Sacred and Secular Intersections in Music of the Long Nineteenth Century: Church, Stage, and Concert Hall

by Eftychia Papanikolaou Associate professor of mu (Editor), Markus Rathey Yale Institute of Sacred (Editor), Chiara Bertoglio (Contribution by), Callum Blackmore (Contribution by), James A. Davis (Contribution by)

Overview

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.

Product Details

ISBN-13:	9781666906066
Publisher:	Lexington Books
Publication date:	03/15/2024
Pages:	438
Product dimensions:	5.95(w) x 8.95(h) x 0.88(d)

About the Author

Eftychia Papanikolaou is associate professor of musicology at the College of Musical Arts at Bowling Green State University.

Markus Rathey is the Robert S. Tangeman Professor of Music History at Yale University and author of Theology, Music, and Modernity: Struggles for Freedom.

Table of Contents

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

Editorial Reviews

This fascinating set of essays digs deep into the complexities of religion’s intertwining with music during an era when so many fundamental questions about the human condition were being thrown to the surface and debated. A rich feast indeed.”

Jeremy Begbie

Sacred and Secular Intersections in Music of the Long Nineteenth Century is an excellently researched, written, and edited volume, with essays spanning a broad scope of topics, genres, composers, and geographic regions. The authors challenge the conception of ‘sacred’ and ‘secular’ as separate compositional and performative spheres, seeing them rather as complex categories with fluid boundaries. The volume is deeply cross-disciplinary, grounded in musicology while drawing on a wealth of other fields, including theology, liturgy, philosophy, history of religion, the politics of church and state, literature, theater, visual art, and aesthetics. It provides a valuable contribution to the field of nineteenth-century studies, both in the significant new insights it contains and in the ways it points to new avenues for future research.”

Mark A. Peters

This wide-ranging collection of essays clearly demonstrates the generative potential of dialogue between musical and religious themes. The volume is fascinating, illuminating, and highly recommended!”

Stephen A. Crist

[This] volume is a very welcome addition to the growing literature on the relationships between music and spirituality. It goes some way to meeting the editors’ aim of broadening the topics for such study and points the way for further research. The essays are all engagingly written and replete with impressively extensive documentation and bibliographies that will be of considerable value to researchers... The editors are to be congratulated for bringing together the work of PhD and early-career scholars alongside that of more established academics. Though drawing almost entirely from scholars working within musicology, this volume is an important reminder and example of the ways in which interdisciplinary perspectives can enhance understanding of musical repertoire, practice and reception.

Nineteenth-Century Music Review

"Sacred and Secular Intersections in Music of the Long Nineteenth Century is an excellently researched, written, and edited volume, with essays spanning a broad scope of topics, genres, composers, and geographic regions. The authors challenge the conception of 'sacred' and 'secular' as separate compositional and performative spheres, seeing them rather as complex categories with fluid boundaries. The volume is deeply cross-disciplinary, grounded in musicology while drawing on a wealth of other fields, including theology, liturgy, philosophy, history of religion, the politics of church and state, literature, theater, visual art, and aesthetics. It provides a valuable contribution to the field of nineteenth-century studies, both in the significant new insights it contains and in the ways it points to new avenues for future research."

"This fascinating set of essays digs deep into the complexities of religion's intertwining with music during an era when so many fundamental questions about the human condition were being thrown to the surface and debated. A rich feast indeed."

"This wide-ranging collection of essays clearly demonstrates the generative potential of dialogue between musical and religious themes. The volume is fascinating, illuminating, and highly recommended!"

[This] volume is a very welcome addition to the growing literature on the relationships between music and spirituality. It goes some way to meeting the editors' aim of broadening the topics for such study and points the way for further research. The essays are all engagingly written and replete with impressively extensive documentation and bibliographies that will be of considerable value to researchers... The editors are to be congratulated for bringing together the work of PhD and early-career scholars alongside that of more established academics. Though drawing almost entirely from scholars working within musicology, this volume is an important reminder and example of the ways in which interdisciplinary perspectives can enhance understanding of musical repertoire, practice and reception.

From the Publisher