
Contents
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The New German Opera: Der Freischütz and Euryanthe The New German Opera: Der Freischütz and Euryanthe
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Official and Cultural Nationalism in Russia: A Life for the Tsar Official and Cultural Nationalism in Russia: A Life for the Tsar
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Manufacturing Italianness: Late Verdi and Puccini Manufacturing Italianness: Late Verdi and Puccini
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A Naturalistic Response to Wagner: Charpentier’s Louise A Naturalistic Response to Wagner: Charpentier’s Louise
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Musorgsky, Debussy, Janáček: “Dialogue Opera” between the National and the Universal Musorgsky, Debussy, Janáček: “Dialogue Opera” between the National and the Universal
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Turning Russian Speech into Music Turning Russian Speech into Music
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Debussy Reads Musorgsky Debussy Reads Musorgsky
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Janáček’s “Obsession” Janáček’s “Obsession”
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Translating the “Genius of a Nation” Translating the “Genius of a Nation”
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Debating Authenticity Debating Authenticity
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Note Note
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Bibliography Bibliography
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7 The Language of National Style
Get accessMarina Frolova-Walker is Reader in Music History at the Faculty of Music, University of Cambridge, and Fellow of Clare College. She received her Ph.D. from Moscow Conservatoire before moving to the UK. She is the author of Russian Music and Nationalism from Glinka to Stalin (Yale, 2007) and co-author (with Jonathan Walker) of Music and Soviet Power, 1917-32 (Boydell, 2012), and has written numerous scholarly articles and popular essays on Russian and Soviet music and culture.
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Published:07 April 2015
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Abstract
This chapter discusses the pursuit of national style in opera as a peculiarly nineteenth-century issue that first emerged among nations at the margins of operatic culture (Germany, Russia) but spread later in the century to the formerly confident operatic cultures of France and even Italy, in attempts to counteract Wagnerism. After a review of recent musicological studies that have examined the issue (with reference to Weber, Glinka, Charpentier, Verdi, and Puccini), the chapter then focuses on one type of practice in particular, the creation of a “national” style through the imitation of intonational and rhythmic patterns in spoken language, with a comparison of Musorgsky’s, Debussy’s, and Janáček’s “dialogue operas.”
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