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Richard Dehmel
Dehmel gilt als typischer Vertreter des Naturalismus, der sich aber aufgrund seiner literarischen Begabung der Poesie zuwandte und nicht der Prosaliteratur wie viele seiner Zeitgenossen. Er ist ein Dichter von großer Einfachheit und Überzeugung, ein Lyriker, der versucht, seine Botschaft in der alltäglichen Sprache zu vermitteln und teilt so die wesentlichen Inhalte seiner Schule: Mitgefühl für das menschliche Elend, Beschäftigung mit dem Land und der Stadt als wirtschaftliche Lebensformen. Geboren in der Mark Brandenburg, behielt er sein ganzes Leben lang eine Liebe zu den bewaldeten Weiten seiner Heimat. Als Gymnasiast und in seinen späteren Universitätsjahren zeigte er sich unabhängig und missachtete jegliche Autorität. Mit einundfünfzig Jahren bestieg er den Mont Blanc; einige Monate später wurde er als Soldat in die deutsche Armee aufgenommen, um im Ersten Weltkrieg zu kämpfen. Mit der gleichen Inbrunst und Hingabe stürzte er sich in das Schaffen von Gedichten, die nie elegant oder gekünstelt, sondern immer direkt und eindringlich sind. Emil Ludwig hat mit dieser Biographie eine beeindruckende Analyse dieses ganz speziellen Dichters geschaffen.
Text, Context, and Reception History of the Richard Dehmel Poems "Venus Mater" and "Wiegenlied" and Their Lieder Settings by Hans Pfitzner and Richard Strauss
This study examines the social and cultural circumstances surrounding the publication of the poems "Venus Mater" and "Wiegenlied" by the late nineteenth-century German poet Richard Dehmel, and the composition of the corresponding lieder by Hans Pfitzner and Richard Strauss. An accurate history of the publication and reception of Richard Dehmel's poetry has been difficult due to the existence of multiple similar versions of his poems. By referring back to the primary sources of his poetry, it is shown that "Venus Mater" and "Wiegenlied," although very similar, were discrete works published at different times in different anthologies of Dehmel's poems. Further examination of the circumstances ...
Richard und Ida Dehmel im Kulturbetrieb der Moderne um 1900
Die Literaturwissenschaften schenkten dem Dichter Richard Dehmel (1863-1920) in den vergangenen Jahrzehnten wenig Aufmerksamkeit. Frühere Erkenntnisse und Bewertungen wurden herangezogen, jedoch kaum kritisch hinterfragt. Vor dem Hintergrund einer veränderten geisteswissenschaftlichen Forschungslandschaft im 21. Jahrhundert beleuchtet dieser Band die reichhaltige Überlieferung zum Werk und Wirken Dehmels. Dabei werden Richard Dehmel und sein Werk aus einer medien- und materialorientierten sowie kulturhistorisch-praxeologischen Perspektive in der europäischen Moderne der Jahrhundertwende verortet und vor dem Hintergrund der zeitgenössischen sozialen, kulturellen und gesellschaftlichen Pr...
Creating Der Rosenkavalier
A full account of the making, during 1909-10, of Der Rosenkavalier with emphasis on its derivation from a French opérette of 1907, L'Ingenu libertin. L'Ingenu libertin was seen in Paris by Count Harry Kessler and formed the basis of the opera then to be written by Hofmannsthal and Strauss. Previous scholarship has credited the narrative and characters of Der Rosenkavalier to much older French sources known to and studied by Hofmannsthal, but this book shows clearly how every element in L'Ingenu libertin is in fact taken (and transformed) by Kessler and Hofmannsthal into the work that made fortunes for Hofmannsthal and Strauss, but left Kessler on the sidelines. Michael Reynolds casts a majo...
Alexander Zemlinsky
Moskovitz's exploration of Zemlinsky's songs, operas, choral works, chamber music and symphonic compositions follows the composer's search for a distinctly personal sound, revealing an artist caught up in the music of his time yetunwilling to abandon his 19th century roots. From Zemlinsky's early success as a composer and widely recognized achievements as a conductor to his eventual descent into obscurity, this new biography places Zemlinsky (1871-1942) against the backdrops of Vienna, Prague and Berlin and illuminates his relationships with figures like Johannes Brahms, Alma Schindler, Gustav Mahler and Arnold Schoenberg. Moskovitz's exploration of Zemlinsky's songs, operas, choral works, c...
The Early Works of Arnold Schoenberg, 1893-1908
Between 1893 and 1908, composer Arnold Schoenberg created many genuine masterworks in the genres of Lieder, chamber music and symphonic music. Here is the first full-scale account of Schoenberg's rich repertory of early tonal works. 139 music examples. 2 illustrations.
The Folly of the Cross
The Folly of the Cross is the fourth book in Richard Viladesau's series examining the aesthetics and theology of the cross through Christian history. Previous volumes have brought the story up through the Baroque era. This new book examines the reception of the message of the cross from the European Enlightenment to the turn of the twentieth century. The opening chapters set the stage in the transition from the Baroque to the Classical eras, describing the changing intellectual and cultural paradigms of the time. Viladesau examines the theology of the cross in the eighteenth and nineteenth centuries, and the aesthetic mediation of the cross in music and the visual arts. He shows how in the post-Enlightenment era the aesthetic treatment of the cross widely replaced the dogmatic treatment, and how this thought was translated into popular spirituality, piety, and devotion. The Folly of the Cross shows how classical theology responded to the critiques of modern science, history, Biblical scholarship, and philosophy, and how both classical and modern theology served as the occasions for new forms of representation of Christ's passion in the arts and music.
Webern and the Transformation of Nature
This book considers the idea of nature in the music of Anton Webern. It stands out from other studies because it explores the wider social and cultural dimensions of the music, as opposed to the often narrow, technical analysis of the music. In doing so it offers an important case study for the way in which social ideas can be discussed in relation to apparently 'abstract' modern music. Moreover, it does so in relation to musical details not simply on the level of biography or cultural history.
