banda started to grow and diversify in this new context
with several purposes: serve the politic authority, glorify the military victories and exalt the
national identity. The best composers from Haydn to Krommer wrote numerous marshes,
türkische Musik and arrangements for wind bands. A specific musical literature like Journal
militarisches Musik appeared also in the years 1810. The presence of Harmoniemusik or more
imposing wind bands in military activities remained underestimated but this music obtained
an important function. The presentation will explore contemporaneous illustrations,
paintings, testimonies and musical scores to consider this significant musical practice and its
repercussions. The several arrangements and marshes like Die Rückkunft Sr. Maj. Franz den i.
in seine Residenz Stadt Wien 1814 for Harmonie attest that the wind bands addressed a wider
audience and were a clever way to promote the national identity. This topic will too analyse
a specific composition of Joseph Triebensee: the hymn Gott erhalte den Kaiser arranged for a
wind octet (1810). The examen of the differences between the composition of Haydn and
Triebensee will demonstrate how a score for Harmoniemusik can be at the same time military
and entertaining. The military music reflected doubtless an unexpected form of expression
that impacted the social and cultural life in Vienna.
Bruce Gleason (University of St. Thomas, St. Paul, MN)
Horse-Mounted Bands of Europe: La Fanfare de Cavalerie de la Garde
Républicaine
The Gendarmerie Nationale, an official branch of the French Armed Forces, has watched
over the security of the French people for centuries and is part of a tradition that comprises
an unusual combination of military and police duties. Originating as a constabulary unit,
present-day tasks range from controlling traffic and conducting judicial enquiries to serving
as a defense force for the country. One of the more splendid roles of the Gendarmarie however
(but one of the oldest tasks in the French military), is that of performing music. Ceremonial
music furnished by several bands of the Garde Républicaine, one of the three main sections
of the Gendarmarie Nationale, is perhaps most unusually supplied by the horse-mounted La
Fanfare de Cavalerie. Composed of trompettes, trompettecors, trompette basses, contrabasses and
timbales, La Fanfare retains its place as one of the premier mounted music ensembles of the
world, staffed by highly trained equestrian musicians. Founded around 1848, La Fanfare’s
repertoire includes various marches and other compositions as well as the Ordonnances des
trompettes written by David Buhl in 1803. This paper traces the origins of La Fanfare, and of
mounted bands in general.
Ryszard Daniel Golianek (Adam Mickiewicz University, Poznań)
A Valiant Nation. Images of Poland and the Poles in German Music ca. 1830
The Third Partition of Poland (1795) resulted in a mass emigration of Polish people.
The main destination of the émigrés was France, but many Poles stopped on the way in
Germany, where they found compassion and support. The idea of the lost Poland thus became
familiar in the German states. The popularity of Polish themes in Germany was reflected in
the musical output of that time. An especially keen interest in Polish ideas culminated circa
1830 (the year of the November Uprising against the Russian rulers), when several important
musical works devoted to Poland were written by German composers. Those works helped
to establish stereotypic images of the suffering Poland and the brave and victorious Poles,
valiantly struggling for their independence and freedom. In the present paper, I will propose
an analytical overview and extra-musical interpretation of three representative musical works:
the operas Der alte Feldherr (1825) by Karl von Holtei and Der Pole und sein Kind (1832)
by Albert Lortzing, as well as the overture Polonia (1836) by Richard Wagner. Taking into
consideration both the musical qualities of the works (such as musical quotations from Polish
national songs) and their extra-musical features (the librettos and the programmatic content),
I will reconstruct the way in which the musical rendering of the wars for national liberation
formed an image of Poland in German music of that time.
Morag Josephine Grant (Independent researcher; www.mjgrant.eu)
Music at the Moment of Violence: The Great Highland Bagpipe in the Long
Nineteenth Century
In most European armies, the playing of music during battle did not survive into the
nineteenth century. An exception to this is the Scottish military tradition of bagpiping, which
continued until the First World War. Unlike the use of bugles, drums and other instruments
to coordinate action on the battlefield, the solo bagpiper who accompanied troops during the
fighting was not there to communicate signals. Nevertheless, the importance of the bagpiper’s
contribution is reflected in the fact that in various nineteenth century conflicts and in the First
World War, several pipers received Great Britain’s highest military honour, the Victoria Cross,
for bravery in the line of fire. In what scant literature is available relating to the use of music
in wartime, it is common to read that the function of instruments such as the great highland
bagpipe was to “inspire” men into action and simultaneously to frighten the opponent.
While such assumptions might seem to have some basis in sociological, anthropological and
psychological studies on the dynamics of violent interaction, these theories, until backed up
with empirical data, remain simplifications of what happens when men, women and children
go into battle. Providing more comprehensive answers to the question of music’s role at the
moment of violence lies at the heart of the current author’s ongoing research into the social
musicology of war. This research aims to draw together findings from recent work in conflict
and violence studies with information from primary sources on people’s lived experiences of
battle, and the functions music is intended to fulfil, and in fact fulfils, in this context. The
Scottish bagpiping tradition provides a useful focus for this work. As with many other martial
musical traditions, the use of bagpipe music during battle reached its zenith in the First
World War, and to understand the tradition it is thus necessary to consult sources from the
previous century as well. Since the period from the Napoleonic wars until the First World War
also corresponds to the period of the establishment of Highland regiments and, therefore,
the development and consolidation of associated traditions, tracing the history of the use
of bagpipes in battle over this period constitutes an important contribution not only to the
history of military music, but also to our understanding of the cultural history of the bagpipe
in Scotland. While such a complete history cannot be attempted in this paper, it will provide
a comprehensive introduction to this topic informed by the author’s ongoing research into the
social functions of music in war.
Martin Guerpin (Université Paris-Sorbonne/Université de Montréal)
Le Courrier musical comme instrument de propagande (1902-1923). Nouveaux
discours sur la musique et réinvestissements des débats d’avant-guerre
Le déclenchement de la Première Guerre mondiale provoque en France la disparition
des principales revues spécialisées dans la musique. L’une d’entre elles, le Courrier Musical
(fondé en 1897) reprend néanmoins sa publication dès décembre 1916 et se définit d’emblée
comme un instrument de propagande musicale et de mobilisation culturelle à l’arrière du
front. Le Courrier Musical est le plus souvent cité à travers trois articles de Camille Mauclair,
de Charles Tenroc et de Julien Tiersot (Buch 2004, Fulcher 2005, Iglésias 2009), à propos de
la question du nationalisme musical. Ma communication prend le Courrier Musical comme
objet d’étude. Elle s’attache à en dégager une double particularité. La première est celle du rôle
militant explicitement revendiqué par cette revue pendant la guerre, un rôle qui devra être
resitué au sein d’une histoire plus générale de la propagande politique et culturelle à l’arrière.
La perspective monographique adoptée permet de montrer que le Courrier musical s’inscrit
dans un projet de guerre totale où la musique joue un rôle économique, social et politique
inédit. Toutefois, malgré son orientation ouvertement nationaliste, et malgré l’idéal d’Union
sacrée affiché jusqu’à la fin de la guerre, la revue reste en partie ouverte aux débats. La seconde
particularité à étudier est celle des discours sur la musique publiés par le Courrier Musical
pendant le conflit. En quoi sa ligne éditoriale rompt-elle radicalement avec celle d’avant la
guerre, en quoi la prolonge-t-elle ? Quant à la fin de la guerre, correspond-elle avec celle
de la période de « mobilisation intellectuelle » (Dmitriev, 2002) du Courrier Musical ? Un
élargissement des bornes de l’étude permet de comprendre que, pour le Courrier Musical, la
Première Guerre mondiale constitue un moment de radicalisation plutôt qu’une parenthèse.
D’une part, les discours sur le nationalisme musical tenus pendant la guerre s’inscrivent sur
fond de débats concernant l’identité française de la musique déjà à l’œuvre dans les années
1900 (à partir notamment de la création de Pelléas et Mélisande de Claude Debussy en 1902).
D’autre part, ces positions se perpétuent jusqu’au début des années 1920, lorsque la musique
française s’ouvre de nouveau aux avant-gardes étrangères. Ainsi, en 1923, lorsque les Concerts
Wiéner donnent la première version intégrale du Pierrot Lunaire d’Arnold Schönberg en
France, la polémique lancée dans le Courrier Musical par l’un de ses plus éminents critiques,
Louis Vuillemin, retrouve une rhétorique héritée de la Première Guerre mondiale. En mettant
en évidence, d’une part, différentes composantes de l’Union sacrée revendiquée par le Courrier
Musical et, d’autre part, des continuités en deçà et au-delà de la Guerre, cette étude permet de
retrouver, dans le domaine de la presse musicale, des logiques semblables à celles récemment
observées parmi les écrivains et les universitaires français (Hannah 1996).
Yaël Hêche (Orchestre de Chambre de Lausanne)
« C’est par mes bienfaits que je veux t’enchaîner ». Napoléon ier, la guerre et la
paix dans Fernand Cortez ou La conquête du Mexique de Gaspare Spontini
Créé en 1809 à Paris en présence de Napoléon ier, Fernand Cortez ou La conquête
du Mexique de Gaspare Spontini était un opéra au service de l’Etat. Il avait pour ambition
de présenter une image flatteuse de la campagne d’Espagne de l’empereur partant libérer le
pays de son Inquisition. En une allégorie de la politique française, le conquistador vient ainsi
délivrer les Mexicains d’un paganisme barbare. Cortez y est mis en scène dans des situations
qui servent à promouvoir tant son charisme que son humanité, aussi bien lorsqu’il redonne
courage à sa propre armée en état de rébellion que lorsqu’il offre la paix aux ennemis, déclarant
au guerrier Télasco : « c’est par mes bienfaits que je veux t’enchaîner ». Le succès initial de
l’œuvre fut toutefois rapidement terni par les difficultés rencontrées par l’empereur en terres
ibériques et par une intrigue au message politique parfois équivoque. Cette communication
présentera certaines des stratégies musicales et dramatiques employées par Spontini et ses
librettistes Victor-Etienne de Jouy et Joseph-Alphonse Esménard. Bâtie sur un sujet historique,
construite en une succession de tableaux grandioses autrefois présentés dans une mise en
scène somptueuse, Fernand Cortez est une œuvre innovante et précurseur du grand opéra
français. Les scènes opposant la foule à son chef fournissent à la fois des exemples captivants
de mise en scène des chœurs et d’une dramaturgie de propagande. Contrastes harmoniques,
spatialisation des chanteurs et des instruments, intégration des numéros musicaux dans de
grandes structures, les moyens employés par Spontini ne manquèrent pas leur effet auprès
du public. Fernand Cortez sut aussi évoluer selon la politique du moment et du lieu. Les
nombreuses révisions (Paris, 1817 ; Berlin, 1824 et 1832) apportées à la partition permettront
dans un second temps de la communication d’observer son adaptation à différents régimes
politiques. Dans une œuvre de circonstance asservie au pouvoir absolu, Spontini sut mettre
une thématique associant guerre, paix et religion au service de l’innovation artistique. Fernand
Cortez put ainsi se maintenir à l’affiche pendant quelque vingt-cinq ans, de l’Empire de
Napoléon ier au royaume de Frédéric-Guillaume iii de Prusse, en passant par la Restauration
de Louis xviii.
Manfred Heidler (Bundeswehr Military Music Center, Bonn)
German Military Music during World War i: Remarks on a Musical Phenomenon
Manifesting itself between the Glory of Prussia, Concert Halls and Materiel Battles
This piece of work is on German (military) music before and during World War I.
Military music was a feature of life not only throughout the German Reich, but also in its
colonies and colonial possessions and the German troops marched to the resounding beats of
their military bands from the outbreak of the war in 1914 until Armistice Day in 1918 and
beyond. The military bands, with their specific instruments and emotionally highly effective
music, resoundingly “took up positions” between what was later the home front and the
trenches. The transitions between the purely functional military music and the music played
for propaganda, consolation and entertainment purposes, which can be rendered tangible
here under the term recreational support for the troops, appear to be fluid and are due to the
drastic changes in the face of this first industrial war. World War i, which is considered the
“great seminal catastrophe of the 20th century”, therefore inevitably resulted in a significant
paradigm shift in terms of the concept of the military, its types of music and their effects.
Stephanie Klauk (German Historical Institute, Rome)
Italian Music on Napoleonic Battles
The most famous music on a Napoleonic battle is certainly Wellingtons Sieg oder Die
Schlacht bei Vittoria by Beethoven, premiered on 8 December 1813. Although widely known,
this work is neither unique nor the first in this genre. There are numerous Italian and French
compositions on Napoleonic battles. Karin Schulin (Musikalische Schlachtengemälde in der
Zeit von 1756 bis 1815, Tutzing 1986) identified several earlier French works such as the
Bataille de Maringo / Gagnée Par le General / Bonaparte by Pierre Antoine César (1802-05) or
the Bataille / de / Marengo / pour le Forte-Piano / avec un Violon et Basso by Bernard Viguerie.
Italian works of this genre seem to be even less known. The aim of my contribution will be
the presentation of several Italian works — especially on the battle of Marengo — and the
identification of idiomatic musical characteristics for the battle proper on the one hand and
for the symphonic final triumph on the other hand. It should be possible to identify topoi,
which are present not only in Italian pieces, but also in other symphonic works by Beethoven.
Rainer Kleinertz (Saarland University, Saarbrücken)
Beethoven’s Symphony No. 7: A ‘War Symphony’?
Beethoven’s Symphony No. 7 in A major had its first public performance on 8
December 1813, in the same concert where his ‘Battle Symphony’ Wellingtons Sieg oder
Die Schlacht bei Vittoria was premiered. The receipts of the concert were for the Austrian
and Bavarian soldiers wounded in the Battle of Hanau. Even if the composition of the A
major symphony reached back until 1811 and 1812, long before Wellington’s victory and
the decisive Battle of Leipzig in 1813, neither the performers nor the public could fail to
liaise at least the martial sound and rhythm of the last movement (Allegro con brio) with
topoi from the ‘Battle Symphony’. In modern interpretations of the A major symphony, these
characteristics are neglected in favour of structural aspects which are certainly important but
not sufficient for an appropriate understanding of this symphony. In my paper I shall try
to relate not only the last movement, but also parts of the first three movements to topoi
which can be found in Beethoven’s ‘Battle Symphony’, his Egmont overture as well as in
instrumental battle music from France and Italy. In this aspect my paper relates closely to
Stephanie Klauk’s paper on ‘Musiche italiane sopra battaglie di Bonaparte’. The aim is not to
‘discover’ any hidden program, but to demonstrate the original relationship of this Beethoven
symphony with the contemporary Wars of Liberation against Napoleon. The impetus and
transcendency of this symphony are not understandable without this aspect and its musical
realization through topical signs.
Walter Kreyszig (University of Saskatchewan / University of Vienna)
Franz Joseph von Sauer’s Allgemeines Wiener Aufgeboth of April 4, 1797 in the
Musical Depiction by Johann Baptist Vanhal (1739-1813): On the Nexus of stile galant,
stilus mixtus, Fortspinnung and Alberti Bass
In the programmatic instrumental works, both Kleinmeister as well as leading composers
of the late eighteenth and early nineteenth centuries focus on contemporary political events,
reflecting on the one hand on the French Revolution, and on the other on the coalition wars
which Napoleon led between 1789 and 1815. Even prior to his victorious entry into Vienna,
Napoleon, following his successful Italian campaign, advanced towards Austria. Instead of
the acceptance of an offer of peace by Napoleon in March 31, 1797, Johann Amadeus Franz
von Thugut, both the minister of state and the foreign minister of Austria, introduced a
general mobilizing of the Viennese population, and that in the hope of thwarting the part
of retreat of Napoleon to Italy. For Johann Baptist Vanhal, this political event was ample
enough reason to compose a remarkable work for solo piano entitled Die Bedrohung und
Befreiung der k.k. Haupt- und Residenzstadt Wien durch die französischen Truppen unter den
Befehlen des Generals Bonaparte, durch das merkwürdige österreichische Aufgebot, den 4 April
1797. [The Imperial and Royal Residence of Vienna, Belaguered and Liberated by the French
Troops by the Order of General Bonaparte, through the Remarkable Austrian Conscription,
4 April 1797] (Vienna, 1797), rich in thoughts in its depiction of the Austrian Conscription.
Apart from his numerous, by-and-large three-movement piano sonatas, all of which reflect
the common style and traditional thinking about forms of Viennese Classicisim, especially
in the opening movement in sonata form with their characteristic contrasting themes and
the final movements, largely based on dances from the era of classicism, with the individual
works subject to analysis in the discussion by M. von Dewitz (see his Jean Baptiste Vanhal.
Leben und Klavierwerke, Munich 1933), Vanhal also devotes his attention to the then widely
disseminated program music, which in his piano oeuvre is characterized less by schemas
of form and uniform compositional style, but more by a manifoldness with regard to the
compositional process and free organization of form, in order to capture the individual
aspects of this event and to place the resulting mood of the people in a musical context. This
paper is concerned with an example of the multifaceted piano repertoire of Vanhal which
has not received any attention in the secondary literature, in order to underscore, on the one
hand, the relationship to Franz Joseph Haydn and Wolfgang Amadeus Mozart with regard to
certain compositional practices, such as the deployment of the Fortspinnung and the Alberti
bass, and, on the other hand, in the fusion of Italian and French styles in the so-called stilus
mixtus, with both of these compositional practices giving rise a highly original contribution.
That Vanhal, in his innovative style of writing and originality found tremendous resonance
within a wide circle of the population is readily gathered from the quick dissemination of this
particular example of program music. Beyond that, the arrangement of this piano work as a
duet for two flutes, also published in Vienna in Franz Anton Hoffmeister’s Sammlung aller
musikalischen Stücke, welche bey Gelegenheit des allgemeinen Wiener Aufgeboths erschienen sind
provides yet another proof of this resounding popularity of Vanhal’s original composition.
Michaela Krucsay (Leopold-Franzens-Universität Innsbruck)
«…Frau von Cibini will not return as long as one student in Vienna is left».
Katharina Cibbini-Koželuch and the Revolution of 1848 in Austria
Katharina Cibbini-Koželuch, a figure rather important to Vienna’s musical scene,
acquainted with Beethoven and Liszt and well renowned piano teacher not only of famous
prodigy Leopoldine Blahetka was born the eldest daughter of imperial royal court composer
and publisher of music Leopold Anton Koželuch in Vienna in 1785. Besides her famous
father, Muzio Clementi is said to have taught the young composer and virtuoso. In order of
paying the costs of nursery for her husband Anton Cibbini, who fell mentally ill and died
on 5 December 1836 in the hospital of the “Barmherzigen Brüder” in Brünn (Cz), she had
to look for a secure and rentable working place. Cibbini-Koželuch became Lady-in-Waiting
(“Erste Kammerfrau”) of Empress Maria Anna — a great honor to a common woman, which
also meant an obligation to leave all public stages. Connected to the political events in 1848,
the name Cibbini appears one last time frequently in press along with prominent names
of the conservative court party like the counts Bombelles, Falkenhayn and Brandis, prince
Windischgrätz or the baroness Sturmfeder. Katharina Cibbini-Koželuch, once a celebrated
artist, seems to have lost much of her popularity since living at the court. A number of
caricatures and satiric writings were released, presenting Cibbini-Koželuch as a feared and
hated part of the “Reaktion” with no importance left to her former musical profession what
so ever. Though the political power attributed to Cibbini in the tumultuous year of 18481849 by the revolutionary press may be massively overrated, one might suggest it contains at
least a grain of truth. Cibbinis position at court should be brought into question even more
given the very early Cibbini-reception of German novelist Clara Mundt (pen name: Luise
Mühlbach), who depicted her as a kind of incognito revolutionary herself. Katharina CibbiniKoželuch died, still in service of the k.u.k. court, on 12 August 1858 in Reichstadt (Cz)
without any relevant traces left in history after the events ten years ago.
Frédéric de La Grandville (Université de Reims Champagne Ardennes)
Guerre et paix à Paris entre 1795 et 1815 : incidences du militaire sur le
Conservatoire de musique
La création du Conservatoire de musique de Paris en 1795 dans un cadre militaire
et même guerrier est un phénomène bien connu. Cependant, plusieurs éléments viennent
contrarier cette vision simpliste : le Conservatoire n’est pas exactement militaire à son départ, il
naît au sein d’une sorte de milice bourgeoise, la Garde nationale. Une de ses premières tâches
consiste à former des musiciens pour les corps d’armée ; ceci pose les problèmes des relations avec
les officiers d’active, relations tumultueuses, et de l’organisation des enseignements musicaux
entre élèves civils et élèves militaires, difficulté qui perdure tout au long du xixe siècle. Second
point factuel, le Conservatoire établi dans le contexte belliqueux des années 1792, se voit revenir
en 1802 précisément à la musique pour la paix, pour la société civile : dans quelles conditions
s’effectue cette transmutation ? Les guerres napoléoniennes gênent mais n’empêchent pas les
échanges : Cherubini se rend à Vienne en 1805 pour rendre visite à Beethoven ; Kreutzer fait de
même, Rode va jusqu’en Russie. Le Conservatoire accepte alors les élèves étrangers, et les guerres
ne leur interdit pas de s’installer à Paris. Le troisième point concerne l’enseignement musical.
Quels en sont les liens à l’idée de guerre ? L’évocation de marches, de batailles est-elle favorisée
ou délaissée dans le répertoire de l’école ? La Cantate du Prix de Rome esquive-t-elle ou aspiret-elle aux sujets guerriers ? La question sous-jacente à tout ceci reste le degré de politisation de
l’école dans son activité : dans quelle mesure veut-elle participer à la vie de la cité, ou tenir ses
jeunes élèves à l’abri des « fureurs du monde » ? Souvent comparé « aux conservatoires d’Italie »,
l’établissement parisien appelle aussi des rapprochements aux écoles musicales d’Allemagne,
d’Angleterre, qui mettent en relief sa spécificité. D’autant que son propre modèle a influencé
encore postérieurement d’autres écoles.
Riccardo La Spina (Castro Valley, CA)
«Ecco il loco destinato» – Original Italian Opera as a Response to European
Invasion in 1863 Mexico
As Mexico’s liberal party created the enduring 1857 federal constitution, codifying the
reforms constituting a first Mexican bill of rights, the opposition hastened civil war. Known as the
Guerra de trés Años, or Guerra de la Reforma (the ‘Three Years’ or ‘Reform’ War) this political tumult
transitioned into the war of intervention, together totaling over a decade of continuous bloodshed
on Mexican soil due to European interests. As the turning point, the year 1863 is of singular import
in Mexico’s history for both honing national identity, and as a milestone of autochthonous musicocultural achievement. For decades, Mexican composers sought to partake of the practice, common
in countries with permanent Italian companies, whereby non-Italian natives produced and wrote
Italian operas. From the early-1863 mobilization of encamped French forces against the legitimate
Benito Juárez government, to Archduke Maximilian von Hapsburg being offered an imperial
crown in November, Mexican composers staged an unprecedented number of four original operas
under liberal government patronage (an exodus of resident Italian companies at the conflict’s onset
opened the field to enterprising nationals). Set to preexisting libretti by Felice Romani and Gaetano
Rossi for Carlo Coccia and Vincenzo Bellini, respectively, and by Antonio Boni for Giuseppe
Apolloni, these works manifested the new Mexican school under Cenobio Paniagua (18211882), expressing itself for the first time. Contrasting with Maximilian’s historically recognized
subsidies, these similar heretofore unconsidered efforts by the Juárez government, constitute a
rallying cry for the imperiled Republic’s cultural survival and educational future. A deeper look
at these newly-rediscovered initiatives profiles the significance of Paniagua’s difficult-to-document
operatic atelier. Though Mexico is not technically part of Europe, its political — and cultural —
situation strongly and dually associates it at this particular time: Firstly, politically, caught in the
cross-hairs of European interests, as Juárez’ unilateral 1861 two-year suspension of foreign debt
payment consequentially provoked France, Great Britain and Spain to retaliate, seeking repayment
through armed intervention, with Austria eventually sending troupes. Secondly: culturally, as
nineteenth-century Mexico’s affinity for Italy’s music had wider implications, and deeper roots,
earning Mexico the contemporaneously-coined epithet of “Italy of the Americas”, suggesting the
country’s political struggles resonate with the risorgimento. In correlation, ‘Italian bel canto’ —
embedded in Mexican musical culture — was its natural expression. While Paniagua’s autographs
and materials for I due Foscari by Mateo Torres Serrato remain unavailable, the period now lends
itself to deeper scrutiny, thanks to the recent reemergence of other long-unobtainable biographical
information (especially on Torres’), and musical and archival sources. Of these, fragments from the
early Romeo by Melesio Morales (1837-1908), and the ill-fated Clotilde di Cosenza by Octaviano
Valle (1826-1869) provide crucial musical insight, finally permitting these rarities to be sampled.
Limited documentation has long presented further challenges to demystifying this once ‘legendary’
theatrical period, largely subjecting it to subsequent historiographical dismissal. Reviewing the
underlying reasons for its impetus, we will explore and contextualize the circumstances behind
this operatic anno mirabilis-horribilis within this challenging period for Mexico, where four men
responded to a political holocaust by staging original Italian operas.
Federico Lazzaro (Université de Montréal)
L’artiste, le soldat et l’athlète. Musique de guerre, musique de sport
L’histoire culturelle d’une guerre ne peut se passer de l’étude de l’après-conflit. Quelles
sont les résonnances de la Première Guerre mondiale dans le monde musical français du début
des années 1920? En 1922, Comœdia ouvre le concours « L’art et les sports », un concours de
sculpture, de musique et de poésie « pour glorifier l’athlète moderne ». La pièce musicale gagnante,
Cortège d’athlètes de Louis Vuillemin, utilise une rhétorique martiale manifestant le lien étroit
entre le sport et la guerre : mouvements de marche, fanfares et paroles utilisant le champ lexical
lié à la bataille. L’athlète serait-il l’adaptation pacifiste du héros-guerrier, nécessaire à une phase
historique visant une paix durable? Le rôle culturel du sport à la fois comme préparation du soldat
et comme substitut pacifique de la guerre est un élément essentiel de la culture de la Troisième
République : Pierre de Coubertin fonda les Jeux olympiques modernes (1894) selon un idéal
d’internationalisme pacifique, mais aussi dans le but d’améliorer l’armée (« une armée de sportifs
sera plus humaine »). Dans les années 1920, la toute récente guerre semble avoir joué un rôle
prééminent dans la redéfinition des rapports entre l’art (et particulièrement la musique) et le
sport : ce dernier verra progressivement son rang passer d’une association avec le divertissement à
moment héroïque et pacifiquement martial qu’il faut célébrer par des musiques appropriées. Trois
voies s’ouvrent à l’analyse des rapports entre musique, guerre et sport. Sur le plan du discours,
quels rapports entre musique de guerre et musique de sport s’esquissent-ils dans la presse musicale
parisienne pendant et au lendemain de la Grande Guerre? Sur le plan compositionnel, quels liens
peut-on tisser entre les musiques sportives et les musiques militaires? Sur le plan de l’histoire de
l’esthétique, pouvons-nous constater une émergence de la centralité du corps dans la musique en
rapport avec la guerre et la mode sportive?
Maxime Margollé (Université de Poitiers)
Du Nouveau d’Assas (1792) aux Mariniers de Saint-Cloud (1799) : l’influence de
la guerre sur le répertoire d’opéra-comique pendant la Révolution
It is generally agreed that the French Revolution is a period in the history of France
between the opening of the États généraux in 1789 and the overture of Bonaparte on the 18
Brumaire an viii (9 and 10 November 1799). Revolutionary decade was marked by largescale military conflict between the young French Republic and the European monarchies.
It seems that the revolutionary wars have had a significant influence on both the repertoire
of comic opera and the music itself between 1792 and 1799. This paper proposes to study
the various transformations suffered by the Opéra-Comique under the influence of the
revolutionary conflict in relying particularly on the works and their reception in the press.
This will permit to highlight the evolution of the genre alternating spoken and sung episodes
during this period and to understand the role of Bonaparte and interest in the future First
Consul through certain works as Le Pont de Lodi (1797), L’Heureuse nouvelle (1797) or Les
Mariniers de Saint-Cloud (1799).
Sonia Mazar (Hebrew University, Jerusalem)
Opera and Revolution: Political Critique in Opera by Daniel-Francois-Esprit
Auber La Muette de Portici
This proposed paper examines the opera by Daniel-Francois-Esprit Auber, La Muette de
Portici, from the viewpoint of the function of opera as a social, cultural and political medium,
criticizing intolerance and despotism by political institutions, by means of creating new musical
content and forms in the early 19th century in France. I shall try to examine various aspects of the
opera through an understanding of the role and significance of opera in the political, social and
cultural life in the period before the July 27 revolution in Paris: 1) Opera from the socio-political
point of view; opera following the effect of the complex of socio-economic, political and ideological
factors; 2) The political regime through the prism of opera; interaction between the old totalitarian
regime, the monarchy of the Restoration, and personal freedom and human rights; 3) The effect
of political and social factors on the development of the Grand Opera genre — including its
musical and staging characteristics. Over the course of history, politics and culture penetrate each
other. Reciprocity and interaction develop between them and, as a consequence, they merge and
create political-cultural and cultural-political thinking. Opera, as a part of culture, reflects the
moral values and cultural-political aspects prevalent in society in different ways. However, opera
is sometimes a precursor of political processes. From this angle, La Muette de Portici by Auber
enables us to examine the political and cultural scene of the period, how it was affected by the
politics and the forces active in it, and by the culture of France in the 1820-1830s. The opera deals
with the revolt in Naples against the Spanish Bourbons, in the mid-17th century. It was led by the
fisherman, Masaniello. The opera presents a complex balance: between authoritarian legitimacy
and heavy revolutionary symbolism, reflected the anxiety of authorities, torn between liberal and
ultra-royalist extremes, in the years before the events of July 1830. This could perhaps explain why
the opera was used for patriotic and populist purposes simultaneously. The innovation of this opera
lies in its political topicality. It makes use of visual and auditory symbols that are well known to
the general public, reflecting the spirit of the times, with special integration between the musical
content and the political subtext.
Alison Sanders McFarland (Louisiana State University)
Gustav Holst, Empire, and Approaching War
Holst’s interest in his subjects can often be read in multiple ways. Walt Whitman can appeal
to his appreciation for the freedom of irregular poetic meters, as well as to his idealism. Likewise
Holst’s many texts on Hindu themes are often seen as an expression of his Theosophism, but in
this paper I suggest that colonialism and the celebration of Empire may be a competing influence.
Holst’s study of all things Indian seems to stem from around 1900, probably inspired by the stories
of India by Max Müller. This led to lessons in Sanskrit with Dr. Mabel Bode, supplemented by
meditation, which he believed would help him understand the spirit of Hindu literature. His
interest in Hindu themes occupied much of his time from 1900-1911, but particularly from 1908,
when he began work on his chamber opera Savitri. He chose a section from the epic Marabharata,
and stripped it down to a story involving the triumph of love over death. The opera is almost entirely
a conversation between Savitri and Death, and involves the nature and meaning of life, death, and
finally, acceptance. It is cast in a stark, abstract, unembellished music, very different from his usual
style, with harmonically ambiguous passages at critical moments. As the conflagration of the Great
War neared, Holst’s subjects turned even more to the subject of death. Holst had begun settings
of texts from the Rig-Veda, both for choir and solo voices, before Savitri. But his topics changed to
more prescient ones in 1911, with the “Battle Hymn” and “Funeral Hymn” from the first group
of Hymns from the Rig-Veda. Here he traverses the same ground from resistance to acceptance.
Finally two of his great interests collide on the eve of war. In June 1914 he published his setting of
Whitman’s A Dirge for Two Veterans. Whitman was also interested in Hindu literature, because it
shared the same irregular metricality of his own poetry. And in this story of death and acceptance,
the poetry does bear a resemblance to the scansion of Holst’s Hindu texts.
Mark McFarland (Georgia State University)
Musical Masks in Pre-War Paris
The musical mask is a concept to explain the seeming stylistic incongruity, one that
hides multiples different facets of a composer’s style. It has been used by both Maureen
Carr — Multiple Masks: NeoClassicism in Stravinsky’s Works on Greek Subjects — and Arthur
Wenk — Claude Debussy and Twentieth-Century Music — to discuss the works of these
composers. Rather than apply the musical mask to a single artist, this paper will instead
discuss atypical works written within the Parisian circle immediately before the first World
War in order to demonstrate that numerous composers used similar “musical masks” to
come to terms with the approaching war. The works in question in this study are composed
during the pre-war years, predominately from 1912-1914, when fighting in the first and
second Balkan wars and the dramatic rise in military spending of the European powers
increased rapidly, making war all but inevitable. Further, these pre-war works contrast with
the composer’s post-war works, so that a clear dichotomy is observable. In some cases,
however, it is seen that a musical mask that appeared before the war was continued and
even amplified between 1914-1918. The composers whose works will be studied in this
paper include Debussy, Ravel, and Stravinsky as well as another composer who worked
in the formers’ orbit: Alfredo Casella. The musical masks that these composers used in
their pre-war works can be seen as escapist, removing them artistically from the horrors of
the increasingly dangerous situation in which they lived. Stylistic analysis of these works
will define the characteristics of each of the musical masks. Finally, to further define these
musical masks, works from the post-war years from each of the composers reflects the
uniqueness of their pre-war musical masks.
Vesna Mikić (University of Arts in Belgrade) – Maja Vasiljević (Belgrade
University)
Music Tours of Serbian Military Orchestras in Great War: A Quest for Cultural
Cooperation and Alliance
In the light of approaching World War i centenary, we focused in this text on the music
tours of two Serbian military orchestra during the Great War — Music of Cavalry Division
(MCD) and King’s Guard Orchestra (KGO). Both orchestras developed concert activities from
1916 to 1918 that exceeded the expectations of their superiors. Creativity and music ambition
of conductors enabled them to overcome common appearance of military musicians in war.
MCD touring through countries of Maghreb, and their conductor Dragutin F. Pokorni (18671956) became renowned as sort of cultural ambassador from friendly Kingdom of Serbia that
fight for “Yugoslav Idea”. KGO were placed in historical important city for WWI, Thessaloniki,
near famous “Thessaloniki front” that rounded war. With their conductor Stanislav Binički
(1972-1942), composer of first Serbian performed opera and author of famous Serbian national
song from WWI March on Drina, KGO became important part of music life of Thessaloniki
during the war, and they organized successful music tour in France. Distant from the front,
especially MKD, their music tours were relatively independent and developed as autonomous
idea in complex circumstances of war and social context of cities that accepted them, Bizerte and
Thessaloniki. This paper results from an extensive archival research of collections and periodicals
treasured in National Library of Serbia and Military and History Archive in Belgrade. To
highlight complexities of interpretation of music in war, we combine the insights of different
disciplines, musicology, sociology and history, to this topic. Also, we use empirical research
in quest for sociological and aesthetical interpretation of the significance of music in war. By
introducing concept of “cultural diplomacy” in interpretation of military orchestras’ action in
war, we intended to develop a debate on potentialities of cultural activities in war and their
different relations with politics and ideology.
Sara Navarro Lalanda (Universidad Autónoma de Madrid)
The Siege of Tetuan (1859 - 1860): A Cause of Unity in Times of National
Instability
The Spanish-Moroccan War of 1859-1860 was a key moment for the Kingdom of
Spain, not only because the Treaty of Wad-Ras put an end to the attacks carried out by the
Sultan of Morocco to the cities of Ceuta and Melilla, but also because it exalted the Spanish
patriotic sense of unity at a time when there were differences concerning the dynastic continuity
among the supporters of Queen Isabella ii of Spain and the defenders of the pretender to the
throne, Carlos Luis of Borbón. Music accompanied the events surrounding this campaign in
the different artistic and social moments, giving life to the cultural and historical imaginary of
this era. With the objective of recruiting and encouraging followers for the cause, vocal marches
and patriotic songs with orchestra and piano accompaniment were composed. This repertoire,
written by renowned authors such as Ciria, José Gabalda, Juan Castro or B. Mª Colomer,
constitutes nowadays the musical memory of these historic events in the popular field. In fact,
through some of the lithographed covers and lyrics of these songs, it is possible to go back and
live once again the highlights of the era. Theater represents the second scenario where the ideals
of this historical cultural conquest can be found. The Battle of Tetuan, which ended the war, was
one of the most well-known historical events, especially in the repertoire of zarzuelas — Spanish
form of operetta — whose performances, usually held at the Teatro del Principe in Madrid,
served as means of communication and as an element of exaltation of the unity of the country,
in the following years, thanks to authors such as Joaquin Valverde. A third scenario is the socalled salon music, a genre mainly for piano that the new social class of the bourgeoisie played
in meetings and private parties by amateurs; it is in this era when the patriotic fervor generated
by the Spanish-Moroccan is more reflected. This scenario is represented, not only by piano
reductions of hymns and war songs, but also with new musical compositions exceptionally
written by female authors as The site of Tetuan, military polka composed by Penelope Bigazzi. In
summary, the objective of this research is to present the cultural landscape that has accompanied
the historical reality of the period in its various scenarios of music (popular events, theater and
bourgeois salons). Through the analysis of different musical works created for this purpose, we
will focus on the deepening of the authors, the type of repertoire, publishing, dedications and
lithographed covers, linking research documents and emerografie of this period, which will
allow us to understand how these wars have been a tool for developing the feeling of national
unity in the Spanish Kingdom.
Victor Nefkens (Kunstuniversität Graz)
A Cosmopolitan Take on Deutschtum: On the Constitution of Richard Wagner in
the Aesthetic-Ideological Context of Austro-Marxism
Initially in praise of the pan-nationalist movement of the German-speaking population
in the Austro-Hungarian Empire, Jewish intellectuals like Wilhelm Ellenbogen and Victor Adler
saw Richard Wagner as the embodiment of the ideal of the German Kulturstaat. Even after cofounding the Social Democratic Workers’ Party in response to the increasing anti-Semite policies
of the German national movement, they stayed true to the creed of Deutschtum. Wagner,
moreover, retained his pivotal role within the metapolitical conception of the Austro-Marxists.
The ideological function of Wagner implies a certain interpretation of and association with the
composer. Given this notion, this paper seeks to address the following questions: (1) how is it
possible that Victor Adler and his circle, who left the German nationalist movement precisely
because of the aggressive anti- Semitism that increasingly haunted Europe, saw Wagner, the
alleged figurehead of anti-Semitism, as a source of inspiration for his socio-political enterprise
i.e. why was Wagner so attractive for this ideology and why was Wagner so suitable for co-option
by Austro-Marxism? (2) how did the Austro-Marxists interpret Wagner i.e. how does Wagner fit
into their worldview? (3) how did Wagner influence the development of their pan- Germanic
and nationalist ideas? (4) what perspectives do these questions and their answers offer to the
understanding of both Wagner and the Austro-Marxist notion of Deutschtum?
Nancy November (The University of Auckland, NZ)
Selling String Quartets in Napoleonic Vienna: What Can Statistics Tell Us?
This paper explores the marketing of chamber music — and string quartets in particular —
in Vienna around 1800. Quantitative analysis of Viennese publishers’ catalogues from the era
provides fascinating new information on the distribution of chamber music by composer and
genre. The publishing catalogue of Johann Traeg (1799) and its supplement (1804) are particularly
invaluable aids. Statistics from such sources are calculated and visualised in numerous ways,
throwing much light on chamber music print culture in just prior to the Napoleonic invasions of
Vienna. Statistics drawn from this data show patterns change in publications across the era. Trends
towards genre decline and demise can, apparently, be traced with regard to Viennese string quartets,
just as in the case of the Viennese symphony. However, these data must be interpreted carefully. It
is vital to consider them together with data about the non-chamber works that were arranged as
chamber music at this time, especially operas. Arrangements of theatrical music for string quartet
and quintet were highly popular in early nineteenth-century Vienna. These attest to the burgeoning
market for easy string chamber music, the theatre vogue, and a desire to extend one’s knowledge of
style and repertoire through social and musical interaction at a time of social and political turmoil.
In understanding this complex market for chamber music, care is taken to consider qualitative as
well as quantitative data. I discuss evidence of the printing practices that were used in publication,
considering the use of decorative title pages as a sales ploy for marketing ‘canonic’ and seemingly
more ‘ephemeral’ works alike. The ways composers and publishers grouped works into opuses
are also discussed, which show contemporaries’ cultivation of chamber music, and especially
string quartets, as ‘high art’. At the same time, contemporary publications show the diverging
strands of more popular chamber genres (later to be designated as ‘Hausmusik’ and marginalized
as ‘low art’). A focus on the ‘public face’ of music in Vienna at this time is typical in modern
scholarship, and inevitably one-sided. This is especially true for this time of war when ‘private’ and
semi-private music-making flourished and provided an important outlet for bourgeois sociability
and self-expression. To provide a more multidimensional picture, due attention is given in this
paper not only to trends of change and decline in published chamber music, but also to ‘invisible’
data: unpublished and un-notated chamber music. The numerous manuscript string quartets by
Emmanuel Aloys Förster, for example, hint at a wealth of unpublished chamber works; the many
sets of published sets of variations from the era, meanwhile, point to the kind of chamber music
that would have been improvised and never written. The publication statistics show Beethoven’s
increasing publication presence in field of chamber music. Equally notable, though, is Schubert’s
sustained absence — indeed abstinence — from the newly ‘public’ side of chamber music.
Patrick O’Connell (National University of Ireland, Maynooth)
Military Music and Rebellion, Ireland, 1793 to 1816
The outbreak of war between France and Britain in 1793 necessitated the formation
of locally recruited militia forces throughout Britain and Ireland. The thirty-eight Irish Militia
regiments embodied in 1793 were the first military units under British control to recruit Irish
Roman Catholic rank and file. The majority of these regiments established wind bands following
the European model of the time. Many of the bandmasters were German, English or Scottish
and brought with them a core of trained military musicians. In Ireland, the last decade of the
eighteenth century marked the rise of radical groups, influenced by the French Jacobins. The
principal radical movement, the ‘United Irishmen’, formed in Belfast in 1791 set out to unite
“Catholic, Protestant and Dissenter” under the single identity of Irishman, aspired to the creation
of a republic independent of British rule. Against this background of unrest at home and war
abroad, music became important in forging and solidifying a sense of identity and loyalty in
the competing political factions on the island of Ireland. This paper explores formation and
development of the Irish Militia bands, the role of the bands in the military, civilian, and wider
cultural life of Ireland and their influence on the vernacular music of the wider population. The
repertoire of the bands encompassed not only military marches but also a wide variety of wind
partitas, sinfonias and arrangements for band of glees, dances and operatic extracts. Advertisements
and reports of concerts in the newspapers of the time show the pervasive influence of military
bands. The songbooks of the United Irishmen and the military tunes, of French, British and Irish
origins, that accompanied these songs will serve to illustrate complex relationship between music
and politics during this turbulent period.
Alessandra Palidda (Cardiff University, School of Music)
Milan and the Music of Political Transitions in the Napoleonic Period: The Case
of Ambrogio Minoja (1752-1825)
Between the end of xviii century and the beginning of xix century the city of Milan
experienced a rapidly changing political environment. Over a time span of barely ten years, from
1796 to 1805, Lombardy, following the unexpected and unstable outcomes of the Napoleonic wars,
saw its governmental regime change several times, from the absolute monarchy of the Hapsburgs to
the republican occupation of the Armée d’Italie. Milan, a capital city throughout the xviii century,
had gradually become a major centre for operatic performance, developing a celebrated repertory;
as the bond between local society and the opera house was traditionally strong, musical theatre
and La Scala opera house were immediately identified by the Republican authorities as effective
tools of control, influence and propaganda. Nevertheless, the traditional and conservative operatic
repertoire underwent fewer changes than might be expected; the Napoleonic authorities thus
introduced new occasions, inside and outside the opera house, for the production and performance
of new pieces composed ad hoc for republican celebration. This period of intense political change
traversed the career of the mediocre yet opportunistic musician and composer Ambrogio Minoja;
following moderate success as an opera composer, Minoja was appointed maestro al cembalo in La
Scala and moved permanently to Milan in 1784. After the French occupation, Minoja experienced
a revived and successful career, being nominated by the Napoleonic authorities to compose all
music for public celebrations, particularly patriotic symphonies and cantatas; at the same time,
thanks to his supposed patriotism, Minoja became a member of the Commission entrusted
with the monitoring of the correct (i.e. democratic) use of theatre. Yet Minoja allied himself and
his musical output alternately to opposing political regimes, losing no status during the short
Austrian interregnum (1700-1800), when he produced patriotic music expressively dedicated
to the victorious Austro-Russian troops. With Napoleon re-conquering Milan in 1800, he was
once again able to turn his coat, subsequently becoming one of the most active and celebrated
composers of the Kingdom of Italy, a member of the prestigious Società italiana di scienze, lettere
ed arti and of the newly founded Conservatoire of Milan. The paper will proceed from a detailed
description of the historical and musical context (using several documents coming from Milanese
archives) to the analysis of musical works composed by Minoja for different occasions and venues.
Each piece, examined through its primary sources, will elucidate a different relation between music
and government throughout various political phases, thus providing a precious insight into this
complex and still widely unexplored context.
Michael Palmese (University of Miami, Frost School of Music)
Reaching for the Past: Le tombeau de Couperin and Symphonies d’instruments à
vent as Artistic Responses to World War i
The devastation left in the wake of the First World War included not only the sheer
degree of carnage and destruction, but also the deep psychological wounds for those that
survived. This was the first mechanized war with the advent of tanks, machine guns, and
airplanes. This was also the first modern conflict to make use of chemical weapons and
genocide. The shockwaves produced from this “Great War” had profound effects on the
creative outputs of composers both directly and indirectly involved. For Maurice Ravel, the
experience of World War One came from his service at the Verdun front where he worked
as a truck driver. While initially caught up in nationalistic fervor and eager for adventure,
Ravel’s ensuing exposure to the unpleasant realities of war exerted a growing desire to return
home. For Igor Stravinsky, the wartime period was a far different experience characterized
by both financial hardship and an acute sense of lost identity as he lived in exile from his
Russian homeland. In this paper, I shall demonstrate that Ravel and Stravinsky both reacted
to and reflected upon their differing experiences during World War One in a remarkably
similar creative fashion: by reaching into the musical past. For Ravel, Le tombeau de Couperin
represented his reaching back to the sensibilities and traditions of the seventeenth and
eighteenth century French Baroque keyboard suite. For Stravinsky, Symphonies d’instruments
à vent reached for two pasts both ancient and recent. The titular reference to the Greek
notion of “symphonies” as “sounding together” carries with it important connotations for the
work’s formal architecture which functions alongside the embedded chorale that Stravinsky
originally composed in Debussy’s memory for a special 1920 issue of La Revue musicale.
Yves Rassendren (Université Pierre-Mendès-France, Grenoble 2)
Composing during the Conflict – The French Composers at the Warfront
During the First World War, men from every level of French society were called up.
A great many musicians, instrumentalists, singers and composers, went up to the front. A
great many musicians, and composers among them, volunteered to be sent to the warfront,
with meant breaking off with all their musical pursuits. The various part of this lecture will
mainly be illustrated with quotations from letters and accounts bearing witness to their living
conditions and to the creative process. It will also be illustrated by the playing of some of their
works. 1) French composers who went to the front. André Caplet, Florent Schmitt, Reynaldo
Hahn, Maurice Ravel, Albert Roussel, Maurice Delage, Claude Delvincourt, Philippe
Gaubert, Paul Paray, René Vierne, Albert Ribollet, [Jean Cras]. 2) Composing under very harsh
conditions. Some composers stopped producing any musical work throughout they remain at
the front (Ravel, Roussel). In spite of their time consuming tasks and military activities, other
composers tried to find some spare time to compose music, creative moments often disjointed
and interrupted. The evidence given by all the composers/soldiers coincides in their stressing
the very rare moments when they could compose, their extremely harsh living conditions, the
lack of time and place to rest for a while, their exhaustion. Many of the composers were to
be wounded, some quite grievously. 3) Typology of the works: to conjure or to bear testimony.
a) Conjuring: Beyond the conventional genres and forms, the composers tries to ward off
the ever-present danger and his fear by seeking refuge in writing of light or private pieces
revealing the dream of a peaceful life, free from the omnipresent threat of death. Works that
make it possible to forget the horror of their everyday life: light, childish or futile themes
— melodies, series of waltzes — Reynaldo Hahn. A search for a haven of peace (Caplet’s
melodies). b) Composing to bear witness of the atrocities of warfare: Melodies evoking the death
and disappearance of soldiers — Reynaldo Hahn, Caplet — with simple yet poignant words.
Several pieces were composed on the battleground during intense fighting (evidence given by
musicians, dates, circumstances –— the texts of the poems set to music, musical choices) —
Hahn, Ibert. c) Prayer, the ultimate refuge: God as a refuge against horror — Prayer as the only
means to escape the absurdity of war, to implore and confide — Caplet: The Prayers, written
and sung and acted on the war-front. d) Commands and occasional works: Military marches —
Florent Schmitt, André Caplet — composition, rehearsal and setting-up by soldiers. 4) The
incidence of their having taking part in the conflict, aesthetic choices after 1918.
Renato Ricco (Università degli Studi di Salerno)
Virtuoso Swordsmen and Napoleonic Suggestions in the French Violin School:
The Cases of Le Chavalier de Saint Georges and Alexandre Boucher
Théophile de Ferrières’s words «il faut de l’héroïsme pour être un bon violon» clearly
emphasizes the highlighted “male” character related to the possibilities of timbre and sound
of the soloist in the specific typology of violin concerto that by Viotti, mainly via Rode and
Kreutzer, flows in Paganini’s works. Rethinking form and structure, the Genoese leads to the
hardest level of dazzling virtuosity. This remark seems to be relied to a certain idea of ‘militar’​​
music in vogue in the wake of the events of July 1789: in the same year Paganini began studying
violin and mandolin. In this paper I will analyze biographical and musical aspects (unknown
or so far little investigated yet) of two virtuoso violinists and composers whose links with the
military background had a crucial importance for their artistic profiles. The connections with
the French Revolution seem to be particularly convincing for «Monsieur de Saint-George, le
nègre des Lumières». Pupil of Leclair (violin) and Gossec (composition), he trained his military
life under the leadership of La Boëssiere, in the Traité de l’Art des armes of which a Notice
historique sur Saint Georges is included. Captain since 1792 of Garde National in Lille, founder
of the Légion des Américains et du Midi, this mulatto virtuoso violinist, at the same time skilled
swordsman, is also quoted in a Catalogue des livres militaires del 1825. Le chevalier de Saint
Georges (touchstone for the Balzac’s personage Victurnien d’Escrignon in name of his great
skill with the weapons) was in touch with Pierre Choderlos de Laclos e Louis Philippe ii,
the young duke of Orléans, known as “Philippe l’égalité” because of his progressive political
leanings; he published several collections of string quartets, violin concertos (Opp. 2, 3 e 5) and
Symphonies concertantes. Some signs on original handwritings preserved at the BnF can witness
Alexandre Boucher’s idée fixe, almost an obsession: the comparison between himself and Nicolò
Paganini. In action in the taking of the Bastille, since 1790 member of the Garde Nationale,
Boucher — «Nestor des violonistes» is called by Fétis — made successful concert tours side by
side with his wife, the harpist Cécile Gallyot and in 1853 he published the Serment Napoleonien,
chant national patriotique et religieux dédié à la Majesté l’Empereur des Français et à l’armée: for
him Beethoven wrote the Kleines Stück WoO 34 for two violins. Most important source on
Boucher’s life is the biography by Castil-Blaze published on Révue de Paris in 1845. Focusing the
attention on peculiar aspects of Saint George’s life and on particular tricks of Boucher’s violin
(handwritten and published) works, I will bring to light new data about a cultural and esthetical
season of instrumental music in the xix century, with a strange a mix of dazzling virtuoso
technical solutions and military instances, direct or transferred.
Maria Rose (Repertoire Internationale de Litterature Musicale – RILM)
The Death of a General and the Birth of Romantic Music: General Hoche in 1797
The funeral of General Hoche on October 1, 1797, was one of the most solemn festivals
that took place in Paris during the French revolutionary period. One of its highlights was the
Hymne funèbre for a young general, composed by Cherubini (no. 70 Pierre) on words by MarieJoseph Chenier, and performed by students of the newly-founded Conservatoire. Lazare Hoche
(1768-1797) was a general in the Revolutionary army who died — reportedly of tuberculosis —
at the age of 29. Hoche’s humble beginnings and meteoric rise during the Revolution made him
into a symbolic figure. Since attempts on his life had been made before, it was rumored that he
had been poisoned, adding to his aura as a fallen hero. A year later, Napoleon offered a prize
and a medal «to the value of 100 sequins» to the composer of the best work commemorating
the death of the young general. The winner of the prize was Paisiello, who wrote Musica funebre
all’occasione della morte del fu Generale Hoche. Another composition that competed for the prize
was a Sinfonia funebre (1798) by the Milanese composer Ambrogio Minoja (1752-1825). A
fourth work that was probably inspired by Hoche’s death was the third movement of Beethoven’s
sonata Op. 26, the Marcia Funebre, sulla morte d’un Eroe, one of the most programmatic pieces
Beethoven had written for the piano until that time. It is believed that it was initially written as
a movement for the sonata with an “extra-musical program” Countess von Kielmansegge had
ordered through the publisher Hoffmeister; a sonata which portrayed the achievements of the
French Revolution. In a letter to Hoffmeister written on 8 April 1802 Beethoven withdrew
from the project. In this paper, the funeral for Hoche and the works inspired by the death of the
revolutionary hero will be described against the background of the founding of the Conservatoire
and its aesthetic premises; especially its frequent references to Greek mythology as a replacement
of religious frameworks. Shortly before his announcement of the prize for Hoche’s funeral
music, Napoleon wrote that «… music is the art which exercises the greatest influence upon the
passions, and is the one which the legislator should most encourage», echoing the words of a
speech by Chenier, one of the founders of the Conservatoire. The idealization of war is vividly
demonstrated in the cult of the hero as a Romantic figure modelled after ancient Greek heroes
(Hoche reportedly compared himself with the poisoned Greek centaur Nessus when he was
dying), as well as in the heightened effects of music in times of war. As such, the funeral works
can be said to represent the first “Romantic” music.
David Rowland (The Open University, Milton Keynes, UK)
European Music Publishing during the Napoleonic Wars
Prior to the French Revolution the publishing trade in Europe had become increasingly
international. Composers were used to having their music published outside of their own countries
and the major publishers had established international networks which enabled them to negotiate
good deals with composers and to work in collaboration in order to counteract the effects of piracy.
The practice of simultaneous publication — the arrangement whereby works were published on
or around the same date in several European cities — was gaining ground. While the French
Revolution had held back these developments to some extent, the Napoleonic wars had a much
more significant impact. Governments — in particular the French government — became
highly protectionist, communications between countries became unreliable and the movement
of musicians around Europe was restricted. These constraints damaged the music trade in a
number of ways. The free movement of works between countries was restricted, ensuring that
some repertoire was known only to a limited extent on the European stage. French music, for
example, was not much heard in England and only travelled to other countries in relatively small
amounts. Simultaneous publication of works in a number of European cities became extremely
difficult to achieve. Composers’ contracts, which prior to the Napoleonic wars had begun to take
on an international dimension even in the absence of international law, became more restricted
and localised in nature. These developments will be discussed in relation to some of the major
publishing figures of the era including Artaria, Breitkopf & Härtel, Clementi, Erard and Pleyel. The
nature of the contracts signed in particular by Beethoven, but also by Clementi, Haydn and others
will be examined, as will the extent to which these composers were able to fulfil their international
contractual obligations. Following the peace that became established in Europe in 1815 a new era
of international collaboration was established which was demonstrated in the re-establishment and
widespread use of simultaneous publication. The confidence of this new era was expressed in the
practice whereby multiple international publishing partners were named on the title pages of many
works. The speed with which these new practices were developed will be discussed along with the
mechanisms that publishers and composers used in order to facilitate effective working practices.
The evidence will be used to demonstrate just how restrictive the Napoleonic wars had been on
the development of the music trade in the early years of the nineteenth century and how, in the
absence of war, international cooperation and trade flourished.
Eric Sauda (Université Paris-Sorbonne)
Song at the Home Front during the Great War
On 2 August 1914, nearly four million french men drop their current work, their families
and their homes to live a war that will last fifty-two months. Their departures in the war were
largely covered by songs. In these moments, which tunes could haunt their minds ? Perhaps the
one who accompanied the last dance with their bride at the ball of July 14. A tender lullaby sung
by the mother during childhood. A local singing that a rejoiced father, sang on the way to the
field. A refrain repeated openly during drunken evenings with friends. Or perhaps finally a canticle
for those who still have faith. So many tunes associated with their memories resurface in these
shocking moments of the great start. Certainly the song supports the patriotic fervor or nostalgia
for a peaceful civilian life, but it will mostly occupy a very important place alongside soldiers of
the Great War. In this contribution, we propose to explain the departure in song of french soldiers,
then after to expose how the song becomes the companion of the soldier at the home front. From
primary sources such as letters and war diaries of mobilized musicians, the civil press and from
the trenches, we will try to understand what was the role of song in relationships maintained by
its interpreters of different types (soldiers and civilians singers) and nationalities, in the din of war.
Then we will try to shed light on the creating songs and performances at the proximity of the
fighting. Finally we discuss how the song can help to forget the sound environment, to dance, to
give courage, to make an impression with civilians or neighboring regiments to maintain good
relations with civilians, between soldiers and officers, with the Allies and even with the enemy.
Cristina Scuderi (Karl Franzens Universität, Graz)
Italian Protest Songs during the Great War
The 100th anniversary of the outbreak of the First World War offers us the opportunity to
focus on the conflict once again, in particular on the songs originated at that time. A certain part
of the body of war songs consists in protest songs, which are as a matter of not visible in the official
anthologies issued at the time and which have therefore survived only thanks to the recollections
of veterans. Today this repertoire is accessible mostly owing to the recovery work initiated in the
Sixties by Ernesto De Martino and by the so-called Cantacronache Movement. Texts sung at the
battle front were definitely different from those heard far away from the war zones, where songs
such as La leggenda del Piave (The Legend of Piave river) and all other songs nurturing conventional
rhetoric were very popular. But what were in fact the themes inspiring such songs? Was the foreign
enemy really the object of the fiercest invectives? Who or what was being cursed? But, most of all:
is it possible today to say more about the music itself? Where did the tunes come from? Were they
newly created melodies or, simply, contrafacta, the origins of which happen to be lost in the mists
of time? The common denominator of many of the songs, showing mixed feelings ranging from
sarcasm and desperation, was the frustration of most soldiers realizing that the ghastly situation was
to be endured although profoundly far removed from their actual ideals.
Giuseppe Sergi (Università degli Studi di Pavia, Facoltà di Musicologia di
Cremona)
New Aesthetics Leanings: E. A. Mario and the canzone di guerra during the
World War i
The history of the classical Neapolitan song features significant elements related
with aesthetics expressions elaborated by the coeval critics and authors. The E. A. Mario’s
activity emerges during the period preceding the First World War. His work as a critic, poet
and composer shows and catalyses a new attention to the canzone di guerra (war song), a
genre characterised by specific poetics, aesthetics, linguistic and formal parameters. With the
outbreak of the World War i this leaning influences the whole Neapolitan song industry. The
song contests announced by journals and publishers become now ‘patriotics’. The canzone di
guerra is conceived to increase the group identity and dispel the fear of death, as well as to
provide moral support to the soldiers. With this aim E. A. Mario composes Canzone di Trincea
and Marcia ’e Notte, two songs which the author himself brings to the troops on the front
line. A couple of songs frame the Italian military and cultural history related with the World
War i. Serenata all’Imperatore is a piece written in 1915. It is an artistic answer to an ironic
statement by the Emperor Franz Joseph i about the Italian military organisation. La Leggenda
del Piave, composed in 1918 after the ‘battaglia del solstizio’ (solstice battle), is concerned
with the most significant episodes of the Italian military history during the First World War.
At a later stage the song will become the Italian national anthem. The most important songs
of the repertoire related with the war will be collected by E. A. Mario in Il libro grigio-verde.
By the analysis of the coeval literary and musical documents this study aims to draw attention
to the relevant features which characterise the poetics and the aesthetics of the ‘canzone di
guerra’ in the work of E. A. Mario during the World War i (a well-known artistic aspect which
has never received an in-depth analysis). Through an investigation of the historical, musical
and literary interconnection this work tries to answer some significant questions: what kind
of interrelation exists between the E. A. Mario’s work and the World War i? In which ways his
activity as a critic and author influences the aesthetics and poetics parameters of the song of
this period? Which is the critics reaction to this process? Which are the meanings attributed
to the ‘canzone di guerra’ during the critical phase of the First World War?
Mariateresa Storino (Fondazione Istituto Liszt)
Solidarity of Peoples and the Idea of Fatherland: The Symphonic Poems by
Augusta Holmès
The list of works by Augusta Holmès (1847-1903) is very rich and heterogeneous,
but, with the exception of mélodies, the opera La Montagne noire and a few other works,
well-known at the end of the Nineteenth century, these compositions are today reserved to a
restrained circle of researchers. Holmès grew up in France in an Anglo-Irish family; she lived
the artistic fervor of the second part of the nineteenth century. Encounters with Liszt’s and
Wagner’s music were decisive for her musical choices and so her training with César Franck
and her friendship with Saint-Saëns. Holmès was a feminist ante litteram: despite the social
prejudice about women in writing music, she decided to turn her attention to large forms,
such as opera, dramatic symphony and symphonic poem, all the genres that traditionally
remained property of male composers. She fought against all the manifestations of racial
exclusion, of genre and of nationality; Holmès actively participated not only in the artistic
life but also in the political life, claiming her idea of egalité, liberté et fraternité by means of
public declarations and music. The two symphonic poems Irlande (1882) and Pologne! (1883)
are direct expression of her refusal for every kind of oppression and prejudice. Following the
reactions of French intellectuality after the Prussian invasion of France in 1870, Holmès had
contributed to the French national epic with the hymn Dieu sauve la France and the mélodie
Vengeance. The political events of Ireland in the eighties (the arrest of Charles Stuart Parnell,
head of the Irish nationalist party) inflamed her mind, inducing her to sympathize with her
people in the symphonic poem Irlande. A virile, charming and passionate work, Irlande is
introduced by a text of Holmès herself. In its first performance (Paris, Cirque d’Hiver, 16
March 1882), the poem aroused so much enthusiasm to become a classic of the Concerts
populaires directed by Jules Pasdeloup. The same unconditioned success was obtained by
Pologne (Angers, 11 November 1883), inspired to Holmès both by the moving testimony of a
Polish refugee in Paris and by the painting Le Massacre des Polonais à Varsovie (1861) of Tony
Robert Fleury. The composer introduced the poem with some verses praising the value and
courage of the combatants. The aim of this paper is to analyze both works in order to study
the relationship between music and programme in comparison to the model elaborated by
Liszt. A reflection about programmes and musical form will underline Holmès’ involvement
into the idea of Fatherland, Freedom and Solidarity of the Peoples that the Romantic artists
had undertaken in support of the struggles fought by oppressed people.
Guillaume Tardif (University of Alberta)
Music on Which Wars Open and End: The Genres of the National Anthem and
the Instrumental Elegy in Europe as They Appear in the Concert Repertoire for Violin
in the 19th Century
This lecture will consider a number of representative works for violin featuring
national anthems or references to ‘elegy’. It will focus on their historical contexts, musical
characteristics, and stylistic influences. Among those representative works will be Paganini’s
Maestosa Sonata Sentimentale, which features variations on the Austrian anthem (1828),
and his Variations on ‘God Save the King’ (1829); Ernst’s Élégie sur la mort d’un objet chéri,
Op. 10 (1844), and both his Variations on the Dutch anthem, Op. 18 (1842) and on the
Irish ‘national anthem’ (‘The Last Rose of Summer’, 1864); Wieniawski’s Adagio élégiaque
Op. 5 (1852), and Les Arpèges Op. 10 no. 9 or Variations on the Austrian anthem (1854);
Vieuxtemps’ Élégie for viola or violin (1854), and Ysaÿe’s Poème élégiaque, Op. 12 (1883)
[Vieuxtemps and Ysaÿe produced orchestral works on the Belgian anthem, respectively,
Overture, 1863 and La Brabançonne, 1918]; and Kreisler’s arrangements of the Austrian
anthem, recorded for the Victor label in 1914-1915 (coinciding with the publication of his
1915 memories of war service for Austria: Four Weeks in the Trenches).
Chloe Valenti (University of Cambridge)
«To Arms! Fair Land of Sweet Music»: Garibaldi Songs in Late NineteenthCentury England
Although English writers, artists and politicians had long been captivated by Italy, by
the 1860s English interest and involvement in Italian politics had reached a climatic point.
Central to this passion for Italy was the widespread fascination with the popular Italian soldier
and politician Giuseppe Garibaldi. A huge array of Garibaldi paraphernalia was produced in
London, reaching a peak in the period surrounding Garibaldi’s controversial visit to England
in April 1864, including portraits, biscuits and an extensive range of music in honour of
Garibaldi by British and Italian composers and poets. The music included piano fantasias,
arrangements for brass band and wind instruments and a large collection of songs for choir
or solo voice. This paper will examine the music, texts, advertising and accompanying
portraiture of the Garibaldi songs in order to give an insight not only into how Garibaldi
himself was perceived, but how Italy in general was understood culturally and politically in
England during the 1860s. The songs reflect an English understanding of Italian opera forms
and styles, including marches, hymns, romances, men’s choruses and drinking songs. Songs
for unison chorus, a style strongly associated with Verdi’s operas, are particularly prominent.
In the 1840s, Verdi had been criticised for the frequent use of unison in his choruses, but by
the 1860s this was not only seen as a standard characteristic of Italian music, in the context
of Garibaldi songs it was used to show political and spiritual solidarity with the unification
cause. The context in which the songs were performed encompassed all levels of English
society, from amateur to formal and from private through to mass celebrations. They thus
offer a unique class-crossing insight into the English attitudes to celebrated public figures and
to Italy as idealised land of music and war.
Henri Vanhulst (Université libre de Bruxelles)
Les relations commerciales de Jean-Jérôme Imbault d’après l’acte de vente notarié
du 14 juillet 1812
Le 14 juillet 1812, l’éditeur parisien J.-J. Imbault vend son affaire aux associés Janet et
Cotelle. L’acte notarié contient des détails qui donnent une idée assez précise sur les relations
commerciales de la firme. La liste des dettes « actives, douteuses et mauvaises », pour un total
d’environ 40 000 francs, fait une distinction qui se fonde sur les circonstances politiques
et non sur la situation commerciale des firmes. Elle mentionne de nombreux interprètes et
compositeurs (Baillot, Fétis, Kreutzer, L. Jadin etc.) et marchands de musique établis non
seulement dans plusieurs grandes et moyennes villes de France (Paris, Strasbourg, Marseille,
Toulouse, Dunkerque, Colmar…) mais également à Amsterdam (Steup), Berlin (Schlesinger),
Bruxelles (Terry, Weissenbruch), Dresde, Genève (Marcillac), La Haye (Weygand), Livourne
(Pizzotti), Londres (Cianchettini ; Longman & Broderip dont la dette s’élève à plus de 13 000
francs), Milan (Artaria), Rotterdam (Plattner), Turin (Reycend), Venise (Zatta) etc. La liste
des « marchandises données en commission à l’étranger », qui sont évaluées à plus de 47 000
francs, révèle qu’Imbault dispose à l’étranger de neuf dépositaires : à Amsterdam (Baffa),
Berlin (Schlesinger), Francfort (Gayl ; Hedler), La Haye (Weygand), Leipzig (Breitkopf
& Härtel), Saint-Petersbourg (Klostermann), Venise (Zatta) et Varsovie (Monferault). À
l’opposé, Imbault n’a chez lui en dépôt que les éditions de trois firmes (Schott à Mayence ;
Simrock à Bonn ; Steup à Amsterdam), à côté de musiques provenant directement par de
compositeurs (Le Sueur et Spontini). La valeur de ces dépôts est évaluée à moins de 1 500
francs. Il est donc clair qu’Imbault a continué à envoyer ses éditions à ses dépositaires mais
qu’il leur a manifestement demandé de renoncer à lui expédier les leurs. Ce document donne
une idée de la clientèle d’Imbault, de son réseau de distribution et de l’importance des relations
commerciales avec certains de ses partenaires.
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MAIN LOCATIONS
1: Train Station (Piazza Ricasoli)
2: Hotel Rex (Piazza Ricasoli 19)
3: Piccolo Hotel Puccini (Via di Poggio Seconda 9)
4: (Complesso Monumentale di San Micheletto (via San Micheletto 3)