Richard Kramer
- Published in print:
- 2016
- Published Online:
- May 2017
- ISBN:
- 9780226377896
- eISBN:
- 9780226384085
- Item type:
- book
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226384085.001.0001
- Subject:
- Music, Philosophy of Music
For the Enlightenment mind, from Moses Mendelssohn's focus on the moment of surprise at the heart of the work of art to Herder's imagining of the seismic moment at which language was discovered, it ...
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For the Enlightenment mind, from Moses Mendelssohn's focus on the moment of surprise at the heart of the work of art to Herder's imagining of the seismic moment at which language was discovered, it is the flash of recognition that nails the essence of the work, the blink of an eye in which one's world changes. This book unmasks such prismatic moments in iconic music from the Enlightenment, from the “chromatic” moment—the single tone that disturbs the thrust of a diatonic musical discourse—and its deployment in seminal instrumental works by Emanuel Bach, Haydn, and Mozart; on to the poetic moment, taking the odes of Klopstock, in their finely wrought prosody, as a challenge to the problem of strophic song; and finally to the grand stage of opera, to the intense moment of recognition in Gluck's Iphigénie en Tauride and the exquisitely introverted phrase that complicates Cherubino's daring moment of escape in Mozart's Figaro. Finally, the tears of the disconsolate Konstanze in Mozart's Die Entführung aus dem Serail provoke a reflection on the tragic aspect of Mozart's operatic women. Throughout, other players from literature and the arts—Diderot, Goethe, Lessing among them—enrich the landscape of this bold journey through the Enlightenment imagination.Less
For the Enlightenment mind, from Moses Mendelssohn's focus on the moment of surprise at the heart of the work of art to Herder's imagining of the seismic moment at which language was discovered, it is the flash of recognition that nails the essence of the work, the blink of an eye in which one's world changes. This book unmasks such prismatic moments in iconic music from the Enlightenment, from the “chromatic” moment—the single tone that disturbs the thrust of a diatonic musical discourse—and its deployment in seminal instrumental works by Emanuel Bach, Haydn, and Mozart; on to the poetic moment, taking the odes of Klopstock, in their finely wrought prosody, as a challenge to the problem of strophic song; and finally to the grand stage of opera, to the intense moment of recognition in Gluck's Iphigénie en Tauride and the exquisitely introverted phrase that complicates Cherubino's daring moment of escape in Mozart's Figaro. Finally, the tears of the disconsolate Konstanze in Mozart's Die Entführung aus dem Serail provoke a reflection on the tragic aspect of Mozart's operatic women. Throughout, other players from literature and the arts—Diderot, Goethe, Lessing among them—enrich the landscape of this bold journey through the Enlightenment imagination.
David Constantine
- Published in print:
- 1988
- Published Online:
- October 2011
- ISBN:
- 9780198157885
- eISBN:
- 9780191673238
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198157885.003.0010
- Subject:
- Literature, European Literature, Poetry
Friedrich Hölderlin wrote odes as a youth in Denkendorf and continued to do so throughout the time of his intense preoccupation with elegy and hymn. He had mastered the ode before he left Frankfurt, ...
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Friedrich Hölderlin wrote odes as a youth in Denkendorf and continued to do so throughout the time of his intense preoccupation with elegy and hymn. He had mastered the ode before he left Frankfurt, and two or three of these written in Homburg were among his best poems. After a few rather uncertain experiments early on, and with one notable exception in 1801, Hölderlin confined himself to two varieties: the alcaic ode and the asclepiad ode. The exception is the beautiful and difficult poem ‘Unter den Alpen gesungen’, which is sapphic (slightly modified). Long before he approached the form himself it had been thoroughly naturalised in German by Friedrich Gottlieb Klopstock, and it was his prosodic scheme which Hölderlin adopted. In the four lines of an alcaic strophe three different patterns occurred, and the expressive use of that variation was something Hölderlin soon learned.Less
Friedrich Hölderlin wrote odes as a youth in Denkendorf and continued to do so throughout the time of his intense preoccupation with elegy and hymn. He had mastered the ode before he left Frankfurt, and two or three of these written in Homburg were among his best poems. After a few rather uncertain experiments early on, and with one notable exception in 1801, Hölderlin confined himself to two varieties: the alcaic ode and the asclepiad ode. The exception is the beautiful and difficult poem ‘Unter den Alpen gesungen’, which is sapphic (slightly modified). Long before he approached the form himself it had been thoroughly naturalised in German by Friedrich Gottlieb Klopstock, and it was his prosodic scheme which Hölderlin adopted. In the four lines of an alcaic strophe three different patterns occurred, and the expressive use of that variation was something Hölderlin soon learned.
Richard Kramer
- Published in print:
- 2016
- Published Online:
- May 2017
- ISBN:
- 9780226377896
- eISBN:
- 9780226384085
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226384085.003.0004
- Subject:
- Music, Philosophy of Music
This chapter considers the work of Friedrich Gottlieb Klopstock. It examines how his poetry and his theorizing of language—most notably in “Von der Nachahmung des griechischen Silbenmaβes im ...
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This chapter considers the work of Friedrich Gottlieb Klopstock. It examines how his poetry and his theorizing of language—most notably in “Von der Nachahmung des griechischen Silbenmaβes im Deutschen” (1755)—sounded the authoritative voice in German letters in the 1760s and 1770s. The epic Messias was the magisterial work that established his eminence. However, it was the publication of the odes, many written in strophic forms inspired by prototypes of ancient Greece and by the odes of Horace, that drew even wider attention among his contemporary poets, together with those composers who recognized the challenge of setting such things to music.Less
This chapter considers the work of Friedrich Gottlieb Klopstock. It examines how his poetry and his theorizing of language—most notably in “Von der Nachahmung des griechischen Silbenmaβes im Deutschen” (1755)—sounded the authoritative voice in German letters in the 1760s and 1770s. The epic Messias was the magisterial work that established his eminence. However, it was the publication of the odes, many written in strophic forms inspired by prototypes of ancient Greece and by the odes of Horace, that drew even wider attention among his contemporary poets, together with those composers who recognized the challenge of setting such things to music.
Richard Kramer
- Published in print:
- 2016
- Published Online:
- May 2017
- ISBN:
- 9780226377896
- eISBN:
- 9780226384085
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226384085.003.0005
- Subject:
- Music, Philosophy of Music
This chapter examines the works of Friedrich Gottlieb Klopstock that were set to music by Bach and Gluck. In particular, Bach's setting of Lyda and Gluck's settings of Der Jüngling and Die frü hen ...
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This chapter examines the works of Friedrich Gottlieb Klopstock that were set to music by Bach and Gluck. In particular, Bach's setting of Lyda and Gluck's settings of Der Jüngling and Die frü hen Gräber. These settings were published in Poetische Blumenlese of 1775, edited by Johann Heinrich Voss. In a letter dated 30 March 1774 to his colleagues Voss reports from Hamburg on a visit to Klopstock: “Afterward we spoke about the rhythm and the music of prosody. Gluck's Willkommen [o silberne Mond] and the Schlachtgesang pleased him thoroughly. The others, such as das deutsche Mädchen, less so, and yet more than Bach's composition. Bach is otherwise said to speak with esteem of Gluck”.Less
This chapter examines the works of Friedrich Gottlieb Klopstock that were set to music by Bach and Gluck. In particular, Bach's setting of Lyda and Gluck's settings of Der Jüngling and Die frü hen Gräber. These settings were published in Poetische Blumenlese of 1775, edited by Johann Heinrich Voss. In a letter dated 30 March 1774 to his colleagues Voss reports from Hamburg on a visit to Klopstock: “Afterward we spoke about the rhythm and the music of prosody. Gluck's Willkommen [o silberne Mond] and the Schlachtgesang pleased him thoroughly. The others, such as das deutsche Mädchen, less so, and yet more than Bach's composition. Bach is otherwise said to speak with esteem of Gluck”.
Richard Kramer
- Published in print:
- 2016
- Published Online:
- May 2017
- ISBN:
- 9780226377896
- eISBN:
- 9780226384085
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226384085.003.0006
- Subject:
- Music, Philosophy of Music
This chapter examines Beethoven's engagement with poetry. Never a willing co-conspirator in matters of genre, Beethoven plants himself against its shifting currents. Further, his engagement with the ...
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This chapter examines Beethoven's engagement with poetry. Never a willing co-conspirator in matters of genre, Beethoven plants himself against its shifting currents. Further, his engagement with the poem is often an encounter with the poet, enmeshed in those webs of culture and psyche that we are continually disentangling in his other music. As a young composer, Beethoven seemed to have kept his distance from Klopstock. However, in the midst of nearly 200 pages of drafts for the immense expanses of the first movement of the Eroica Symphony, for the Waldstein Sonata, and among extensive plottings for the opening scene of Vestas Feuer, there is a modest turn inward, to Klopstock's Das Rosenband, its syntactical inflections and enjambments appropriate more to ode than to lied.Less
This chapter examines Beethoven's engagement with poetry. Never a willing co-conspirator in matters of genre, Beethoven plants himself against its shifting currents. Further, his engagement with the poem is often an encounter with the poet, enmeshed in those webs of culture and psyche that we are continually disentangling in his other music. As a young composer, Beethoven seemed to have kept his distance from Klopstock. However, in the midst of nearly 200 pages of drafts for the immense expanses of the first movement of the Eroica Symphony, for the Waldstein Sonata, and among extensive plottings for the opening scene of Vestas Feuer, there is a modest turn inward, to Klopstock's Das Rosenband, its syntactical inflections and enjambments appropriate more to ode than to lied.
Alessa Johns
- Published in print:
- 2018
- Published Online:
- September 2018
- ISBN:
- 9781474419659
- eISBN:
- 9781474445061
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474419659.003.0013
- Subject:
- Literature, Women's Literature
In the late eighteenth and early nineteenth centuries, continental writing was more available to British readers than ever, in large part because of the translations and reviews made available in the ...
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In the late eighteenth and early nineteenth centuries, continental writing was more available to British readers than ever, in large part because of the translations and reviews made available in the periodical press. Moreover, as Alessa Johns argues, Revolutionary furore meant an increased openness to German literary work as opposed to French. With particular attention to the work of Anna Karsch, Sophie von La Roche, Benedikte Naubert, Johanna Schopenhauer and Margarete Klopstock this chapter tracks the presence of a dozen German women authors through popular and influential periodicals such as the Annual Register (1758–present), the Gentleman’s Magazine (1731–1922), the Scots Magazine (1739–1826), and the Court Miscellany; or, Gentleman’s and Lady’s New Magazine (1766–71). Far from what one might expect, German women writers were less associated with sensibility or the Gothic; rather they are held up as exemplary, and used to stress transnational identification, especially along gendered lines.Less
In the late eighteenth and early nineteenth centuries, continental writing was more available to British readers than ever, in large part because of the translations and reviews made available in the periodical press. Moreover, as Alessa Johns argues, Revolutionary furore meant an increased openness to German literary work as opposed to French. With particular attention to the work of Anna Karsch, Sophie von La Roche, Benedikte Naubert, Johanna Schopenhauer and Margarete Klopstock this chapter tracks the presence of a dozen German women authors through popular and influential periodicals such as the Annual Register (1758–present), the Gentleman’s Magazine (1731–1922), the Scots Magazine (1739–1826), and the Court Miscellany; or, Gentleman’s and Lady’s New Magazine (1766–71). Far from what one might expect, German women writers were less associated with sensibility or the Gothic; rather they are held up as exemplary, and used to stress transnational identification, especially along gendered lines.
