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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
In examining Schiller's often-neglected use of gesture, this study
treats his dramas as written to be performed -- not merely read.
Many aspects of the works of Friedrich Schiller (1759-1805) have
attracted attention. His work as a philosopher and pioneering
thinker in poetics and aesthetics and as a historian have recently
been the focus of much attention. But Schiller's dramas have always
held the most interest, and they continue to be performed regularly
both in German-speaking lands and around the world. Schiller is a
dramatist of psychological conflict rather than of abstract ideas,
and he had a unique grasp of how to use the stage to that end. This
study of Schiller's use of gesture begins with a discussion of the
origins of the gestures he employs, viewing them in relation to his
medical writings, his literary influences, theories of the theater
and acting, and Enlightenment thinking in general. The study then
considers the use of gesture and related aspects of stagecraft in
Schiller's nine completed dramas, highlighting elementsof
continuity and development. It is concerned with the interpretation
of gesture, often marginalized in studies of Schiller's works, and
with the interrelationship between gesture and verbal text. It also
considers Schiller's relationship to the theater of his day, and
discusses the first performances of his plays as well as their more
recent stage history in both Germany and Great Britain. Appearing
in the 250th anniversary of Schiller's birth, this study treats his
dramas as plays written to be performed -- as works that reach
their fullest potential in the theater. John Guthrie teaches modern
German literature and language at the University of Cambridge,
where he isfellow and director of studies at Murray Edwards
College.
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John Guthrie
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R277
Discovery Miles 2 770
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Ships in 10 - 15 working days
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