STANLEY tells it all – Studying Sousa: style/2
What made John Philip Sousa react the way he did concerning the European national styles of his day?
Sousa wrote the French orchestras and bands sounded French to him. Now, what did he actually hear? He noticed that, to his dismay, they only performed music by French composers. Since he had heard a similar approach in other European countries, Sousa explained this as outing of nationalism. On the one hand it was, but there is more to it than that.
Style brings forth identity. This is a process which started in the Greek provinces B.C. Even today, music students have to study the Greek modi: the scales on which tonalities are based. We don’t know if this was obligatory or habitual, but it had a purpose. Architects did the same, just think of the Doric column. Representing a mindset which became part of the common cultural approach: at arrival in another country, adapt to it’s customs.
Classical music is built on development over the centuries ever since. For a long time, each country and region focussed on themselves. There was exchange of ideas, techniques and inventions, it’s people influenced each other, musicans studied and performed where ever they wanted, but that was about it.
The national styles only met on stage when orchestras or bands met, but not in the mind of a single composer. This allowed for all to look at what happened if and when these different styles did meet. The wait was for a platform which was offered in the New World a.k.a. USA.
Did the entire process lead to a mix or something entirely new?
Sousa was an aficionado of Richard Wagner and befriended Camille Saint-Saëns, so he programmed both their music. The first representing the German Romantic era in all it’s size, glory and dramatic force, the second, elegance pur sang as only the French can produce. Two opposite sides of the musical spectrum, so to say. Sousa’s own compositions show a mixture of European styles. Just listen to the opening of ‘The Washington Post’ march which is Spanish by nature, while other marches show a strong German or British tendency.
All in all, the platform worked out well for the USA. American composers showed a remarkable eagerness to learn and adapt, but above all to create something new. At the second half of the 20th century they took over development of modern classical music. A sense of nationalism played a role here. American this time around.
To be continued.
Stanley E. van Wel MM – Music Director
Posted on LinkedIn.com dated 29 February 2024