Music and Literature in German Romanticism (Studies in German Literature Linguistics and Culture, 1)

The interrelationship between music and literature reached its zenith during the Romantic era, and nowhere was this relationship more pronounced than in Germany. Many representatives of literary and philosophical German Romanticism held music to be the highest and most expressive, quintessentially Romantic art form, able to convey what cannot be expressed in words: the ineffable and metaphysical. The influence was reciprocal, with literature providing a rich source of inspiration for German composers of both instrumental and vocal music, giving rise to a wealth of new forms and styles. The essays in this volume are selected from papers presented at an international, interdisciplinary conference held at University College Dublin in December 2000, and include contributions from Germanists, musicologists, comparatists, and performance artists. This interdisciplinarity makes for informed and complementary approaches and arguments. The essays cover not only the "Romantic" nineteenth century (commencing with the early Romanticism of the Jena circle), but also look ahead to the legacy, reception, and continuation of German Romanticism in the modern and postmodern ages. Alongside new readings of familiar and established writers and composers such as Goethe, Hoffmann, Wagner, and Schubert, a case is made for other figures such as Wackenroder, Novalis, Schlegel, Schumann, Brahms, Liszt, and Berlioz, as well as less-known figures such as Ritter, Schneider, and Termen, and for a reconsideration of questions of categorization. The essays will appeal to readers with a wide variety of academic, musical, and literary interests. Siobhán Donovan is a Lecturer in the Department of German at University College Dublin. Robin Elliott is Jean A. Chalmers Chair in Canadian Music at the University of Toronto. Essays on the synthesis of the musical and literary arts in German Romanticism.The interrelationship between music and literature reached its zenith during the Romantic era, and nowhere was this relationship more pronounced than in Germany. Many representatives of literary and philosophical German Romanticism held music to be the highest and most expressive, quintessentially Romantic art form, able to convey what cannot be expressed in words: the ineffable and metaphysical. The influence was reciprocal, with literature providing a rich source of inspiration for German composers of both instrumental and vocal music, giving rise to a wealth of new forms and styles. The essays in this volume are selected from papers presented at an international, interdisciplinary conference held at University College Dublin in December 2000, and include contributions from Germanists, musicologists, comparatists, and performance artists. This interdisciplinarity makes for informed and complementary approaches and arguments. The essays cover not only the'Romantic'nineteenth century (commencing with the early Romanticism of the Jena circle), but also look ahead to the legacy, reception, and continuation of German Romanticism in the modern and postmodern ages. Alongside new readings of familiar and established writers and composers such as Goethe, Hoffmann, Wagner, and Schubert, a case is made for other figures such as Wackenroder, Novalis, Schlegel, Schumann, Brahms, Liszt, and Berlioz, as well as less-known figures such as Ritter, Schneider, and Termen, and for a reconsideration of questions of categorization. The essays will appeal to readers with a wide variety of academic, musical, and literary interests.Siobhán Donovan is a Lecturer in the Department of German at University College Dublin. Robin Elliott is Jean A. Chalmers Chair in Canadian Music at the University of Toronto. The interrelationship between music and literature reached its zenith during the Romantic era, and nowhere was this relationship more pronounced than in Germany. Many representatives of literary and philosophical German Romanticism held music to be the highest and most expressive, quintessentially Romantic art form, able to convey what cannot be expressed in words: the ineffable and metaphysical. The influence was reciprocal, with literature providing a rich source of inspiration for German composers of both instrumental and vocal music, giving rise to a wealth of new forms and styles. The essays in this volume are selected from papers presented at an international, interdisciplinary conference held at University College Dublin in December 2000, and include contributions from Germanists, musicologists, comparatists, and performance artists. This interdisciplinarity makes for informed and complementary approaches and arguments. The essays cover not only the 'Romantic' nineteenth century (commencing with the early Romanticism of the Jena circle), but also look ahead to the legacy, reception, and continuation of German Romanticism in the modern and postmodern ages. Alongside new readings of familiar and established writers and composers such as Goethe, Hoffmann, Wagner, and Schubert, a case is made for other figures such as Wackenroder, Novalis, Schlegel, Schumann, Brahms, Liszt, and Berlioz, as well as less-known figures such as Ritter, Schneider, and Termen, and for a reconsideration of questions of categorization. The essays will appeal to readers with a wide variety of academic, musical, and literary interests. Siobhán Donovan is a Lecturer in the Department of German at University College Dublin. Robin Elliott is Jean A. Chalmers Chair in Canadian Music at the University of Toronto The interrelationship between music and literature reached its zenith during the Romantic era, and nowhere was this relationship more pronounced than in Germany. Many representatives of literary and philosophical German Romanticism held music to be the highest and most expressive, quintessentially Romantic art form, able to convey what cannot be expressed in words: the ineffable and metaphysical. The influence was reciprocal, with literature providing a rich source of inspiration for German composers of both instrumental and vocal music, giving rise to a wealth of new forms and styles. The essays in this volume are selected from papers presented at an international, interdisciplinary conference held at University College Dublin in December 2000, and include contributions from Germanists, musicologists, comparatists, and performance artists. This interdisciplinarity makes for informed and complementary approaches and arguments. The essays cover not only the "Romantic" nineteenth century (commencing with the early Romanticism of the Jena circle), but also look ahead to the legacy, reception, and continuation of German Romanticism in the modern and postmodern ages. Alongside new readings of familiar and established writers and composers such as Goethe, Hoffmann, Wagner, and Schubert, a case is made for other figures such as Wackenroder, Novalis, Schlegel, Schumann, Brahms, Liszt, and Berlioz, as well as less-known figures such as Ritter, Schneider, and Termen, and for a reconsideration of questions of categorization. The essays will appeal to readers with a wide variety of academic, musical, and literary interests.Siobhan Donovan is a Lecturer in the Department of German at University College Dublin. Robin Elliott is Jean A. Chalmers Chair in Canadian Music at the University of Toronto. The interrelationship between music and literature reached its zenith during the Romantic era, and nowhere was this relationship more pronounced than in Germany. Many representatives of literary and philosophical German Romanticism held music to be the highest and most expressive, quintessentially Romantic art form, able to convey what cannot be expressed in words: the ineffable and metaphysical. The influence was reciprocal, with literature providing a rich source of inspiration for German composers of both instrumental and vocal music, giving rise to a wealth of new forms and styles. The essays in this volume are selected from papers presented at an international, interdisciplinary conference held at University College Dublin in December 2000, and include contributions from Germanists, musicologists, comparatists, and performance artists. This interdisciplinarity makes for informed and complementary approaches and arguments. The essays cover not only the "Romantic" nineteenth century (commencing with the early Romanticism of the Jena circle), but also look ahead to the legacy, reception, and continuation of German Romanticism in the modern and postmodern ages. Alongside new readings of familiar and established writers and composers such as Goethe, Hoffmann, Wagner, and Schubert, a case is made for other figures such as Wackenroder, Novalis, Schlegel, Schumann, Brahms, Liszt, and Berlioz, as well as less-known figures such as Ritter, Schneider, and Termen, and for a reconsideration of questions of categorization. The essays will appeal to readers with a wide variety of academic, musical, and literary interests.-- Provided by publisher 9781571132581 CONTENTS 6 ACKNOWLEDGEMENTS 8 FOREWORD 10 INTRODUCTION 12 German Romantic Music Aesthetics 32 Iniquitous Innocence: The Ambiguity of Music in the Phantasien über die Kunst (1799) Richard Littlejohns 34 The Cosmic-Symphonic: Novalis, Music, and Universal Discourse 46 “Das Hören ist ein Sehen von und durch innen”: Johann Wilhelm Ritter and the Aesthetics of Music Thomas Strässle 60 Music and Non-Verbal Reason in E. T. A. Hoffmann 76 Responses to Goethe 90 Perceptions of Goethe and Schubert 92 Goethe’s Egmont, Beethoven’s Egmont 108 A Tale of Two Fausts: An Examination of Reciprocal Influence in the Responses of Liszt and Wagner to Goethe’s Faust 120 Musical Gypsies and Anti-Classical Aesthetics: The Romantic Reception of Goethe’s Mignon Character in Brentano’s Die mehreren Wehmüller und ungarische Nationalgesichter 138 Sounds of Hoffmann 154 Stages of Imagination in Music and Literature: E. T. A. Hoffmann and Hector Berlioz 156 The Voice from the Hereafter: E. T. A. Hoffmann’s Ideal of Sound and Its Realization in Early Twentieth-Century Electronic Music 176 Lieder 196 “My song the midnight raven has outwing’d”: Schubert’s “Der Wanderer,” D. 649 198 The Notion of Personae in Brahms’s “Bitteres zu sagen denkst du,” op. 32, no. 7: A Literary Key to Musical Performance? 216 Romantic Overtones in Contemporary German Literature 234 Robert Schneider’s Schlafes Bruder — A Neo-Romantic Musikernovelle? Jürgen Barkhoff 236 NOTES ON THE CONTRIBUTORS 250 NOTES ON THE EDITORS 254 INDEX 256 #,Publisher:,Camden,House,#,Number,Of,Pages:,288,#,Publication,Date:,2004-05 German romantic music aesthetics. Iniquitous innocence : the ambiguity of music in the Phantasien über die Kunst (1799) / Richard Littlejohns The cosmic-symphonic : Novalis, music, and universal discourse / James Hodkinson "Das Hören ist ein Sehen von und durch innen" : Johann Wilhelm Ritter and the aesthetics of music / Thomas Strässle Music and non-verbal reason in E.T.A. Hoffmann / Jeanne Riou. Responses to Goethe. Perceptions of Goethe and Schubert / Lorraine Byrne Goethe's Egmont, Beethoven's Egmont / David Hill A tale of two Fausts : an examination of reciprocal influence in the responses of Liszt and Wagner to Goethe's Faust / David Larkin Musical gypsies and anti-classical aesthetics : the romantic reception of Goethe's Mignon character in Brentano's Die mehreren Wehmüller und ungarische Nationalgesichter / Stefanie Bach. Sounds of Hoffmann. Stages of imagination in music and literature : E.T.A. Hoffmann and Hector Berlioz / Andrea Hübener The voice from the hereafter : E.T.A. Hoffmann's ideal of sound and its realization in early twentieth-century electronic music / Werner Keil. Lieder. "My song the midnight raven has outwing'd" : Schubert's "Der Wanderer," D. 649 / James Parsons The notion of personae in Brahms's "Bitteres zu sagen denkst du," op. 32, no. 7 : a literary key to musical performance? / Natasha Loges. Romantic overtones in contemporary German literature. Robert Schneider's Schlafes Bruder : a neo-romantic Musikernovelle? / Jürgen Barkhoff. During the Romantic era, many in Germany believed music to be the highest art form, representing the quintessence of Romanticism and able to express what could not be expressed in words. This book studies the work of composers during this period and examines the cross-over between music and literature Edited By Siobhán Donovan And Robin Elliott. Selected Papers From The Interdisciplinary Conference Music And Literature In German Romanticism Held Dec. 8-10, 2000, At The University College Dublin. Includes Bibliographical References And Index.