Wagner and Wagnerism in Nineteenth-Century Sweden, Finland, and the Baltic Provinces: Reception, Enthusiasm, Cult (review)

Abstract

Wagner and Wagnerism in Nineteenth-Century Sweden, Finland, and Baltic Provinces: Reception, Enthusiasm, Cult. By Hannu Salmi. (Eastman Studies in Music.) Rochester: University of Rochester Press, 2006. [x, 310 p. ISBN 1-58046-207-3. $65.] Maps, illustrations. Hannu Salmi's work on Wagnerism in Baltic region documents phenomenon with extraordinary detail. This book not only enlarges understanding of Wagnerism in general in nineteenth century, it also supplements music histories of Baltic countries with wealth of information and copiously detailed references. The text is delightfully illustrated with historical postcards, drawn primarily from author's own collection. Salmi claims that Wagner's relationship to Baltic Europe was not limited to his years as conductor in Konigsberg and Riga at start of his career. Neither were these places insignificant in larger Wagner phenomenon that engulfed Europe in later nineteenth century, with Riga perpetually emerging as leading center of interest in Wagner. In his Prelude, Salmi notes potential problems in researching Wagner reception in this region. Countries on Baltic coastline differ culturally, linguistically, and aesthetically, making this book collection of several reception histories rather than single, monolithic documentary. The choice of countries may seem somewhat arbitrary at first. Including Sweden but omitting Norway and Denmark, for example, focuses on Baltic coast region as geo-cultural unit at expense of real discussion of pan-Scandinavian Wagnerism. Why focus on Baltic coast countries, then? In first of eight chapters, Salmi maintains that musical links between coastal towns of Baltic Sea remained close up until middle of nineteenth century (p. 13), and that emergence of Wagnerism as phenomenon coincided almost exactly with critical shift in cultural relationships between these countries, facilitated by telegraph, steamboat, and railway. When Wagner was in Konigsberg and Riga, he was already becoming aware of local folk culture, but even more importantly was recognizing the dramatic possibility of myth (p. 18). Salmi argues, with considerable evidence to back him up, that Wagner's Baltic years should not be considered as a kind of prehistory (p. 30) to Paris and Dresden Wagner. Many of features of Wagner's later music have their roots in these early experiences. The second chapter discusses commoditization and distribution of Wagner's music in region, through publication of scores, arrangements, and extracts from operas. These low-brow arrangements introduced Baltic audiences to Wagner's music before they heard any of his operas performed, with Tannhauser becoming particular favorite through excerpts. The next chapter opens with an account of Riga's centrality in Baltic Wagnerism. It was, for example, first city after Dresden to stage performance (in 1843) of Der fliegende Hollander. Salmi claims (p. 60) that tremendous success of this opera in Riga may even have convinced Wagner to follow more Germanic style of Dutchman rather than French style of his earlier opera, Rienzi. A summary of Wagner's 1863 tour to Russia is not really part of this story, but is smuggled in as separate chapter under author's claim that this tour influenced Wagner reception in neighboring Finland. He also examines in some detail rumor (now almost certainly debunked) that Wagner visited famous Imatra rapids in Finland during his Russian tour. Wagnerism in Sweden followed very different path than in other Baltic countries. In chapter 5, Salmi tracks Sweden's relatively unenthusiastic response to Wagner, which he notes was partly due to Rienzi (rather than one of later operas) being first Wagner opera performed in Sweden. Influential Swedish critics like Wilhelm Bauck were also repeatedly critical of Wagner's work. …