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Carl Maria Von Weber and the Search for a German Opera (英語) ハードカバー – 2003/2/1

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Stephen C. Meyer details the intricate relationships between the operas Der Freischütz and Euryanthe, and contemporary discourse on both the "Germany of the imagination" and the new nation itself. In so doing, he presents excerpts from a wide range of philosophical, political, and musical writings, many of which are little known and otherwise unavailable in English. Individual chapters trace the multidimensional concept of German and "foreign" opera through the 19th century. Meyer’s study of Der Freischütz places the work within the context of emerging German nationalism, and a chapter on Euryanthe addresses the opera’s stylistic and topical shifts in light of changing cultural and aesthetic circumstances. As a result, Meyer argues that the search for a new German opera was not merely an aesthetic movement, but a political and social critique as well.

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German national, political, social, and musical spirit grew aggressively in the late--18th and early, 19th centuries, contesting Italian domination of opera. Because the singspiel, with its folk origins, could not serve as equal competitor with either Italian opera buffa or opera seria, German composers searched for formulas that might yield a viable national opera. Weber's Der Freischutz (Freischutz) provided impetus. Euryanthe was a further step in the reconfiguration and transformation of German opera. Meyer details the nature of the conflict that led to new institutions, aesthetics, and opera genre after Weber's death and the compromises that eventually produced the German romantic opera. Thoroughly researched, copiously footnoted, and including an extensive bibliography, this volume is a logical companion to Michael Tusa's Euryanthe and Carl Maria von Weber's Dramaturgy of German Opera (CH, Feb'92). Summing Up: Recommended. Scholars and opera historians.--R. Miller, Oberlin College""Choice"" (01/01/2003)

"German national, political, social, and musical spirit grew aggressively in the late 18th and early, 19th centuries, contesting Italian domination of opera. Because the singspiel, with its folk origins, could not serve as equal competitor with either Italian opera buffa or opera seria, German composers searched for formulas that might yield a viable national opera. Weber's Der Freischutz (Freischutz) provided impetus. Euryanthe was a further step in the reconfiguration and transformation of German opera. Meyer details the nature of the conflict that led to new institutions, aesthetics, and opera genre after Weber's death and the compromises that eventually produced the German romantic opera. Thoroughly researched, copiously footnoted, and including an extensive bibliography, this volume is a logical companion to Michael Tusa's Euryanthe and Carl Maria von Weber's Dramaturgy of German Opera (CH, Feb'92). Summing Up: Recommended. Scholars and opera historians." R. Miller, Oberlin College, Choice, July 2003"

"Meyer strikes a remarkable balance between historic and cultural sources relating to German nationalism, visual arts (paintings), and musico dramatic analysis. As a result, this book is of interest to historians, German literature scholars, opera scholars, as well as musicologists." Net Review"

"German national, political, social, and musical spirit grew aggressively in the late--18th and early, 19th centuries, contesting Italian domination of opera. Because the singspiel, with its folk origins, could not serve as equal competitor with either Italian opera buffa or opera seria, German composers searched for formulas that might yield a viable national opera. Weber's Der Freischutz (Freischutz) provided impetus. Euryanthe was a further step in the reconfiguration and transformation of German opera. Meyer details the nature of the conflict that led to new institutions, aesthetics, and opera genre after Weber's death and the compromises that eventually produced the German romantic opera. Thoroughly researched, copiously footnoted, and including an extensive bibliography, this volume is a logical companion to Michael Tusa's Euryanthe and Carl Maria von Weber's Dramaturgy of German Opera (CH, Feb'92). Summing Up: Recommended. Scholars and opera historians." --R. Miller, Oberlin College, Choice, July 2003



"Meyer strikes a remarkable balance between historic and cultural sources relating to German nationalism, visual arts (paintings), and musico--dramatic analysis. As a result, this book is of interest to historians, German literature scholars, opera scholars, as well as musicologists." --Net Review



-German national, political, social, and musical spirit grew aggressively in the late--18th and early, 19th centuries, contesting Italian domination of opera. Because the singspiel, with its folk origins, could not serve as equal competitor with either Italian opera buffa or opera seria, German composers searched for formulas that might yield a viable national opera. Weber's Der Freischutz (Freischutz) provided impetus. Euryanthe was a further step in the reconfiguration and transformation of German opera. Meyer details the nature of the conflict that led to new institutions, aesthetics, and opera genre after Weber's death and the compromises that eventually produced the German romantic opera. Thoroughly researched, copiously footnoted, and including an extensive bibliography, this volume is a logical companion to Michael Tusa's Euryanthe and Carl Maria von Weber's Dramaturgy of German Opera (CH, Feb'92). Summing Up: Recommended. Scholars and opera historians.- --R. Miller, Oberlin College, Choice, July 2003



-Meyer strikes a remarkable balance between historic and cultural sources relating to German nationalism, visual arts (paintings), and musico--dramatic analysis. As a result, this book is of interest to historians, German literature scholars, opera scholars, as well as musicologists.- --Net Review



German national, political, social, and musical spirit grew aggressively in the late--18th and early, 19th centuries, contesting Italian domination of opera. Because the singspiel, with its folk origins, could not serve as equal competitor with either Italian opera buffa or opera seria, German composers searched for formulas that might yield a viable national opera. Weber's Der Freischutz (Freischutz) provided impetus. Euryanthe was a further step in the reconfiguration and transformation of German opera. Meyer details the nature of the conflict that led to new institutions, aesthetics, and opera genre after Weber's death and the compromises that eventually produced the German romantic opera. Thoroughly researched, copiously footnoted, and including an extensive bibliography, this volume is a logical companion to Michael Tusa's Euryanthe and Carl Maria von Weber's Dramaturgy of German Opera (CH, Feb'92). Summing Up: Recommended. Scholars and opera historians.July 2003--R. Miller "Oberlin College "

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登録情報

  • ハードカバー: 232ページ
  • 出版社: Indiana Univ Pr (2003/2/1)
  • 言語: 英語
  • ISBN-10: 025334185X
  • ISBN-13: 978-0253341853
  • 発売日: 2003/2/1
  • 商品パッケージの寸法: 15.2 x 2.6 x 22.9 cm
  • おすすめ度: この商品の最初のレビューを書き込んでください。
  • Amazon 売れ筋ランキング: 洋書 - 1,306,705位 (洋書の売れ筋ランキングを見る)
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