Nationalism in music

Kodály - Hungary

Bartók - Hungary

Villa-Lobos - Brazil

Mussorgski - Russia

Borodin - Russia
The Romantic period was characterized, among other things, by the artists' immense will to express their country and make it unique - in music. Especially in the second half of the 19th century, after the 1848 revolutions in Europe, in a period of growing national consciousness, many composers tended to explore folk songs and dances, and used elements from the materials they found in their own national musicMovement 4 from Symphony no. 9 'From the New World' in Em, Op.95 - DvorakThe Moldau' (Vltava) from Symphonic Poem, 'My Fatherland' (Ma Vlast) - Smetana'Morning Mood' from 'Peer Gynt' Suite No.1, Op.46 - Grieg'Valse triste' from The incidental music for Kuolema, Op.44 - Sibelius.
At the same time, many of them used folk stories and myth, as a basis and inspiration for their "symphonic poems". This search was, on the one hand, part of the wish to add sources of inspiration for their art, and to look for new and exotic ways of expression, forms, scales and rhythms. On the other hand, the so-called "national" composers saw it as their patriot duty, to identify and strengthen the music unique to their own people and country, in contrast to the music of empires and civilizations such as Germany, Austria and France.

The Five, The Mighty Five
The Mighty Handful, so named by the Russian critic and librarian Vladimir Stasov, were the principal nationalist composers in later 19th century Russia, following the example of Glinka, their forerunner. Among them Rimsky-Korsakov'Scheherazade' - Rimsky-Korsakov, BorodinNocturne from String Quartet No.2 in D - Borodin and Mussorgsky'The Old Castle' from 'Pictures at an Exhibition' - Mussorgsky, Balakirev and Cui.

Dvorák - Czechoslovakia

Smetana - Czechoslovakia

Sibelius -

Albéniz -

Grieg -

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