Orientalism and Imperialism in Sir Granville Bantock’s Omar Khayyám

Abstract

The purpose of the present study is to introduce the work of an unjustly neglected British composer, Sir Granville Bantock and to present the historical and cultural context in which his work “Omar Khayyám” was composed, emphasizing those aspects of the composition that are related to orientalism and imperialism. Nineteenth century British music sought to crystalize a national musical idiom, that could clearly be distinguished and associated with British imperial identity. In this endeavour, composers approached various sources of inspiration, in order to obtain the desired musical language. Sir Granville Bantock was preoccupied with the evolution of British music, at the same time fervently encouraging contemporary composers and promoting their works. His works reflect his admiration for such composers as Brahms, Wagner, Strauss, Mahler, or Sibelius, but nonetheless Bantock’s unique style, as well as the distinct sound of British music can be distinguished in his works. This research aims to reveal to what degree is his “Omar Khayyám” a product of imperialism, and in what way can the two terms, “orientalism” and “imperialism” be related to his work.