By Donald Francis, Sir Tovey
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Additional resources for A Companion to Beethoven's Pianoforte Sonatas: Complete Analyses
70 71 34 National Contexts virtuoso Ole Bull. 75 He had taken an elemental course in music theory in Christiania in 1829, and hoped to study general bass with the violinist Ernst in Paris in 1831, following the trend established by other Norwegian musicians who sought their professional classical training abroad. Ironically, it was during his time in Paris in the early 1830s, accompanied by a Hardanger ddle (hardingfele) and a collection of the melodies of the Hardanger ddler Torgeir Augundsson (better known as Myllarguten, ‘the Miller’s Boy’), that Bull’s enthusiasm for Norwegian nationalism rst gained momentum.
83 ‘I dette tidsrummet behøvde Ludvig Matthias Lindeman ikke å reise utpå bygdene for å samle inn folketoner. ’ Herresthal, Med spark i gulvet, 102. 84 Folk music in the central and eastern regions, around Christiania, Gudbrandsdal and the Swedish border, was dominated by more recent dance forms (confusingly known as gammeldans or ‘old dance’) such as the ‘pols’, ‘Rheinlander’ and the ‘vals’, which were (polemically) not regarded as ‘Norwegian’ in the same way as the dance forms in the south-west.
Ystein Sørensen, KULT skriftserie no. 30, Nasjonal identitet no. 5 (Oslo: Noregs Forskningsråd, 1994), 191–209. 42 Hobsbawm, The Age of Capital, 230. 43 Chris Goertzen, Fiddling for Norway: Revival and Identity (Chicago: Chicago University Press, 1997), 6. 40 41 24 National Contexts progress (in an attempt to arrest perceived social-economic decline), and inspiring a reactionary celebration of the folk in a mood of nostalgic retrospection. Hobsbawm suggests cautiously that: The mutual aid and protection of emigrants may have contributed to the growth of nationalism in their nations, but it is not enough to explain it.
A Companion to Beethoven's Pianoforte Sonatas: Complete Analyses by Donald Francis, Sir Tovey