EUROPEA: ETHNOMUSICOLOGIES AND MODERNITIES Series Editors: Philip V. Bohlman and Martin Stokes 1. Celtic Modern: Music at the Global Fringe, edited by Martin Stokes and Philip V. Bohlman, 2003. 2. Albanian Urban Lyric Song in the 1930s, by Eno Koço, 2004. 3. The Mediterranean in Music: Critical Perspectives, Common Concerns, Cultural Differences, edited by David Cooper and Kevin Dawe, 2005. 4. On a Rock in the Middle of the Ocean: Songs and Singers in Tory Island, Ireland, by Lillis Ó Laoire, 2005. 5. Transported by Song: Corsican Voices from Oral Tradition to World Stage, by Caroline Bithell, 2007. 6. Balkan Popular Culture and the Ottoman Ecumene: Music, Image, and Regional Political Discourse, edited by Donna A. Buchanan, 2007. 7. Music and Musicians in Crete: Performance and Ethnography in a Medi- terranean Island Society, by Kevin Dawe, 2007. 8. The New (Ethno)musicologies, edited by Henry Stobart, 2008. 9. Balkan Refrain: Form and Tradition in European Folk Song, by Dimitrije O. Golemovic´, 2010. 10. Music and Displacement: Diasporas, Mobilities, and Dislocations in Europe and Beyond, edited by Erik Levi and Florian Scheding, 2010. 11. Balkan Epic: Song, History, Modernity, edited by Philip V. Bohlman and Nada Petković, 2012. 12. What Makes Music European: Looking beyond Sound, by Marcello Sorce Keller, 2012. 13. The Past Is Always Present: The Revival of the Byzantine Musical Tradi- tion at Mount Athos, by Tore Tvarnø Lind, 2012. 14. Becoming an Ethnomusicologist: A Miscellany of Influences, by Bruno Nettl, 2013. 15. Empire of Song: Europe and Nation in the Eurovision Song Contest, ed- ited by Dafni Tragaki, 2013. 16. Revival and Reconciliation: Sacred Music in the Making of European Modernity, by Philip V. Bohlman, 2013. 1133__008877--BBoohhllmmaann..iinnddbb ii 55//88//1133 99::4455 AAMM EUROPEA: ETHNOMUSICOLOGIES AND MODERNITIES Series Editors: Philip V. Bohlman and Martin Stokes The new millennium challenges ethnomusicologists, dedicated to studying the music of the world, to examine anew the Western musics they have treated as “traditional,” and to forge new approaches to world musics that are often over- looked because of their deceptive familiarity. As the modern discipline of ethno- musicology expanded during the second half of the twentieth century, influenced significantly by ethnographic methods in the social sciences, ethnomusicology’s “field” increasingly shifted to the exoticized Other. The comparative methodolo- gies previously generated by Europeanist scholars to study and privilege Western musics were deliberately discarded. Europe as a cultural area was banished to historical musicology, and European vernacular musics became the spoils left to folk-music and, later, popular-music studies. Europea challenges ethnomusicology to return to Europe and to encounter its disciplinary past afresh, and the present is a timely moment to do so. European unity nervously but insistently asserts itself through the political and cultural agen- das of the European Union, causing Europeans to reflect on a bitterly and violently fragmented past and its ongoing repercussions in the present, and to confront new challenges and opportunities for integration. There is also an intellectual moment to be seized as Europeans reformulate the history of the present, an opportunity to move beyond the fragmentation and atomism the later twentieth century has bequeathed and to enter into broader social, cultural, and political relationships. Europea is not simply a reflection of and on the current state of research. Rather, the volumes in this series move in new directions and experiment with diverse ap- proaches. The series establishes a forum that can engage scholars, musicians, and other interlocutors in debates and discussions crucial to understanding the present historical juncture. This dialogue, grounded in ethnomusicology’s interdisciplinar- ity, will be animated by reflexive attention to the specific social configurations of knowledge of and scholarship on the musics of Europe. Such knowledge and its circulation as ethnomusicological scholarship are by no means dependent on pro- fessional academics, but rather are conditioned, as elsewhere, by complex interac- tions between universities, museums, amateur organizations, state agencies, and markets. Both the broader view to which ethnomusicology aspires and the critical edge necessary to understanding the present moment are served by broadening the base on which “academic” discussion proceeds. “Europe” will emerge from the volumes as a space for critical dialogue, embrac- ing competing and often antagonistic voices from across the continent, across the Atlantic, across the Mediterranean and the Black Sea, and across a world altered ineluctably by European colonialism and globalization. The diverse subjects and interdisciplinary approaches in individual volumes capture something of—and, in a small way, become part of—the jangling polyphony through which the “New Europe” has explosively taken musical shape in public discourse, in expressive culture, and, increasingly, in political form. Europea: Ethnomusicologies and Mo- dernities aims to provide a critical framework necessary to capture something of the turbulent dynamics of music performance, engaging the forces that inform and deform, contest and mediate the senses of identity, selfhood, belonging, and prog- ress that shape “European” musical experience in Europe and across the world. 1133__008877--BBoohhllmmaann..iinnddbb iiii 55//88//1133 99::4455 AAMM Revival and Reconciliation Sacred Music in the Making of European Modernity Philip V. Bohlman Europea: Ethnomusicologies and Modernities #16 THE SCARECROW PRESS, INC. Lanham • Toronto • Plymouth, UK 2013 1133__008877--BBoohhllmmaann..iinnddbb iiiiii 55//88//1133 99::4455 AAMM Published by Scarecrow Press, Inc. A wholly owned subsidiary of The Rowman & Littlefield Publishing Group, Inc. 4501 Forbes Boulevard, Suite 200, Lanham, Maryland 20706 www.rowman.com 10 Thornbury Road, Plymouth PL6 7PP, United Kingdom Copyright © 2013 by Philip V. Bohlman All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without written permission from the publisher, except by a reviewer who may quote passages in a review. British Library Cataloguing in Publication Information Available Library of Congress Cataloging-in-Publication Data Bohlman, Philip Vilas. Revival and reconciliation : sacred music in the making of European modernity / Philip V. Bohlman. pages cm.— (Europea: Ethnomusicologies and modernities ; #16) Includes bibliographical references and index. ISBN 978-0-8108-8183-9 (cloth : alk. paper)—ISBN 978-0-8108-8269-0 (electronic) 1. Sacred music—Europe—History and criticism. 2. Civilization, Modern— History. I. Title. ML240.B64 2013 781.70094—dc23 2013003800 ™ The paper used in this publication meets the minimum requirements of American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI/NISO Z39.48-1992. Printed in the United States of America 1133__008877--BBoohhllmmaann..iinnddbb iivv 55//88//1133 99::4455 AAMM For Martin Stokes teacher, colleague, friend, who inspired this return to Europe 1133__008877--BBoohhllmmaann..iinnddbb vv 55//88//1133 99::4455 AAMM 1133__008877--BBoohhllmmaann..iinnddbb vvii 55//88//1133 99::4455 AAMM Contents List of Illustrations ix Sources xiii Note on Translation, Transliteration, and Transcription xvii Foreword xix Prologue: Themes and Variations in the Sacred Music of Europe xxiii Acknowledgments xxxiii Part I: Remembrance 1 Past, Present, and the People without Music History 3 2 Rediscovering the Mediterranean, Recovering Modernity 23 3 And She Sang a New Song 37 Part II: Return 4 Pilgrim’s Progress 59 5 The Final Borderpost 79 6 The People’s Voice in Sacred Song 105 Part III: Revival 7 To Hear the Voices Still Heard 129 8 Sacred Popular Music and the Journey to Jerusalem 165 vii 1133__008877--BBoohhllmmaann..iinnddbb vviiii 55//88//1133 99::4455 AAMM viii Contents Part IV: Reconciliation 9 Music of the Other Germany 189 10 World Music at the End of History 207 11 Journey to Utopia 237 Bibliography 253 Index 271 About the Author 287 1133__008877--BBoohhllmmaann..iinnddbb vviiiiii 55//88//1133 99::4455 AAMM List of Illustrations 1.1 The Oranienburgerstraße Synagogue, or New Synagogue, Berlin (Painting by Emile de Cauwer, 1866) 17 3.1 “Der Graff von Rom” (The Count of Rome; title page, ca. 1600) 38 3.2 “Alei giv’a, sham Bagalil” (Atop a Hill in Galilee) 55 4.1 Sanctuary of the Blessed Virgin of San Luca, Bologna (Photo by author) 60 4.2 “Shir ha-maalot le-David” (David’s Pilgrimage Song) 66 4.3 M ariazell, Tor zum Frieden (Mariazell, Gate to Peace; Mariazell, Austria, 1990s) 70 4.4 P ilgertage in Fatima (Pilgrim Gatherings in Fátima; German cassette for Fátima, Portugal, 1990s) 71 4.5 P ieśni Pielgrzymkowe (Pilgrimage Songs; Częstochowa, Poland, 2005) 72 4.6 B otschaften der Muttergottes in Medjugorje (Communiqués from the Mother of God in Medjugorje; German cassette for Medjugorje, Bosnia-Herzogovina, 1990s) 73 4.7 C zarna Madonna (Black Madonna; Częstochowa, Poland, ca. 2005) 74 4.8 M adonna in Rosenkranz (1521–1524; carved by Tilman Riemenschneider St. Maria in Weingarten, a shrine on the Kirchberg near Volkach am Main, Germany) 75 ix 1133__008877--BBoohhllmmaann..iinnddbb iixx 55//88//1133 99::4455 AAMM