The Politics of Appropriation
German Romantic Music and the Ancient Greek Legacy
Series: The New Cultural History of Music Series;
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Product details:
- Publisher OUP USA
- Date of Publication 27 February 2014
- ISBN 9780199736119
- Binding Hardback
- No. of pages288 pages
- Size 236x155x25 mm
- Weight 522 g
- Language English
- Illustrations 36 music examples, 3 halftones 0
Categories
Short description:
This book explores the intersection of music and Hellenism in nineteenth-century Germany.It shows how productions such as that of the Prussian court of Sophocles' Antigone with music by Felix Mendelssohn reflect an effort by the rulers who commissioned them to appropriate the legacy of Greece for the creation of a German cultural and national identity.
MoreLong description:
The Politics of Appropriation uncovers a largely forgotten chapter in music history by considering the intersection of music and Hellenism in nineteenth-century Germany. While the influence of Greece on the literature, art, architecture, and philosophy of this period has been much discussed, its significance for music has received considerably less attention. Beginning in 1841 with Felix Mendelssohn's wildly popular score for the groundbreaking Prussian court production of Sophocles' Antigone, author Jason Geary draws on research from the fields of musicology, history, classical studies, and theater studies, to explore the trend of combining music and Greek tragedy that also included productions of Euripides' Medea, Sophocles' Oedipus at Colonus, and Sophocles' celebrated Oedipus the King with music by Wilhelm Taubert, Mendelssohn, and Franz Lachner, respectively. Staged at royal courts in Berlin and Munich, these productions reflect an effort by the rulers who commissioned them to appropriate the legacy of Greece for the creation of a German cultural and national identity, while the music involved seemed to its contemporaries to mark the advent of an entirely new Romantic genre. By drawing a line between these compositions and Wagner's very different approach to recovering classical tragedy, Geary offers a reassessment of the composer's reception of the Greeks, highlighting the degree to which he was reacting against works such as Mendelssohn's Antigone when he called for the creation of a music drama rooted in the spirit of Attic tragedy. Geary further argues that Wagner's Ring cycle can be understood as the composer's attempt to reclaim the mythic significance of the Oedipus myth in the service of his own aesthetic aims. Placing these developments within the context of Germany's longstanding obsession with Greece, The Politics of Appropriation demonstrates the enduring significance of antiquity as a trope that helped to shape the European cultural and artistic landscape of the nineteenth century.
Gearys monograph is well researched and engagingly written, and his painstaking approach to interpretation makes it a model of this kind of scholarship ... it is by far the most useful point of access to this intriguing and significant body of music currently available, and will command the interest of classicists and cultural historians as well as musicologists.
Table of Contents:
Introduction
1. Ancient Greece and the German Cultural Imagination
2. Mendelssohn's Antigone and the Rebirth of Greek Tragedy
3. The Reception of Antigone and the Aesthetics of Appropriation
4. The Growth of a Genre: Taubert's Medea and the Greek Stage
Revival in Berlin
5. Mendelssohn and Oedipus in the Age of Christianity
6. Lachner and the Emergence of a New Athens
7. The Wagnerian Turn
8. Epilogue: The Decline of a Genre
Bibliography
