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Journal articles on the topic 'Freischütz'

Author: Grafiati

Published: 4 June 2021

Last updated: 12 February 2022

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1

Tusa, Michael C. "Cosmopolitanism and the National Opera: Weber's Der Freischütz." Journal of Interdisciplinary History 36, no. 3 (January 2006): 483–506. http://dx.doi.org/10.1162/002219506774929809.

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Carl Maria von Weber's Der Freischütz reflects competing definitions of national identity at a crossroads in German history. The historiography of the opera reveals a contrast between the opera's reception as quintessentially German and its interpretation as an example of cosmopolitanism, particularly in its dependence on French operatic models. Weber's own ideas about German opera represent a cosmopolitanism typical of the German Enlightenment, defining Germany's cultural mission as a universalist endeavor. For Weber, the “German” and the “cosmopolitan” were practically identical. The realization of these ideals in Der Freischütz supports multiple, even contradictory, intepretations of its status as “national opera.”

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2

Huschke, Wolfram. "Anmerkungen zu Franz Liszts "Freischütz-Fantasia"." Studia Musicologica Academiae Scientiarum Hungaricae 28, no. 1/4 (1986): 261. http://dx.doi.org/10.2307/902426.

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3

Graeme, Roland. "Der Freischütz. Carl Maria von Weber." Opera Quarterly 8, no. 4 (1991): 139–42. http://dx.doi.org/10.1093/oq/8.4.139.

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4

Fuhrmann, Christina. "Continental Opera Englished, English Opera Continentalized: Der Freischütz in London, 1824." Nineteenth-Century Music Review 1, no. 1 (June 2004): 115–42. http://dx.doi.org/10.1017/s1479409800001890.

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22 July 1824. Many Londoners had waited years for this night. They thronged to the English Opera House, filling the boxes and cramming the benches in the pit and gallery. It was worth the heat, the expense, the danger from pickpockets. After hearing of its success for three years, after glimpsing snatches of it in concert and sheet music excerpts, and after enduring weeks of advertising for the English Opera House production, they would finally be the first in London to witness the most celebrated German opera of the time: Weber's Der Freischütz.

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5

Schulze, Hans-Joachim. ""Sebastian Bachs Choralbuch" in Rochester, NY?" Bach-Jahrbuch 67 (February 26, 2018): 123–30. http://dx.doi.org/10.13141/bjb.v19811408.

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Drei Manuskripte aus der Sammlung des Thomasschul-Alumnus und späteren -Rektors Karl August Thieme (1721-1795) werden in Bezug zu Bach gesetzt. Sie enthalten das Pedal-Exercitium BWV 598, ein Handbuch mit Generalbassübungen von 1738 und ein Choralbuch, das sich heute in Rochester, N. Y. befindet. Alle drei Quellen sind von zweifelhafter Authentizität. Die Darstellung ihrer Herkunft führt zu einer Gruppe von Dresdner Vertretern der romantischen Bewegung im Zusammenhang mit dem Freischütz-Librettisten Johann Friedrich Kind. (Übertragung des englischen Resümees am Ende des Bandes)

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6

DOERNER, MARK F. "German Romantic Opera? A Critical Reappraisal of Undine and Der Freischütz." Opera Quarterly 10, no. 2 (1993): 10–26. http://dx.doi.org/10.1093/oq/10.2.10.

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7

Jones, Catherine. "Romantic Opera in Translation: Carl Maria von Weber and Washington Irving." Translation and Literature 20, no. 1 (March 2011): 29–47. http://dx.doi.org/10.3366/tal.2011.0004.

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This paper is concerned with the Covent Garden production of Weber's ‘Romantic’ opera Der Freischütz which premiered on 14 October 1824. The production depended on the work of translation and adaptation of Irving, John Barham Livius and James R. Planché. Focusing on Irving's contribution, the relation of his draft libretto to British and continental European theories of translation, and the reception of the production in the London press, the paper demonstrates how the visual, verbal, and musical languages of opera could be changed, diminished, and enriched through the collaborative struggle with the foreign in the process of translation.

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8

Hughes, Derek. "‘Wie die Hans Heilings’: Weber, Marschner, and Thomas Mann's Doktor Faustus." Cambridge Opera Journal 10, no. 2 (July 1998): 179–204. http://dx.doi.org/10.1017/s0954586700004924.

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The protagonist of Thomas Mann's novel Doktor Faustus (1947) is the composer Adrian Leverkühn, whose Faustian pact with the demonic consists of a long, voluntarily untreated syphilitic infection, which his brain craves as an exhilarating if destructive liberation from its icy germanic discipline. The craving is implanted on the very day on which, having renounced the call to theology, he commits his life to music. Arriving in Leipzig late in 1905 to take up his studies, he has a guided tour of the city, among other things visiting Bach's Thomaskirche. But his guide concludes the tour by dumping him in a brothel. Confused, he heads for the piano and tries to work out a harmonic problem: ‘Modulation from B major to C major, … as in the hermit's prayer in the finale of the Freischütz … on the six-four chord on G’. Then he rushes out, but not before a prostitute has brushed him on the cheek and indelibly fascinated him.

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9

Wojda, Aleksandra. "The Opera as a Fragment in the Literary Reception of Carl Maria von Weber’s Der Freischütz (Adam Mickiewicz, Heinrich Heine, Théophile Gautier)." Ruch Literacki 57, no. 5 (September 1, 2016): 527–46. http://dx.doi.org/10.1515/ruch-2017-0082.

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Summary This article examines the influence of early 19th-century operatic culture on Romantic literature by focusing on the cultural, literary and transmedial (cross-genre) reception of one of the most popular works of the early Romantic opera, Der Freischütz by Carl Maria von Weber. More specifically, the analysis deals with that aspect of its influence which can be described as fragmentary reception. The article argues that examples of such fragmentary reception can be found in the works of Adam Mickiewicz, Heinrich Heine and Théophile Gautier. However, the central argument of this study is that the emergence of this type of trans-media links was, in a large measure, determined by a peculiar, fragmentary reception of operas. That model of reception had been popularized by a variety of trend-setting, opinion-making agents and institutions (the critics, the press), and enforced by mechanisms of socio-cultural and technological change (resulting in the broadening of the media landscape and the aesthetic sensibility of the general public). The article also claims that this reception model of the opera not only reinforced some structural elements of the operatic work itself but also prompted the writers to explore new ways of structuring their texts (a development encouraged by the upgrade of the fragment by the Romantic aesthetics). Thus early 19th-century socio-cultural and transmedial reception patterns of the opera can be seen as a spur to creativity and literary experimentation – a conclusion which casts doubt on the traditional view that it was a period when aesthetic idealism ruled supreme.

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10

Hêche, Yaël. ""Wie ist mir wohl, daß ich ein Deutscher bin!": Le "Freischütz" à Paris (1841) et les doutes de Richard Wagner face au grand opéra français." Revue de Musicologie 91, no. 1 (January 1, 2005): 73. http://dx.doi.org/10.2307/20141598.

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11

Glasow, E. T. "Der Freischutz. Carl Maria von Weber." Opera Quarterly 15, no. 1 (January 1, 1999): 145–49. http://dx.doi.org/10.1093/oq/15.1.145.

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12

Graeme, R. "Der Freischutz. Carl Maria von Weber." Opera Quarterly 19, no. 1 (January 1, 2003): 145–52. http://dx.doi.org/10.1093/oq/19.1.145.

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13

Albright, William. "Der Freischü tz." Opera Quarterly 7, no. 2 (1990): 190–91. http://dx.doi.org/10.1093/oq/7.2.190.

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14

Bockmaier, Claus. "Nachwirkungen der Wiener Klassik in Webers "Freischutz"." Archiv für Musikwissenschaft 56, no. 2 (1999): 110. http://dx.doi.org/10.2307/930964.

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15

MERCER-TAYLOR, P. "UNIFICATION AND TONAL ABSOLUTION IN 'DER FREISCHUTZ'." Music and Letters 78, no. 2 (May 1, 1997): 220–32. http://dx.doi.org/10.1093/ml/78.2.220.

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16

Meyer, Stephen. "Carl Maria von Weber - Hunter’s Bride: Der Freischütz/The Marksman Michael Volle bar, Michael König ten, Juliane Banse sop, René Pape bass London Symphony Orchestra, Daniel Harding cond Jens Neubert film director Arthaus Musik 101692 (1 DVD: 137 minutes [film] + 10 minutes [features]), $25." Nineteenth-Century Music Review 13, no. 2 (April 4, 2016): 389–92. http://dx.doi.org/10.1017/s1479409815000798.

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17

Mertl, Monika. "Abgründige Romantik. „Der Freischütz" in Zürich." Österreichische Musikzeitschrift 48, no. 5 (January 1993). http://dx.doi.org/10.7767/omz.1993.48.5.283.

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18

Dobner, Walter. "„Iphigenie“ / „Freischütz“ im Theater an der Wien." Österreichische Musikzeitschrift 65, no. 5 (January 2010). http://dx.doi.org/10.7767/omz.2010.65.5.56.

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19

Kramer, Gerhard. "Volksoper Wien: „Freischütz“, „Spanische Stunde“, „Die Kluge“, „Der Kuhhandel“." Österreichische Musikzeitschrift 62, no. 6 (January 2007). http://dx.doi.org/10.7767/omz.2007.62.6.46.

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20

Kepper, Johannes, Solveig Schreiter, and Joachim Veit. "Freischütz analog oder digital – Editionsformen im Spannungsfeld von Wissenschaft und Praxis." Editio 28, no. 1 (January 1, 2014). http://dx.doi.org/10.1515/editio-2014-009.

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21

Benetkova, Vlasta. "Romantik, vom Zauber befreit? - „Freischütz"-Gastspiel der Grazer Musikhochschule in Prag." Österreichische Musikzeitschrift 50, no. 3-4 (January 1995). http://dx.doi.org/10.7767/omz.1995.50.34.243.

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22

Tatarnikova, Anzhelika. "The symbolism of national glory in the “Freischütz” by K. M. Weber." National Academy of Managerial Staff of Culture and Arts Herald, no. 2 (December 23, 2020). http://dx.doi.org/10.32461/2226-3209.2.2020.220572.

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