Details

Carl Maria von Weber

Oberon and Cosmopolitanism in the Early German Romantic

von: Joseph E. Morgan
109,99 €
Verlag:	Rowman & Littlefield Publishers
Format:	EPUB
Veröffentl.:	11.09.2014
ISBN/EAN:	9781442235953
Sprache:	englisch
Anzahl Seiten:	328

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Beschreibungen

Titelbeschreibung

Renowned music historian Philipp Spitta has written that “of all the German musicians of the 19th century, none has exercised a greater influence over his own generation and that succeeding it than Weber.” Spitta’s statement reflects Weber’s popularity at the end of the nineteenth 19th century—both for his place as a foundational figure of German Romantic opera and for his role in the early German Nationalist movement in music. Indeed, Weber’s Der Freischütz is still considered the first German Romantic opera, enjoying a place of privilege in the modern operatic repertoire with performances held the world over and at least two cinematic productions. 
 

 
Despite its enormous popularity throughout the 19th nineteenth century, however, Weber’s swan song, Oberon, has remained separate from the mainstream thrust of our modern understanding of German Romantic opera. In Carl Maria von Weber: Oberon and the Cosmopolitanism in the Early German Romantic, music historian and theorist Joseph E. Morgan reassesses Weber’s work and aesthetics not just for their influence but also as an expression of the aesthetics and cosmopolitanism that underlay the early Romantic and Nationalist movement in Germany. 
 

 
In a discussion with analyses that features nearly one- hundred musical examples, Morgan tracks the development of Weber’s musical style across his career. The investigation culminates with Weber’s last and long-misunderstood work, explaining its thematic and harmonic organization, its stylistic idiosyncrasies, and the tenuous place that it holds on the margins of the operatic canon. The discussion is enhanced and corroborated by frequent attention to correlating developments in other art from the period, including painting, poetry, and literature.
 

 
This text will be of interest to students, scholars, and connoisseurs wishing to acquire a new insight on the performance, reception, and aesthetics of early German Romantic opera. Further, because of the interdisciplinary nature of the investigation, anyone researching the early Romantic and Nationalist movement in Germany will also certainly find valuable insights in this book.

Titelkurzbeschreibung

In Carl Maria von Weber: Oberon and the Cosmopolitanism in the Early German Romantic, Joseph E. Morgan tracks the development of Weber’s musical style across his career, within the cultural context of Germany’s romantic period. This discussion with analyses features multiple musical examples and culminates with Weber’s last and long-misunderstood work.

Inhaltsverzeichnis

List of Figures List of Tables Acknowledgments Introduction-The Problem with Oberon Chapter 1: Early German Nationalism Chapter 2: The Development of Weber’s Adult Style Chapter 3: Romantic Transformations Chapter 4: Why London? Why Wieland? Why Oberon? Chapter 5: Planché and the Libretto Chapter 6: Sir Huon’s Adventure Chapter 7: Sir Huon and Reiza’s Bond of Love Chapter 8: Fulfillment of the Oath Chapter 9: The Reception of Oberon Epilogue. The Decline of Cosmopolitan Nationalism Bibliography Index About the Author

Leserinfo

Despite its enormous popularity throughout the nineteenth century, Weber’s swan song, Oberon, has remained separate from the mainstream thrust of our modern understanding of German Romantic opera. In Carl Maria von Weber: Oberon and the Cosmopolitanism in the Early German Romantic, music historian and theorist Joseph E. Morgan reassesses Weber’s work and aesthetics not just for their influence but also as an expression of the aesthetics and cosmopolitanism that underlay the early Romantic and Nationalist movement in Germany. In a discussion with analyses that features nearly one-hundred musical examples, Morgan tracks the development of Weber’s musical style across his career. The investigation culminates with Weber’s last and long-misunderstood work, explaining its thematic and harmonic organization, its stylistic idiosyncrasies, and the tenuous place that it holds on the margins of the operatic canon. The discussion is enhanced and corroborated by frequent attention to correlating developments in other art from the period, including painting, poetry and literature.

Autorenportrait

Joseph E. Morganis assistant professor of musicology at Middle Tennessee State University. He has also served on the faculties of the New England Conservatory, Brandeis University, and Boston University. His research focuses on the dramatic music, theory and aesthetics of Germany in the early nineteenth century, and he has presented and published articles on E. T. A. Hoffmann, Robert Schumann, Richard Wagner, Giacomo Meyerbeer, and Carl Maria von Weber.