Judith P. Aikin, A Language for German Opera. The Development of Forms and Formulas for Recitative and Aria in Seventeenth-Century German Libretti. 2002

Verfasser / Beitragende:
[Mara R. Wade]
Ort, Verlag, Jahr:
2004
Enthalten in:
Arbitrium, 22/1(2004-10-10), 43-48
Format:
Artikel (online)
ID: 378915010
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100 1 |a Wade  |D Mara R.  |u University of Illinois at Urbana-Champaign, Department of Germanic Languages and Literatures, 2090 FLB, 707 S. Mathews Ave., Urbana, Illinois 61801, USA. mwade@uiuc.edu 
245 1 0 |a Judith P. Aikin, A Language for German Opera. The Development of Forms and Formulas for Recitative and Aria in Seventeenth-Century German Libretti. 2002  |h [Elektronische Daten]  |c [Mara R. Wade] 
520 3 |a Scholars of German Baroque literature and music have waited a very long time for a book such as this. While Judith Aikin presents an excellent overview of the development of the German opera libretto from its inception with Martin Opitz and Heinrich Schütz's Dafne in 1627 until the founding of the Hamburg Opera in 1678, her main focus is to answer several questions long unanswered by scholarship: Why did German-language opera develop so slowly? Why did the development of recitative in the German language lag far behind that in Italian? What hindered the natural alternation between aria and recitative in German? Why did contemporary musicians find German verse so difficult to set to music? And, the question which provides the prime impetus for this study, what kinds of verse were necessary for opera in German? Her undertaking reminds the reader of passages from Günter Grass' Das Treffen in Telgte in which the elderly Heinrich Schütz, in search of appropriate German verse to set to music, participates in the fictitious meeting of German poets at Telgte after the end of the Thirty Years' War. He hopes to find there dramatic poetry to set to music, that is, "auf deutsche Worte Madrigale zu komponieren”. Aikin's book explains why, in the 1650's, Schütz was still seeking German verses to compose in the operatic style he had first experienced in Italy many years before. 
540 |a © Max Niemeyer Verlag GmbH, Tübingen 2004 
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