Wilhelm Stenhammar

A European modernist

Författare

  • Signe Rotter-Broman

DOI:

https://doi.org/10.58698/stm-sjm.v105.19195

Nyckelord:

Wilhelm Stenhammar, Henrik Hennings, Louis Glass, modernism, modernity, music analysis, self-reflection, European music historiography.

Abstract

Wilhelm Stenhammar’s contributions to Swedish musical life around 1900 are widely acknowledged. But his activities stretched well beyond the Swedish borders. The present article approaches Stenhammar from a transnational perspective, placing him in the broader context of European musical modernism around 1900. Following a clarification of the use of the terms ‘modernity’ and ‘modernism’ in the light of recent research on modernism in music, Stenhammar’s identity as a European modernist is discussed with special focus on Copenhagen and Berlin. Stenhammar’s compositional strategies in the finale of his String Quartet no. 3 op. 18 in F major are then analysed in terms of musical self-reflection, offering a new perspective on his compositional agency with a wealth of musical traditions at his disposal. At a time when travelling across borders by steam train had become a common part of modern life, transcultural interconnectedness seems to be a common framework for musicians to identify as modern composers.

Keywords: Wilhelm Stenhammar, Henrik Hennings, Louis Glass, modernism, modernity, music analysis, self-reflection, European music historiography.

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Publicerad

2023-12-12

Referera så här

Rotter-Broman, S. (2023). Wilhelm Stenhammar: A European modernist. Svensk Tidskrift för Musikforskning Swedish Journal of Music Research, 105, 65–87. https://doi.org/10.58698/stm-sjm.v105.19195

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