Goethe's Faust, a work which has attracted the attention of composers since the late eighteenth century and played a vital role in the evolution of vocal, operatic and instrumental repertoire in the nineteenth century, hashad a seminal impact in musical realms. That Goethe's poetry has proved pivotal for the development of the nineteenth-century Lied has long been acknowledged. Less acknowledged is the seminal impact in musical realms of Goethe's Faust, a work which has attractedthe attention of composers since the late eighteenth century and played a vital role in the evolution of vocal, operatic and instrumental repertoire in the nineteenth century. While Goethe longed to have Faust set to musicand considered only Mozart and perhaps Meyerbeer as being equal to the task, by the end of his life he had abandoned hope that he would live to witness a musical setting of his text. Despite this, a floodtide of musical interpretations of Goethe's Faust came into existence from Beethoven to Schubert, Schumann to Wagner and Mahler, and Gounod to Berlioz; and a broad trajectory can be traced from Zelter's colourful description of the first setting ofGoethe's Faust to Alfred Schnittke's Faust opera (1993). This book explores the musical origins of Goethe's Faust and the musical dimensions of its legacy. It uncovers the musical furore caused by Goethe's Faust and considers why his polemical text has resonated so strongly with composers. Bringing together leading musicologists and Germanists, the book addresses a wide range of issues including reception history, the performative challenges of writing music for Faust, the impact of the legend on composers' conceptual thinking, and the ways in which it has been used by composers to engage with other contemporary intellectual concepts. Constituting the richest examination to date of the musicality of language and form in Goethe's Faust and its musical rendering from the eighteenth to twenty-first centuries, the book will appeal to music, literary and Goethe scholars and students alike. LORRAINE BYRNE BODLEY is Senior Lecturer in Musicology at Maynooth University and President of the Society for Musicology in Ireland. Contributors: Mark Austin, Lorraine Byrne Bodley, NicholasBoyle, John Michael Cooper, Siobhan Donovan, Osman Durrani, Mark Fitzgerald, John Guthrie, Heather Hadlock, Julian Horton, Ursula Kramer, Waltraud Meierhofer, Eftychia Papanikolaou, David Robb, Christopher Ruth, Glenn Stanley, Martin Swales, J. M. Tudor

Volume 13 deals with the interaction of music and politics, considering a broad range of genres, authors, composers, and artists in Germany since the nineteenth century. A particularly iconic image of German Reunification is that of Mstislav Rostropovich playing from J. S. Bach's cello suites in front of the Berlin Wall on November 11, 1989. Thirty years on, it is timely to reconsider the cross-fertilization of music and politics within the German-speaking context. Frequently employed as a motivational force, a propaganda tool, or even a weapon, music can imbue a sense of identity and belonging, triggering both comforting and disturbing memories. Playing a key role in the formation of Heimat and "Germanness," it serves ideological, nationalistic, and propagandistic purposes conveying political messages and swaying public opinion. This volume brings together essays by historians, literary scholars, and musicologists on topics concerning the increasing politicization of music, especially since the nineteenth century. They cover a broad spectrum of genres, musicians, and thinkers, discussing the interplay of music and politics in "classical" and popular music: from the rediscovery and repurposing of Martin Luther in nineteenth-century Germany to the exploitation of music during the Third Reich, from the performative politics of German punk and pop music to the influence of the events of 1988/89 on operatic productions in the former GDR - up to the relevance of Ernst Bloch in our contemporary post-truth society.

Makes available twenty-two protest songs of the period up to and including the 1848 Revolution in Germany along with a reception history of the songs through their revival after 1945. The socially volatile period of the Vormarz (1830-1848) and the 1848 Revolution in Germany produced a wealth of political protest song. Songs for a Revolution makes available twenty-two prominent protest songs from that time, both lyrics (in German and English) and melodies. It also chronicles the songs' reception: suppressed after the revolution, they fell into obscurity, despite intermittent revivals by the workers' movement and later in the Weimar Republic, until they were appropriated as democratic cultural heritage by the folk and political song movements of East and West Germany after 1945. The songs reflect the new, oppositional political consciousness that emerged during the post-1830 period of restoration and led to the revolution. The book makes use of broadsides, songbooks, newspaper reports, and manuscripts to document the songs' transmission and shed light on the milieus in which they circulated. It also demonstrates how the appropriation of these songs by the German Liedermacher and folk scene shaped today's cultural memory of the 1848 period. It illuminates the functioning of political ideology in these reception processes, which in turn have given rise to myths that have influenced the discourse on the 1848 songs.

New essays on the influence of politics on 20c. German culture, not only during the Nazi and Cold War eras but in periods when the effects are less obvious. The cultural history of 20th-century Germany, more perhaps than that of any other European country, was decisively influenced by political forces and developments. This volume of essays focuses on the relationship between German politics and culture, which is most obvious in the case of the Third Reich and the German Democratic Republic, where the one-party control of all areas of life was extended to the arts; these were expected to conform to the idealsof the day. But the relationship between politics and the arts has not always been one purely of coercion, censorship, collusion, and opportunism. Many writers greeted the First World War with quite voluntary enthusiasm; others conjured up the National Socialist revolution in intense Expressionist images long before 1933. The GDR was heralded by writers returning from Nazi exile as the anti-fascist answer to the Third Reich. And in West Germany, politicsdid not dictate artistic norms, nor was it greeted with any great enthusiasm among intellectuals, but writers did tend to ally themselves with particular parties. To an extent, the pre-1990 literary establishment in the Federal Republic was dominated by a left-liberal consensus that German division was the just punishment for Auschwitz. United Germany began its existence with a fierce literary debate in 1990-92, with leading literary critics arguing that East and West German literature had basically shored up the political order in the two countries. Now a new literature was required, one that was free of ideology, intensely subjective and experimental in its aesthetic. In 1998, the author Martin Walser called for an end to the author's role as "conscience of the nation" and for the right to subjective experience. This is the first book to examine this crucial relationship between politics and culture in Germany. William Niven and James Jordan are readers in German at the University of Nottingham Trent.

Eighteen new articles on the works of Goethe and other authors of the Goethezeit, along with the customary book review section. The Goethe Yearbook is a publication of the Goethe Society of North America. It publishes original contributions to the understanding of Goethe and other authors of the Goethezeit. Its book review section evaluates awide selection of publications on the period, and is important for all scholars of 18th-century literature. The eighteen articles in this volume treat a wide range of topics. The volume opens with the last work of the late StuartAtkins, on Renaissance and Baroque elements in Faust, and proceeds to a critical appreciation of the Goethe scholarship of the late Geza von Molnar, before offering Molnar's last essay, also on Faust. A number of articles explore questions of the "Ich," the Ego, and subjectivity in the writings of Goethe and of others of his age such as Rousseau, Moritz, Fichte, and Novalis. Three articles deal with Faust, one with Goetz von Berlichingen's Weislingen, one with the genealogy of the poem 'Auf dem See,' and one with Egmont. An article focuses on the women figures in Wilhelm Meister, and there is a short story titled 'Mignon' by Irmgard ElsnerHunt. Other articles explore Grillparzer's Sappho, Wilhelm Muller's Lieder der Griechen, and Karls Enkel's Dahin! Dahin! Ein Goete-Abend. There is also a Laudatio to Daniel Barenboim in addition to the customary book review section. Contributors: Stewart Atkins, Katharina Mommsen, Peter Fenves, Geza von Molnar, Fritz Breithaupt, Anthony Krupp, Elliott Schreiber, Edgar Landgraf, Horst Lange, Volker Kaiser, Rainer Nagele, Martha B. Helfer, Marion Schmaus, Brigitte Prutti, Charles A. Grair, Lorna Fitzsimmons, Irmgard Elsner Hunt. Book review editor is Martha B. Helfer. Simon J. Richter is associate professor of German at the Universityof Pennsylvania.

The German protest song from the 1960s through the 1990s and how it carried forth traditions of earlier periods. The modern German political song is a hybrid of high and low culture. With its roots in the birth of mass culture in the 1920s, it employs communicative strategies of popular song. Yet its tendencies toward philosophical, poetic,and musical sophistication reveal intellectual aspirations. This volume looks at the influence of revolutionary artistic traditions in the lyrics and music of the Liedermacher of east and west Germany: the rediscovery of the revolutionary songs of 1848 by the 1960s West German folk revival, the use of the profane "carnivalesque" street-ballad tradition by Wolf Biermann and the GDR duo Wenzel & Mensching, the influence of 1920s artistic experimentation on Liedermacher such as Konstantin Wecker, and the legacy of Hanns Eisler's revolutionary song theory. The book also provides an insider perspective on the countercultural scenes of the two Germanys, examining the conditions in which political songs were written and performed. In view of the decline of the political song form since the fall of communism, the book ends with a look at German avant-garde techno's attempt to create a music that challenges conventional cultural perceptions and attitudes. Contributors: David Robb, Eckard Holler, Annette Bluhdorn, Peter Thompson David Robb is Senior Lecturer in German Studies at the Queen's University of Belfast.