Amy Beach's “Gaelic” Symphony is the most prominent nineteenth-century American expression of Irishness in music. Despite the reference to another country in its title, the work has largely been interpreted via the lens of American nationalism. Its historiography reflects the immense interest in national style in nineteenth-century American music scholarship. This article initiates a discussion about nineteenth-century American composers’ engagement with the world beyond their own national borders. It explores the “Gaelic” Symphony's transnational dimensions, which engage largely with two groups: concert music composers and the Irish diaspora. Regarding the former, the article illuminates nuances of intertextuality in Beach's style. It revises the historical narrative surrounding the “Gaelic” Symphony as a response to Antonín Dvořák's “New World” Symphony, finding multiple additional models for Beach's work. The “Gaelic” Symphony is positioned instead as a representation of concert music styles that valued cosmopolitan approaches and judged composers on the skill with which they consciously blended multiple streams of influence. Regarding the latter category of the Irish, the article contextualizes the symphony within a revival of Irish cultural practices taking place in the 1890s, revealing how constructions of Irishness in the symphony reflect Gaelic revival values and respond to social tensions between Boston's Irish-American community and the city's upper class.

中文翻译：

---

“共同的欢乐、悲伤、冒险和奋斗”：艾米海滩“盖尔”交响曲中的跨国邂逅

艾米比奇的“盖尔”交响曲是 19 世纪美国最突出的爱尔兰音乐表现形式。尽管标题中提到了另一个国家，但这部作品在很大程度上是通过美国民族主义的视角来解释的。它的史学反映了 19 世纪美国音乐学术对民族风格的极大兴趣。本文发起了关于 19 世纪美国作曲家与自己国界之外的世界接触的讨论。它探讨了“盖尔”交响乐的跨国维度，主要涉及两个群体：音乐会作曲家和爱尔兰侨民。关于前者，本文阐明了比奇风格中互文性的细微差别。它修改了围绕“盖尔”交响曲的历史叙述，以回应安东宁·德沃夏克的“新世界”交响曲，为比奇的作品找到了多个额外的模型。取而代之的是，“盖尔”交响曲被定位为音乐会音乐风格的代表，这种风格重视国际化的方法，并根据作曲家有意识地融合多种影响流的技巧来评判作曲家。关于爱尔兰人的后一类，文章将交响乐置于 1890 年代爱尔兰文化实践的复兴中，揭示了交响乐中爱尔兰性的建构如何反映盖尔复兴价值观，并回应波士顿的爱尔兰裔美国人社区和城市的上流社会。取而代之的是，“盖尔”交响曲被定位为音乐会音乐风格的代表，这种风格重视国际化的方法，并根据作曲家有意识地融合多种影响流的技巧来评判作曲家。关于爱尔兰人的后一类，文章将交响乐置于 1890 年代爱尔兰文化实践的复兴中，揭示了交响乐中爱尔兰性的建构如何反映盖尔复兴价值观，并回应波士顿的爱尔兰裔美国人社区和城市的上流社会。取而代之的是，“盖尔”交响曲被定位为音乐会音乐风格的代表，这种风格重视国际化的方法，并根据作曲家有意识地融合多种影响流的技巧来评判作曲家。关于爱尔兰人的后一类，文章将交响乐置于 1890 年代爱尔兰文化实践的复兴中，揭示了交响乐中爱尔兰性的建构如何反映盖尔复兴价值观，并回应波士顿的爱尔兰裔美国人社区和城市的上流社会。