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Music, theatre, and politics in Germany: 1848 to the Third Reich

2007; Association of College and Research Libraries; Volume: 44; Issue: 08 Linguagem: Inglês

10.5860/choice.44-4371

1943-5975

Nikolaus Bacht,

Theater, Performance, and Music History

Contents: Introduction. Part 1 The New German School: Weber's ghost: Euryanthe, Genoveva, Lohengrin, Laura Tunbridge Wagner amongst the Hegelians, Nicholas Walker. Part 2 Wagnerian Politics: Magnificent obsession: Tristan und Isolde as the object of musical analysis, Thomas Grey From critical tool to political metaphor: thoughts on the writings of Houston Stewart Chamberlain, Roger Allen A question of identity: Die Meistersinger von NA1/4rnberg in Weimar Germany, A ine Sheil. Part 3 The Politics of Reception: SchA1/4tz's Dafne and the German operatic imagination, Bettina Varwig Deception on stage: Don Carlos di Vargas and Franz Werfel's politics of operatic translation, Gundula Kreuzer Bruckner in the theatre: on the politics of 'absolute' music in performance, Nicholas Attfield. Part 4 An Excursus on Vienna: 'Wer weiss, Vater, ob das nicht Engel sind?' Reflections on the pre-Fascist discourse of degeneracy in Schreker's Die Gezeichneten, Peter Franklin 'The republic of the mind': politics, the arts and ideas in Schoenberg's post-war projects, Jennifer Shaw Berg's operas and the politics of subjectivity, Julian Johnson. Part 5 Interwar Germany: 'Stadtluft macht frei': urban consciousness in Weimar opera, Peter Tregear Magic boxes and VolksempfAnger: music on the radio in Weimar Germany, Alexander Rehding Socialism and the 'free development of art': Karl Amadeus Hartmann's Opera Simplicius Simplicissimus, Egon Voss. Bibliography index.