Résumés
Abstract
During World War ii, French music found itself in a unique position in the United States. As the sonic embodiment of an Allied nation, it was nonetheless subjected to musical identity politics that drew on stereotypes of France as an elegant, cosmopolitan, and even effeminate culture whose products needed the transformation of US reception to toughen themselves up for the global war, fought both on the battlefield and through propaganda. I focus on three aspects of this complex story of cultural mediation: the reception and adaptation of Claude Debussy’s music, especially Pelléas et Mélisande; American cultural artifacts representing France, such as the 1943 motion picture Casablanca; and the role of French composers and performers in the United States during the war.
Résumé
Pendant la Seconde Guerre mondiale, la musique française se trouvait dans une position unique aux États-Unis. Bien qu’elle donnât corps sonore à une nation alliée, elle était néanmoins sujette à une politique d’identité musicale influencée par des stéréotypes qui associaient la France à une culture élégante, cosmopolite et même efféminée dont les produits avaient besoin de la transformation apportée par leur réception américaine, afin de les endurcir pour une guerre globale qui se passait autant sur le champ de bataille que celui de la propagande. Je me concentre sur trois aspects de cette histoire complexe de médiation culturelle : la réception et l’adaptation de la musique de Claude Debussy, surtout son opéra Pelléas et Mélisande ; la production culturelle américaine représentant la France telle que le film de 1943, Casablanca ; et le rôle de compositeurs et musiciens français aux États-Unis pendant la guerre.
Parties annexes
Bibliography
- Archer, Thomas (1940). “‘Pelléas’ Given at Montreal Festival,” Musical America, vol. 60, July, pp. 1, 11.
- Bayor, Ronald H. (ed.) (2003). Race and Ethnicity in America, New York, Columbia University Press.
- Bell, Nelson B. (1944). “Earle to Prerelease ‘Frenchman’s Creek’; Notes of the Theater,” The Washington Post, 16 October, p. 3.
- Bliven, Naomi (1993). “A Song for All,” American Heritage, vol. 44, September, pp. 28–29.
- Briscoe, James R. (2011). “Debussy in Daleville: Toward Early Modernist Hearing in the United States,” in Elliott Antokoletz et Marianne Wheeldon (eds), Rethinking Debussy, New York, Oxford University Press, pp. 225–258.
- Brown, Ray C. B. (1943). “Gorin Sings ‘La Marseillaise’ as Salute to Bastille Day,” The Washington Post, 15 July p. B1.
- Burnett, Murray, et Joan Alison (1940). Everybody Comes to Rick’s, typescript, 1940, doi: http://www.pages.drexel.edu/~ina22/splaylib/Screenplay-Everybody_Comes_to_Rick’s.pdf, accessed 1 February 2016.
- Cassidy, Claudia (1944). “Spirited Movie of Adventure Worth Seeing,” Chicago Tribune, 23 December, p. 9.
- Chimènes, Myriam (ed.) (2001). La vie musicale sous Vichy, Brussels: Complexe.
- Chimènes, Myriam, and Yannick Simon (eds) (2013). La musique à Paris sous l’Occupation, Paris, Fayard/Cité de la Musique.
- Copland, Aaron (1941). Our New Music: Leading Composers in Europe and America, New York, Whittlesey House.
- Curtiz, Michael (1943). Casablanca, Burbank, California, Warner Bros. Entertainment. Released 23 January 1943.
- Denya, Marcelle (1943). “La musique française à l’étranger,” Pour la victoire, 16 January, New York, New York, p. 7.
- Downes, Olin (1940a). “‘Pelleas’ Revived After Five Years,” The New York Times, 8 March, p. 28.
- Downes, Olin (1940b). “‘Pelleas’ Is Heard at Metropolitan,” The New York Times, 21 December, p. 23.
- Downes, Olin (1942). “Lily Pons Heard at Metropolitan,” The New York Times, 24 November, p. 19.
- Downes, Olin (1944a). “‘Pelleas’ Returns,” The New York Times, 9 January.
- Downes, Olin (1944b). “‘Pelleas’ Revival Is a Huge Success,” The New York Times, 27 January, p. 14.
- Downes, Olin (1945). “Cooper Conducts a Superb ‘Pelléas,’” The New York Times, 5 January, p. 12.
- Edwards, Thyra (1944). “French Patriot Greets Diva,” Chicago Defender, 22 July.
- Engel, Carl (1921). Alla Breve: From Bach to Debussy, New York, Schirmer.
- Espagne, Michel, and Michael Werner (1988). “Deutsch-französischer Kulturtransfer als Forschungsgegenstand: Eine Problemskizze,” in Michel Espagne and Michael Werner (eds), Transferts : Les relations interculturelles dans l’espace franco-allemand (xviiie et xixe siècle), Paris, Éditions Recherche sur les civilisations, pp. 11–34.
- Eyer, Ronald F. (1944). “Debussy Opera Distinctively Restored,” Musical America, vol. 64, 10 February, p. 15.
- Fasshauer, Tobias (2014). “Bridging Musical Worlds: Arrangements of Works by Debussy in the Repertoire of the Sousa Band,” La Revue musicale OICRM, vol. 2, n° 1, http://ancien.revuemusicaleoicrm.org/bridging-musical-worlds-arrangements-of-works-by-debussy-in-the-repertoire-of-the-sousa-band, accessed 23 October 2016.
- Fauser, Annegret (2006). “Aaron Copland, Nadia Boulanger, and the Making of an ‘American’ Composer,” The Musical Quarterly, vol. 89, pp. 524–555.
- Fauser, Annegret (2010a). “‘Dixie Carmen’: War, Race, and Identity in Oscar Hammerstein’s Carmen Jones (1943),” Journal of the Society for American Music, vol. 4, pp. 127–174.
- Fauser, Annegret (2010b). “Carmen in Khaki: Europäische Oper in den Vereinigten Staaten während des zweiten Weltkrieges,” in Sven Oliver Müller, Philipp Ther, Jutta Toelle, and Gesa zur Nieden (eds), Oper im Wandel der Gesellschaft. Kulturtransfers und Netzwerke des Musiktheaters im modernen Europa, Vienne, Oldenbourg and Böhlau, pp. 303–329.
- Fauser, Annegret (2013). Sounds of War: Music in the United States during World Warii, New York, Oxford University Press.
- Fauser, Annegret (2014). “Music for the Allies: Representations of Nationhood during World War ii,” in Felix Meyer, Carol J. Oja, Wolfgang Rathert, and Anne C. Schreffler (eds), Crosscurrents: American and European Music in Interaction, 1900–2000, Woodbridge, U.K., Boydell and Brewer, pp. 247–258.
- Fauser, Annegret (2016). “Lessons in Musical Geography: Imagining Eastern Europe in the United States during World War ii,” in Valentina Sandu-Dediu (ed.), Music in Dark Times: Europe East and West, 1930–1950, Bucharest, Editura UNMB, pp. 19–60.
- Feder, Edgard (1944a). “La musique,” Pour la victoire, 8 January, New York, New York, p. 9.
- Feder, Edgard (1944b). “Pelléas et Mélisande,” Pour la victoire, 29 January, New York, New York, p. 9.
- Feder, Edgard (1944c). “Pelléas et Mélisande au Metropolitan,” Pour la victoire, 5 February, New York, New York, p. 9.
- Fuller, Donald (1941). “Forecast and Review: Mid-Season, New York, 1940–41,” Modern Music, vol. 18, January, pp. 107–113.
- Garofalo, Robert J. (1998). Suite Française by Darius Milhaud, Fort Lauderdale: Meredith Music Publications.
- Gibbs, Christopher H. (2004). “‘The Phenomenon of the Seventh’: A Documentary Essay on Shostakovich’s ‘War’ Symphony,” in Laurel E. Fay (ed.), Shostakovich and His World, Princeton, Princeton University Press, pp. 59–113.
- Gienow-Hecht, Jessica C. E. (2009). Sound Diplomacy: Music and Emotions in Transatlantic Relations, 1850‒1920, Chicago and London, University of Chicago Press.
- Gingold, Oliver J. (1944). “The Theatre: Pelleas et Melisande,” The Wall Street Journal, 31 January, New York, New York.
- Goldberg, Albert (1944). “Defauw Gives his Reading of French Music,” Chicago Tribune, 20 October, p. 19.
- Guérard, Albert (1942). Review of Elliot Paul’s The Last Time I Saw Paris (1942), Books Abroad, vol. 16, Fall, p. 404.
- Harvitt, Hélène (1942). Review of Elliot Paul’s The Last Time I Saw Paris (1942), The French Review, vol. 16, October, p. 70–71.
- Hodgson, Godfrey (2009). The Myth of American Exceptionalism, New Haven, Yale University Press.
- Hubbs, Nadine (2004). The Queer Composition of America’s Sound: Gay Modernists, American Music, and National Identity, Berkeley, Los Angeles and London, University of California Press.
- Jacobsen, Matthew Frye (1998). Whiteness of a Different Color: European Immigrants and the Alchemy of Race, Cambridge, Massachusetts, Harvard University Press.
- Jones, Isabel Morse (1944). “French Concert Colorful,’ The Los Angeles Times, 10 July, p. 10.
- Kahan, Sylvia (2013). “‘Bent Scales and Stained-Glass Attitudes’ : La réception critique de la musique de Debussy aux États-Unis (1884–1918),” in Myriam Chimènes and Alexandra Laederich (eds), Regards sur Debussy, Paris, Fayard, pp. 449–462.
- Kelly, Barbara (2013). Music and Ultra-Modernism in France: A Fragile Consensus, 1913–1939, Woodbridge, Suffolk, Boydell and Brewer.
- Koussevitzky, Serge, and Alice Berezowsky (1944). “What is America’s Musical Future?,” Musical America, vol. 64, 10 February, pp. 5, 98.
- Lederman, Minna (1942). “A Letter from Paris”, Modern Music, vol. 19, May, pp. 233-235.
- Leisen, Mitchell (1944). Frenchman’s Creek, Paramount Pictures. Released 20 September 1944.
- Lichtenwanger, William (1986). The Music of Henry Cowell: A Descriptive Catalog, New York, Institute for Studies in American Music.
- Loyer, Emmanuelle (2005). Paris à New York : Intellectuels et artistes français en exil (1940–1947), Paris, Bernard Grasset.
- MacLeish, Archibald (1942). “America’s Duty to French Culture,” The Saturday Reviewof Literature, vol. 25, 14 November, pp. 5–6, 18.
- Maher, Erin (2016). “Darius Milhaud in the United States, 1940–71: Transatlantic Constructions of Musical Identity,” Ph.D. thesis, University of North Carolina at Chapel Hill.
- McLeod, Norman Z. (1941). Lady Be Good, Metro-Goldwyn-Mayer Studios. Released 18 September 1941.
- Mehlman, Jeffrey (2000). Emigré New York: French Intellectuals in Wartime Manhattan, 1940–1944, Baltimore and London, Johns Hopkins University Press.
- Milhaud, Darius (1946). Suite française, New York, Leeds Music Corporation. Partition d’orchestre.
- Milhaud, Darius (1973). Ma vie heureuse, Paris, Belfond.
- Nettelbeck, Colin W. (1991). Forever French: Exile in the United States, 1939–1945, New York, Berg, coll. “Berg French Studies.”
- The New York Times (1944). “Cooper to Conduct ‘Parsifal,’” 12 February.
- Paul, Elliot (1942). The Last Time I Saw Paris, New York, Random House.
- Pour la victoire (1943). “Lily Pons et Alexander Uninsky au ‘Coordinating Council of French Relief Societies,’” 20 March, New York, New York, p. 7.
- Oja, Carol J. (2000). Making Music Modern: New York in the 1920s, New York and Oxford, Oxford University Press.
- Rhodes, Benjamin D. (1969). “Reassessing ‘Uncle Shylock’: The United States and French War Debts, 1917–1929,” The Journal of American History, vol. 55, pp. 787–803.
- Roger, Philippe (2002). L’ennemi américain : Généalogie de l’antiaméricanisme français, Paris, Éditions du Seuil.
- Roosevelt, Theodore (1916). “America for Americans,” The Progressive Party: Its Record from January to July, 1916, Including Statements and Speeches of Theodore Roosevelt, New York, Press of the Mail and Express Job Print.
- Rossi, Mario (1993). Roosevelt and the French, Westport, Connecticut, Praeger.
- R. P. (1943). “Schmitz Aids French at Piano Recital,” The New York Times, 14 January, p. 26.
- Schallert, Edwin (1945). “Buccaneers Invade Two Paramounts,” The Los Angeles Times, 9 January, p. 9.
- Taubman, Howard (1942). “War Fervor Keys Opening of Opera,” The New York Times, 24 November, p. 1.
- Taubman, Howard (1946). “Music of Messiaen, New Figure in France, Featured at Hunter College Playhouse,” The New York Times, 31 January, p. 33.
- Ther, Philipp (2009). “The Transnational Paradigm of Historiography and Its Potential for Ukrainian History,” in Georgiy Kasianov and Philipp Ther (eds), A Laboratory of Transnational History: Ukraine and Recent Ukrainian Historiography, Budapest and New York, Central European University Press, pp. 81–114.
- Thompson, Oscar (1940). “‘Pelléas et Mélisande’ Restored After Five Years,” Musical America, vol. 60, 25 March, pp. 10, 44.
- Thompson, Oscar (1944). “‘Pelléas’ Revived Again,” Christian Science Monitor, 5 February, Boston, Massachusetts.
- Thomson, Virgil (2014). Music Chronicles, 1940–1954, edited by Tim Page, New York, The Library of America.
- Turner, Kristen M. (2015). “Opera in English: Class and Culture in America, 1878-1910,” Ph.D. thesis, University of North Carolina at Chapel Hill.
- Young, Victor (1944). “Excerpts from Claude Debussy’s Clair de lune as utilized in the score of Frenchman’s Creek, arranged for orchestra by Victor Young,” Philadelphia, Elkan-Vogel. Mimeographed score.
10.7202/1055847ar