Outlines:

1. Nationalism
   
   
   1. Reaction against the internationalism of the eighteenth century
      
      
   2. Composers chose subjects that reflect their patriotic feelings.
      1. Although his libretti were often based on foreign subjects, Verdi's themes reflected the Italian movement toward political unity.
      2. Wagner was seen as a leader of the German spirit.
         
         
   3. Folklore
      1. Folklore was used for exotic interest, not for nationalistic purposes, in the music of Haydn, Chopin, Liszt and others.
      2. Composers from England, France, the United States, and Eastern Europe used folklore to give their nationalistic music an ethnic identity.
         
         
2. Russia
   
   
   1. Background
      1. Until the nineteenth century Italian, French, and German composers dominated secular music in Russia.
      2. The first great Russian composer was Mikhail Glinka (1804–1857),
         1. Glinka's patriotic opera, Zhizn za tsarya (A Life for the Czar, 1836) established his reputation.
         2. Glinka used modal and whole-tone scales, chromaticism, and dissonance to portray Russian music, as well as folklike melodies and folksongs.
      3. Tchaikovsky was not interested in pursuing a national style but he used some Russian thematic subjects.
         
         
   2. The Mighty Handful
      1. Five composers banded together in the second half of the nineteenth century to study folk music and exotic scales. (see vignette in CHWM)
      2. Alexander Borodin (1833–1887), Modest Musorgsky (1839–1881), Mily Balakirev (1837–1910), César Cui (1835–1918), and Nikolay Rimsky–Korsakov (1844–1908)
      3. Mily Balakirev was the only one with conventional musical training.
         
         
   3. Modest Musorgsky (1839–1881), a civil servant who received his musical training from Balakirev, was the greatest of the Mighty Five
      1. He composed song cycles, instrumental music, and two operas.
      2. His text setting style is sensitive to the accents of Russian speech.
      3. He used Russian folk melodies occasionally, and their modality affected his compositional style.
      4. He used nonfunctional harmonic progressions, for example, NAWM 125, Okonchen prazdnyi shumnyi den (The idle, noisy day is over), which would influence Debussy (NAWM 128).
      5. Musorgsky's harmonic progressions derive from polyphonic folksinging and are revolutionary in terms of tonality.
      6. His opera Boris Godunov is a series of episodes using intensely dramatic and realistic musical depictions.
         
         
   4. Rimsky-Korsakov led some Russians toward a broader-based style that continued to use national idioms but admitted other methods.
      1. He studied with Balakirev and on his own.
      2. His works include symphonies, chamber music, symphonic poems, and operas.
      3. His style is characterized by bright orchestral colors and he wrote a treatise on orchestration.
      4. He taught Glazunov and Stravinsky.
         
         
   5. Sergei Rakhmaninov (1873–1943) was not interested in nationalism.
      1. He left Russia in 1917 and never returned.
      2. He composed piano concertos, symphonies, symphonic poems, and numerous songs.
         
         
   6. Alexander Skryabin (1872–1915)
      1. He developed a complex harmonic vocabulary of his own.
      2. His ten piano sonatas show the growth of this harmonic language.
      3. The last five sonatas do not have key signatures and verge on atonal.
      4. Complex chords serve as roots for each work's tonal hierarchy
      5. The "mystic" chord of Prometheus has whole-tone properties and is heard in several transpositions (CHWM, ex. 19.7).
      6. NAWM 126, Vers la flamme, uses the mystic chord with an added third.
      7. Skryabin aspired to a synthesis of the arts.
         
         
3. Other Countries
   
   
   1. Bohemia
      1. Part of the Austrian empire for centuries, so its music was in the mainstream of European musical style.
      2. Bedrich Smetana (1824–1884) and Antonín Dvorák composed using nationalistic themes in a mainstream musical language.
      3. Leos Janá¡cek (1854–1928) renounced Western European styles after 1890.
         1. He collected folk music.
         2. His mature style grew out of Moravian peasant speech and song.
         3. Jenufa (1903) and The Cunning Little Vixen (1924), both operas.
            
            
   2. Norway and Edvard Hagerup Grieg (1843–1907)
      1. Grieg composed music for plays.
      2. He arranged some folksongs and peasant dances for piano.
      3. His most nationalistic works are the songs on Norwegian texts and his choral music.
      4. The Slatter, arrangements of transcriptions of country fiddle playing, incorporate drone basses.
         
         
   3. Finland and Jean Sibelius (1865–1957)
      1. Sibelius was inspired by the literature of his country and a love of nature.
      2. Although he uses the Finnish national epic (the Kalevala) for his programs, he does not quote or imitate folksongs in his works or use overtly nationalistic idioms.
      3. His most important works include symphonies and symphonic poems.
         
         
   4. England and Edward Elgar (1857–1934)
      1. Enjoyed wide international recognition
      2. Style was influenced by Wagner.
      3. The new English school of nationalistic composers is discussed in Chapter 20.
         
         
   5. Spain
      1. Felipe Pedrell published editions of sixteenthcentury Spanish music and composed his own nationalistic works, including the opera, Los Pirineos (The Pyrenees).
      2. Isaac Albéniz (1860–1909) composed nationalistic works, such as his Iberia (1909), a piano suite using Spanish dance rhythms.
      3. Manuel de Falla (1876–1946)
         1. Folksong collections and arrangements
         2. Operas and ballets incorporating the styles of Spanish popular music
         3. His Nights in the Gardens of Spain (1916) are three "symphonic impressions" inspired by Spanish styles and Debussy.