The Leipzig Model and Its Consequences: Niels W. Gade and Carl Nielsen as European National Composers

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The Leipzig Model and Its Consequences : Niels W. Gade and Carl Nielsen as European National Composers. / Fjeldsøe, Michael.

I: Studia Musicologica, Bind 59, Nr. 1-2, 2019, s. 71-78.

Publikation: Bidrag til tidsskriftTidsskriftartikelForskningfagfællebedømt

Harvard

Fjeldsøe, M 2019, 'The Leipzig Model and Its Consequences: Niels W. Gade and Carl Nielsen as European National Composers', Studia Musicologica, bind 59, nr. 1-2, s. 71-78. https://doi.org/10.1556/6.2018.59.1-2.6

APA

Fjeldsøe, M. (2019). The Leipzig Model and Its Consequences: Niels W. Gade and Carl Nielsen as European National Composers. Studia Musicologica, 59(1-2), 71-78. https://doi.org/10.1556/6.2018.59.1-2.6

Vancouver

Fjeldsøe M. The Leipzig Model and Its Consequences: Niels W. Gade and Carl Nielsen as European National Composers. Studia Musicologica. 2019;59(1-2):71-78. https://doi.org/10.1556/6.2018.59.1-2.6

Author

Fjeldsøe, Michael. / The Leipzig Model and Its Consequences : Niels W. Gade and Carl Nielsen as European National Composers. I: Studia Musicologica. 2019 ; Bind 59, Nr. 1-2. s. 71-78.

Bibtex

@article{a1a9e79be4ef488284565956f9cf123f,
title = "The Leipzig Model and Its Consequences: Niels W. Gade and Carl Nielsen as European National Composers",
abstract = "The article discusses how the concept of “national composer” 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. The 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 Zolt{\'a}n Kod{\'a}ly. In the 1840s, Leipzig was the place to obtain international reputation. It was in Leipzig that Niels W. Gade was first recognized as a composer with a “Nordic tone” and it was because of that reason 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.",
keywords = "Faculty of Humanities, national musik, musikhistoriografi, Carl Nielsen, Niels W. Gade, Zoltan Kodaly, national music, music historiography, Kodaly, Bartok, Carl Nielsen, Niels W. Gade",
author = "Michael Fjelds{\o}e",
year = "2019",
doi = "https://doi.org/10.1556/6.2018.59.1-2.6",
language = "English",
volume = "59",
pages = "71--78",
journal = "Studia Musicologica",
issn = "1788-6244",
publisher = "Akad{\'e}miai Kiad{\'o}",
number = "1-2",

}

RIS

TY - JOUR

T1 - The Leipzig Model and Its Consequences

T2 - Niels W. Gade and Carl Nielsen as European National Composers

AU - Fjeldsøe, Michael

PY - 2019

Y1 - 2019

N2 - The article discusses how the concept of “national composer” 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. The 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 that Niels W. Gade was first recognized as a composer with a “Nordic tone” and it was because of that reason 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.

AB - The article discusses how the concept of “national composer” 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. The 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 that Niels W. Gade was first recognized as a composer with a “Nordic tone” and it was because of that reason 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.

KW - Faculty of Humanities

KW - national musik

KW - musikhistoriografi

KW - Carl Nielsen

KW - Niels W. Gade

KW - Zoltan Kodaly

KW - national music

KW - music historiography

KW - Kodaly

KW - Bartok

KW - Carl Nielsen

KW - Niels W. Gade

U2 - https://doi.org/10.1556/6.2018.59.1-2.6

DO - https://doi.org/10.1556/6.2018.59.1-2.6

M3 - Journal article

VL - 59

SP - 71

EP - 78

JO - Studia Musicologica

JF - Studia Musicologica

SN - 1788-6244

IS - 1-2

ER -

ID: 211951492