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'O, Du Gyldne Maskarade!' ‘O, du gyldne Maskarade!’ ‘Oh, golden masquerade!’ The construction of Danish national identity in Carl Nielsen’s Maskarade (1906) Aksel Dalmo Tollåli Master’s thesis, Department of Musicology Faculty of Humanities UNIVERSITY OF OSLO Spring 2019 I II ‘O, du gyldne Maskarade!’ ‘Oh, golden masquerade!’ Constructions of Danish national identity in Carl Nielsen’s opera Maskarade (1906) Aksel Dalmo Tollåli Master’s thesis, Department of Musicology Faculty of Humanities University of Oslo Spring 2019 III © Aksel Dalmo Tollåli, 2019 ‘O, du gyldne Maskarade!’ (‘Oh, golden masquerade!’) Constructions of Danish national identity in Carl Nielsen’s opera Maskarade (1906) Aksel Dalmo Tollåli http://www.duo.uio.no/ IV Abstract This thesis explores the portrayal of Danish national identity in Carl Nielsen and Vilhelm Andersen’s opera Maskarade (1906). The opera is markedly different in its portrayal of Danish identity – Danishness – than the Danish operas of the 19th century, which were generally characterised by nationalist tropes of rural mediaeval glory or folk mythology, with scores heavily reliant on the folk-like strophic song. Maskarade presents a much greater musical stylistic variety, and is also a comedy, set in the Danish capital Copenhagen, among the bourgeoisie in the early 18th century. The thesis also examins potential reasons for the Maskarade’s rapid success within Denmark and status as a national opera. It seeks to investigate how Maskarade relates to previous Danish music drama, and to place it in a wider Danish operatic history, as well as look at its critical reception between the premiere and its 25th anniversary revival in 1931. While the thesis offers no conclusive answer to the question of Maskarade’s success in its first 25 years, it does posit that a main reason was the increasing fame of Carl Nielsen in that same period. It also sees in the critical reception of the opera that it was considered to be a new kind of opera, one which synthesised Danish and foreign elements into something specifically Danish-sounding. The critical analysis and historical contextualisation show that while Maskarade presents a more future-oriented Danishness than the operas of the 19th century, it is in constant dialogue with the musical, stylistic and narrative tropes of those same operas. The Danishness that Maskarade communicates is complex and changing in nature, but it is largely presenting a positive view of an idealised Danish society, in which freedom and equality reign. Maskarade manages to unite the tropes of 19th Century Danish music drama whilst at the same time breaking with its conventions. V VI Acknowledgements I first discovered the music of Carl Nielsen, and – perhaps more importantly – his opera Maskarade as a student at Toneheim Folkehøgskole, back in 2011. I found a recording at the public library in Hamar and was immediately infatuated with the sound world of the opera, its fast-changing music and fast-paced dialogue. A few years later, I wrote an article on the opera for Nielsen’s 150th anniversary, and from then on, I was utterly obsessed. This thesis has been long in the making, with rather a few obstacles thrown in for added excitement. But now, at long last, it’s finished. I want to profusely thank my two supervisors, Nanette Nielsen and Erling Guldbrandsen. Without your patience, encouragement, helpful nudges in the right direction and invaluable feedback, this thesis would never have been finished. I also want to thank my parents for your untiring support and being seemingly inexhaustible sources of motivation. Thank you also for acting as sounding boards and helping me formulate this thesis, and for your enthusiastic feedback. I may not have seemed particularly receptive to it at the time, but it was nevertheless immensely helpful. Thank you also to Mark Pullinger of Bachtrack. I don’t think my obsession with Maskarade would have taken over to quite the extent it has, had you not let me write that article, those years ago. Last, but by absolutely no means least, thank you to Jack. You’ve been by my side for this whole process, and I truly could not have done this without your unflinching support. Thank you for hot meals, an occasional shoulder to cry on, words of encouragement, engaging discussions, late nights of proofreading, and for having the patience of a saint as I’ve been writing this thesis. Oslo, 26 April, 2019 Aksel Dalmo Tollåli VII VIII Table of Contents Abstract ................................................................................................................................................. V Acknowledgements ............................................................................................................................. VII Chapter 1 – Introduction ...................................................................................................................... 1 1.1 The current state of Nielsen research ...................................................................................... 2 1.2 Presentation of source material ............................................................................................... 5 1.3 Methodological approaches ..................................................................................................... 8 1.4 Thesis Outline ........................................................................................................................ 14 1.5 Clarifications ......................................................................................................................... 16 Chapter 2 – Historical contexts .......................................................................................................... 18 2.1 Introduction ........................................................................................................................... 18 2.2 (Musical) nationalism and national identity in 19th century Denmark .................................. 19 2.3 Maskarade and Nielsen’s notions of Danishness .................................................................. 30 2.4 Bacchustoget and literary intoxication – Maskarade’s literary context ................................ 35 2.5 Maskarade and its early reception ......................................................................................... 43 Chapter 3 – Analysis ........................................................................................................................... 55 3.1 ‘Er der nogen som kan hamle op med Danmarks gamle Helte?’ – Conceptions of Danishness in Maskarade ......................................................................................................................... 59 3.1.1 Henrik’s aria – Act 1, Scene 4 ....................................................................................... 59 3.1.2 Jeronimus’ rage aria – Act 2, Scene 12 ......................................................................... 64 3.1.3 The Prelude to Act 2 and the Night Watchman’s songs ................................................ 68 3.2 Saa muntert disse Rim i Øret krille.’ – Stylistic diversity ..................................................... 73 3.2.1 Jeronimus’ song – Act 1, Scene 4; Leander’s aria – Act 2, Scene 7 ............................. 74 3.2.2 The love duets of Act 3 – Leander and Leonora; Henrik and Pernille .......................... 78 3.3 ‘Hvad er her for Kommers?’ – Masquerading, dancing and the idea of the Bacchian .......... 81 3.3.1 Magdelone’s Dancing Scene – Act 1, Scene 2 .............................................................. 82 3.3.2 Act 3: ‘Mars and Venus’, the songs of the Tutor and Corporal Mors ........................... 84 Chapter 4 – Summaries ...................................................................................................................... 89 4.1 Maskarade, Danish national identity and 19th century Danish music drama ........................ 89 4.2 Maskarade’s early reception and popularity .......................................................................... 92 4.3 Final thoughts ........................................................................................................................ 93 Appendix 1 ........................................................................................................................................... 96 Maskarade, a scene-by-scene synopsis ............................................................................................. 96 ACT I ............................................................................................................................................. 96 ACT II ........................................................................................................................................... 97 ACT III .......................................................................................................................................... 99 Bibliography ...................................................................................................................................... 103 IX Chapter 1 – Introduction At first glance, Carl Nielsen’s second opera, Maskarade (1906), seems distinctly different from the Danish operas that preceded it. Yet from its very premiere, it was considered to be a specifically Danish opera, and soon gained the status of a national opera. Whereas the Danish opera and musical drama of the 19th century was largely centred around the explicitly nationalist tropes of mediaeval history or folk mythology
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