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O Du Mein Österreich: Patriotic Music and Multinational Identity in The O du mein Österreich: Patriotic Music and Multinational Identity in the Austro-Hungarian Empire by Jason Stephen Heilman Department of Music Duke University Date: _______________________ Approved: ______________________________ Bryan R. Gilliam, Supervisor ______________________________ Scott Lindroth ______________________________ James Rolleston ______________________________ Malachi Hacohen Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the Graduate School of Duke University 2009 ABSTRACT O du mein Österreich: Patriotic Music and Multinational Identity in the Austro-Hungarian Empire by Jason Stephen Heilman Department of Music Duke University Date: _______________________ Approved: ______________________________ Bryan R. Gilliam, Supervisor ______________________________ Scott Lindroth ______________________________ James Rolleston ______________________________ Malachi Hacohen An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the Graduate School of Duke University 2009 Copyright by Jason Stephen Heilman 2009 Abstract As a multinational state with a population that spoke eleven different languages, the Austro-Hungarian Empire was considered an anachronism during the age of heightened nationalism leading up to the First World War. This situation has made the search for a single Austro-Hungarian identity so difficult that many historians have declared it impossible. Yet the Dual Monarchy possessed one potentially unifying cultural aspect that has long been critically neglected: the extensive repertoire of marches and patriotic music performed by the military bands of the Imperial and Royal Austro- Hungarian Army. This Militärmusik actively blended idioms representing the various nationalist musics from around the empire in an attempt to reflect and even celebrate its multinational makeup. Much in the same way that the Army took in recruits from all over the empire, its diverse Militärkapellmeister – many of whom were nationalists themselves – absorbed the local music of their garrison towns and incorporated it into their patriotic compositions. Though it flew in the face of the rampant ethnonationalism of the time, this Austro-Hungarian Militärmusik was an enormous popular success; Eduard Hanslick and Gustav Mahler were drawn to it, Joseph Roth and Stephan Zweig lionized it, and in 1914, hundreds of thousands of young men from every nation of the empire marched headlong to their ultimate deaths on the Eastern Front with the music of an Austro-Hungarian march in their ears. This dissertation explores how military instrumental music reflected a special kind of multinational Austro-Hungarian state identity between 1867 and 1914. In the iv first part of my dissertation, I examine the complex political backdrop of the era and discuss the role and demographic makeup of the k.u.k. Armee . I then go on to profile the military musicians themselves, describe the idiomatic instrumentation of the military ensembles, and analyze significant surviving works from this repertoire by Julius Fu čik and Carl Michel Ziehrer. The results of this study show how Austro-Hungarian Militärmusik synthesized conceptions of nationalism and cosmopolitanism to create a unique musical identity that, to paraphrase Kaiser Franz Joseph, brought together the best elements of each nation for the benefit of all. v Contents Abstract .............................................................................................................................. iv List of Tables .................................................................................................................... vii List of Figures .................................................................................................................. viii Acknowledgements ............................................................................................................. x Introduction: Whose Austria? ............................................................................................. 1 1. The Gesamtstaatsidee and its Adherents ...................................................................... 26 2. The Culture of the Joint Army ...................................................................................... 66 3. The Institution of Austro-Hungarian Militärmusik ....................................................... 95 4. The Marches and Marching Bands of Austria-Hungary ............................................. 142 5. Austro-Hungarian Tongemälde ................................................................................... 185 Conclusion: Unser Österreich ........................................................................................ 230 Bibliography ................................................................................................................... 243 Biography ........................................................................................................................ 265 vi List of Tables Table 1: Historische Märsche Instrumentation............................................................... 165 Table 2: Program numbers and selections from Ziehrer, Der Traum eines österreichischen Reservisten ........................................................................................... 193 vii List of Figures Figure 1: Map showing the constituent Crownlands of the Austro-Hungarian Empire in 1908................................................................................................................................... 32 Figure 2: Population Demographics of Austria-Hungary, 1910 ....................................... 33 Figure 3: Illustration of the Emperor Franz Joseph viewing his sixtieth jubilee parade, from the front page of Die Neue Zeitung , 13 June 1908 (courtesy ÖNB ANNO) ........... 64 Figure 4: Demographics of the Austro-Hungarian Army, 1865: All Ranks ..................... 83 Figure 5: Demographics of the Austro-Hungarian Army, 1910: All Ranks ..................... 84 Figure 6: Demographics of the Austro-Hungarian Army, 1910: Career Officers ............ 85 Figure 7: Militärkapellmeister of Austria-Hungary, 1904 (from Damanski), by birthplace ......................................................................................................................................... 130 Figure 8: Historische Märsche cover page (courtesy ÖNB) .......................................... 151 Figure 9: Historische Märsche Table of Contents, page 1 (courtesy ÖNB) ................... 152 Figure 10: Historische Märsche Table of Contents, page 2 (courtesy ÖNB) ................. 153 Figure 11: “Das ist mein Österreich” (refrain melody), by Franz von Suppé ................ 157 Figure 12: “O du mein Österreich” (trio climax), by Ferdinand Preis (1895 edition by Emil Kaiser) .................................................................................................................... 158 Figure 13: Three archetypical bell forms for brass instruments. .................................... 171 Figure 14: Feldjäger Infantry Trumpet signals from Nemetz’s Musikschule (courtesy ÖNB) ............................................................................................................................... 174 Figure 15: Advertisement for a Červený “Kaiserbass” Helicon, circa 1904 (courtesy Wienbibliothek) .............................................................................................................. 179 Figure 16: Maneuver-march cadence from Nemetz’s Musikschule (courtesy ÖNB) ..... 181 Figure 17: “Gebet während der Schlacht” (1813) by F.H. Himmel ............................... 196 viii Figure 18: Ziehrer, Der Traum … No. 16: “Gebet” (piano arrangement by Hans Krenn) ......................................................................................................................................... 197 Figure 19: Ziehrer, Der Traum … No. 39: “Retraite” or “Zapfenstreich” (solo B-flat trumpet) ........................................................................................................................... 198 Figure 20: Fučik, mvt. I, mm. 12-19 (flutes, clarinets) ................................................... 207 Figure 21: Fu čik, mvt. I, mm. 33-43, “Morgendämmerung” theme (high woodwinds) 207 Figure 22: Fu čik, mvt. I, mm. 52-63, idée fixe 1 (horn I) ............................................... 208 Figure 23: Fu čik, mvt. I, mm. 164-179, idée fixe 2 (low brass) ..................................... 209 Figure 24: Fu čik, mvt. I, mm. 280-294 (piccolos) .......................................................... 210 Figure 25: “Grenadier-Marsch der Pfeiffer aus dem Jahre 1682” .................................. 211 Figure 26: Fu čik, mvt. II, mm. 39-52 (clarinets) ............................................................ 213 Figure 27: Hungarian soldiers’ song “Megy a kislány” (from ÖPA) ............................. 214 Figure 28: Fu čik, mvt. II, mm. 71-79 (high woodwinds) ............................................... 214 Figure 29: Fu čik, mvt. II, mm. 266-281 (high woodwinds) ........................................... 216 Figure 30: Fu čik, mvt. III, mm. 129-136 (horns, bass flugelhorn, euphonium) ............. 220 Figure 31: Komzák jun., “Erzherzog-Albrecht-Marsch,” Trio (flugelhorns, low brass) 221 Figure 32: Fu čik, mvt. III, mm. 226-229 (clarinet I, trumpet I) ....................................
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