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4 - Music, Romantic Landscape, and the Visual

from Part II - Worlds

Published online by Cambridge University Press:  06 August 2021

By
Thomas Peattie
Edited by
Benedict Taylor
Benedict Taylor
Affiliation:
University of Edinburgh
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Summary

Using as a point of departure the paradigmatic example of musical landscape – Felix Mendelssohn’s overture The Hebrides (Fingal’s Cave), Op. 26 – this chapter considers how the idea of landscape came to shape the composition and subsequent reception of numerous Romantic works. In addition to addressing the question of why so much of this music has been heard to evoke a sense of place, attention is given to the very act of contemplating landscape, both by composers and by the protagonists that often occupy their works. Particular attention is given to Beethoven, Schumann, Liszt, and Mahler, but the expansive view of musical Romanticism offered here encompasses the proto-programmatic genre of the characteristic symphony, as well as the music of a diverse array of twentieth- and twenty-first-century composers from Charles Ives to Jonathan Harvey, composers whose engagement with Romantic landscape tropes reveal the continued relevance of this rich tradition.

Keywords

landscapevisual evocationmusical representationdepictions of music makingnature contemplation
Type
Chapter
Information
The Cambridge Companion to Music and Romanticism , pp. 56 - 73
Publisher: Cambridge University Press
Print publication year: 2021

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References

Further Reading

Bohlman, Philip V. ‘Landscape – Region – Nation – Reich: German Folk Song in the Nexus of National Identity’, in Applegate, Celia and Potter, Pamela (eds.), Music and German National Identity (Chicago: Chicago University Press, 2002), 105–27.Google Scholar
Bullock, Philip Ross. ‘Lyric and Landscape in Rimsky Korsakov’s Songs’, 19th-Century Music, 40 (2017), 223–38.Google Scholar
Burnham, Scott. ‘Landscape as Music, Landscape as Truth: Schubert and the Burden of Repetition’, 19th-Century Music, 29 (2005), 31–41.Google Scholar
Dolp, Laura. ‘Between Pastoral and Nature: Beethoven’s Missa Solemnis and the Landscapes of Caspar David Friedrich’, Journal of Musicological Research, 27 (2008), 205–25.Google Scholar
Grey, Thomas. ‘Tableaux-Vivants: Landscape, History Painting, and the Visual Imagination in Mendelssohn’s Orchestral Music’, 19th-Century Music, 21 (1997), 38–76.Google Scholar
Grimley, Daniel M. Delius and the Sound of Place (Cambridge: Cambridge University Press, 2018).Google Scholar
Grimley, Daniel M. Grieg: Music, Landscape and Norwegian Identity (Woodbridge: Boydell Press, 2006).Google Scholar
Grimley, Daniel M. ‘“In the Mood”: Peer Gynt and the Affective Landscapes of Grieg’s Stemninger, op. 73’, 19th-Century Music, 40 (2016), 106–30.Google Scholar
Johnson, Julian. ‘Mahler and the Idea of Nature’, in Barham, Jeremy (ed.), Perspectives on Gustav Mahler (Aldershot: Ashgate, 2005), 23–36.Google Scholar
Morton, Marsha L. and Schmunk, Peter L. (eds.). The Arts Entwined: Music and Painting in the Nineteenth Century (New York: Garland, 2000).Google Scholar
Peattie, Thomas. Gustav Maher’s Symphonic Landscapes (Cambridge: Cambridge University Press, 2015).Google Scholar
Rosen, Charles. ‘Mountains and Song Cycles’, in The Romantic Generation (Cambridge, MA: Harvard University Press, 1995), 116–236.Google Scholar
Taylor, Benedict. ‘Seascape in the Mist: Lost in Mendelssohn’s Hebrides’, 19th-Century Music, 39 (2016), 187–222.Google Scholar
Volioti, Georgia. ‘Landscaping the Gaze in Norwegian Visual Art and Grieg’s Op. 66 Folksong Piano Arrangements’, Music & Letters, 98 (2017), 573–600.Google Scholar
von Glahn, Denise. The Sounds of Place: Music and the American Cultural Landscape (Boston, MA: Northeastern University Press, 2003).Google Scholar

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