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"Fauser, Annegret"
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Musical Heritage, Alterity, and Transnational Migration: Wanda Landowska’s Musical Lives
Musical Heritage, Alterity, and Transnational Migration: Wanda Landowska’s Musical LivesIn 1925 Wanda Landowska bought property in the genteel town of Saint-Leu-la-Forêt, northwest of Paris, and built, between 1926 and 1927, “a temple to music” in her garden. Famous across the musical world as a performer, composer, teacher, consultant and scholar, Landowska was ready to find a home for her gynocentric household after decades of cross-border movement. She had lived in Warsaw, Paris and Berlin, and was traveling extensively through Europe, the Middle East, Argentine and the United States. Throughout all her years of mobility, however, Landowska carried with her a constant sense of musical heritage to be preserved, cherished, and revived through performance and creation, through study and through joyful conviviality. She assembled a distinguished library and instrument collection that included such prized items as Chopin’s upright piano that he had used in Mallorca in 1838. Yet what Landowska had envisaged as her “ forever home” was overrun by Nazi plunderers in 1940 who stole her belongings as Landowska moved, once more, to save her life—this time across the Atlantic, to New York where she arrived on the day after Pearl Harbor. Here, too, her deep investment in a transnational musical heritage became a lodestone that guided her through exile. I address the complex issue of musical heritage in the musical lives of Wanda Landowska as it relates to matters of identity, gender, race, displacement, and creativity. By engaging caringly with the core values of a displaced woman-identified, queer musician of Jewish Polish descent, I propose to rethink how musical heritage might be thought from Landowska’s unique and vulnerable positionality.
Journal Article
French Entanglements in International Musicology during the Interwar Years
La musicologie française a été profondément intriquée dans la communauté académique internationale, mais la Première Guerre mondiale fut un tournant dans le champ de la recherche musicologique, qui avait été concurrentiel de longue date. Cet article présente un aspect de l’histoire de la musicologie française dans l’après-guerre selon une perspective transnationale. Il retrace les lignes d’intersection entre la musicologie française et les communautés musicologiques internationales. Explorant dans un premier temps le rétablissement des discours transfrontaliers à travers les correspondances entre musicologues, il se concentre ensuite sur deux cas particuliers: l’Union musicologique, établie en 1921 aux Pays-Bas en tant que zone neutre, et la fondation, en 1927, de la Société internationale de musicologie (SIM). La discussion aborde leurs périodiques respectifs ainsi que le rôle des chercheurs français dans leurs activités.
In international scholarship, French musicology was thoroughly entangled, with World War I a watershed, in what had long been a decidedly competitive field of musicological research. This article, taking a transnational perspective, offers a contribution to its postwar history by tracing in detail how French musicology intersected with international communities. After exploring the re-establishment of cross-border networks of discourse by means of correspondence among musicologists, it focuses on two case studies: the founding of the Union musicologique, in the neutral zone of the Netherlands, in 1921, and the founding of the International Musicological Society, in 1927. It engages with their respective journals and discusses the role of French scholars in their activities.
Journal Article
The Scholar behind the Medal: Edward J. Dent (1876-1957) and the Politics of Music History
This article engages with issues of musical historiography and politics - mainly in the 1930s and 1940s - through the example of Edward J. Dent, a towering figure of international musical and musicological life during that period. Dent's career was tightly interwoven with musical and musicological practice both in Britain and in the wider Western world. It offers a fascinating access point to European musical modernism on the one hand, and to mid-century concerns with the uses of music history on the other. In this article, I focus on these aspects of Dent's career and their intersections by exploring first Dent's involvement with the International Society for Contemporary Music, before turning to two further and closely related issues: Dent's scholarly work of that period - especially his turn to Handel - and his involvement in international cultural politics during the 1930s and 1940s.
Journal Article
Editorial: Trends and Serendipities
[...] to resist any essentializing pigeonholing of so-called Western classical musics on the one hand, and African American popular musics on the other, opens the path for a powerful critique of racialist stereotyping in musicological scholarship. All told, diese texts could well be read as mirroring some current trends in musicological writing: they engage deeply with music's texts and context by grounding their work in archival research (\"archive\" in a Foucauldian sense), their topics take on musical insiders, outsiders and boundaries, and they challenge - either implicidy or expllcidy - historiographical orthodoxy. [...] although it was not, and could not be, conceived as such, this issue presents an intriguing slice of cultural musicology at its best.
Journal Article
“Dixie Carmen”: War, Race, and Identity in Oscar Hammerstein's Carmen Jones (1943)
In December 1943, an all–African American cast starred in the Broadway premiere of Carmen Jones, Oscar Hammerstein II's adaptation of Georges Bizet's Carmen. When Hammerstein began work on Carmen Jones a month after Pearl Harbor, in January 1942, Porgy and Bess was just being revived. Hammerstein's 1942 version of Carmen, set in a Southern town and among African Americans, shows the influence of the revised version of Porgy and Bess, with Catfish Row echoed in a cigarette factory in South Carolina and the Hoity Toity night club. It took Hammerstein more than eighteen months to find a producer, and when the show opened by the end of 1943, the setting in a parachute factory and urban Chicago reflected new priorities brought on by wartime changes. Commercially one of the most successful musical plays on Broadway during its run of 503 performances, Carmen Jones offers a window on the changing issues of culture, class, and race in the United States during World War II. New archival evidence reveals that these topics were part of the work's genesis and production as much as of its reception. This article contextualizes Carmen Jones by focusing on the complex issues of war, race, and identity in the United States in 1942 and 1943.
Journal Article
Aaron Copland, Nadia Boulanger, and the Making of an “American” Composer
Fauser examines Aaron Copland's concepts of national identity in music, and, in consequence, how both the musical and the discursive aspects of his self-representation as an American composer can be relocated within the broader context of trans-Atlantic cultural politics of the 1920s and 1930s. Such a recontextualization offers perhaps a more nuanced understanding of Copland's self-fashioning as American within increasingly globalized cultural and political frameworks. Copland's experiences in France and the influence of Nadia Boulanger are key factors.
Journal Article
Creating Madame Landowska
Landowska's claim for artistic uniqueness, her increasing musical specialization as a harpsichordist, her (self-)representation as \"musical daughter\" of Bach, her emphasis on a special musical calling, the relentless rhetoric of exceptionality and artistic struggle not only characterize her (auto)biography since the 1940$ but also reflect key elements of women's professional strategies in the Parisian musical world around 1900.6 Her correspondence and other documents from these early years reveal that she was an active agent in the creation of her public persona while drawing on a support network that included her husband, Henri Lew, her impresario, Gabriel Astruc, and a host of wise if not always old men such as Charles Bordes and Leo Tolstoy.
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