Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Now a byword for beauty, Verdi’s operas were far from universally acclaimed when they reached London in the second half of the nineteenth century. Why did some critics react so harshly? Who were they, and what biases and prejudices animated them? When did their antagonistic attitude change? And why did opera managers continue to produce Verdi’s works? Massimo Zicari’s Verdi in Victorian London reconstructs the reception of Verdi’s operas in London from 1844, when a first critical account was published in the pages of The Athenaeum, to 1901, when Verdi’s death received extensive tribute in The Musical Times. In the 1840s, certain journalists were positively hostile. The supercilious critic of The Athenaeum, Henry Fothergill Chorley, declared that Verdi’s melodies were worn, hackneyed and meaningless, his harmonies and progressions crude, his orchestration noisy. The scribes of The Times, The Musical World, The Illustrated London News, and The Musical Times all contributed to the critical hubbub. Over the final three decades of the nineteenth century, however, London’s musical milieu underwent changes of great magnitude, shifting the manner in which Verdi was conceptualised and making room for the powerful influence of Wagner. Nostalgic commentators began to lament the sad state of “the Land of Song,” referring to the now departed “palmy days of Italian opera.” Zicari charts this entire cultural constellation. Verdi in Victorian London is required reading for both academics and opera aficionados. Music specialists will value a historical reconstruction that stems from a large body of first-hand source material, while Verdi lovers and Italian opera addicts will enjoy vivid analysis free from technical jargon. For students, scholars and plain readers alike, this book is an illuminating addition to the study of music reception.

Opera. --- Art appreciation. --- Verdi, Giuseppe, --- England --- Appreciation of art --- Art --- Reception of art --- Art criticism --- Comic opera --- Lyric drama --- Opera --- Opera, Comic --- Operas --- Drama --- Dramatic music --- Singspiel --- Analysis, interpretation, appreciation --- Reception --- History and criticism --- Verdi, Giuseppe --- Verdi, Dzhuzepe --- Verdi, Fortunino Giuseppe Francesco --- Verdis, Dž. --- Verdi, G. --- Verudi, G. --- Wei'erdi --- ליאונקובלו, ר. --- רדדי, ג. --- ڤيردي، جيوسپي، --- Verdi, József --- Verdi, Jakab --- Verdi, Joseph --- Verdi, Giuseppo --- Verdi, D. --- Verdi, Dzh. --- Angleterre --- Anglii︠a︡ --- Inghilterra --- Engeland --- Inglaterra --- Anglija --- England and Wales --- nineteenth century --- giuseppe verdi --- music reception --- victorian london --- italian opera --- Italy --- La traviata --- Richard Wagner --- The Times --- History and criticism. --- Appreciation.

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

The present sixth volume of the new historic-critical complete edition of Eduard Hanslick´s works contains texts of the years 1862 to 1863, which are for the most part contributions from the Vienna "Presse". Some articles were published shortly after in national music journals such as the "Niederrheinische Musik-Zeitung" or the Berlin music journal "Echo". Hanslick revised som of them later for his well-known anthologies ("Die moderne Oper", aus dem Konzertsaal. Geschichte des Konzertwesens in Wien, II2). As before these texts were provided with lists of variant readings, which are printed subsequent to the respective article. The principles of publication were not changed. Minor variations are: different spelling, change from spaced writing to normal distance of characters or vice versa, smaller modification of the wording, updating or additions. Major changes mainly consist in leaving out large parts of the text or rearranging text passages from different sources to particular subjects. The fundamental change in Hanslick´s occupation as a critic as can be seen exactly from the 1860s, that is his stronger attention to reviewing the performance cannot be substantiated by his own editions so well because he often left out parts related to the concert. From that point of view this edition provides not only a better survey of the Vienna concert life in these years than Hanslick´s own edition but it also notes down in a much more precise way his changed approach to writing. Most of the texts, however, are completely unknown today.The main essay in the comment part deals with the music-aesthetic consequences of the phenomenon of boredom, the typical syndrome of the 19th century, which Hanslick´s reviews shed some light on. It becomes clear that there are more criteria in Hanslick that are important for an assessment of a work than those laid down in "Vom Musikalisch-Schönen".An important position in Hanslick´s life as a music critik take his trips to music festivals or world expositions. His travel diaries are still very informative and shown an open-minded cosmopolitan. Hanslick´s report on the bustle of the 1862 word exposition in London from an initially neutral attitude of an observer seems in a certain way to turn into a surrealistic inferno of the arising modern age and confirms unconsciously what Walter Benjamin realized first and formulated in his "Passagenwerk". This matter is dealt with a particular length in the notes, which as before briefly characterize, annotate or analyse for its aesthetic relevance every single text. Added to the annotations is an excerpt from a letter by August Wilhelm Ambros, which illustrates some aspects from Hanslick´s aesthetic of boredom from a different point of view. Der vorliegende sechste Band der neuen historisch-kritischen Gesamtausgabe der Schriften von Eduard Hanslick enthält Texte der Jahre 1862 bis 1863. Es sind überwiegend Beiträge aus der Wiener "Presse". Manche Artikel erschienen kurz darauf in überregionalen Musikzeitschriften wie der "Niederrheinischen Musik-Zeitung" oder der Berliner-Musikzeitung "Echo". Einen Teil überarbeitete Hanslick später für seine bekannten Sammelbände ("Die moderne Oper", "Aus dem Concertsaal. Geschichte des Concertwesens in Wien, II"). Für diese Texte wurden wie bisher Lesartenverzeichnisse erstellt, die im Anschluss an die jeweiligen Zeitungsartikel abgedruckt sind. Die Editionsprinzipien blieben gleich. Geringfügige Varianten sind: andere Schreibweise, Wechsel von Sperrdruck zu normalem Zeichenabstand oder umgekehrt, kleinere Formulierungsänderungen, Aktualisierungen oder Hinzufügungen. Gravierende Änderungen bestehen hauptsächlich im Wegfall großer Textpartien oder der Neumontage von Textpassagen aus verschiedenen Quellen zu bestimmten Themen. Die grundsätzliche Änderung in Hanslicks Kritikertätigkeit, wie sie gerade ab den 1860-er Jahren festzustellen ist, nämlich seine stärkere Zuwendung zur Leistungskritik, kann man seinen eigenen Editionen nicht so gut belegen, weil er oft aufführungsbezogene Teile weggelassen hat. Insofern gibt diese Ausgabe nicht nur einen besseren Überblick über das Wiener Konzertleben dieser Jahre als Hanslicks eigene Edition, sondern verzeichnet viel genauer seine geänderte Schreibhaltung. Die meisten Texte jedoch sind heute gänzlich unbekannt.Der Hauptessay im Kommentarteil beschäftigt sich mit den musikästhetischen Konsequenzen aus dem Phänomen der Langeweile, dem typischen Krankheitsbild des 19. Jahrhunderts, zu dem Hanslicks Kritiken manche Erhellung bringen. Es wird deutlich, dass es bei Hanslick noch andere wichtige Kriterien für eine Werkbewertung gilbt als die in "Vom Musikalisch-Schönen" festgelegten.Eine wichtige Stellung in Hanslicks Leben als Musikkritiker nehmen seine Reisen zu Musikfesten oder zu Weltausstellungen ein. Seine Reiseberichte sind immer noch sehr informativ und zeigen einen weltoffenen Kosmopoliten. Hanslicks Referat über den Betrieb auf der Londoner Weltausstellung 1862 aus einer zunächst neutralen Beobachterhaltung gerät zu einem surrealistisch anmutenden Inferno der aufkommenden Moderne und bestätigt unbewußt Erkenntnisse, die Walter Benjamin zuerst in seinem "Passagenwerk" formulierte. Dies wird in den Erläuterungen, die wie bisher knapp die einzelnen Texte charakterisieren, kommentieren oder auf ästhetische Relevanz in befragen, besonders ausführlich behandelt. Dem Kommentarteil ist ein Auszug aus einem Brief von August Wilhelm Ambros beigefügt, der einige Sachverhalte aus Hanslicks Ästhetik der Langeweile aus einer anderen Perspektive beleuchtet.Der Band schließt mit einem wissenschaftlichen Apparat (Verzeichnis der emedierten Druckfehler, Abkürzungsverzeichnis, Literaturverzeichnis und Personenindex).

Music --- Music theory. --- Musicology. --- History and criticism. --- aesthetics of music --- music of the 19th century --- Wagner --- Verdi and Italian Opera --- history of concerts in Vienna --- sources of Anti-Wagnerism --- Gesang --- Wien

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Earth Sciences --- Geology --- geology --- glaciology --- geophysics --- Geologie. --- Geology. --- Denmark. --- Greenland. --- Geophysics --- Geology. Earth sciences --- Monographic series --- Greenland --- Periodicals --- Geognosy --- Geoscience --- Earth sciences --- Natural history --- Akukittut --- Çheer y Sniaghtey --- Chhen̳-t --- Engroneland --- Engronelant --- Gelinglan --- Ghraonlainn --- Goronulande --- Grænland --- Gräinlound --- Greenlun --- Greenlynn --- Grēneland --- Grenland --- Grenlande --- Grenlandėj --- Grenlandi --- Grenlandia --- Grenlandii͡ --- Grenlandija --- Grenlando --- Greunland --- Grienlân --- Griinland --- Grinland --- Grínlánd --- Grinlėndin Arl --- Groelândia --- Groenlaand --- Groenland --- Groenlanda --- Groenlandi --- Groenlandia --- Groenlannia --- Groentlālpan --- Groilandia --- Gronelândia --- Grønland --- Gronlandia --- Gronlando --- Grónlandska --- Grönlanti --- Grónsko --- Gröönimaa --- Gröönland --- Grunlandya --- Gruntland --- Gruunlaand --- Grynlandyjo --- Gŭrinland --- Gurīnrando --- Haʼaʼaahjí Hakʼaz Dineʼé Bikéyah --- Hrėnlandyi͡ --- Kalaallit Nunaat --- Kalalit Nunat --- Kalâtdlit-Nunât --- Lasynys --- Lupanlunti --- Qrenlandiya --- Verdi-lande --- Ynys Las --- Dacia (Kingdom) --- Dania --- Dani --- Danie Korolygʺo --- Danii͡ --- Danii͡alʺul Khanlʺi --- Danimārk --- Danimarka --- Danimarka Krallığı --- Daniyah --- Danmark --- Dannemarc --- Danska --- Danyah --- Denemarke --- Denemarken --- Denemearc --- Denemearc þæt Cynerīce --- Denmaakʻ --- Dennemarck --- Dinamarca --- Kingdom of Denmark --- Kongeriget Danmark --- Koninkryk van Denemarke --- Ndinamayka --- Reino de Dinamarca --- Géologie