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Warum schrieb Beethoven nur eine Oper? Warum nannte er sie seine „Märtirerkrone“? Warum entstanden zu ihr statt einer schließlich vier Ouvertüren? Wie verbinden sich Sprache, Dramaturgie und Komposition? In welchem Operngeschichtlichen, in welchem Gattungsrahmen steht Fidelio? In welchem Maß und in welcher Weise hat er auf die Oper des 19. Jahrhunderts eingewirkt? Diese und andere Fragen werden in einer Reihe von Aufsätzen behandelt, die aus unterschiedlichen Zusammenhängen stammen – teils als Einführungen in das Themengebiet, teils essayistisch, teils in wissenschaftlichem Diskurs nach Antworten suchend. In der Beethoven-Forschung steht Fidelio bis heute im Schatten der instrumentalen Werke. Nach langer Zeit wird hier erstmals wieder ein Buch vorgelegt, das auf wissenschaftlicher Grundlage viele der neueren Erkenntnisse darstellt und zu weiterem Nachdenken anregt.
Vorträge und Aufsätze zu Beethovens Oper
Series:
Studien zur Musik, Volume: 22
Author:
Warum schrieb Beethoven nur eine Oper? Warum nannte er sie seine „Märtirerkrone“? Warum entstanden zu ihr statt einer schließlich vier Ouvertüren? Wie verbinden sich Sprache, Dramaturgie und Komposition? In welchem Operngeschichtlichen, in welchem Gattungsrahmen steht Fidelio? In welchem Maß und in welcher Weise hat er auf die Oper des 19. Jahrhunderts eingewirkt? Diese und andere Fragen werden in einer Reihe von Aufsätzen behandelt, die aus unterschiedlichen Zusammenhängen stammen – teils als Einführungen in das Themengebiet, teils essayistisch, teils in wissenschaftlichem Diskurs nach Antworten suchend. In der Beethoven-Forschung steht Fidelio bis heute im Schatten der instrumentalen Werke. Nach langer Zeit wird hier erstmals wieder ein Buch vorgelegt, das auf wissenschaftlicher Grundlage viele der neueren Erkenntnisse darstellt und zu weiterem Nachdenken anregt.
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Die musikalische Schrift dient nicht bloß zur Repräsentation von bereits bestehenden oder imaginierten Klängen, sondern eröffnet eine Szene des musikalischen Denkens, die durch die vier Dimensionen Operativität, Materialität, Ikonizität und Performativität abgesteckt ist. Damit wird die Szene des musikalischen Denkens wie eine musikalische Schreibszene entworfen. Der theoretische Anspruch des Bandes macht es erforderlich, eine Pluralität von Schreibszenen zu betrachten. Es finden sich neben allgemeinen schrifttheoretischen Ansätzen vor allem Texte, die sich mit Schreibszenen aus verschiedenen Epochen und Kulturkreisen befassen. Die in diesem Band versammelten Beiträge gruppieren sich um sieben Kategorien: Schrift, Performanz, Geste; Materialität, Autograph und Textdynamik; Schrifttheorie und Operativität; Schrift, Mündlichkeit und Erinnerung; Musiknotationen und andere Schriftsysteme; Schrift und Digitalität; Notation und Bildlichkeit.
Die musikalische Schrift dient nicht bloß zur Repräsentation von bereits bestehenden oder imaginierten Klängen, sondern eröffnet eine Szene des musikalischen Denkens, die durch die vier Dimensionen Operativität, Materialität, Ikonizität und Performativität abgesteckt ist. Damit wird die Szene des musikalischen Denkens wie eine musikalische Schreibszene entworfen. Der theoretische Anspruch des Bandes macht es erforderlich, eine Pluralität von Schreibszenen zu betrachten. Es finden sich neben allgemeinen schrifttheoretischen Ansätzen vor allem Texte, die sich mit Schreibszenen aus verschiedenen Epochen und Kulturkreisen befassen. Die in diesem Band versammelten Beiträge gruppieren sich um sieben Kategorien: Schrift, Performanz, Geste; Materialität, Autograph und Textdynamik; Schrifttheorie und Operativität; Schrift, Mündlichkeit und Erinnerung; Musiknotationen und andere Schriftsysteme; Schrift und Digitalität; Notation und Bildlichkeit.
Author:
Germany is considered a lauded land of music: outstanding composers, celebrated performers and famous orchestras exert great international appeal. Since the 19th century, the foundation of this reputation has been the broad mass of musicians who sat in orchestra pits, played in ensembles for dances or provided the musical background in silent movie theatres. Martin Rempe traces their lives and working worlds, including their struggle for economic improvement and societal recognition. His detailed portrait of the profession ‘from below’ sheds new light on German musical life in the modern era.
Author:
Germany is considered a lauded land of music: outstanding composers, celebrated performers and famous orchestras exert great international appeal. Since the 19th century, the foundation of this reputation has been the broad mass of musicians who sat in orchestra pits, played in ensembles for dances or provided the musical background in silent movie theatres. Martin Rempe traces their lives and working worlds, including their struggle for economic improvement and societal recognition. His detailed portrait of the profession ‘from below’ sheds new light on German musical life in the modern era.
The Musical Edification of the Church
Volume Editor:
Exploring the nexus of music and religious education involves fundamental questions regarding music itself, its nature, its interpretation, and its importance in relation to both education and the religious practices into which it is integrated.
This cross-disciplinary volume of essays offers the first comprehensive set of studies to examine the role of music in educational and religious reform and the underlying notions of music in early modern Europe. It elucidates the context and manner in which music served as a means of religious teaching and learning during that time, thereby identifying the religio-cultural and intellectual foundations of early modern European musical phenomena and their significance for exploring the interplay of music and religious education today.
This cross-disciplinary volume of essays offers the first comprehensive set of studies to examine the role of music in educational and religious reform and the underlying notions of music in early modern Europe. It elucidates the context and manner in which music served as a means of religious teaching and learning during that time, thereby identifying the religio-cultural and intellectual foundations of early modern European musical phenomena and their significance for exploring the interplay of music and religious education today.
The Musical Edification of the Church
Volume Editor:
Exploring the nexus of music and religious education involves fundamental questions regarding music itself, its nature, its interpretation, and its importance in relation to both education and the religious practices into which it is integrated.
This cross-disciplinary volume of essays offers the first comprehensive set of studies to examine the role of music in educational and religious reform and the underlying notions of music in early modern Europe. It elucidates the context and manner in which music served as a means of religious teaching and learning during that time, thereby identifying the religio-cultural and intellectual foundations of early modern European musical phenomena and their significance for exploring the interplay of music and religious education today.
This cross-disciplinary volume of essays offers the first comprehensive set of studies to examine the role of music in educational and religious reform and the underlying notions of music in early modern Europe. It elucidates the context and manner in which music served as a means of religious teaching and learning during that time, thereby identifying the religio-cultural and intellectual foundations of early modern European musical phenomena and their significance for exploring the interplay of music and religious education today.
From 1933 to the Present Day
How did exiled musicians from Germany and Austria, who reached safety at Kitchener Camp in Britain, find themselves in an Australian internment camp in New South Wales in 1940? What were the institutions that helped Jewish refugee musicians survive in wartime Shanghai? What happened to Austrian musicians who were trapped in the Netherlands after the German occupation?
These and other questions, and the larger stories they refer to, form the compelling content of this book. Other topics include the struggle of the Vienna operetta composers Granichstaedten and Katscher in USA, the relationship of émigré composer Berthold Goldschmidt to his native Hamburg and the reception of his ‘exile opera’ Beatrice Cenci. Studies of Mischa Spoliansky’s music for the movie Mr. Emmanuel(1944) and Franz Reizenstein’s radio opera Anna Kraus form part of the fourteen essays on exile musical history in Britain, Europe, USA, Australia and the Far East, based on cutting edge archival research and interviews by leading scholars.
These and other questions, and the larger stories they refer to, form the compelling content of this book. Other topics include the struggle of the Vienna operetta composers Granichstaedten and Katscher in USA, the relationship of émigré composer Berthold Goldschmidt to his native Hamburg and the reception of his ‘exile opera’ Beatrice Cenci. Studies of Mischa Spoliansky’s music for the movie Mr. Emmanuel(1944) and Franz Reizenstein’s radio opera Anna Kraus form part of the fourteen essays on exile musical history in Britain, Europe, USA, Australia and the Far East, based on cutting edge archival research and interviews by leading scholars.
From 1933 to the Present Day
How did exiled musicians from Germany and Austria, who reached safety at Kitchener Camp in Britain, find themselves in an Australian internment camp in New South Wales in 1940? What were the institutions that helped Jewish refugee musicians survive in wartime Shanghai? What happened to Austrian musicians who were trapped in the Netherlands after the German occupation?
These and other questions, and the larger stories they refer to, form the compelling content of this book. Other topics include the struggle of the Vienna operetta composers Granichstaedten and Katscher in USA, the relationship of émigré composer Berthold Goldschmidt to his native Hamburg and the reception of his ‘exile opera’ Beatrice Cenci. Studies of Mischa Spoliansky’s music for the movie Mr. Emmanuel(1944) and Franz Reizenstein’s radio opera Anna Kraus form part of the fourteen essays on exile musical history in Britain, Europe, USA, Australia and the Far East, based on cutting edge archival research and interviews by leading scholars.
These and other questions, and the larger stories they refer to, form the compelling content of this book. Other topics include the struggle of the Vienna operetta composers Granichstaedten and Katscher in USA, the relationship of émigré composer Berthold Goldschmidt to his native Hamburg and the reception of his ‘exile opera’ Beatrice Cenci. Studies of Mischa Spoliansky’s music for the movie Mr. Emmanuel(1944) and Franz Reizenstein’s radio opera Anna Kraus form part of the fourteen essays on exile musical history in Britain, Europe, USA, Australia and the Far East, based on cutting edge archival research and interviews by leading scholars.
Mystery of the Eucharistic Presence
Author:
Editor / Translator:
In his last monumental organ piece, “Livre du Saint Sacrement,” the French composer Olivier Messiaen (1908–92) approaches the mystery of the eucharistic presence, using all elements of his extraordinary compositional language: Gregorian chants, birdsongs, Greek and Hindu rhythms, serialism, and sound-colors. In this book, the "Livre du Saint Sacrement," which premiered in 1986, is fully analyzed and theologically interpreted for the first time. The influence of the eucharistic hymns of Thomas Aquinas, among other sources, on the work’s conception and the composer’s theology is explored, and the author points out the ways in which Messiaen’s musico-theological dedication to the Eucharist can inspire actual theology. The original dissertation that was the basis for this book received the Award of Excellence from the Austrian Ministry for Science, Research, and Economy, as well as the Roland-Atefie-Prize from the Austrian Academy of Sciences. For the first time, the book is now available in English translation.
Mystery of the Eucharistic Presence
Author:
In his last monumental organ piece, “Livre du Saint Sacrement,” the French composer Olivier Messiaen (1908–92) approaches the mystery of the eucharistic presence, using all elements of his extraordinary compositional language: Gregorian chants, birdsongs, Greek and Hindu rhythms, serialism, and sound-colors. In this book, the "Livre du Saint Sacrement," which premiered in 1986, is fully analyzed and theologically interpreted for the first time. The influence of the eucharistic hymns of Thomas Aquinas, among other sources, on the work’s conception and the composer’s theology is explored, and the author points out the ways in which Messiaen’s musico-theological dedication to the Eucharist can inspire actual theology. The original dissertation that was the basis for this book received the Award of Excellence from the Austrian Ministry for Science, Research, and Economy, as well as the Roland-Atefie-Prize from the Austrian Academy of Sciences. For the first time, the book is now available in English translation.
A Multidisciplinary Perspective on Expressions of Grief
Death and grief have often elicited the response of creativity, from elegies and requiems to memorial architecture. Such artistic expressions of grief form the focus of Grief, Identity, and the Arts, which brings together scholars from the disciplines of musicology, literature, sociology, film studies, social work, and museum studies. While presenting one or more case studies from a range of artistic disciplines, historical periods, or geographical areas, each chapter addresses the interdependence of grief and identity in the arts. The volume as a whole shows how artistic expressions of grief are both influenced by and contribute to constructions of religious, national, familial, social, and artistic identities.
Contributors to this volume: Tammy Clewell, Lizet Duyvendak, David Gist, Maryam Haiawi, Owen Hansen, Maggie Jackson, Christoph Jedan, Bram Lambrecht, Carlo Leo, Wolfgang Marx, Tijl Nuyts, Despoina Papastathi, Julia Płaczkiewicz, Bavjola Shatro, Caroline Supply, Nicolette van den Bogerd, Eric Venbrux, Janneke Weijermars, Miriam Wendling, and Mariske Westendorp.
Contributors to this volume: Tammy Clewell, Lizet Duyvendak, David Gist, Maryam Haiawi, Owen Hansen, Maggie Jackson, Christoph Jedan, Bram Lambrecht, Carlo Leo, Wolfgang Marx, Tijl Nuyts, Despoina Papastathi, Julia Płaczkiewicz, Bavjola Shatro, Caroline Supply, Nicolette van den Bogerd, Eric Venbrux, Janneke Weijermars, Miriam Wendling, and Mariske Westendorp.
A Multidisciplinary Perspective on Expressions of Grief
Death and grief have often elicited the response of creativity, from elegies and requiems to memorial architecture. Such artistic expressions of grief form the focus of Grief, Identity, and the Arts, which brings together scholars from the disciplines of musicology, literature, sociology, film studies, social work, and museum studies. While presenting one or more case studies from a range of artistic disciplines, historical periods, or geographical areas, each chapter addresses the interdependence of grief and identity in the arts. The volume as a whole shows how artistic expressions of grief are both influenced by and contribute to constructions of religious, national, familial, social, and artistic identities.
Contributors to this volume: Tammy Clewell, Lizet Duyvendak, David Gist, Maryam Haiawi, Owen Hansen, Maggie Jackson, Christoph Jedan, Bram Lambrecht, Carlo Leo, Wolfgang Marx, Tijl Nuyts, Despoina Papastathi, Julia Płaczkiewicz, Bavjola Shatro, Caroline Supply, Nicolette van den Bogerd, Eric Venbrux, Janneke Weijermars, Miriam Wendling, and Mariske Westendorp.
Contributors to this volume: Tammy Clewell, Lizet Duyvendak, David Gist, Maryam Haiawi, Owen Hansen, Maggie Jackson, Christoph Jedan, Bram Lambrecht, Carlo Leo, Wolfgang Marx, Tijl Nuyts, Despoina Papastathi, Julia Płaczkiewicz, Bavjola Shatro, Caroline Supply, Nicolette van den Bogerd, Eric Venbrux, Janneke Weijermars, Miriam Wendling, and Mariske Westendorp.
Music, Images, and Drama to Promote the Reformation
Martin Luther was the architect and engineer of the Protestant Reformation, which transformed Germany five hundred years ago. In Martin Luther and the Arts, Andreas Loewe and Katherine Firth elucidate Luther’s theory and practice, demonstrating the breadth, flexibility and rigour of Luther’s use of the arts to reach audiences and convince them of his Reformation message using a range of strategies, including music, images and drama alongside sermons, polemical tracts, and his new translation of the Bible into German.
Extensively based on German and English sources, including often neglected aspects of Luther’s own writings, Loewe and Firth offer a valuable survey for theologians, historians, art historians, musicologists and literary studies scholars interested in interdisciplinary comparisons of Luther’s work across the arts.
Extensively based on German and English sources, including often neglected aspects of Luther’s own writings, Loewe and Firth offer a valuable survey for theologians, historians, art historians, musicologists and literary studies scholars interested in interdisciplinary comparisons of Luther’s work across the arts.
Music, Images, and Drama to Promote the Reformation