Linda Hutcheon and Michael Hutcheon
- Published in print:
- 2015
- Published Online:
- January 2016
- ISBN:
- 9780226255590
- eISBN:
- 9780226255620
- Item type:
- book
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226255620.001.0001
- Subject:
- Music, History, Western
Later life is a fraught topic in our commercialized, anti-aging, death-denying culture. Where does creativity fit in? The canonical composers whose stories are told here—Giuseppe Verdi (1813–1901), ...
More
Later life is a fraught topic in our commercialized, anti-aging, death-denying culture. Where does creativity fit in? The canonical composers whose stories are told here—Giuseppe Verdi (1813–1901), Richard Strauss (1864–1949), Olivier Messiaen (1908–1992), and Benjamin Britten (1913–1976)—offer radically individual responses to that question. In their late years, each of these national icons wrote an opera around which coalesced for them major issues about their creativity and aging. While these and other late works helped them explore creatively their own aging and mortality, the composers nonetheless had to face a variety of challenges that came with their own aging—ranging from health issues to the critical expectations that accompany success. They also had to deal with the social, political and aesthetic changes of their times, including World Wars and the rise of musical modernism. By investigating their own attitudes to their aging and their creativity, their late compositions, and the critical reception of them, this book tells the stories of their different but creative ways of dealing with those changes, Each composer began his career in an individual manner; each also ended it in a unique way. It is the complexity of the interrelationship of aging and creativity in all its individuality that this book investigates.Less
Later life is a fraught topic in our commercialized, anti-aging, death-denying culture. Where does creativity fit in? The canonical composers whose stories are told here—Giuseppe Verdi (1813–1901), Richard Strauss (1864–1949), Olivier Messiaen (1908–1992), and Benjamin Britten (1913–1976)—offer radically individual responses to that question. In their late years, each of these national icons wrote an opera around which coalesced for them major issues about their creativity and aging. While these and other late works helped them explore creatively their own aging and mortality, the composers nonetheless had to face a variety of challenges that came with their own aging—ranging from health issues to the critical expectations that accompany success. They also had to deal with the social, political and aesthetic changes of their times, including World Wars and the rise of musical modernism. By investigating their own attitudes to their aging and their creativity, their late compositions, and the critical reception of them, this book tells the stories of their different but creative ways of dealing with those changes, Each composer began his career in an individual manner; each also ended it in a unique way. It is the complexity of the interrelationship of aging and creativity in all its individuality that this book investigates.
Olivia Bloechl
- Published in print:
- 2018
- Published Online:
- January 2019
- ISBN:
- 9780226522753
- eISBN:
- 9780226522890
- Item type:
- book
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226522890.001.0001
- Subject:
- Music, History, Western
From its origins in the 1670s through the French Revolution, serious opera in France was associated with the power of the absolute monarchy, and its ties to the crown remain at the heart of our ...
More
From its origins in the 1670s through the French Revolution, serious opera in France was associated with the power of the absolute monarchy, and its ties to the crown remain at the heart of our understanding of this opera tradition (especially its foremost genre, the tragédie en musique). Opera and the Political Imaginary in Old Regime France, however, explores another layer of French opera’s political theater. The make-believe worlds that opera staged, it shows, involved not just fantasies of sovereign rule, but also aspects of tactical government. Plot conflicts over public conduct, morality, security, and law thus appear side-by-side with tableaus celebrating princes and their majesty. What’s more, opera’s creators dispersed sovereign-like dignity and powers well beyond the genre’s larger-than-life rulers and gods, to its lovers, magicians, and artists. This speaks to the genre’s distinctive combination of a theological political vocabulary with a concern for mundane human capacities, which is explored here for the first time. By looking at the political relations among opera characters and choruses in recurring scenes of mourning, confession, punishment, and pardoning, we can glimpse a collective political experience underlying, and sometimes working against, ancien regime absolutism. Through this lens, French opera of the period emerges as a deeply conservative, yet also more politically nuanced genre than previously thought.Less
From its origins in the 1670s through the French Revolution, serious opera in France was associated with the power of the absolute monarchy, and its ties to the crown remain at the heart of our understanding of this opera tradition (especially its foremost genre, the tragédie en musique). Opera and the Political Imaginary in Old Regime France, however, explores another layer of French opera’s political theater. The make-believe worlds that opera staged, it shows, involved not just fantasies of sovereign rule, but also aspects of tactical government. Plot conflicts over public conduct, morality, security, and law thus appear side-by-side with tableaus celebrating princes and their majesty. What’s more, opera’s creators dispersed sovereign-like dignity and powers well beyond the genre’s larger-than-life rulers and gods, to its lovers, magicians, and artists. This speaks to the genre’s distinctive combination of a theological political vocabulary with a concern for mundane human capacities, which is explored here for the first time. By looking at the political relations among opera characters and choruses in recurring scenes of mourning, confession, punishment, and pardoning, we can glimpse a collective political experience underlying, and sometimes working against, ancien regime absolutism. Through this lens, French opera of the period emerges as a deeply conservative, yet also more politically nuanced genre than previously thought.
Fritz Trümpi
- Published in print:
- 2016
- Published Online:
- May 2017
- ISBN:
- 9780226251394
- eISBN:
- 9780226251424
- Item type:
- book
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226251424.001.0001
- Subject:
- Music, History, Western
Through a comparison of the Vienna and Berlin Philharmonics in the Third Reich, Fritz Trümpi offers a richly detailed study of National Socialist musical politics. The politicization of the competing ...
More
Through a comparison of the Vienna and Berlin Philharmonics in the Third Reich, Fritz Trümpi offers a richly detailed study of National Socialist musical politics. The politicization of the competing orchestras, whose relationship mirrored a larger rivalry between Vienna and Berlin, served on both sides to cement Nazi authority, though the process played out quite differently for each ensemble. After a comparative look at the early histories of each orchestra, Trümpi explores continuities and breaks in the orchestral business after the rise of the National Socialists and the Anschluss of Austria into Nazi Germany. Along the way, he presents a range of provocative archival material, some presented here for the very first time.Less
Through a comparison of the Vienna and Berlin Philharmonics in the Third Reich, Fritz Trümpi offers a richly detailed study of National Socialist musical politics. The politicization of the competing orchestras, whose relationship mirrored a larger rivalry between Vienna and Berlin, served on both sides to cement Nazi authority, though the process played out quite differently for each ensemble. After a comparative look at the early histories of each orchestra, Trümpi explores continuities and breaks in the orchestral business after the rise of the National Socialists and the Anschluss of Austria into Nazi Germany. Along the way, he presents a range of provocative archival material, some presented here for the very first time.
Laura Tunbridge
- Published in print:
- 2018
- Published Online:
- January 2019
- ISBN:
- 9780226563572
- eISBN:
- 9780226563602
- Item type:
- book
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226563602.001.0001
- Subject:
- Music, History, Western
This book investigates the culture of lieder performance in New York and London between the two World Wars. Treated with hostility initially, German music and musicians became an important barometer ...
More
This book investigates the culture of lieder performance in New York and London between the two World Wars. Treated with hostility initially, German music and musicians became an important barometer by which to gauge questions of identity in an age increasingly anxious about nationalism, internationalism, race, technology, and taste. Through case studies of individual singers, venues, and media history, this book reveals the ways in which transatlantic networks were negotiated by musicians through their choice of repertoire, the spaces in which they played, and the manner in which their performances were disseminated. Also examined are changes in listening practices, prompted by the spread of recordings, radio, and sound film, and encouraged and supported by music criticism and education. The reverence with which lieder are approached today is shown to have been contested politically and aesthetically during the interwar period.Less
This book investigates the culture of lieder performance in New York and London between the two World Wars. Treated with hostility initially, German music and musicians became an important barometer by which to gauge questions of identity in an age increasingly anxious about nationalism, internationalism, race, technology, and taste. Through case studies of individual singers, venues, and media history, this book reveals the ways in which transatlantic networks were negotiated by musicians through their choice of repertoire, the spaces in which they played, and the manner in which their performances were disseminated. Also examined are changes in listening practices, prompted by the spread of recordings, radio, and sound film, and encouraged and supported by music criticism and education. The reverence with which lieder are approached today is shown to have been contested politically and aesthetically during the interwar period.
The Aims of Higher Education
Asia First
Cartophilia
The Courtiers' Anatomists
Daguerreotypes
Demolition Means Progress
Dreamscapes of Modernity
Drones and the Future of Armed Conflict
