Das sind der geliebten Heimat Klänge, das ist des. Glucks wohlbekannte Attacken gegen die gestalterische Willkür. in das Reich der Schatten. Wiener Opernexperiment Komm mit ins Zwischenreich des Hades. ausgelöst durch das Long. der zur Eröffnung der Wiener Festwochen Christoph Willibald Glucks Oper. ![]() Musicology Now: Gluck's Nationality. Eric Schneeman. NOTE: 2. Gluck tercentenary and the bicentenary of The Star- Spangled Banner. ![]() Das Reich Des Glucksman![]() Der Sohn des Glucks - Napoleon Bonaparte Referat / interpretation für Schüler und Studenten an Geschichte. Get this from a library! Ancile Romanum; das ist des Römischen Reichs Glücks-Schild. An dem höchsterfreulichen Kröhnungs-Fest des durchläuchtigsten und. Leaders & Personalities of the Third Reich. Das System des Terrors (in German. "Richard Glucks as described by Rudolf Höss" at Holocaust Research Project. Werkstatt des Glücks " Die kleine Krone " in der Landesschau Rheinland-Pfalz. Das Leben hatte uns voll im Griff. Im Reich der Träume. We treat the latter in a forthcoming post. In November 2. 01. I received a very nice letter from a student at the Staatliche Realschule in Berching, a town in the Upper Palatinate region of Bavaria, asking me to summarize my research on Gluck for a booklet celebrating the 3. July 1. 71. 4. Erasbach, the village of his birth, is now a district of Berching. Berching’s website lists a number of Gluck- related events for the tercentenary celebration: visitors can see a multimedia presentation at the Gluck Museum and, similar to the Goethewanderweg in Thuringia, can walk a 6. Gluck- Wanderweg past the Geburtshaus and baptismal church. It seems quite a production for a composer who lived there for only the first three years of his life. The nearby village of Weidenwang, likewise a district of Berching, long claimed Gluck as its native son also: both places have a monument and a Geburtshaus.)But was Gluck Bavarian or Bohemian? The confusion over his birthplace and national identity, as Daniel Heartz points out, comes from the fact that the Upper Palatinate originally belonged to Bohemia and was only awarded to Bavaria after the War of the Spanish Succession in 1. Gluck was born.< 1> (His baptism was recorded in the shared parish register for Weidenwang and Erasbach.)< 2> To add to the confusion, when Gluck married Maria Anna Bergin in 1. Neumarkt as his birthplace.< 3> The family moved to Reichstadt (now Liberec) in Bohemia when the composer was three, later relocating to several other villages in the region; finally his father, Alexander Johannes Gluck, moved the family to Eisenberg (Jezeří) to become the head forester for Prince Philipp Hyazinth von Lobkowitz. In their recent biography, Gerhard and Renate Croll note how the young Gluck was surrounded by Germans—his mother was definitely a German and his father was in daily contact with Germans and had to use German for official purposes—and the composer’s German letters have peculiarities of the Upper Palatinate dialect.< 4> Yet his student Salieri said that Gluck spoke Czech.< 5> Gluck’s first biographer, Johann August Schmidt, noted Bavaria's claim < 6> : in addition to the two monuments in Berching, there is also one in Munich (where he never spent much time).< 7> On 1. October 1. 84. 8, right in the middle of the revolution, Munich paused to unveil the statue and honor a composer whose works had revolutionized opera. Joseph Hartmann Stunz, the local Kapellmeister, composed a Festgesang celebrating the “German tone poet Gluck”. Hail the dearest fatherland,Which in an age long since past. As a pledge to its ancient powers. Gave rise to men of immortality! Das Land des Glucks: Osterreich und seine Operetten (German Edition) on Amazon.com. *FREE* shipping on qualifying offers. Der Sohn des Glucks Napoleon Bonaparte Referat / interpretation für Schüler und Studenten an Biographien. REFERAT-Men. Ö, E und das osmanische Reich. Men, whom a god protected. Against saucy, degenerate art. With the holy flaming sword. Of the artist’s burning love. Hail to him! who with strict rule. Strove for the highest truth,To form the soul into being. Through iron song! As Orpheus brought. His wife back to life from the night of Orcus. The master, with faithful striving. Has brought art home to us. And in the kingdom of eternal beauty. He came triumphantly. Grecian sons. [He] drinks the German nectar of the gods; For art firmly weaves around the races. And the furthermost gladiators for truth. Offer each other a brotherly hand. Heil dem theuern Vaterlande. Das in tief versunkner Zeit. Zeugte, alter Kraft zum Pfande. Männer der Unsterblichkeit! Männer, die ein Gott bewehrte. Gegen freche Afterkunst. Mit dem heil’gen Flammenschwerte. Künstlerischer Liebesbrunst. Heil ihm! der mit strengem Walten. Nach der höchsten Wahrheit rang. Nur die Seele zu Gestalten. Schuf in ehernem Gesang! Wie die Gattin in das Leben. Orpheus aus des Orkus Nacht. Hat die Kunst mit treuem Streben. Uns der Meister heimgebracht. Und im Reich des ewig Schönen. Zog er triumphirend ein. Mit den griech’schen Heldensöhnen. Trinkt der deutsche Götterwein. Denn es webt um die Geschlechter. Fest die Kunst ein heilig Band, Und der Wahrheit fernste Fechter. Reichen sich die Bruderhand.< 8>. This was performed by a male choir accompanied by a full wind ensemble with ophicleide, bass trumpet, and tuba.< 9> (The statue initially stood at the Odeonsplatz but now resides in the Promenadeplatz next to the statue of the Franco- Flemish composer Orlando di Lasso.)The monuments in Bavaria and the Berching Gluckjahr festival bring to mind the ease with which later writers manipulated the composer’s biography to meet personal aesthetic, nationalistic, and political agendas. In the nineteenth century, Gluck’s identity was always changing: at one moment a dogmatic German fighting against the excesses of Italian and French opera; at another, a child of Nature, absorbing music from his Bohemian homeland. For some, Gluck’s childhood evoked a Romantic, nostalgic image of a callow youth venturing through the untamed Bohemian countryside. The German painter Johann Christian von Mannlich, who shared lodgings with Gluck in Paris, recounted his anecdote of a back- road journey through Bohemia to Vienna. Wanting to husband the little wealth I had, I approached a rustic cottage where the family were sitting down to eat. I took my Jew’s harp from my pocket and treated them to a few tunes. Seeing that I was decently dressed, they bade me enter and made room for me at their table. When night fell, I found myself in another village, where my Jew’s harp earned me eggs, bread, and cheese, which were given me at the windows of houses where I made myself heard.< 1. This account, certainly embellished by Mannlich, casts Bohemia as a rustic place of wandering artists and welcoming peasant homes.< 1. In his Künstlernovelle Gluck in Paris (1. Johann Peter Burmeister- Lyser has the old Gluck fondly tell young Méhul of finding his passion for music. When a boy, in my home, in lovely Bohemia, I heard her voice, as a divine voice, in all that surrounded me—in the dense forest, in the gloomy ravine, the romantic valley—on the bold, stark cliff—in the cheerful hunter’s call, or the hoarse song of stream and torrent, her voice thrilled to my heart, like a sweet and glorious prophecy. All was clear to my youthful vision.< 1. A. B. Marx mirrored these sentiments: “The youth could not think of Weidenwang or Neuschloss [two residences of Gluck’s childhood] as his home—it was the forest, the forest with its dreamy shadows and fantastic, flashing streaks of light.”< 1. For Marx, these “sounds of nature” (Naturklänge) later manifested themselves in Orfeo and its successors.< 1. While Gluck the Bohemian indulged in flights of fancy into the Bohemian wilderness, Gluck the German fought tirelessly to upend Italian and French traditions. Watching rehearsals of Iphigénie en Aulide, Mannlich supposed “Gluck was also at war with the orchestra and the singers, who in his opinion, knew neither how to sing, nor to declaim, nor how to get the best out of their instruments. Their French vanity was sorely wounded to be taught all these things by a Teutonic master.”< 1. In an 1. 80. 6 review of Gluck’s Iphigénie en Tauride and Armide, Johann Friedrich Reichardt described the supposed Piccinni- Gluck querelle as a battle between “the enjoyable Italian comedian [Comiker]” and “the tremendously huge German tragic poet [Tragiker].”< 1. Though Gluck composed only a few German Lieder and his operas were in French or Italian, opera houses in the major German cities usually gave the operas in translation—a practice that led critics and audiences to perceive his works as relevant to the creation of a unified German opera in the nineteenth century.< 1. In a review of the 1. Orpheus und Eurydice at the Berlin Nationaltheater, for example, the critic for the Vossische Zeitung praised the opera as a monument to German art. It does the directors the highest honor that they have erected for us these monuments of German art, which the German Orpheus, Gluck, created so powerfully and truly for us with the irresistible magic of his song, so that they will remain the admiration of posterity, with regard to drama, and the enjoyment of which we had been so long without on our stage—with the splendor and honor, which we owe to the memory of this great German artist.< 1. In the end it did not matter where the composer was born and where he grew up—nor even what language he may have first spoken. His nationality was most often derived by agenda. If you visit Berching to celebrate Gluck’s 3. Germany, or Bavaria, Bohemia, and more about E. T. A. Hoffmann's evocation in his novella Ritter Gluck (1. Gluck as a wandering spirit whose sense of revolution transcended national borders. Eric Schneeman earned the Ph. D. in 2. 01. 3 from the University of. Southern California for a dissertation entitled The German Reception of Christoph Willibald Ritter von. Gluck in the Early 1. Century. His entry on Gluck appears in the Cambridge Wagner Encyclopedia (2. NOTES: 1. Daniel Heartz, “Coming of Age in Bohemia: The Musical Apprenticeships of Benda and Gluck,” Journal of Musicology 6, no. Autumn, 1. 98. 8): 5. Additionally, Alexander Rehding notes the difficulty in placing Gluck in the German or the Austrian Denkmäler series, when they started in the 1. Music and Monumentality [Oxford: Oxford University Press, 2. Patricia Howard, Gluck: An Eighteenth- Century Portrait in Letters and Documents (Oxford: Clarendon Press, 1. Ibid., 3. 14. Gerhard and Renate Croll, Gluck: Sein Leben, seine Musik (Kassel: Bärenreiter, 2. Ignaz Franz Edler von Mosel, Über das Leben und die Werke des Anton Salieri (Vienna, 1. Howard, Gluck: An Eighteenth- Century Portrait, 2. Salieri’s memory, however, was filtered through Mosel, and there are no correspondences from Gluck in Czech to back his claim. 6. Anton Schmidt, Christoph Willibald Ritter von Gluck, dessen Leben und tonkünstlerisches Wirken (Leipzig: Friedrich Fleischer, 1.
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