Abstract
In the present article, I discuss how the concept of national composers was established and developed in Central and Northern Europe by looking into the attempted international careers of two Danish composers in the nineteenth and early twentieth centuries. My analysis focuses on the appropriation of ‘national’ composers in relation to ‘international’ recognition in order to reflect on how this changing relationship might have influenced the conditions for international recognition of Zoltán Kodály. In the 1840s, Leipzig was the place to obtain international reputation. It was in Leipzig Niels W. Gade was first recognized as a composer with a ‘Nordic tone’ and it was because of that, that he had a meteoric career and was ranked as an important European composer. In the early twentieth century, Carl Nielsen replaced Gade as the most revered Danish composer; however, at that time, being a national composer was not an advantage to an international career, it was an obstacle, if anything.
| Bidragets oversatte titel | Leipzig-modellen og dens konsekvenser: Niels W. Gade og Carl Nielsen som europæiske komponister |
|---|---|
| Originalsprog | Engelsk |
| Tidsskrift | Studia Musicologica |
| Vol/bind | 59 |
| Udgave nummer | 1-2 |
| Sider (fra-til) | 71-78 |
| ISSN | 1788-6244 |
| DOI | |
| Status | Udgivet - 2018 |
Emneord
- Det Humanistiske Fakultet
- national musik
- musikhistoriografi
- Carl Nielsen
- Niels W. Gade
- Zoltan Kodaly