William Shakespeare's A Midsummer Night's Dream in the History of Music Theater.
Başlık:
William Shakespeare's A Midsummer Night's Dream in the History of Music Theater.
Yazar:
Kuepper, Ulrike.
ISBN:
9783653011296
Yazar Ek Girişi:
Fiziksel Tanımlama:
1 online resource (296 pages)
Seri:
Literarische Studien ; v.7
Literarische Studien
İçerik:
CONTENTS -- INTRODUCTION 1 -- I. PROLOGUE 7 -- 1. Shakespeare's knowledge of music 7 -- 2. Musical passages in A Midsummer Night's Dream and their function 8 -- II. OBERON - A GENEALOGY FROM EDMUND SPENSER'S EPIC POEM THE FAERIE QUEENE (1590) TO HENRY PURCELL'S SEMI-OPERA THE FAIRY QUEEN (1692) 12 -- 1. The Jacobean court masque: history and development 12 -- 2. Oberon: Edmund Spenser's The Faerie Queene and Elizabethan literature 15 -- 3. Ben Jonson, Oberon - a Masque of Princes (1611) 21 -- 3.1 Staging, scene setting and Inigo Jones 21 -- 3.2 Oberon: plot and composition 22 -- 4. Henry Purcell, The Fairy Queen (1692) 23 -- 4.1 Orpheus Britannicus 24 -- 4.2 The "semi-opera": an English genre 24 -- 4.3. Purcell's The Fairy Queen and masque tradition 25 -- 4.4 The musical setting of The Fairy Queen 29 -- 4.5 Henry Purcell and Shakespeare's The Tempest 35 -- 4.6 The reception history of Purcell's The Fairy Queen 36 -- III. A MIDSUMMER NIGHT'S DREAM: EIGHTEENTH-CENTURY THEMES AND VARIATIONS 38 -- 0. The reception of Shakespeare's work in the Enlightenment Age 38 -- 1. Richard Leveridge, The Comick Masque of Pyramus and Thisbe (1716) 40 -- 2. Pyramus and Thisbe operas 41 -- 2.1 John Frederick Lampe, Pyramus and Thisbe (1745) 41 -- 2.1.1 "Call not my LAMP obscure": John Frederick Lampe (1702/03-1751) 41 -- 2.1.2 The mock-opera of Pyramus and Thisbe (1745) 42 -- 2.2 Johann Adolph Hasse, Piramo e Tisbe (1768) 43 -- 2.2.1 "Il caro Sassone": Johann Adolph Hasse (1699-1783) 43 -- 2.2.2 Piramo e Tisbe (1768): a tragic intermezzo 45 -- 2.3 Venanzio Rauzzini, Piramo e Tisbe (1775) 50 -- 3. David Garrick, The Fairies (1755) 52 -- 3.1 David Garrick (1717-1779): a brief biography 52 -- 3.2 The Fairies (1755) 52 -- 4. Thomas Linley, Lyric Ode on the Fairies, Aerial Beings and Witches of Shakespeare (1776) 60 -- 4.1 Thomas Linley, the "English Mozart" 60.
4.2 The English Ode 61 -- 4.3 Thomas Linley's 'Shakespeare Ode' (1776) 61 -- 5. Georg Christoph Grosheim, Titania, oder Liebe durch Zauberei (1798) 64 -- 5.1 Georg Christoph Grosheim (1764-1841): a brief biography 64 -- 5.2 German singspiel: a historical survey 66 -- 5.3 Titania, oder Liebe durch Zauberei (1798): a singspiel in two acts 67 -- 5.4 Robert Schumann, Titania Ouverture (1822) 84 -- 6. A Midsummer Night's Dream in the visual arts of the Early Modern Age 86 -- 6.1 Nicolas Poussin, Landscape with Pyramus and Thisbe (1651) 86 -- 6.2 Images of Shakespeare's A Midsummer Night's Dream in the paintings of Henry Fuseli 92 -- IV. ROMANTIC VERSIONS OF SHAKESPEARE'S A MIDSUMMER NIGHT'S DREAM 99 -- 0. The reception of Shakespeare's work in the Romantic era 99 -- 1. Carl Maria von Weber, Oberon, König der Elfen (1826) 102 -- 1.1 Carl Maria von Weber: a musical biography 102 -- 1.2 The romantic opera Oberon, or the Elf King's Oath: Shakespearean borrowings and Mozartian parallels 103 -- 1.3 Musical devices in von Weber's Oberon 105 -- 2. Felix Mendelssohn's Overture (Op. 21, 1826) and Incidental Music (Op. 61, 1843) for Ein Sommernachtstraum 107 -- 2.1 Felix Mendelssohn: early musical and literary influences 107 -- 2.2 Mendelssohn's 'Dream' Overture (Op. 21, 1826) 108 -- 2.3 Incidental Music (Op. 61, 1843) for Ein Sommernachtstraum 109 -- 2.4 Romanticism in the music of Felix Mendelssohn 110 -- 2.5 Shakespeare's A Midsummer Night's Dream: the literary inspiration for Mendelssohn's Overture (Op. 21) 111 -- 2.6 Mendelssohn's Overture (Op. 21): motifs and instrumentation 113 -- 2.7 A Midsummer Night's Dream: from Ludwig Tieck's production to Michael Hoffmann's Hollywood movie (1999) 113 -- 3. Franz von Suppé, Ein Sommernachtstraum (1844) 118 -- 3.1 A musical biography of Franz von Suppé 118.
3.2 The libretto of the Sommernachtstraum: Emanuel Straube's alterations to Shakespeare's comedy 119 -- 3.3 Digression: Theater in der Josefstadt c. 1850 127 -- 3.4 Contemporary critical reviews of Suppé's Ein Sommernachtstraum premiere 128 -- 4. Otto Nicolai, Die Lustigen Weiber von Windsor (1849) 129 -- 4.1 Otto Nicolai: founder of the Vienna Philharmonic Orchestra 129 -- 4.2 The libretto and its literary source 130 -- 4.3 Nicolai's treatment of the fairies and the supernatural 132 -- 4.4 The reception history of Nicolai's Die Lustigen Weiber von Windsor 133 -- 5. Ambroise Thomas, Le Songe d'une Nuit d'Été (1850) 134 -- 5.1 Ambroise Thomas: a musical biography 134 -- 5.2 Thomas's early operas and his views on Wagner 134 -- 5.3 Le Songe d'une Nuit d'Été (1850): Opéra en 3 Actes 135 -- 5.4 A revised version of Le Songe d'une Nuit d'Été (1886) 142 -- 5.5 The reception history of Le Songe d'une Nuit d'Été 143 -- 5.6 A Midsummer Night's Dream and Ambroise Thomas's Mignon (1866) 143 -- 5.7 Thomas's final operas and his French conservatism 145 -- 5.8 George Bernard Shaw, The Dark Lady of the Sonnets (1910) 146 -- 6. Jacques Offenbach, Le Rêve d'une Nuit d'Été (1855) 148 -- 7. "The truest picture of the world": Richard Wagner and Shakespeare 151 -- 7.1 Richard Wagner's 'Dream': Die Meistersinger von Nürnberg (1868) 153 -- V. TWENTIETH- AND TWENTY-FIRST-CENTURY MUSICAL VERSIONS OF A MIDSUMMER NIGHT'S DREAM 159 -- 1. Carl Orff, Ein Sommernachtstraum (1917-1962) 159 -- 1.1 Schlegel's libretto and Orff's familiarity with Shakespeare's play 159 -- 1.2 Orff's six musical versions of A Midsummer Night's Dream (1917-62) 160 -- 2. Eric Satie, Cinq grimaces pour "Le Songe d'une Nuit d'Été" (1915) 165 -- 3. Erich Wolfgang Korngold's film score for Max Reinhardt's Hollywood movie A Midsummer Night's Dream (1935) 167.
3.1 Korngold: the father of modern film music 167 -- 3.2 Korngold's adaptation of Mendelssohn's score 168 -- 4. Benjamin Britten, A Midsummer Night's Dream (1960) 171 -- 4.1 Britten and dreams 172 -- 4.2 Britten's Dream: libretto 173 -- 4.3 Britten's Dream: musical structure 174 -- 4.3.1 Musical characterization and the supernatural 177 -- 4.3.2 Casting the opera 180 -- 4.3.3 Britten's use of musical devices 182 -- 4.3.4 The musical burlesque of Pyramus and Thisbe 183 -- 4.4 Britten's Dream: historical contextualization 185 -- 4.4.1 Henry Purcell and Britten's Dream 185 -- 4.4.2 The reception history of Britten's A Midsummer Night's Dream 186 -- 4.4.3 Baz Luhrmann, A Hindi version of Britten's A Midsummer Night's Dream (1993) 186 -- 5. Alfred Schnittke, (K)ein Sommernachtstraum (1985) 187 -- 6. Hans Werner Henze's Sinfonia N 8 (1993) 189 -- 6.1 Henze's Sinfonia N 8 and A Midsummer Night's Dream 190 -- 7. "Shakespeare goes Musical": Dream musicals by Jimmy Van Heusen (1939), George Griggs (1998) and Heinz Rudolf Kunze (2003) 195 -- 7.1 "The Musical": a brief introduction to its history and theory 195 -- 7.2 Swingin' the Dream (1939): a jazz-musical version of Shakespeare's comedy 198 -- 7.3 A Midsummer Night's Dream: a rock musical by George Griggs 202 -- 7.3.1 George Griggs: a short biography 202 -- 7.3.2 "Let's fall in Love!": George Griggs' alterations to Shakespeare's play 202 -- 7.4 "It's all about having fun!" Kunze's musical Ein Sommernachtstraum 210 -- 7.4.1 Heinz Rudolf Kunze: rock-poet, writer and man behind the musicals 210 -- 7.4.2 Heiner Lürig: composer of the musical Ein Sommernachtstraum 211 -- 7.4.3 Making a musical from Shakespeare's A Midsummer Night's Dream 211 -- 7.4.4. Kunze and Lürig: the final arrangement of text and music 217 -- 7.4.5 Kunze's Ein Sommernachtstraum: a brief reception history - so far 219 -- CONCLUSION 221.
APPENDIX 225 -- BIBLIOGRAPHY 251 -- 1. PRIMARY SOURCES 251 -- 2. SECONDARY SOURCES 253 -- 3. INTERNET SOURCES 263 -- LIST OF ILLUSTRATIONS 264 -- INDICES 265 -- A. NAMES 265 -- B. SUBJECTS 274.
Özet:
William Shakespeare's comedy A Midsummer Night's Dream (1595) has survived and flourished as a drama for over five centuries. The work has also enjoyed immense popularity in music. Its lyrical verse, its constant use of musical terminology, and its references to and deployment of songs and dances have served to attract major composers over more than four centuries. The book compares their libretti with the original text, and analyzes how alterations in text and structure have affected the nature of Shakespeare's original play - its plot, characterization and lyricism. The study also deals with the constituent elements of music theater, including instrumental music, and, to a lesser extent, with artistic and cinematic representations of Shakespeare's comedy.
Notlar:
Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, 2017. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries.
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