Longing to Belong: Nationalism and Sentimentalism in the Second Violin Concertos of Bartók and Szymanowski. / Downes, Stephen.

Polski Rocznik Muzykologiczny. ed. / Iwona Lindstedt. Musicologists Section of the Polish Composers' Union/ PWM Edition, 2020.

Research output: Chapter in Book/Report/Conference proceedingConference contribution

Forthcoming

Standard

Longing to Belong: Nationalism and Sentimentalism in the Second Violin Concertos of Bartók and Szymanowski. / Downes, Stephen.

Polski Rocznik Muzykologiczny. ed. / Iwona Lindstedt. Musicologists Section of the Polish Composers' Union/ PWM Edition, 2020.

Research output: Chapter in Book/Report/Conference proceedingConference contribution

Harvard

Downes, S 2020, Longing to Belong: Nationalism and Sentimentalism in the Second Violin Concertos of Bartók and Szymanowski. in I Lindstedt (ed.), Polski Rocznik Muzykologiczny. Musicologists Section of the Polish Composers' Union/ PWM Edition.

APA

Downes, S. (Accepted/In press). Longing to Belong: Nationalism and Sentimentalism in the Second Violin Concertos of Bartók and Szymanowski. In I. Lindstedt (Ed.), Polski Rocznik Muzykologiczny Musicologists Section of the Polish Composers' Union/ PWM Edition.

Vancouver

Downes S. Longing to Belong: Nationalism and Sentimentalism in the Second Violin Concertos of Bartók and Szymanowski. In Lindstedt I, editor, Polski Rocznik Muzykologiczny. Musicologists Section of the Polish Composers' Union/ PWM Edition. 2020

Author

Downes, Stephen. / Longing to Belong: Nationalism and Sentimentalism in the Second Violin Concertos of Bartók and Szymanowski. Polski Rocznik Muzykologiczny. editor / Iwona Lindstedt. Musicologists Section of the Polish Composers' Union/ PWM Edition, 2020.

BibTeX

@inproceedings{a449f329e2a0474687236df51e3e82fd,
title = "Longing to Belong: Nationalism and Sentimentalism in the Second Violin Concertos of Bart{\'o}k and Szymanowski",
abstract = "The second violin concertos of Szymanowski and Bart{\'o}k exemplify nationalism’s ambivalently link with sentimentalism. Bart{\'o}k asserted that ‘peasant’ music is ‘anti-sentimental’ in its primitivistic objectivity and avoidance of leading notes. Bart{\'o}k invoked the contrast between rural authenticity and urban artifice. But as with so many binaries, the boundaries are unstable, with specific fluidity in the nationalist imagination. Bart{\'o}k’s Ssecond Violin cConcerto (1938) aimed to re-connect with his domestic audience through sympathetic union duringin anxious times. Recalling the leading-note idiom of his Ffirst Vviolin Cconcerto, it builds to a climactic moment of sentimental expression. Szymanowski praised Tatra music as a counter to the ‘exaggerated sentimentality’ of the romantic ‘epigones’. Like Bart{\'o}k, he publicly sought in ‘real’ folk music an alternative to this sentimentalism in his Second Violin Concerto. But privately he described the concerto as ‘horribly sentimental’ and like Bart{\'o}ok he recalls an apparently lost style to express a sentimentalism that hardly dare speak its name.",
author = "Stephen Downes",
year = "2020",
month = "3",
day = "1",
language = "English",
editor = "Iwona Lindstedt",
booktitle = "Polski Rocznik Muzykologiczny",
publisher = "Musicologists Section of the Polish Composers' Union/ PWM Edition",

}

RIS

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T1 - Longing to Belong: Nationalism and Sentimentalism in the Second Violin Concertos of Bartók and Szymanowski

AU - Downes, Stephen

PY - 2020/3/1

Y1 - 2020/3/1

N2 - The second violin concertos of Szymanowski and Bartók exemplify nationalism’s ambivalently link with sentimentalism. Bartók asserted that ‘peasant’ music is ‘anti-sentimental’ in its primitivistic objectivity and avoidance of leading notes. Bartók invoked the contrast between rural authenticity and urban artifice. But as with so many binaries, the boundaries are unstable, with specific fluidity in the nationalist imagination. Bartók’s Ssecond Violin cConcerto (1938) aimed to re-connect with his domestic audience through sympathetic union duringin anxious times. Recalling the leading-note idiom of his Ffirst Vviolin Cconcerto, it builds to a climactic moment of sentimental expression. Szymanowski praised Tatra music as a counter to the ‘exaggerated sentimentality’ of the romantic ‘epigones’. Like Bartók, he publicly sought in ‘real’ folk music an alternative to this sentimentalism in his Second Violin Concerto. But privately he described the concerto as ‘horribly sentimental’ and like Bartóok he recalls an apparently lost style to express a sentimentalism that hardly dare speak its name.

AB - The second violin concertos of Szymanowski and Bartók exemplify nationalism’s ambivalently link with sentimentalism. Bartók asserted that ‘peasant’ music is ‘anti-sentimental’ in its primitivistic objectivity and avoidance of leading notes. Bartók invoked the contrast between rural authenticity and urban artifice. But as with so many binaries, the boundaries are unstable, with specific fluidity in the nationalist imagination. Bartók’s Ssecond Violin cConcerto (1938) aimed to re-connect with his domestic audience through sympathetic union duringin anxious times. Recalling the leading-note idiom of his Ffirst Vviolin Cconcerto, it builds to a climactic moment of sentimental expression. Szymanowski praised Tatra music as a counter to the ‘exaggerated sentimentality’ of the romantic ‘epigones’. Like Bartók, he publicly sought in ‘real’ folk music an alternative to this sentimentalism in his Second Violin Concerto. But privately he described the concerto as ‘horribly sentimental’ and like Bartóok he recalls an apparently lost style to express a sentimentalism that hardly dare speak its name.

M3 - Conference contribution

BT - Polski Rocznik Muzykologiczny

A2 - Lindstedt, Iwona

PB - Musicologists Section of the Polish Composers' Union/ PWM Edition

ER -