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A Language for German Opera: The Development of Forms and Formulas for Recitative and Aria in Seventeenth-Century German Libretti: 37 (Wolfenbčutteler Arbeiten Zur Barockforschung) - Hardcover
Synopsis
Content Introductory Remarks on Word-Music Relations: "Mein selbst ander ich" Forms for Early German Opera in Dresden: Heinrich Schutz, Martin Opitz and Augustus Buchner Two Directions for the Early German Opera Libretto: Georg Philipp Harsdorffer and Simon Dach German Language Opera in Dresden, 1650 -1680 The Turning Point: Caspar Ziegler's Von den Madrigalen (1653) and Initial Signs of its Impact in Dresden and Wolfenbuttel The Final Pieces of the Puzzle: Festspiele in Rudolstadt (1665 -1667) and "Die hallische Oper" (1660 -1679) Three Operas at the Threshold of Maturity: Rosander und Rosimene (1679), Floretto (1683), and Die Drey Tochter Cecrops (1679) Opera as Poetic Genre and Source of Poetic Forms: "das galanteste Stuck der Poesie" Bibliographies Indices
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- PublisherHarrassowitz
- Publication date2002
- ISBN 10 3447046538
- ISBN 13 9783447046534
- BindingHardcover
- LanguageEnglish
- Edition number1
- Number of pages349
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A Language for German Opera: The Development of Forms and Formulas for Recitative and Aria in Seventeenth-Century German Libretti (Wolfenbütteler Arbeiten zur Barockforschung, Band 37)
Published by
Harrassowitz Verlag. 31.12.2002., 2002
ISBN 10: 3447046538
ISBN 13: 9783447046534
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Originalhardcover.
Seller: Fundus-Online GbR Borkert Schwarz Zerfaß, Berlin, Germany
Seller rating 5 out of 5 stars
Originalhardcover. Condition: Gut. VII, 347 Seiten / p. Aus der Bibliothek von Prof. Wolfgang Haase, langjährigem Herausgeber der ANRW und des International Journal of the Classical Tradition (IJCT) / From the library of Prof. Wolfgang Haase, long-time editor of ANRW and the International Journal of the Classical Tradition (IJCT). - leicht berieben, ansonsten tadelloser Zustand / slightly rubbed otherwise perfect condition - Preface -- This study on the development of verse forms suitable for German-language opera has its roots in two interdisciplinary courses I taught in the Literature, Science and the Arts Program at the University of Iowa. The first, "Opera as Drama," I team-taught with Professor Richard Hervig of the School of Music in 1980. The second, "Poetry and Song," I taught twice with Professor D. Martin Jenni, also of the School of Music, in the several years following the first course. In these team-taught courses I first confronted the issues of the relationships of the two media in vocal music, and I am very grateful to both Dick Hervig and Martin Jenni for their stimulating responses to my questions and challenges. -- This study is also a natural outgrowth of my long involvement with the dramatic works of Caspar Stieler, all of which employ vocal music to some extent. In that context, I first completed a study of early German opera libretti in the mid-1980s and published it as "Caspar Stieler and the German Singspiel," Chapter 7 in my book on that author: Scaramutza in Germany: The Dramatic Works of Caspar Stieler (Boston: Hall, 1989). The focus was on Stieler's works, and the conclusion was that Caspar Stieler, practically alone, had made the necessary breakthroughs in versification for recitative and aria. ISBN 9783447046534 Sprache: Englisch Gewicht in Gramm: 743. Seller Inventory # 1185290
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