Medievalism and Nationalism in German Opera

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A01=Michael S. Richardson
Act Ii Scene
Act Iii
Author_Michael S. Richardson
Category=AVLF
Category=AVM
Church Music Reform
Church Music Style
church music symbolism
Cologne Cathedral
Da La
Der Kreuzzug
Die Meistersinger Von
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Folk Tone
German cultural identity
German nationalism
German Opera
German opera composers
Harmonic Move
historical performance practice
Lohengrin
Medieval Music
Medieval Song
Medievalism
minnesang studies
Musical medievalism
National Library
Nationalism
nationalism in operatic repertoire
Neue Berliner Musikzeitung
Nineteenth Century German
nineteenth-century musicology
Opera
Operetta
Perfect Authentic Cadence
Reciting Tone
Repeating Note Figures
romantic era composers
Sixteenth Century Nuremberg
Stabat Mater
Vice Versa
Wagner's Lohengrin
Wagner’s Lohengrin
Walther Von Stolzing
Weber's Euryanthe
Weber’s Euryanthe

Product details

  • ISBN 9780367640163
  • Weight: 322g
  • Dimensions: 156 x 234mm
  • Publication Date: 30 May 2022
  • Publisher: Taylor & Francis Ltd
  • Publication City/Country: GB
  • Product Form: Paperback
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Medievalism, or the reception or interpretation of the Middle Ages, was a prominent aesthetic for German opera composers in the first half of the nineteenth century. A healthy competition to establish a Germanic operatic repertory arose at this time, and fascination with medieval times served a critical role in shaping the desire for a unified national and cultural identity. Using operas by Weber, Schubert, Marshner, Wagner, and Schumann as case studies, Richardson investigates what historical information was available to German composers in their recreations of medieval music, and whether or not such information had any demonstrable effect on their compositions. The significant role that nationalism played in the choice of medieval subject matter for opera is also examined, along with how audiences and critics responded to the medieval milieu of these works.

In this book, readers will gain a clear understanding of the rise of German opera in the early nineteenth century and the cultural and historical context in which this occurred. This book will also provide insight on the reception of medieval history and medieval music in nineteenth-century Germany, and will demonstrate how medievalism and nationalism were mutually reinforcing phenomena at this time and place in history.

Michael Richardson completed his PhD in Music History and Theory from Stony Brook University, USA in 2015. He received a DAAD grant to conduct dissertation research in Germany for the 2012/13 academic year under the guidance of Annette Kreutziger-Herr. His research interests include late eighteenth- and nineteenth-century German, French, and Russian opera, nineteenth-century European folklorism and nationalism, medievalism and medieval music reception. He has given talks at a number of domestic and international conferences, including at AMS Milwaukee in 2014, Oxford University, and St. Petersburg, Russia.

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