Music, theatre and politics have maintained a long-standing relationship that continues to be strong. The contributions in this volume bridge the conventional chronological division between 'late Romantic' and 'modern' music to thematize a wide array of issues in the context of Germany. The contributors focus on a national tradition and period in which the friction between music, theatre and politics grew particularly intense.
Music, theatre and politics have maintained a long-standing relationship that continues to be strong. The contributions in this volume bridge the conventional chronological division between 'late Romantic' and 'modern' music to thematize a wide array of issues in the context of Germany. The contributors focus on a national tradition and period in which the friction between music, theatre and politics grew particularly intense.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Contents: Introduction. Part 1 The New German School: Weber's ghost: Euryanthe, Genoveva, Lohengrin, Laura Tunbridge; Wagner amongst the Hegelians, Nicholas Walker. Part 2 Wagnerian Politics: Magnificent obsession: Tristan und Isolde as the object of musical analysis, Thomas Grey; From critical tool to political metaphor: thoughts on the writings of Houston Stewart Chamberlain, Roger Allen; A question of identity: Die Meistersinger von Nà rnberg in Weimar Germany, �ine Sheil. Part 3 The Politics of Reception: Schà tz's Dafne and the German operatic imagination, Bettina Varwig; Deception on stage: Don Carlos di Vargas and Franz Werfel's politics of operatic translation, Gundula Kreuzer; Bruckner in the theatre: on the politics of 'absolute' music in performance, Nicholas Attfield. Part 4 An Excursus on Vienna: 'Wer weiss, Vater, ob das nicht Engel sind?' Reflections on the pre-Fascist discourse of degeneracy in Schreker's Die Gezeichneten, Peter Franklin; 'The republic of the mind': politics, the arts and ideas in Schoenberg's post-war projects, Jennifer Shaw; Berg's operas and the politics of subjectivity, Julian Johnson. Part 5 Interwar Germany: 'Stadtluft macht frei': urban consciousness in Weimar opera, Peter Tregear; Magic boxes and Volksempfà nger: music on the radio in Weimar Germany, Alexander Rehding; Socialism and the 'free development of art': Karl Amadeus Hartmann's Opera Simplicius Simplicissimus, Egon Voss. Bibliography; index.
Contents: Introduction. Part 1 The New German School: Weber's ghost: Euryanthe, Genoveva, Lohengrin, Laura Tunbridge; Wagner amongst the Hegelians, Nicholas Walker. Part 2 Wagnerian Politics: Magnificent obsession: Tristan und Isolde as the object of musical analysis, Thomas Grey; From critical tool to political metaphor: thoughts on the writings of Houston Stewart Chamberlain, Roger Allen; A question of identity: Die Meistersinger von Nà rnberg in Weimar Germany, �ine Sheil. Part 3 The Politics of Reception: Schà tz's Dafne and the German operatic imagination, Bettina Varwig; Deception on stage: Don Carlos di Vargas and Franz Werfel's politics of operatic translation, Gundula Kreuzer; Bruckner in the theatre: on the politics of 'absolute' music in performance, Nicholas Attfield. Part 4 An Excursus on Vienna: 'Wer weiss, Vater, ob das nicht Engel sind?' Reflections on the pre-Fascist discourse of degeneracy in Schreker's Die Gezeichneten, Peter Franklin; 'The republic of the mind': politics, the arts and ideas in Schoenberg's post-war projects, Jennifer Shaw; Berg's operas and the politics of subjectivity, Julian Johnson. Part 5 Interwar Germany: 'Stadtluft macht frei': urban consciousness in Weimar opera, Peter Tregear; Magic boxes and Volksempfà nger: music on the radio in Weimar Germany, Alexander Rehding; Socialism and the 'free development of art': Karl Amadeus Hartmann's Opera Simplicius Simplicissimus, Egon Voss. Bibliography; index.
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