Form, Narrative and Intertextuality in <scp>W</scp>agner's Overture to <i><scp>D</scp>er fliegende <scp>H</scp>olländer</i>

Moortele, Steven Vande

doi:10.1111/musa.12007

Cited by 3 publications

(3 citation statements)

References 3 publications

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“…Wagner's own methodologies formed complex intertextual networks with other works in German opera (see Moortele 2013), but his appropriation of medieval subject matter was more than skin deep, evoking the period by way of a recreation of the medieval interlace structuring principle: engendering multiplicities of voice and time and disrupting modern narrative teleology within broader intertextual frameworks (see Harper-Scott 2009).…”

Section: Modernism and Medievalismmentioning

confidence: 99%

Intertextuality and (modernist) medievalism in British post-war music

Kolassa¹

2021

Intertextuality in Music

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British composers in the latter half of the twentieth century pursued a belated version of musical modernism rebelling against the establishment by 'returning' to little known medieval manuscripts. The contradiction here is an interesting one, and what the author identifies here as modernist medievalism-the contradictory appropriation of the medieval to expressly forward-thinking ends-is explicitly intertextual. This chapter argues that a modernist composer conjuring the medieval is doing something less than the literal representation of an 'authentic' past than they are engaging in a nexus of imaginary (re)representations of a non-contiguous and Other, shared, version of history, one that elides any such reified notions of the 'high' and the 'low' and unites disparate fields of artistic activity. Beginning with a brief summary of twentieth century precedents focussed principally on the 'Tudor medievalism' of, among others, Benjamin Britten, the author turns his attention to the contrasting medievalisms of Peter Maxwell Davies and Harrison Birtwistle. And specifically, their career-long appropriation of the works of earlier composers John Taverner and Guillaume de Machaut (respectively). For the former example, Davies entered into existent intertextual networks incorporating In Nomine and Dies Irae chants; whereas in the latter case, Birtwistle repeatedly rearranges, deforms, and disguises the techniques of the medieval poet-composer.

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Section: Modernism and Medievalismmentioning

confidence: 99%

Intertextuality and (modernist) medievalism in British post-war music

Kolassa¹

2021

Intertextuality in Music

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“…The qualms composers such as Mendelssohn and Schumann had about their symphonic endeavours are entirely outflanked by the vivacity of the ‘para‐symphonic’ genre of the concert overture, and, in its wake, a rejuvenated opera overture: Mendelssohn wrote about fifteen overtures, Schumann seven. And as soon as the overture comes into the picture, one can no longer ignore composers such as Berlioz and especially Wagner, who wrote fifteen (twelve of which have survived) between 1830 and 1845 (see Vande Moortele ). Likewise, ongoing work by Julian Horton on the concerto demands attention for a very lively repertoire in the first half of the nineteenth century that we have come to think of as marginal, but without which our understanding of the more famous concertos by Chopin, Schumann and Mendelssohn remains one‐sided (see Horton ).…”

Section: The Notion Of ‘Becoming’mentioning

confidence: 99%

“…These include, in chronological order: Haney (), Black ( and ), Hyland (), Martin (), Horton (), Horton and Wingfield () and Vande Moortele ().…”

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confidence: 99%

In Search of Romantic Form

Moortele¹

2013

Music Analysis

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‘An Ireland Built Anew’: Bax’s ‘Tintagel’ and the Easter Rising

Atkinson¹

2016

Music and Letters

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Arnold Bax's tone poem Tintagel (1917-19) is one of his best-known compositions, familiar to listeners who know nothing else of his output. 1 But this very familiarity might cause commentators to overlook the complexities of the work. Its Celtic associations, suggestive Wagnerian allusions, and tonal and formal structure invite interpretation in the light of recent musicological developments both in hermeneutics and analysis. Hitherto, interpretative criticism of Tintagel has been of two kinds: pictorial and biographical. At the time of its premiere in 1921, 2 and for some decades after, most critics took the composer's descriptive programme for the work at face value: the music offered 'a tonal impression of the castlecrowned cliff of … Tintagel, … the long distances of the Atlantic', and the 'tumult of the sea', while also suggesting the 'literary and traditional associations of the scene' by way of a quotation of the so-called 'Sick Tristan' motif from the first act of Wagner's Tristan und Isolde. 3 Viewed in this light, Tintagel could be comfortably aligned with other seascape compositions by English composers, such as Elgar's Sea Pictures (1899), Vaughan Williams's A Sea Symphony (1903-9), and Frank Bridge's The Sea (1910-11). 4 In the late twentieth and early twenty-first centuries, however, the emergence of previously unknown biographical details has elicited another interpretation of the work. In September 1917 Cornwall was the location for Bax's ongoing extramarital affair with Harriet Cohen, a pianist 1 Lewis Foreman writes that 'Tintagel remained in the repertory when much of Bax's music was no longer heard'. Foreman, 'Bax, Sir Arnold', Grove Music Online, (accessed 4 Nov. 2014). Tintagel is also Bax's most recorded work. See Graham Parlett's discography in Lewis Foreman, Bax: A Composer and his Times (3rd edn., Woodbridge, 2007), 507-27 at 524-5; and Christopher Webber, 'Tintagel on Record' (2007), (accessed 4 Nov. 2014). 2 Tintagel was premiered on 20 October 1921 at the Bournemouth Symphony Concerts. The performance was conducted by Dan Godfrey. 3 There exist two programmes for Tintagel written by Bax: the short description found in the opening pages of the published orchestral score, and an extended version of this which Bax wrote for the performance of Tintagel at the Leeds Festival in 1922. The latter programme is quoted in full below, and it is from that programme that the above quotes are taken. 4 In the pre-1945 reception of Tintagel most critics took little notice of the mythological dimension of the work, preferring to focus on the seascape instead. The Musical Times wrote that Tintagel 'really suggests something of the majesty of the sea, being spacious and noble in quality'. Herbert Thompson, 'The Leeds Musical Festival', Musical Times, 63 (1922), 797. Some critics provided their own narratives of Bax's seascape. The Radio Times, for example, produced a very detailed account of the tone poe...

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Form, Narrative and Intertextuality in Wagner's Overture to Der fliegende Holländer

Cited by 3 publications

References 3 publications

Intertextuality and (modernist) medievalism in British post-war music

Intertextuality and (modernist) medievalism in British post-war music

In Search of Romantic Form

‘An Ireland Built Anew’: Bax’s ‘Tintagel’ and the Easter Rising

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