- Daverio, John
Nineteenth-Century Music and the German Romantic Ideology.
Schirmer Books, A division of MacMillan, New York, 1993, , , First Edition, Fine /Very Good
1st ed., 1st printing. Nineteenth-Century Music and the German Romantic Ideology. New York: Schirmer Books, A division of MacMillan, 1993. Very good, octavo. xiii, 274 pp. 1st ed., 1st printing. Light wear to DJ, else fine. 1. Romantic Ideas and Romantic Music;2. Schumann’s Opus 17 Fantasie and the Arabeske. A Monument to Beethoven. New Forms. Leaden Arabesques in the Nuremberg Style. Ruins; 3. Schumann’s Systems of Musical Fragments and Witz. Schumann and the Incomprehensibility Topos. Schumann and the System of Musical Fragments: Precedents and Typology. Schumann and the System of Musical Fragments: Categories. “Zusammenhangende abenteuerliche Geschichten” Schumann the Allegorizer; 4. Euryanthe and the Artwork as Critique. A Challenge for the Historian of Reception. Euryanthe and the Gesamtkunstwserk Idea. Euryanthe in the Wilderness; 5. Brahms and the Romantic Imperative. “All the classical genres are now ridiculous in their rigid purity” “One might just as well say that there are infinitely many poetic genres, or that there is only one progressive genre” “Up to now, modern poetry has seen no new genres, yet every classical work creates its own genre”; 6. Wagner’s Ring and Universalpoesie. Friedrich Schlegel’s Romantic Manifesto and Wagnerian Music Drama. Reflection, the Romantic Artwork, and The Ring. The Ring as an Epic Portrayal of Interiority. The Ring as Memory Preserved; 7. Tristan, Parsifal, and the “New” Organicism. The New Mythology and the New Organicism. Tristan and the Art of Transition. Parsifal and Rhetorical Dialectics; 8. Richard Strauss’s Also sprach. Zarathustra and the “Union” of Poetry and Philosophy. Poetry, Philosophy, and Program Music. “. . . frei nach Friedrich Nietzsche” Fin de siecle Form.