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“Common Joys, Sorrows, Adventures, and Struggles”: Transnational Encounters in Amy Beach's “Gaelic” Symphony
Published online by Cambridge University Press: 18 May 2016
Abstract
Amy Beach's “Gaelic” Symphony is the most prominent nineteenth-century American expression of Irishness in music. Despite the reference to another country in its title, the work has largely been interpreted via the lens of American nationalism. Its historiography reflects the immense interest in national style in nineteenth-century American music scholarship. This article initiates a discussion about nineteenth-century American composers’ engagement with the world beyond their own national borders. It explores the “Gaelic” Symphony's transnational dimensions, which engage largely with two groups: concert music composers and the Irish diaspora. Regarding the former, the article illuminates nuances of intertextuality in Beach's style. It revises the historical narrative surrounding the “Gaelic” Symphony as a response to Antonín Dvořák's “New World” Symphony, finding multiple additional models for Beach's work. The “Gaelic” Symphony is positioned instead as a representation of concert music styles that valued cosmopolitan approaches and judged composers on the skill with which they consciously blended multiple streams of influence. Regarding the latter category of the Irish, the article contextualizes the symphony within a revival of Irish cultural practices taking place in the 1890s, revealing how constructions of Irishness in the symphony reflect Gaelic revival values and respond to social tensions between Boston's Irish-American community and the city's upper class.
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- Copyright © The Society for American Music 2016
References
References
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Dvořák, Antonín. Symphony No. 9 in G Major, “From the New World,” Op. 95. Berlin: N. Simrock, 1894.Google Scholar
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Amy Cheney Beach Papers. Milne Special Collections. Dimond Library. University of New Hampshire, Dunham.Google Scholar
Archives Collection. Boston Symphony Orchestra.Google Scholar
Arthur Schmidt Papers. Music Division. Library of CongressGoogle Scholar
Music Division and Newspaper Collection. New York Public Library.Google Scholar
Atlantic MonthlyGoogle Scholar
Boston CourierGoogle Scholar
Boston Evening RecordGoogle Scholar
Boston HeraldGoogle Scholar
Boston PostGoogle Scholar
The Citizen: Dublin Monthly MagazineGoogle Scholar
The EtudeGoogle Scholar
Musical AmericaGoogle Scholar
Musical CourierGoogle Scholar
The Musical LeaderGoogle Scholar
New YorkGoogle Scholar
New York HeraldGoogle Scholar
New York TimesGoogle Scholar
The Sacred Heart ReviewGoogle Scholar
Mrs.Beach, H. H.A. “America's Musical Assertion of Herself Has Come to Stay.” Musical America 28 (19 October 1918): 5.Google Scholar
Mrs.Beach, H. H. “The ‘How’ of Creative Composition,” interview with Benjamin Brooks. Etude 61, no. 3 (March 1943): 208.Google Scholar
Beckerman, Michael. New Worlds of Dvořák: Searching in America for the Composer's Inner Life. New York: W. W. Norton, 2003.Google Scholar
Beckert, Sven. The Monied Metropolis: New York City and the Consolidation of the American Bourgeoisie, 1850–1896. Cambridge: Cambridge University Press, 2001.Google Scholar
Berlioz, Hector. Grand traité d'instrumentation et d'orchestration modernes, op. 10. Paris: Schonenberger, 1855.Google Scholar
Berry, Paul. Brahms among Friends: Listening, Performance, and the Rhetoric of Allusion. New York: Oxford University Press, 2014.Google Scholar
Bledstein, Burton J. and Johnston, Robert D., eds. The Middling Sorts: Explorations in the History of the American Middle Class. London: Routledge, 2001.Google Scholar
Block, Adrienne Fried. Amy Beach: Passionate Victorian. New York: Oxford University Press, 1998.Google Scholar
Block, Adrienne Fried. “Amy Beach's Quartet on Inuit Themes: Toward a Modernist Style.” Introduction to Quartet for Strings (In One Movement) Opus 89, edited by Fried Block, Adrienne, Music of the United States of America 3, edited by Crawford, Richard. Madison, WI: A-R Editions, 1994.Google Scholar
Block, Adrienne Fried. “The Child is the Mother of the Woman: Amy Beach's New England Upbringing.” In Cecilia Reclaimed: Feminist Perspectives on Gender and Music, edited by Cook, Susan C. and Tsou, Judy S., 107–33. Urbana: University of Illinois Press, 1994.Google Scholar
Block, Adrienne Fried. “Dvořák, Beach, and American Music.” In A Celebration of American Music: Words and Music in Honor of H. Wiley Hitchcock, edited by Richard Crawford, R.Lott, Allen, and Oja, Carol, 256–80. Ann Arbor: University of Michigan Press, 1990.Google Scholar
Bomberger, E. Douglas. “A Tidal Wave of Encouragement”: American Composers’ Concerts in the Gilded Age. Westport, CT: Praeger, 2002.Google Scholar
Bonds, Mark Evan. After Beethoven: Imperatives of Originality in the Symphony. Cambridge, MA: Harvard University Press, 1997.Google Scholar
Bonds, Mark Evan. Music as Thought: Listening to the Symphony in the Age of Beethoven. Princeton, NJ: Princeton University Press, 2006.Google Scholar
Broyles, Michael. “Music of the Highest Class”: Elitism and Populism in Antebellum Boston. New Haven, CT: Yale University Press, 1992.Google Scholar
Burkholder, J. Peter. “The Uses of Existing Music: Musical Borrowing as a Field.” Notes: Quarterly Journal of the Music Library Association 50, no. 3 (March 1994): 851–70.Google Scholar
Crawford, Richard. The American Musical Landscape: The Business of Musicianship from Billings to Gershwin. Updated edition. Berkeley: University of California Press, 2000.Google Scholar
Crawford, Richard. “Edward MacDowell: Musical Nationalism and an American Tone Poet.” Journal of the American Musicological Society 49, no. 3 (Fall 1996): 528–60.Google Scholar
Erie, Stephen P.Rainbow's End: Irish-Americans and the Dilemmas of Urban Machine Politics, 1840–1985. California Series on Social Choice and Political Economy 15. Berkeley: University of California Press, 1988.Google Scholar
Fanning, Charles. The Irish Voice in America: 250 Years of Irish-American Fiction. 2nd ed. Lexington: University Press of Kentucky, 2000.Google Scholar
Gardner, Kara Anne. “Living by the Ladies’ Smiles: The Feminization of American Music and the Modernist Reaction.” PhD diss., Stanford University, 1999.Google Scholar
Gerk, Sarah. “A Critical Reception History of Amy Beach's Gaelic Symphony.” Master's thesis, California State University, Long Beach, 2006.Google Scholar
Gerk, Sarah. “Away O'er the Ocean Go Journeymen, Cowboys, and Fiddlers: The Irish in Nineteenth-Century American Music.” Ph.D. diss., University of Michigan, 2014.Google Scholar
Hitchcock, H. Wiley. Music in the United States, Prentice-Hall History of Music Series. Englewood Cliffs, NJ: Prentice-Hall, 1969.Google Scholar
Hutchinson, John. The Dynamics of Cultural Nationalism: The Gaelic Revival and the Creation of the Irish Nation State. London: Allen and Unwin, 1987.Google Scholar
Hyde, Douglas. “The Necessity for De-Anglicizing Ireland.” In Irish Writing in the Twentieth Century: A Reader, ed. Pierce, David, 2–12. Cork, Ireland: Cork University Press, 2000.Google Scholar
Jenkins, Walter S.The Remarkable Mrs. Beach, American Composer. Detroit Monographs in Musicology 13. Warren, MI: Harmonie Park Press, 1994.Google Scholar
Klein, Michael L.Intertextuality in Western Art Music. Bloomington: Indiana University Press, 2005.Google Scholar
Laemmli, Amy. “Amy Beach: The Victorian Woman, the Autism Spectrum, and Compositional Style.” Master's thesis, University of Missouri, Columbia, 2012.Google Scholar
Lee, J. J., and Casey, Marion. Making the Irish American: History and Heritage of the Irish in the United States. New York: New York University Press, 2006.Google Scholar
Lloyd, David. “The Memory of Hunger.” In Irish Hunger: Personal Reflections on the Legacy of the Famine, ed. Hayden, Tom, 32–47. Boulder, CO: Roberts Rinehart, 1997.Google Scholar
Lynch-Brennan, Margaret. The Life of the Irish Bridget: Irish Immigrant Women in Domestic Service in America, 1840–1930. Syracuse, NY: Syracuse University Press, 2009.Google Scholar
Marston, Nicholas. “Schumann's Monument to Beethoven.” 19th-Century Music 14, no. 3 (Spring 1991): 247–64.Google Scholar
McBride, Ian. History and Memory in Modern Ireland. Cambridge: Cambridge University Press, 2001.Google Scholar
McCaffrey, Lawrence J.The Irish Catholic Diaspora in America. Rev. ed. Washington, D.C.: Catholic University of America Press, 1997.Google Scholar
Meagher, Timothy. Inventing Irish America: Generation, Class, and Ethnic Identity in a New England City, 1880–1928. The Irish in America. South Bend, IN: Notre Dame University Press, 2001.Google Scholar
Mercer-Taylor, Peter. “Rethinking Mendelssohn's Historicism: A Lesson from St. Paul.” Journal of Musicology 15, no. 2 (Spring 1997): 208–29.Google Scholar
Miller, Kerby. Emigrants and Exiles: Ireland and the Irish Exodus to North America. Oxford: Oxford University Press, 1985.Google Scholar
Mulvey, Helen F.Thomas Davis and Ireland: A Biographical Study. Washington, D.C.: Catholic University of America Press, 2003.Google Scholar
Newman, William E. and Holton, Wilfred E.. Boston's Back Bay: The Story of America's Greatest Nineteenth-Century Landfill Project. Lebanon, NH: University Press of New England, 2006.Google Scholar
O'Connor, Thomas. The Boston Irish: A Political History. Boston: Northeastern University Press, 1995.Google Scholar
Ó Gráda, Cormac. “Seasonal Migration and Post-Famine Adjustment in the West of Ireland.” Studia Hibernica 13 (1975): 48–76.Google Scholar
Pethica, James. “The Irish Literary Revival.” In Companion to British Literature, ed. DeMaria, R., Chang, H., and Zacher, S., 4:160–74. Oxford: John Wiley & Sons, 2014.Google Scholar
Preston, Katherine K. “American Orchestral Music at the Middle of the Nineteenth Century: Louis Antoine Jullien and George Bristow's ‘Jullien’ Symphony.” In Symphony No. 2 in D Minor, Op. 24 (“Jullien”), by Frederick Bristow, George, edited by Preston, Katherine K., xv–cvi. Music of the United States of America 23. Middleton, WI: A-R Editions, 2011.Google Scholar
Reynolds, Christopher Alan. Motives for Allusion: Context and Content in Nineteenth-Century Music. Cambridge, MA: Harvard University Press, 2003.Google Scholar
Shadle, Douglas. “Louis Moreau Gottschalk's Pan-American Symphonic Ideal.” American Music 29, no. 4 (Winter 2011): 443–71.Google Scholar
Shadle, Douglas. “Music of a More Perfect Union: Symphonic Constructions of American National Identity, 1840–1870.” Ph.D. diss., University of North Carolina at Chapel Hill, 2010.Google Scholar
Shadle, Douglas. Orchestrating the Nation: The Nineteenth-Century American Symphonic Enterprise. New York: Oxford University Press, 2016.Google Scholar
Tibbetts, John C., ed. Dvořák in America, 1892–1895. Portland, OR: Amadeus Press, 1993.Google Scholar
Vaughn, W. E. and Moody, T. W., ed. A New History of Ireland, vol. 6. Ireland Under the Union, Pt. II, 1870–1921. Oxford: Oxford University Press, 2010.Google Scholar
Weber, William. “Cosmopolitan, National, and Regional Identities in Eighteenth-Century European Musical Life.” In The Oxford Handbook of the New Cultural History of Music, edited by Fulcher, Jane, 209–27. Oxford: Oxford University Press, 2011.Google Scholar
Wells, Paul F. “Elias Howe, William Bradbury Ryan, and Irish Music in Nineteenth-Century Boston.” “Irish Music and Musicians in the United States,” edited by Wells, Paul F. and Sommers Smith, Sally K.. Journal of the Society for American Music 4, no. 4 (November 2010): 401–20.CrossRefGoogle Scholar
Williams, William H. A.’Twas Only an Irishman's Dream: The Image of Ireland and the Irish in American Popular Song Lyrics, 1800–1920. Music in American Life. Urbana: University of Illinois Press, 1996.Google Scholar
Beach, Amy. “Dark is the Night.” In Three Songs for Voice and Piano, Op. 11, with text by William Ernest Henley. Boston: Arthur P. Schmidt, ca. 1889.Google Scholar
Crouch, Frederick. “Kathleen Mavourneen.” New York: Horace Waters, n.d. (the song was written in 1837).Google Scholar
Dvořák, Antonín. Symphony No. 9 in G Major, “From the New World,” Op. 95. Berlin: N. Simrock, 1894.Google Scholar
Moore, Thomas, text, and Sir John Stevenson, musical arrangement. “’Tis the Last Rose of Summer.” In Irish Melodies. Vol. 5. London: J. and W. Power, 1813.Google Scholar
Saint-Saëns, Camille. Violin Concerto No. 3 in B minor, Op. 61. Edited by Jost, Peter, Umbreit, Johannes, and Schliephake, Ernst. Munich: G. Henle, 2002.Google Scholar