A Language for German Opera: The Development of Forms and Formulas for Recitative and Aria in Seventeenth-Century German Libretti (Wolfenb�tteler Arbeiten zur Barockforschung, Band 37)

Aus der Bibliothek von Prof. Wolfgang Haase, langj�igem Herausgeber der ANRW und des International Journal of the Classical Tradition (IJCT) / From the library of Prof. Wolfgang Haase, long-time editor of ANRW and the International Journal of the Classical Tradition (IJCT). - leicht berieben, ansonsten tadelloser Zustand / slightly rubbed otherwise perfect condition - Preface -- This study on the development of verse forms suitable for German-language opera has its roots in two interdisciplinary courses I taught in the Literature, Science and the Arts Program at the University of Iowa. The first, �Opera as Drama,� I team-taught with Professor Richard Hervig of the School of Music in 1980. The second, �Poetry and Song,� I taught twice with Professor D. Martin Jenni, also of the School of Music, in the several years following the first course. In these team-taught courses I first confronted the issues of the relationships of the two media in vocal music, and I am very grateful to both Dick Hervig and Martin Jenni for their stimulating responses to my questions and challenges. -- This study is also a natural outgrowth of my long involvement with the dramatic works of Caspar Stieler, all of which employ vocal music to some extent. In that context, I first completed a study of early German opera libretti in the mid-1980s and published it as �Caspar Stieler and the German Singspiel,� Chapter 7 in my book on that author: Scaramutza in Germany: The Dramatic Works of Caspar Stieler (Boston: Hall, 1989). The focus was on Stieler�s works, and the conclusion was that Caspar Stieler, practically alone, had made the necessary breakthroughs in versification for recitative and aria. ISBN 9783447046534