Sacred and Secular Intersections in Music of the Long Nineteenth Century

The book explores interconnections of the sacred and the secular in music of the long nineteenth century. It investigates manifestations of religion in music not primarily intended for liturgical performance and assesses compositions that originated in a liturgical context but then migrated in their performance into a non-liturgical sphere.

Sacred and Secular Intersections in Music of the Long Nineteenth Century: Church, Stage, and Concert Hall explores interconnections of the sacred and the secular in music and aesthetic debates of the long nineteenth century. The essays in this volume view the category of the sacred not as a monolithic attribute that applies only to music written for and performed in a religious ritual. Rather, the “sacred” is viewed as a functional as well as a topical category that enhances the discourse of cross-pollination of musical vocabularies between sacred and secular compositions, church and concert music. Using a variety of methodological approaches, the contributors articulate how sacred and religious identities coalesce, reconcile, fuse, or intersect in works from the long nineteenth century that traverse an array of genres and compositional styles.

Contents

Introduction

Eftychia Papanikolaou and Markus Rathey

Religion, Music, and the Romantic Imagination

Chapter 1. Music for the “Cultured Despisers” of Religion: Schleiermacher on Singing in Church

and Beyond

Joyce L. Irwin

Chapter 2. The Cross and the Wanderer: From the Sacred to the Secular in the Early Nineteenth

Century

Joseph E. Morgan

Chapter 3. The Sacred Looking Glass: Imaginative Children's Music as Syncretic Nexus

Matthew Roy

Sacred and Secular Drama on the Stage

Chapter 4. Reassessing Robert Schumann’s Motivations for Composing a Mass and Requiem

Sonja Wermager

Chapter 5. Spirituality and the Fugal Topos in the Secular Dramatic Works of Robert Schumann

Christopher Ruth

Chapter 6. Hieratic Iconoclasm: Liszt, Hanslick, and the Graner Festmesse

Eftychia Papanikolaou

Chapter 7. Sacred Moments in the Secular Dramatic Works of Arthur Sullivan

Matthew Hoch

Counterpoint and Chorale in Instrumental Music

Chapter 8. Redeeming Chamber Music: Experiencing Solace in Mendelssohn’s Late Chamber

Music

Siegwart Reichwald

Chapter 9. Felix Mendelssohn’s Lobgesang: “Imaginary Church Music” or a Sublime

Symphony?

Joshua A. Waggener

Chapter 10. The Italian Reception in Bach’s Keyboard Works and Passions: Intersections of the

Sacred and the Secular

Chiara Bertoglio

Echoes of the Sacred in French Music after the Revolution

Chapter 11. “The Habit Does Not Make the Monk”: Rethinking Anti-Clericalism in French

Revolutionary Opéras-Comiques

Callum Blackmore

Chapter 12. Biblical Boulevards: Sounding the Ralliement on Parisian Popular Stages

Jennifer Walker

Chapter 13. Debussy’s Religion of Art in His Trois mélodies de Verlaine

Megan Sarno

Sacred Songs and Memory in North American Music

Chapter 14. “Old 100th,” Militarization, and Nostalgia During the American Civil War

James A. Davis

Chapter 15. Mourning, Judgment, and Resurrection: Christian Imagery in Reconstruction Sheet

Music

Thomas J. Kernan

Chapter 16. Spirituals Share the Stage with Mozart and Beethoven: The Germany Tour of the

Fisk Jubilee Singers in 1877/78 and the Responses of the German Press

Markus Rathey

Music, Rite, and Identity in Eastern Europe and Russia

Chapter 17. Veiled Allusions to the Sacred: Secular Music During the Partitions of Poland

Bogumila Mika

Chapter 18. Futurist Constructions of the Sacred: The Ballets Russes, Liturgie, and the Problem of a Musical Score

Barbara Swanson

Chapter 19. (Re)constructing Medieval Rus’ in Kastalsky’s Furnace Rite

David Salkowski

About the Contributors