Sacred and Secular Intersections in Music of the Long Nineteenth Century: Church, Stage, and Concert Hall

Sacred and Secular Intersections in Music of the Long Nineteenth Century: Church, Stage, and Concert Hall explores interconnections of the sacred and the secular in music and aesthetic debates of the long nineteenth century. The essays in this volume view the category of the sacred not as a monolithic attribute that applies only to music written for and performed in a religious ritual. Rather, the “sacred” is viewed as a functional as well as a topical category that enhances the discourse of cross-pollination of musical vocabularies between sacred and secular compositions, church and concert music. Using a variety of methodological approaches, the contributors articulate how sacred and religious identities coalesce, reconcile, fuse, or intersect in works from the long nineteenth century that traverse an array of genres and compositional styles.

Table of Contents:
Contents Introduction Eftychia Papanikolaou and Markus Rathey Religion, Music, and the Romantic Imagination Chapter 1. Music for the “Cultured Despisers” of Religion: Schleiermacher on Singing in Church and Beyond Joyce L. Irwin Chapter 2. The Cross and the Wanderer: From the Sacred to the Secular in the Early Nineteenth Century Joseph E. Morgan Chapter 3. The Sacred Looking Glass: Imaginative Children's Music as Syncretic Nexus Matthew Roy Sacred and Secular Drama on the Stage Chapter 4. Reassessing Robert Schumann’s Motivations for Composing a Mass and Requiem Sonja Wermager Chapter 5. Spirituality and the Fugal Topos in the Secular Dramatic Works of Robert Schumann Christopher Ruth Chapter 6. Hieratic Iconoclasm: Liszt, Hanslick, and the Graner Festmesse Eftychia Papanikolaou Chapter 7. Sacred Moments in the Secular Dramatic Works of Arthur Sullivan Matthew Hoch Counterpoint and Chorale in Instrumental Music Chapter 8. Redeeming Chamber Music: Experiencing Solace in Mendelssohn’s Late Chamber Music Siegwart Reichwald Chapter 9. Felix Mendelssohn’s Lobgesang: “Imaginary Church Music” or a Sublime Symphony? Joshua A. Waggener Chapter 10. The Italian Reception in Bach’s Keyboard Works and Passions: Intersections of the Sacred and the Secular Chiara Bertoglio Echoes of the Sacred in French Music after the Revolution Chapter 11. “The Habit Does Not Make the Monk”: Rethinking Anti-Clericalism in French Revolutionary Opéras-Comiques Callum Blackmore Chapter 12. Biblical Boulevards: Sounding the Ralliement on Parisian Popular Stages Jennifer Walker Chapter 13. Debussy’s Religion of Art in His Trois mélodies de Verlaine Megan Sarno Sacred Songs and Memory in North American Music Chapter 14. “Old 100th,” Militarization, and Nostalgia During the American Civil War James A. Davis Chapter 15. Mourning, Judgment, and Resurrection: Christian Imagery in Reconstruction Sheet Music Thomas J. Kernan Chapter 16. Spirituals Share the Stage with Mozart and Beethoven: The Germany Tour of the Fisk Jubilee Singers in 1877/78 and the Responses of the German Press Markus Rathey Music, Rite, and Identity in Eastern Europe and Russia Chapter 17. Veiled Allusions to the Sacred: Secular Music During the Partitions of Poland Bogumila Mika Chapter 18. Futurist Constructions of the Sacred: The Ballets Russes, Liturgie, and the Problem of a Musical Score Barbara Swanson Chapter 19. (Re)constructing Medieval Rus’ in Kastalsky’s Furnace Rite David Salkowski About the Contributors