By J. P. E. Harper-Scott
The 1st full-length analytical learn of Edward Elgar's tune, this e-book argues that Elgar was once a modernist composer, and that his song constitutes a pessimistic twentieth-century overview of the character of individual. concentrating on Elgar's track instead of his lifestyles, Harper-Scott blends the hermeneutic and existential philosophy of Martin Heidegger with music-analytical equipment derived from Heinrich Schenker and James Hepokoski. during attractive with debates concentrated on duotonality in musical buildings, sonata deformations, which means in song, the character of tragedy, and the hunt narrative, the ebook rejects poststructuralist and literary-theoretical interpretations of tune, extensively translates Schenkerian idea, and tentatively outlines a brand new area - a Heideggerian 'clearing' - within which track of all classes may be understood to function, be skilled and be understood. The booklet contains a unique word list which gives the reader with transparent definitions of vital and tough phrases.
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Extra resources for Edward Elgar, Modernist (Music in the Twentieth Century (No. 20))
A broader context for this reading of Elgar’s imperialism, which swims against the current Richards is happy to drift with, is given in Bernard Porter, The Absent-Minded Imperialists: Empire, Society, and Culture in Britain (New York: Oxford University Press, 2004). The other is Mahler’s First Symphony. See Dahlhaus, Nineteenth-Century Music, p. 330. Note that Elgar’s Don Juan came in 1904, not 1888: it is well known that Elgar was a late starter. 20 Edward Elgar, Modernist Elgar. The Second Symphony had been received coolly – the audience ‘sat there like a lot of stuVed pigs’38 – and The Music Makers fared no better.
As is evidenced by Borodin’s contrapuntal treatment of the ‘Russian’ and the ‘Eastern’ tunes in his In [the Steppes of] Central Asia (commissioned for Tsar Alexander II’s silver jubilee, in circumstances like Elgar’s Crown of India commission), there is one happy result of the nineteenth century’s Westernized view of the East: if their representative tunes can be made to ﬁt together harmoniously, what might that suggest about the ordinary man’s view of Oriental people? Perhaps that ‘they are the same as us, but diVerent’.
39 He also calls attention to Henry Wood’s premiere of Schoenberg’s Five Orchestral Pieces on 3 September 1912, an event with a special English signiﬁcance. If, then, we are to identify a creative ‘turn’ in Elgar’s music, it should be with the death of Edward VII and the ﬁrst performances in England of avant-garde music, and not with the death of his wife in 1920. He reacted to his change in fortune by turning to a diVerent audience, in the theatre, and paid little further attention to the concert hall, which had remained largely empty for FalstaV ’s early performances, till his last years.
Edward Elgar, Modernist (Music in the Twentieth Century (No. 20)) by J. P. E. Harper-Scott