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ibsen

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Journal Articles
19th-Century Music. 2016; 402106–130 doi: https://doi.org/10.1525/ncm.2016.40.2.106
Published: 01 November 2016
...Daniel M. Grimley Edvard Grieg's prelude to the fourth act of Henrik Ibsen's “dramatic poem” Peer Gynt (1867/76), “Morning Mood,” is among the best-loved passages in the repertoire. Commonly assumed to invoke Norway's iconic western fjords, the prelude in fact sets the stage for Ibsen's eponymous...
Journal Articles
19th-Century Music. 2019; 423225–248 doi: https://doi.org/10.1525/ncm.2019.42.3.225
Published: 01 April 2019
Journal Articles
19th-Century Music. 2008; 313217–227 doi: https://doi.org/10.1525/ncm.2008.31.3.217
Published: 01 March 2008
... intel- lectuals. Nothing less than national autonomy was at stake, and some of Grieg s closest asso- ciates participated passionately in the debate over the forging of a standard language for Nor- way. Writers such as Ibsen drew on regional folklore, and collectors went out searching for the songs and...
Journal Articles
19th-Century Music. 2003; 27148–73 doi: https://doi.org/10.1525/ncm.2003.27.1.48
Published: 01 July 2003
... while literature prospered in the hands of Hans Christian Andersen (1805 75) and others. In Norway Henrik Ibsen (1828 1906) and Bjørnstjerne Bjørnson (1832 1910) turned to in- digenous peasant culture as source material, and their compatriot Edvard Grieg (1843 1907) sought musical stimulus in folk...
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19th-Century Music. 1992; 162161–180 doi: https://doi.org/10.2307/746264
Published: 01 October 1992
... libretto about her affair with a "poet" and the rebellion against her family to which it led. In writing his libretto, Charpen- tier did not turn to the currently fashionable Symbolist movement but rather to Naturalism, which had impressed him through the theater of Ibsen and the novels of Zola. And Natu...
Journal Articles
19th-Century Music. 1992; 162181–202 doi: https://doi.org/10.2307/746265
Published: 01 October 1992
... nineteenth century (and that the plays of Schiller, Pushkin, and Hugo provided subjects for operas right through the century), while the spoken theater, in the hands of playwrights like Ibsen and Chekhov, was turning increasingly to domestic dramas of individuals not explicitly connected to political power...
Journal Articles
19th-Century Music. 1990; 142154–168 doi: https://doi.org/10.2307/746200
Published: 01 October 1990
... Brahms-Wagner contrast in his Ibsen-Bj6mson contrast in which he wrote that Bj6mson was "a prophet, the passion- ate announcer of a better time to come a spirit of recon- ciliation who wages war, without bitterness. It shines like an April sunlight on his poetry." Ibsen, in contrast, was the violent...
Journal Articles
19th-Century Music. 1987; 11192–104 doi: https://doi.org/10.2307/746634
Published: 01 July 1987
... Feindschaft gegen Wagner (Regensburg, 1918), pp. 7-8, 60-81. REVIEWS 93 19TH CENTURY MUSIC drifted into the realms of "magic and ceremo- nial," Mann wrote in 1928. Like Ibsen, Wagner was the "true and awesome" finale of a century, an artist whose work was marked by all the signs of "lateness: recapitulation...
Journal Articles
19th-Century Music. 1987; 103229–242 doi: https://doi.org/10.2307/746437
Published: 01 April 1987
...- gling melody that have so far matched his song to the mindless turning of the hurdy-gurdy. As the nineteenth century wears on, how- ever, the Romantic ego wears out. Werther be- comes Emma Bovary; Faust turns into Ibsen's Master Builder. Increasingly, the inner reso- nances of both desire and suffering...
Journal Articles
19th-Century Music. 1984; 82164–176 doi: https://doi.org/10.2307/746761
Published: 01 October 1984
... is trivial the music has a quality that transcends it, yet who can tell? The 242 songs are listed in chronological order and Sams includes the three Ibsen songs, originally composed for voice and orchestra, in Wolf's own piano versions. There is doubtless much here for the amateur of Wolf's songs...
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19th-Century Music. 1978; 2185–87 doi: https://doi.org/10.2307/746194
Published: 01 July 1978
... Biichner, Ibsen, and Strindberg. Moreover, the battle he describes between Strauss and Hof- mannsthal over whether the dramatic or the novelistic was to prevail was clearly won by Strauss, whose coups de the&atre overwhelm those "interiorizations" of experience with which Hofmannsthal sought to refine his...
Journal Articles
19th-Century Music. 1978; 13272–279 doi: https://doi.org/10.2307/746418
Published: 01 March 1978
... in all ages; whilst Plato and Aristophanes trying to knock some sense into the Athens of their day, Shakespear peopling that same Athens with Elizabethan mechanics and Warwickshire hunts, Ibsen photo- graphing the local doctors and vestrymen of a Nor- wegian parish, Carpaccio painting the life of St...