I shall observe the methods adopted by the organisation, asking to what extent it aimed to introduce foreign musical cultures to France and, conversely, in which respect it may have wished to integrate the music of other nations as part of the Parisian-centred French musical scene and its values. However, it also helped foreign musicians gain a foothold in France. L’Association Française d’Expansion et d’Échanges Artistiques (AFEEA, French Alliance of Artistic Expansion and Exchange, later the Association Française d’Action Artistique) was founded in Paris in 1922, in the nationalist climate of ideas following World War I, under the protection of the ministries of Foreign Affairs and of Public Education with the purpose of promoting France’s cultural authority outside its borders. Focusing on music in its performance mode, the paper casts light on the mechanisms that regulated the chances of living foreign composers, such as Jean Sibelius, to gain renown and appreciation in Paris. This paper is a contribution to the current scholarly activity dealing with the phenomenon of musical cosmopolitanism in the nineteenth and early twentieth centuries and the role of Paris in it.
Organiser: Sibelius Birth Town Foundation. Hämeenlinna, Verkatehdas, 5 December 2015 Institutional Regulation and Parisian Perceptions of Sibelius, 1924–1929: the Schnéevoigts and the Association Française d’Expansion et d’Échanges ArtistiquesĦth International Jean Sibelius Conference
This self-conscious approach to form either involves 1) a disorientating blurring of architectural markers or 2) breaking apart the form at the seams by interpolating parageneric episodes, sometimes Durchbruch, to both signify spatial distance and suspend the teleological drive of the sonata. It is transformed at the brink of the development into a Durchbruch.Īnalysis of the movement will support a new theory that Sibelius and other contemporaneous symphonists were able to critically comment upon the symphonic tradition through the structural fissures at the borders of sonata form – mid-expositional or end of rotational caesurae – while the rotational content itself largely remained in dialogue with this tradition.
This CF is neither part of the primary or secondary themes, but a thematically distinct and liminal outlier. In this paper, I argue that the soloistic descent of the theme invites us to read this statement as an extended caesura-fill. It is either appended to a secondary theme or ignored entirely. Material preempting the chorale – a mid-expositional, unharmonized violin theme – takes a particularly uneasy position in existing analyses. As a consequence, the chorale’s significance has been, I argue, overshadowed. The deep-rooted analytical tradition of uncovering motivic unity in Sibelius’s music has instead commonly led to the Symphony’s recapitulation being read as the cumulative moment of thematic synthesis at the apex of a structural arc. The climactic brass chorale in the first movement of Sibelius’s Second Symphony has never been aligned with Adorno’s category of Durchbruch: a peripeteia-causing rupture, involving an intervention of conceptually-external and critically-charged music.
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