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‘Tonality, Clarity, Strength’: Gesture, Form, and Nordic Identity in Carl Nielsen’s Piano Music

Identifieur interne : 001C00 ( Istex/Corpus ); précédent : 001B99; suivant : 001C01

‘Tonality, Clarity, Strength’: Gesture, Form, and Nordic Identity in Carl Nielsen’s Piano Music

Auteurs : Daniel M. Grimley

Source :

Music and Letters [ 0027-4224 ] ; 2005-05.

RBID : ISTEX:38F449E571266C28CE5B7D1B070B446BE7D335A2

English descriptors

Teeft :
- Breve, Busoni, Carl nielsen, Carl nielsen studies, Carl piano music, Central climax, Chaconne, Closure, Contemporary music, Contrapuntal, Critical attention, Cumming, Diary entry, Diatonic, Dissonance, Dolleris, Fifth symphony, Figuration, Final bars, Final movement, First movement, First variation, Harmonic, Historical context, Ibid, Ikke, Metamorphic anachronism, Middle section, Modernist, Mogens wenzel andreasen, Molto, Musical material, Musical work, Musik, Naomi cumming, Nielsen, Nordic, Opening bars, Ostinato, Ostinato figuration, Petersen, Piano music, Piano pieces, Piano works, Pitch class, Politiken, Quasi allegretto, Reger, Richard strauss, Same time, Samtid, Schandorf, Schandorf petersen, Second movement, Second violin sonata, Sequential, Sequential passagework, Sixth symphony, Solo violin, Subjectivity, Symphonic, Symphonic suite, Textural, Third movement, Third symphony, Tonal argument, Tonality, Torben meyer.

Abstract

Identifying elements of a Nordic subjectivity in the music of Carl Nielsen is a complex exercise. As Naomi Cumming has observed, we construct musical subjectivity in multiple ways, some of which we perceive as a ‘composer’s voice’. But musical identity is properly a tension between compositional process, reception, and historical context. Carl Nielsen’s piano music has been less widely acknowledged outside Denmark than his symphonies, but offers a compelling case study in the formation of musical subjectivity. His piano works employ a diverse range of different compositional strategies, from stylized neo-Baroque textures to angular modernist dissonance and the carnivalesque juxtaposition of different musical characters or voices. The critical reception of his piano music reveals interesting trends in the construction of a Danish musical style. This essay presents a general survey of his major piano works, from the Symphonic Suite to the posthumous Three Piano Pieces, and seeks to place them in their European historical context.

Url:

https://api.istex.fr/document/38F449E571266C28CE5B7D1B070B446BE7D335A2/fulltext/pdf

DOI: 10.1093/ml/gci033

Links to Exploration step

ISTEX:38F449E571266C28CE5B7D1B070B446BE7D335A2

Le document en format XML

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‘Tonality, Clarity, Strength’: Gesture, Form, and Nordic Identity in Carl Nielsen’s Piano Music

‘Tonality, Clarity, Strength’: Gesture, Form, and Nordic Identity in Carl Nielsen’s Piano Music

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