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- Hambro, Camilla, 1966-
(författare)
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De kast, Huldren gjør med Kohalen : Om kjønn og andre musikalske identiteter i den norske komponisten Agathe Backer Grøndahls "Huldreslaat"
- 2005
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Ingår i: Svensk tidskrift för musikforskning. - Göteborg : Svenska Samfundet för Musikforsknng. - 0081-9816 .- 2002-021X. ; 86, s. 49-66
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Tidskriftsartikel (refereegranskat)abstract
- "Huldreslaat, Norwegian music, gender and Agathe Backer Grøndahl or Huldra’s toss with her cow tail?" Starting out from contemporary reception materials, the chapter elaborates and analyses Backer Grøndahl’s piano piece Huldreslaat (1887). It received its first performance with the composer herself at the piano in 1887. By virtue of being both in and as gender, national and international discourse, Huldreslaat is an attempt on Backer Grøndahl’s side to tread a thin red line, transforming traditional music and tales about a lovesick pagan muse ("huldra") into art music: The irresistibly beautiful huldra appears in the wilderness seducing lonely Christian men with her virtuoso music. Their only chance to escape is to hold her cow tail in a firm grip. The critics brought the connotations of the work’s title and Backer Grøndahl’s personal appearance to bear on the inherent meanings of her performance and the work. Attached to this composition’s "masque" is eroticism: This was ridiculed in the satirical magazine Vikingen. In this way, Huldreslaat illustrates dangers lurking in mythic allusions in as far as critics can be fatally attracted into appreciating a composition more for its composer pianist’s radiant, blonde and seducing persona than this piece of work’s originality and expressiveness. Ahistoric perspectives do not penetrate the ideological and social complexity in the critics’ understanding of Backer Grøndahl's alleged huldre-like femininity. The Swedish press discussed the "Norwegian" and "cosmopolitan" styles in Huldreslaat in relation to Edvard Grieg’s music and the Mountain King’s motto in Ibsen’s Peer Gynt. Gender, as well as Norwegian and international musical identities are fundamentally intertwined and interdependent in the work, its context, and reception materials presented in this dissertation. This character piece’s "Norwegianness" depends on the "masque" or the "producerly text" and the listeners or amateur performers attitudes towards the composition.
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| 2. |
- Hambro, Camilla, 1966-
(författare)
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Det ulmer under overflaten. : Agathe Backer Grøndahl (1847-1907). Genus, sjanger og norskhet
- 2008
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- My dissertation is a problem oriented one. The composer pianist Agathe Backer Grøndahl (1847–1907) has always been a self-evident figure in chapters of Norwegian music history books that cover music, musicians and composers in "Grieg’s shadow". Extensive historical source materials (reception materials connected to Backer Grøndahl’s concerts and compositions; her letters, notebooks, workbooks and sketches) form the basis of the study. The problems studied are what kind of expectations are connected to three intertwined core concepts connected to Backer Grøndahl, namely: "femininity", "genre", and "Norwegianness" (the folk-influenced Norwegian tradition). Musical and material, as well as institutional, sociological and economical, ”Agathe Backer Grøndahl” discourses are examined. The arenas where the three core concepts and discourses unfold, sound, develop, are moulded and understood, are threefold: Musical culture with which the pianist composer and her compositions interacted from 1866–1903. Presentations of her in monographs and music history books. Various attempts to revise this kind of music historiography. The musical analysis starts out from reception materials connected to her performances of her own works and tries to trace the critics’ descriptions in the scores. The works analyzed are: One of her two orchestral compositions, Andante quasi allegretto for piano and orchestra (1869) in sonata form. (I rediscovered this "lost" work in the National Library in Oslo.) The song "To the queen of my heart" (Op. 1/3, 1870), the descriptively titled lyrical piece Wood Nymph’s Dance (1887), the feminist cantata Nytaarsgry (1901) performed at the Scandinavian Women’s Convention 1902 and the singable and (in)famous song "Eventide" Op. 42/7 1899). Performed compositions become performative via the reception materials, hers, the listeners’ and amateur performers "producerly texts" connected to them.
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| 3. |
- Hambro, Camilla, 1966-
(författare)
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Kvinnelighet, kritikk og originalitet. : Musikkinnslag ved «Kvindernes Udstilling fra Fortid til Nutid» i 1895.
- 2010
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Ingår i: Tidsskrift for kjønnsforskning. - Oslo : 34 | Nr. 1 / 2010 | 23–40 | ISSN 0890-6341© Universitetsforlaget. www.idunn.no/tfk. - 0809-6341 .- 1891-1781. ; 34:1, s. 23-40
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Tidskriftsartikel (refereegranskat)abstract
- Femininity, criticism and originality Musicking at the Copenhagen 1895 Women’s Exhibition from past to present In reviews of this event, projections of the composers’ and artists’ femininity and appearance are both highlighted and intertwined. Presenting everything from apparently fair and balanced descriptions to reviews that openly state common negative attitudes towards women’s abilities, critics – mainly male composers, conductors and musicians – tried to make it appear as if women posed no real threat or challenge to the male establishment. What male critics made sound highly conventional, was in fact propaganda based on their own gender-loaded esthetics. Still, most of them account for enthusiastic crowds of women applauding the participant’s executive skills and compositions. It seems that if gifted women chose to develop in other directions than this esthetic, they didn’t get renown, and if they followed in men’s footsteps, they were accused of not being original. Therefore the originality of the represented women couldn’t be accepted or receive public renown.
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| 4. |
- Hambro, Camilla, 1966-
(författare)
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"Mot Kveld", "en liten komposisjon" som har klebet seg fast gil Agathe Backer Grøndahls minne
- 2009
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Ingår i: Studia Musicologica Norvegica. - Oslo : Universitetsforlaget. - 0332-5024 .- 1504-2960. ; 35, s. 61-77
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Tidskriftsartikel (refereegranskat)abstract
- The song Eventide attracted a big number of listeners and performers and has above all gotten an important role in Norwegian music historiography in connection with women’s music repertories. On further examination, this idyllic song is able to give us a snapshot of the text in the intersection between the childrens and grown-ups’ consciousnesses. At first glance, this hitherto not thoroughly analysed song seems simple, but meanings grow out as a mixture of the masque and the voices projected into this song by multiple listeners’ and performers’ subject positions. On removal of layers of dominant ideology from the surface, there is excess meaning that can be used to cut off "Eventide"s music historiographical meaning. Through the more complicated texture that smoulders beneath the surface of this song, Backer Grøndahl opens up for more realistic dimensions to be interpreted into this seemingly intimate and idyllic song. In this way she leaves further and more sophisticated interpretations to her listeners and amateur performers. In this song Backer Grøndahl opens the romance genre up for more and not so idyllic pictures and brings it into crisis and change. In this way, she and her amateur performers turn out to be in the intersection between established romances composed by Norwegian men, and a future popular, feminine form of expression, which they probably just saw the silhouette of.
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| 5. |
- Hambro, Camilla, 1966
(författare)
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Det ulmer under overflaten. Agathe Backer Grøndahl (1847-1907). Genus, sjanger og norskhet
- 2008
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- Abstract Ph.D. dissertation at Göteborg University, Sweden, 2008 Author: Camilla Hambro Title: Det ulmer under overflaten. Agathe Backer Grøndahl (1847–1907), genus, sjanger og norskhet English title: What smoulders beneath the surface. Agathe Backer Grøndahl (1847–1907), gender, genre and Norwegianness Language: Norwegian, with an English summary Department: Department of Culture, Aesthetics and Media Series: Skrifter från musikvetenskap, Göteborgs universitet, nr 91, 2008 ISSN 1654-6261 ISBN 978-91-85974-07-8 My dissertation is a problem oriented one. The composer pianist Agathe Backer Grøndahl (1847–1907) has always been a self-evident figure in chapters of Norwegian music history books that cover music, musicians and composers in "Grieg’s shadow". Extensive historical source materials (reception materials connected to Backer Grøndahl’s concerts and compositions; her letters, notebooks, workbooks and sketches) form the basis of the study. The problems studied are what kind of expectations are connected to three intertwined core concepts connected to Backer Grøndahl, namely: "femininity", "genre", and "Norwegianness" (the folk-influenced Norwegian tradition). Musical and material, as well as institutional, sociological and economical, ”Agathe Backer Grøndahl” discourses are examined. The arenas where the three core concepts and discourses unfold, sound, develop, are moulded and understood, are threefold: •Musical culture with which the pianist composer and her compositions interacted from 1866–1903. •Presentations of her in monographs and music history books. •Various attempts to revise this kind of music historiography. The musical analysis starts out from reception materials connected to her performances of her own works and tries to trace the critics’ descriptions in the scores. The works analyzed are: One of her two orchestral compositions, Andante quasi allegretto for piano and orchestra (1869) in sonata form. (I rediscovered this "lost" work in the National Library in Oslo.) The song "To the queen of my heart" (Op. 1/3, 1870), the descriptively titled lyrical piece Wood Nymph’s Dance (1887), the feminist cantata Nytaarsgry (1901) performed at the Scandinavian Women’s Convention 1902 and the singable and (in)famous song "Eventide" Op. 42/7 1899). Performed compositions become performative via the reception materials, hers, the listeners’ and amateur performers "producerly texts" connected to them.
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