Carl Nielsen and the Idea of Modernism

Grimley, Daniel M.

doi:10.1017/upo9781846159299

Cited by 12 publications

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“…[…] In many ways, it would be more remarkable and noteworthy if the symphony clung closely to an anachronistically orthodox model. (, p. 103)…”

Section: Sonata Form: Two Parts or Three?mentioning

confidence: 98%

“…Beethovenian) exemplars (Wingfield ). Carl Nielsen followed Classical models (broadly defined) in his youth, expanding them considerably in his development as a composer, and, although it was argued that he abandoned sonata procedures entirely in his last two symphonies, Grimley has correctly identified a modified sonata form in the first movement of the Sinfonia semplice of 1926 (, p. 257). The parallels drawn between this model and the tripartite division of Beethoven's output is brought more sharply into focus when we consider Nielsen's digestion of Classical paradigms of form as a student, and the challenge he set himself of memorising the score of Beethoven's Fifth Symphony in preparation for his own first contribution to the genre (Lawson , p. 62).…”

Section: The Type 2 Controversymentioning

confidence: 99%

“…‘Hamburger's analysis may have been greeted skeptically by Nielsen himself, who was suspicious of formal academic analysis’; Grimley (), p. 100. The Danish commentator and critic Povl Hamburger's paper on the Sinfonia espansiva (1931) was the first published analysis of any large‐scale work by Nielsen.…”

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confidence: 99%

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Structural Acceleration in Nielsen'sSinfonia espansiva

Tarrant¹

2019

Music Analysis

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The form of the first movement of Carl Nielsen's Sinfonia espansiva rejects the traditional three‐part sonata form in favour of an experimental two‐part strategy. The dialogue between the two types of sonata has an important impact on the way we hear this movement; from a rhetorical perspective, the absence of a normative simultaneous return of theme and key invites a new analytical approach. This is informed by the idea that the movement's form, relative to the signposts set up in its exposition, appears to speed up as it continues – a phenomenon which I call ‘structural acceleration’. The reception of Hepokoski and Darcy's Type 2 sonata is unpacked before an investigation of aspects of modular layout, tonality and cadential structure which contribute to the movement's sense of formal urgency.

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“…[…] In many ways, it would be more remarkable and noteworthy if the symphony clung closely to an anachronistically orthodox model. (, p. 103)…”

Section: Sonata Form: Two Parts or Three?mentioning

confidence: 98%

Section: The Type 2 Controversymentioning

confidence: 99%

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Structural Acceleration in Nielsen'sSinfonia espansiva

Tarrant¹

2019

Music Analysis

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“…Here the middleground relationship of a tritone is often observed. Just think of the principal and the second theme of his third symphony (Hamburger, 1934, Simpson, 1952, 57, Krebs, 1994, Grimley, 2011, or the melodic structure of the fi rst movement of his fi fth symphony (Devoto, 1994).…”

Section: Fig 4 24mentioning

confidence: 99%

Alternative Neo-Riemannian Approaches to Carl Nielsen

Nielsen¹

2012

CN Studies

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On the basis of songs or songlike themes from three periods of Nielsen’s career I try to show how Nielsen’s harmonic progressions become simpler while displaying a more refined complexity. I do this on the basis of the theories of the Danish scholar/composers Jorgen Jersild and Jan Maegaard which are, in various degrees, based on Riemannian analysis. The two Danes thus represent an alternative neo-Riemannian approach to harmonic analysis. This approach was developed from 1970 to 1989, the very same years in which Erno Lendvai, David Lewin, Deborah Stein and Harald Krebs wrote their respective groundbreaking works. Even though Jersild’s and Maegaard’s theories were developed independently of these writers, their content communicates with the content of their theories. And even though a theory of foreground harmonic progressions like Jersild’s is seemingly as opposed as possible to a Schenkerian middleground-based harmonic approach, they do actually, in some regards, have something in common, just as in other regards they supplement each other perfectly. I try, through the analyses of Nielsen’s music plus a few other examples (Schumann, Liszt and Wolf), to show how the theories of these above mentioned many writers and others, may be integrated into the two Danish theories. In discussing analytical theories the text is especially conversant with two recent books on Nielsen, Anne-Marie Reynolds’ The Voice of Carl Nielsen (2010) and Daniel Grimley’s Carl Nielsen and the Idea of Modernism (2011), as the two main analyses refer to analyses in Reynolds and Grimley respectively.

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“…The term comes largely from Adorno's study of Mahler (); it loses some of its original precision in Hepokoski's adaptation of it to formal analysis and the practices of contemporaneous composers. For applications to Nielsen's music, see Grimley ().…”

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confidence: 99%

Functional Analysis at the Fin de Siècle: Genre, Compositional Process and the Demonic in the Rondo of Elgar's Second Symphony

Riley¹

2018

Music Analysis

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The most interesting recent developments in formal function theory have tested its application on nineteenth‐century repertoire. Hitherto, however, functional analysis has touched only lightly on the post‐Wagnerian symphony from around 1900. When music analysis addresses this repertoire today, it is usually by means of the approaches that have become ‘Sonata Theory’. Functional analysis brings different insights, switching the focus to syntax and local formal process. The third‐movement ‘Rondo’ from Elgar's Second Symphony (1911) exemplifies the challenges inherent in progressive Romantic repertoire: while functional analysis can illuminate the syntax and formal processes of this music, it must be applied with an ear to shifting and overlapping functional meanings. The Rondo manifests parallel ambiguities at the levels of paratext and genre. The syntactic continuity and instability foregrounded by functional analysis resonate directly with the movement's thematisation of the demonic and the uncanny through paratext, topic, cyclic reminiscence and generic ambiguity. This article uses the concepts of functional theory to open and discuss questions of genre and compositional process and to reframe the Rondo's programmatic themes from an analytically informed perspective.

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Carl Nielsen and the Idea of Modernism

Cited by 12 publications

References 0 publications

Structural Acceleration in Nielsen'sSinfonia espansiva

Structural Acceleration in Nielsen'sSinfonia espansiva

Alternative Neo-Riemannian Approaches to Carl Nielsen

Functional Analysis at the Fin de Siècle: Genre, Compositional Process and the Demonic in the Rondo of Elgar's Second Symphony

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