Palestrina and the German Romantic Imagination: Interpreting Historicism in Nineteenth-Century Music (Musical Performance and Reception)

James Garratt explores the revival of sixteenth-century music in nineteenth-century Germany, focusing on the reception of Palestrina by critics, historians, performers and composers. He demonstrates that the Palestrina revival was just as significant for nineteenth-century culture as parallel movements in the other arts. This study is of relevance to scholars, students and devotees of nineteenth-century music, as well as those with interests in nineteenth-century culture, art, architecture, literature and aesthetics, the history of church music and the early music revival. Cover......Page 1 Half-title......Page 3 Series-title......Page 4 Title......Page 7 Copyright......Page 8 Dedication......Page 9 Contents......Page 11 Acknowledgements......Page 13 Abbreviations......Page 15 Introduction......Page 17 ORIGINALITY: CONSENSUS OR CONTROVERSY?......Page 25 ‘ON THE BENEFIT AND DETRIMENT OF HISTORY’......Page 28 Monumental history......Page 31 Antiquarian history......Page 34 Critical history......Page 37 HEGEL, HISTORICISM AND THE ‘DECAY AND DISINTEGRATION OF ART’......Page 44 HOFFMANN AND THE ROMANTIC IDEALIZATION OF PALESTRINA......Page 52 PALESTRINA AND THE ROMANTIC NEW MYTHOLOGY......Page 63 PALESTRINA AND ABSOLUTE VOCAL MUSIC......Page 68 PALESTRINA AND THE MODERN COMPOSER......Page 73 OLD ITALIAN MUSIC, BILDUNG AND THE GERMAN SINGVEREINE......Page 78 QUASI-LITURGICAL MUSIC: SPOHR AND NICOLAI......Page 85 MENDELSSOHN AND THE BERLIN PALESTRINA REVIVAL......Page 94 Mendelssohn and the Berlin Domchor......Page 100 WINTERFELD AND THE HISTORICAL PALESTRINA......Page 109 BROADER TRENDS IN PERFORMANCE AND COMPOSITION......Page 114 PALESTRINA AND THE PRIMACY OF VOCAL MUSIC......Page 125 Bellermann’s Contrapunkt......Page 137 Grell’s Missa solemnis......Page 144 TRADITION AND REFORM......Page 149 Proske and Musica divina......Page 157 WITT AND THE ALLGEMEINE DEUTSCHE CÄCILIEN-VEREIN......Page 160 ‘What must modern church composers avoid?’......Page 165 The ‘Wittian style’ and the Raphaels-Messe......Page 169 BROADER TRENDS IN COMPOSITION: PALESTRINIANISM......Page 177 COMPLETING PALESTRINA: HABERL, HALLER AND THE GESAMTAUSGABE......Page 184 LITURGICAL FUNCTION AND AESTHETIC VALUE......Page 189 LISZT, BRUCKNER AND THE PALESTRINA REVIVAL......Page 197 Liszt, Bruckner and the ACV......Page 200 The later liturgical compositions of Liszt and Bruckner......Page 206 Liszt’s Missa choralis and Bruckner’s Mass in E minor......Page 223 PALESTRINA IN SECULAR AND NON-LITURGICAL MUSIC......Page 230 WAGNER’S ‘STABAT MATER’ AND THE POETICS OF ARRANGEMENT......Page 238 LISZT, WAGNER AND ALLUSION......Page 243 6 Interpreting the secondary discourse of nineteenth-century music......Page 257 1 HISTORICISM IN NINETEENTH-CENTURY ART, AESTHETICS AND CULTURE......Page 277 2 ROMANTICISM AND THE PROBLEM OF CHURCH MUSIC......Page 282 3 THE PROTESTANT PALESTRINA REVIVAL......Page 287 4 THE CATHOLIC PALESTRINA REVIVAL......Page 295 5 PALESTRINA IN THE CONCERT HALL......Page 306 6 INTERPRETING THE SECONDARY DISCOURSE OF NINETEENTH-CENTURY MUSIC......Page 309 PRIMARY SOURCES......Page 312 SECONDARY SOURCES......Page 317 Index......Page 327 Focusing On The Reception Of Palestrina, This Bold Interdisciplinary Study Explains How And Why The Works Of A Sixteenth-century Composer Came To Be Viewed As A Paradigm For Modern Church Music. It Explores The Diverse Ways In Which Later Composers Responded To His Works And Style, And Expounds A Provocative New Model For Interpreting Compositional Historicism. In Addition To Presenting Insights Into The Works Of Bruckner, Mendelssohn And Liszt, The Book Offers New Perspectives On The Institutional, Aesthetic And Ideological Frameworks Sustaining The Cultivation Of Choral Music In This Period. This Is The First Modern Publication To Provide An Overview And Analysis Of The Relation Between The Palestrina Revival And Nineteenth-century Composition, And It Demonstrates That The Palestrina Revival Was Just As Significant For Nineteenth-century Culture As Parallel Movements In The Other Arts, Such As The Gothic Revival.--jacket. Historicism In Nineteenth-century Art, Aesthetics And Culture -- Romanticism And The Problem Of Church Music -- Protestant Palestrina Revival -- Catholic Palestrina Revival -- Palestrina In The Concert Hall -- Interpreting The Secondary Discourse Of Nineteenth-century Music. James Garratt. Includes Bibliographical References (p. 296-310) And Index. Focusing on the reception of Palestrina, this bold interdisciplinary study explains how and why the works of a sixteenth-century composer came to be viewed as a paradigm for modern church music. It explores the diverse ways in which later composers responded to his works and style, and expounds a provocative model for interpreting compositional historicism. In addition to presenting insights into the works of Bruckner, Mendelssohn and Liszt, the book offers fresh perspectives on the institutional, aesthetic and ideological frameworks sustaining the cultivation of choral music in this period. This publication provides an overview and analysis of the relation between the Palestrina revival and nineteenth-century composition and it demonstrates that the Palestrina revival was just as significant for nineteenth-century culture as parallel movements in the other arts, such as the Gothic revival. James Garratt explores the revival of sixteenth-century music in nineteenth-century Germany, focusing on the reception of Palestrina by critics, historians, performers and composers. Of relevance to scholars, students and devotees of nineteenth-century music, and those interested in nineteenth-century culture, art, architecture, literature and aesthetics, and the early music revival The relation between nineteenth-century compositions and Palestrina's music presents an intractable aesthetic problem: how were composers and their audiences able to reconcile the compositional use of the music of the past with the Romantic imperatives of originality, authenticity and contemporaneity?