Description
Book SynopsisRenowned music historian Philipp Spitta has written that of all the German musicians of the 19th century, none has exercised a greater influence over his own generation and that succeeding it than Weber. Spitta's statement reflects Weber's popularity at the end of the nineteenth 19th centuryboth for his place as a foundational figure of German Romantic opera and for his role in the early German Nationalist movement in music. Indeed, Weber's Der Freischütz is still considered the first German Romantic opera, enjoying a place of privilege in the modern operatic repertoire with performances held the world over and at least two cinematic productions. Despite its enormous popularity throughout the 19th nineteenth century, however, Weber's swan song, Oberon, has remained separate from the mainstream thrust of our modern understanding of German Romantic opera. In Carl Maria von Weber: Oberon and the Cosmopolitanism in the Early German Romantic, music historian and theorist Joseph E. Morgan re
Table of ContentsList of Figures List of Tables Acknowledgments Introduction-The Problem with Oberon Chapter 1: Early German Nationalism Chapter 2: The Development of Weber’s Adult Style Chapter 3: Romantic Transformations Chapter 4: Why London? Why Wieland? Why Oberon? Chapter 5: Planché and the Libretto Chapter 6: Sir Huon’s Adventure Chapter 7: Sir Huon and Reiza’s Bond of Love Chapter 8: Fulfillment of the Oath Chapter 9: The Reception of Oberon Epilogue: The Decline of Cosmopolitan Nationalism Bibliography Index About the Author
