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"If Music be, among the arts, 'Heaven's youngest-teemed star', the latest of the art-forms she herself has brought forth is unquestionably Opera. Three hundred years does not at first seem a very short time, but it is not long when it covers the whole period of the inception, development, and what certainly looks like the decadence, of an important branch of man's artistic industry. The art of painting has taken at least twice as long to develop; yet the three centuries from Monteverde to Debussy cover as great a distance as that which separates Cimabue from Degas. In operatic history,…mehr

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Produktbeschreibung
"If Music be, among the arts, 'Heaven's youngest-teemed star', the latest of the art-forms she herself has brought forth is unquestionably Opera. Three hundred years does not at first seem a very short time, but it is not long when it covers the whole period of the inception, development, and what certainly looks like the decadence, of an important branch of man's artistic industry. The art of painting has taken at least twice as long to develop; yet the three centuries from Monteverde to Debussy cover as great a distance as that which separates Cimabue from Degas. In operatic history, revolutions, which in other arts have not been accomplished in several generations, have got themselves completed, and indeed almost forgotten, in the course of a few years. Twenty-five years ago, for example, Wagner's maturer works were regarded, by the more charitable of those who did not admire them, as intelligible only to the few enthusiasts who had devoted years of study to the unraveling of their mysteries; the world in general looked askance at the 'Wagnerians', as they were called, and professed to consider the shyly-confessed admiration of the amateurs as a mere affectation. In that time we have seen the tables turned, and now there is no more certain way for a manager to secure a full house than by announcing one of these very works. An even shorter period covers the latest Italian renaissance of music, the feverish excitement into which the public was thrown by one of its most blatant productions, and the collapse of a set of composers who were at one time hailed as regenerators of their country's art."


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Autorenporträt
Richard Alexander Streatfeild (22 June 1866 - 6 February 1919) was a musicologist and critic from England. He worked in the British Museum, although not in the music section. His works included opera, Handel, and modern music books. He had literary interests and arranged for his buddy Samuel Butler's The Way of All Flesh to be published posthumously. Streatfeild was born in Carshalton, Surrey, the son of Southern African diplomat Frank Newton Streatfeild. He attended Oundle and Pembroke College, Cambridge, where he earned a degree in Classics. From 1889 until his death, he worked at the British Museum's Department of Printed Books. From 1898 until 1902, he was also The Daily Graphic's music critic. He contributed often to English and international magazines. Although Streatfeild never worked at the British Museum's musical section, music was his primary passion. He was a fan of contemporary music as well as Handel's work. Masters of Italian Music (1895), his first book, was a study of Verdi, Boito, and subsequent composers such as Puccini. Alec Hyatt-King said in the Grove Dictionary of Music and Musicians (2014), "Streatfeild's book on Handel, though old-fashioned in some ways, is a balanced and penetrating study that is still valuable."