Scaramouche, Scaramouche
Sibelius on Stage
Bibliographic Data
| ID | 11498940 |
|---|---|
| Authors | Lewis Broad (0000-0003-1028-576X, corresponding author), LEAH BROAD |
| Year | 2020 |
| Volume | 145 |
| Issue | 2 |
| Pages | 417-456 |
| Publication date | 2020-11-01 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Journal of the Royal Musical Association (JOURNAL) |
| Journal identifiers | ISSN: 0269-0403 • E-ISSN: 1471-6933 |
| Publisher | Cambridge University Press (CUP) (PUBLISHER) |
| DOI | 10.1017/rma.2020.15 |
| OpenAlex | W3099636300 |
| Language | EN |
| References cited | 14 |
Sibelius’s only balletic pantomime, Scaramouche , composed in 1913, remains one of his least-known works, even though it is one of his longest dramatic scores and belongs to his period of compositional re-evaluation. This article explores the pantomime in the context of its first production, performed in 1922 in Denmark and 1924 in Sweden. It argues that the pantomime’s reception both illuminates the importance of dance as a formative ‘modern’ genre within the Nordic countries during this period, and demonstrates that the score is defined by stylistic plurality, which was key to its theatrical success. The article calls for increased musicological attention to Nordic theatrical music, a genre that was extremely popular among early twentieth-century Nordic composers. It provided musicians with musical spaces that were more liberating than the concert hall or the opera house for the purposes of cultivating their musical language
Aesthetics · Art · Dance · Electronic dance music · Formative assessment · Literature · Musical · Opera · Sociology · Visual arts · Diversity and Impact of Dance · History · Musicology and Musical Analysis · Theater, Performance, and Music History
| Highly cited | No |
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