Proof through the Night
- 12 %
Der Artikel wird am Ende des Bestellprozesses zum Download zur Verfügung gestellt.

Proof through the Night

Music and the Great War
Sofort lieferbar | Lieferzeit: Sofort lieferbar I

Unser bisheriger Preis:ORGPRICE: 71,20 €

Jetzt 62,98 €*

ISBN-13:
9780520927896
Seiten:
614
Autor:
Glenn Watkins
eBook Typ:
PDF
Kopierschutz:
Adobe DRM [Hard-DRM]
Sprache:
Englisch
Beschreibung:

Carols floating across no-man's-land on Christmas Eve 1914; solemn choruses, marches, and popular songs responding to the call of propaganda ministries and war charities; opera, keyboard suites, ragtime, and concertos for the left hand—all provided testimony to the unique power of music to chronicle the Great War and to memorialize its battles and fallen heroes in the first post-Armistice decade. In this striking book, Glenn Watkins investigates these variable roles of music primarily from the angle of the Entente nations' perceived threat of German hegemony in matters of intellectual and artistic accomplishment—a principal concern not only for Europe but also for the United States, whose late entrance into the fray prompted a renewed interest in defining America as an emergent world power as well as a fledgling musical culture. He shows that each nation gave "proof through the night"—ringing evidence during the dark hours of the war—not only of its nationalist resolve in the singing of national airs but also of its power to recall home and hearth on distant battlefields and to reflect upon loss long after the guns had been silenced.



Watkins's eloquent narrative argues that twentieth-century Modernism was not launched full force with the advent of the Great War but rather was challenged by a new set of alternatives to the prewar avant-garde. His central focus on music as a cultural marker during the First World War of necessity exposes its relationship to the other arts, national institutions, and international politics. From wartime scores by Debussy and Stravinsky to telling retrospective works by Berg, Ravel, and Britten; from "La Marseillaise" to "The Star-Spangled Banner," from "It's a Long Way to Tipperary" to "Over There," music reflected society's profoundest doubts and aspirations. By turns it challenged or supported the legitimacy of war, chronicled misgivings in miniature and grandiose formats alike, and inevitably expressed its sorrow at the final price exacted by the Great War.
Proof through the Night concludes with a consideration of the post-Armistice period when, on the classical music front, memory and distance forged a musical response that was frequently more powerful than in wartime.



Carols floating across no-man's-land on Christmas Eve 1914; solemn choruses, marches, and popular songs responding to the call of propaganda ministries and war charities; opera, keyboard suites, ragtime, and concertos for the left hand—all provided testimony to the unique power of music to chronicle the Great War and to memorialize its battles and fallen heroes in the first post-Armistice decade. In this striking book, Glenn Watkins investigates these variable roles of music primarily from the angle of the Entente nations' perceived threat of German hegemony in matters of intellectual and artistic accomplishment—a principal concern not only for Europe but also for the United States, whose late entrance into the fray prompted a renewed interest in defining America as an emergent world power as well as a fledgling musical culture. He shows that each nation gave "proof through the night"—ringing evidence during the dark hours of the war—not only of its nationalist resolve in the singing of national airs but also of its power to recall home and hearth on distant battlefields and to reflect upon loss long after the guns had been silenced.


Watkins's eloquent narrative argues that twentieth-century Modernism was not launched full force with the advent of the Great War but rather was challenged by a new set of alternatives to the prewar avant-garde. His central focus on music as a cultural marker during the First World War of necessity exposes its relationship to the other arts, national institutions, and international politics. From wartime scores by Debussy and Stravinsky to telling retrospective works by Berg, Ravel, and Britten; from "La Marseillaise" to "The Star-Spangled Banner," from "It's a Long Way to Tipperary" to "Over There," music reflected society's profoundest doubts and aspirations. By turns it challenged or supported the legitimacy of war, chronicled misgivings in miniature and grandiose formats alike, and inevitably expressed its sorrow at the final price exacted by the Great War.
Proof through the Night concludes with a consideration of the post-Armistice period when, on the classical music front, memory and distance forged a musical response that was frequently more powerful than in wartime.



List of Illustrations

Acknowledgments

Introduction

Prologue



Chapter 1. In Search of
Kultur

The Strasbourg Olympic Games in Music—Beethoven and
Jean-Christophe—Romain Rolland and Richard Strauss—Above the Battle?



Great Britain

Chapter 2. Pomp and Circumstance

Defining Poland and Belgium—Countering Charges from Home and Abroad

Chapter 3. The Old Lie

Elgar’s Women and Fallen Heroes—Other War Requiems

Chapter 4. The Symphony of the Front

Christmas 1914—Concerts and Soldier Songs—National Airs and Popular and Retexted Tunes



France

Chapter 5. Mobilization and the Call to History

The Silent Muse and War Pages—
En blanc et noir—Neoclassicism and National Identity

Chapter 6. War and the Children

Noël of The Children Who No Longer Have a Home—War in a Toy Box—Joan of Arc

Chapter 7. War Games, 1914–1915

A March, a Dedication, and a Drawing—Game Theory, War, and the Lively Arts

Chapter 8. Charades and Masquerades

Beethoven and Doggerel—Renard and a Soldier’s Tale—National Anthems

Chapter 9. Church, State, and Schola

Veteran, Monarchist, Classicist—The Legend of St. Christopher—Problems with Beethoven, Protestants, and Jews

Chapter 10. Neoclassicism, Aviation, and the Great War

"Trois beaux oiseaux du Paradis"—The Wounded Muse—The "Toccata" and the War in the Air—Flights of Fancy



Italy

Chapter 11. The World of the Future, the Future of the World

Futurism and Music—Visionary Classicist



Germany-Austria

Chapter 12. "Dance of Death"

The Lost Brigade—Jacob’s Ladder—A Vision for the Future

Chapter 13. "The Last Days of Mankind"

A March and a Soldier’s Tale—
Momentary Fraternité



The United States of America

Chapter 14. "The Yanks Are Coming"

War Song as Interventionist Propaganda—Women and the War—Troop Entertainments Abroad

Chapter 15. "Onward Christian Soldiers"

Church, State, and Moral Reciprocity—Billy Sunday—Hymns, Sentimental and Militant

Chapter 16. The 100% American

"The Star-Spangled Banner"—The Four-Minute Men and the Movies

Chapter 17. "Proof Through the Night"

The Chicago Symphony Orchestra—The Boston Symphony Orchestra and "L’affaire Muck"—Good Citizenship—Opera and Ballet in New York

Chapter 18. "On Patrol in No Man’s Land"

The "Hellfighters" of the 369th Regiment—From the Tuileries to the Recording Studio—The "Damnable Dilemma"—Birth of an American Conservatory in Fontainebleau

Chapter 19. Coming of Age in America

John Alden Carpenter—Coming to Terms with the Avant-garde—Leo Ornstein: America’s Futurist—Charles Ives: Private Witness to the Great War



Post-Armistice

Chapter 20. "Goin’ Home"

Armistice and Celebration—"Goin’ Home"—"My Buddy"

Chapter 21. Ceremonials and the War of Nerves

Nerves, Jazz, and the "Lost Generation"—Antheil and the Suppression of Sentiment

Chapter 22. The Persistence of Memory

Twilight in Belgrade: Ravel’s
Frontispice—Twilight in Vienna:
La valse—Re-evaluating National Histories—A Concerto for the Left Hand

Chapter 23. Prophecies and Alarms

Triptychs: Grünewald, Dix, and Hindemith—Gershwin’s
Strike Up the Band!



Epilogue

Chapter 24. Unfinished Business

Notes

Bibliography

Index

List of CD Contents