Abstract
As part of the growth of interdisciplinary studies, a number of recent writings have focused upon links between music and literature in the long nineteenth century. In addition to the general significance of music in the work of individual authors and poets, scholars have highlighted particular imagery used in the literary representation of music (charting its effect on narrative and characterisation), and explored the literary reception of several composers. Within this growing body of literature, references to nineteenth- and early twentieth-century British music are significant by their absence. This article therefore aims to redress the balance by suggesting that there are connections between British music and literature in this period, and that these connections are significant. A number of approaches are discussed to highlight their potential, including composer-author affinities, collaborations, generic parallels, hidden narratives, and the suggestion that musical settings of texts can represent critical ‘readings' of those texts. A range of examples (with musical illustrations and sound clips) suggest how this particular interdisciplinary focus can lead to the reassessment of individual musical and literary works, and help to explore wider cultural connections within the Victorian and Edwardian era.
Highlights
One recent branch of musicological studies has involved the exploration of links between Victorian literature and music, highlighting the ways in which music is depicted and referenced within the novel or poem.[1]
The role of music has been explored in relation to literary genres such as fin-de-siècle fiction and detective fiction;[5] it has been suggested, for example, that for a character such as Sherlock Holmes, musical experience represents an aid to detection – balancing an introspective, intuitive and ‘poetic’ approach with his more familiar reliance upon methodical analysis.[6]
One might suggest that Stanford’s return to an earlier musical style mirrored Tennyson’s revisiting of poetic imagery from previous works, in this “celebration of a lifelong worship of the creative imagination.”[62] (2) Text setting Just as affinities between composers and writers might create a useful context for thematic concert events, so a focus on different settings of the same poetic text illustrates a range of Michael Allis, ‘Shared Concerns: thoughts on British literature and British music in the long nineteenth century’ 19: Interdisciplinary Studies in the Long Nineteenth Century, 1 (2005) www.19.bbk.ac.uk interpretative possibilities, and highlights a variety of compositional approaches
Summary
One recent branch of musicological studies has involved the exploration of links between Victorian literature and music, highlighting the ways in which music is depicted and referenced within the novel or poem.[1].
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