Opera and oratorio overtures exist in an indeterminate state between purely symphonic and dramatic music. While they can be and often are extracted for symphonic programs, they are ultimately tied to the story to which they grant the audience a preview of the story and music yet to come. Those that are easily extracted are so independent due to their structure, one well known to the symphony: the sonata form. In studying overtures from the 19^th century, however, one can trace a decline of the sonata form overture for one that is more subservient to the dramatic story soon to follow it. In this paper, three representatives of the early, mid and late period of the highlight this steady shift away from sonata form. Using Hepokoski and Darcy’s Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata, I will categorize these overtures into one of the five sonata types listed therein. The increasing number of deformations as one moves through the overtures chronologically will illustrate the deliberate decline of use of the sonata form for the overture in favor of a clearer reflection of the upcoming story.

In the second half of the 19th century new methods for quarrying and processing natural stone are developed. In the Nordic countries Sweden, Norway and Finland this technological pro­gress goes hand in hand with a systematic geological mapping and large-scale exploitation of natural stone deposits. As a result, new constructions are developed—changing the building practice in these countries. With the end of historicism a new architecture arises that particularly in Norway and Finland acquires a national-romantic character. This paper examines the interaction between geological exploration, commercial development, technical inventions and the development of a national-romantic architecture.

In the second half of the 19th century a wave of modernisation, industrialisation and urbanisation swept the Nordic countries, catapulting what had until then been lagging and primarily rural countries into modernity. These major upheavals, however, also plunged the Nordic countries into a profound social and cultural crisis resulting from their consciousness of their own backwardness vis-a-vis the countries on the European continent, as well as the recognition that a nostalgic nationalism recalling a mythical past had become obsolete in the industrial age. In response to this crisis, a life reform movement emerged that was based on Arts and Crafts movements as well as various artistic and literary reform movements and—equally absorbing rural traditions and progressive social ideas—tried to establish a new national everyday culture. In this article, the two key terms coined by Ellen Key, “Festive Customs” (‘festvanor’) and “Everyday Beauty” (‘vardagsskönhet’)—the programmatic core of the Nordic life reform movement—are analysed and illustrated in various typical manifestations. It also examines to what extent the Nordic life reform movement with these two key concepts as its core agenda found expression in arts and crafts, in painting as well as in the architecture of the late nineteenth and early twentieth century and contributed to the progress of social and cultural renewal.