Det ulmer under overflaten. Agathe Backer Grøndahl (1847-1907). Genus, sjanger og norskhet

Detta är en avhandling från University of Gothenburg

Sammanfattning: My dissertation is a problem oriented one. The composer pianist Agathe Bac­ker Grøn­dahl (1847–1907) has always been a self-evident figure in chapters of Nor­we­gian music history books that cover music, musicians and composers in "Grieg’s shadow". Extensive historical source mate­ri­als (reception materials connected to Backer Grøndahl’s con­certs and com­po­si­tions; her letters, notebooks, work­books and sketches) form the basis of the study. The problems studied are what kind of expec­ta­tions are connected to three inter­twined core concepts connected to Backer Grøn­dahl, namely: "femininity", "genre", and "Norwegianness"  (the folk-influenced Norwegian tradi­tion). Musical and mate­ri­al, as well as institutional, sociological and economical, ”Agathe Backer Grøn­dahl” dis­courses are examined. The arenas where the three core concepts and dis­courses unfold, sound, develop, are moulded and understood, are threefold:Musical culture with which the pianist composer and her compositions interacted from 1866–1903.Presentations of her in monographs and music history books.Various attempts to revise this kind of music historiography.The musical analysis starts out from reception materials connected to her per­for­man­ces of her own works and tries to trace the critics’ de­scriptions in the sco­res. The works analyzed are: One of her two orchestral compositions, An­dan­te quasi allegretto for piano and orchestra (1869) in sonata form. (I re­dis­cove­­red this "lost" work in the National Library in Oslo.) The song "To the queen of my heart" (Op. 1/3, 1870), the descrip­tive­ly titled lyrical piece Wood Nymph’s Dance (1887), the feminist cantata Nytaarsgry (1901) performed at the Scandinavian Women’s Convention 1902 and the singable and (in)famous song "Eventide" Op. 42/7 1899). Per­formed compositions become perfor­ma­tive via the reception materials, hers, the listeners’ and amateur performers "pro­­­ducerly texts" connected to them.

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