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The Scandinavian nations (Denmark, Sweden,
Norway, and Finland) developed their musical life in direct
proportion to their closeness to European centers to the south,
especially Germany. The early musical traditions of the Viking
era (9th-11th centuries) are now lost, and Scandinavian derivations
of medieval plainchant and polyphonic religious music are
poorly documented. Mostly on the fringes of the music mainstream
through the 18th century, the Scandinavian countries experienced
national awakenings within 19th-century romantic tradition,
developing assertive, individual composers who achieved fame
on into the 20th century. Denmark and Sweden also built strong
ballet and opera companies of wide renown. In all four countries,
vigorous programs of government support, including state-run
radio systems, actively promoted musical life.
Denmark
Denmark, being closest to the rest of Europe, was earliest
in musical growth. Fragments survive of a rich tradition in
medieval song. Conversion to Lutheranism linked Denmark to
new directions in religious music. In the 17th century the
lavish patronage of King Christian IV (r. 1588-1648) attracted
England's John Dowland and other foreign musicians to the
Danish court, but Denmark's first great native composer, Dietrich
BUXTEHUDE (1637-1707), made most of his career in Germany.
Germans dominated Danish music through the 18th century, along
with some Italians who contributed to development of opera.
Early 19th-century trends were shaped by the Germans C.E.F.
Weyse (1774-1842) and Friedrich Kuhlau (1786-1832). By mid-century,
native musicians asserted a more nationalistic idiom of their
own. Significant serious composers, especially in opera, were
J.P.E. Hartmann (1805-1900), Peter Heise (1830-79), and C.F.E.
Horneman (1840-1906); Hans Christian Lumbye (1810-74) a composer
of marches and dance music, is often compared to Johann Strauss
of Vienna. By far the most influential figure was Niels Vilhelm
GADE (1817-90): Leipzig-trained, he gave a Danish voice to
German romantic style. After him came the giant of Danish
music, Carl NIELSEN (1865-1931). His conducting, teaching,
and composing gave Danish music of his day a conservative
but open-minded, humane, and cosmopolitan post-romantic stamp.
Only after World War II did younger Danish composers explore
more diverse styles of 20th-century modernism; Vagn Holmboe,
Niels Viggo Bentzon, and Per Norgaard have achieved most international
attention. Among Danish performers to win international fame
are the tenors Aksel Schiotz, Lauritz MELCHIOR, and pianist
Gunnar Johansen (1906-91).
Sweden
Court patronage in the 17th century prompted some active musical
life in Sweden, and a few native composers emerged. Much influenced
by Handel, Johan Helmich Roman (1694-1758) composed extensively
and did arrangements of foreign music. King Gustav III (r.
1771-92) was also an enthusiastic patron of music, and various
minor talents made some small progress through the 19th century,
but Sweden's boldest composer of the day, Franz BERWALD (1796-1868),
received little acclaim or encouragement at home during his
lifetime. As local music organizations grew, Sweden won a
place on the international scene through the late-romantic
composers Wilhelm Stenhammar (1871-1927) and Hugo Alfven (1872-1960).
Following their lead, Ture Rangstrom, Kurt Atterberg, Gosta
Nystroem, Hilding Rosenberg, Dag Wiren, Lans-Erik Larsson,
Karl-Birger Blomdahl, and Allan Petterson, in their various
ways, drew Swedish music steadily in line with 20th-century
currents. Sweden has also produced a number of fine singers,
including the 19th-century soprano Jenny LIND, and, in the
20th century, tenors Set Svanholm (1904-64) and Nicolai GEDDA,
and sopranos Birgit NILSSON and Elisabeth Soderstrom.
Norway
Late to achieve (1905) political independence, Norway was
also long tied culturally to its neighbors. Not until the
19th century was there an appreciation of traditional folklore,
notably the rich tradition of folk fiddling. Early nationalist
exponents were Ole BULL, Halfdan Kjerulf (1815-68), Rickard
Nordraak (1842-66), and the ambitious Johan Svendsen (1840-1911),
who had to pursue much of his career in Denmark. The advent
of Edvard GRIEG (1843-1907) gave Norway its commanding musical
personality and most beloved international voice. Under his
shadow developed such other talents as Agathe Backer-Grondahl
(1847-1907), Christian Sinding (1856-1941), and Johan Halvorsen
(1864-1935). Among the leaders in 20th-century Norwegian composition
have been David Monrad Johansen (1888-1974), the atonalist
Fartein Valen (1887-1952), Harald Saeverud, Eivind Groven,
and Klaus Egge. Particularly famous among Norwegian performers
was soprano Kirsten FLAGSTAD.
The most isolated and subjugated of the Scandinavian countries,
Finland was long a cultural province of Sweden and Germany.
When it came under Russian rule in the 19th century, it developed
an independence movement accompanied by artistic nationalism.
Though important musicians began to appear, all were eclipsed
by Jean SIBELIUS, whose towering personality won international
acclaim and drew Finland into the mainstream of European music.
His shadow still hampers his successors, but such composers
as Aarre Merikanto (1893-1958), Yryo Kilpinen (1892-1959),
Uuno Klami (1900-61), and especially Joonas Kokkonen have
won attention beyond their country. Widely acclaimed among
Finnish performers is bass Martti Talvela.
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