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Opera after the Zero Hour : The Problem of Tradition and the Possibility of Renewal in Postwar West Germany by Emily Richmond Pollock (2019, Hardcover)

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About this product

Product Identifiers

PublisherOxford University Press, Incorporated

ISBN-100190063734

ISBN-139780190063733

eBay Product ID (ePID)28038281034

Product Key Features

Number of Pages312 Pages

LanguageEnglish

Publication NameOpera after the Zero Hour : The Problem of Tradition and the Possibility of Renewal in Postwar West Germany

SubjectGeneral, Genres & Styles / Opera

Publication Year2019

TypeTextbook

AuthorEmily Richmond Pollock

Subject AreaMusic

FormatHardcover

Dimensions

Item Height0.7 in

Item Weight21.6 Oz

Item Length6.3 in

Item Width9.3 in

Additional Product Features

Intended AudienceScholarly & Professional

LCCN2019-002234

Dewey Edition23

ReviewsIn tackling the operatic history of Germany's haunted postwar years, Opera after the Zero Hour brings a fresh approach to the study of opera as an emblem of public life. With ethically nuanced attention to Germany's post-genocidal setting, Emily Pollock makes a powerful case for taking seriously long-neglected operatic works that speak to a vexed cultural history still relevant in the present., "In tackling the operatic history of Germany's haunted postwar years, Opera after the Zero Hour brings a fresh approach to the study of opera as an emblem of public life. With ethically nuanced attention to Germany's post-genocidal setting, Emily Pollock makes a powerful case for taking seriously long-neglected operatic works that speak to a vexed cultural history still relevant in the present." -- Brigid Cohen, Associate Professor, NYU, "In tackling the operatic history of Germany's haunted postwar years, Opera after the Zero Hour brings a fresh approach to the study of opera as an emblem of public life. With ethically nuanced attention to Germany's post-genocidal setting, Emily Pollock makes a powerful case for taking seriously long-neglected operatic works that speak to a vexed cultural history still relevant in the present." -- Brigid Cohen, Associate Professor, NYU"Pollock's monograph is a welcome, complicating intervention in a period of time that has suffered from overly simplistic readingsof musical culture and political power." -- Max Erwin, Notes: the Quarterly Journal of the Music Library Association

IllustratedYes

Dewey Decimal782.109431550904

Table Of ContentIntroduction Chapter One: Placement and Displacement Rank and File: Opera's Everyday Biographies The Situation of New Opera in the Post-War Repertoire Chapter Two: The Significance of Nonsense: Boris Blacher's Abstrakte Oper Nr. 1 Why Abstract an Opera? Linguistic Abstraction in the Libretto Making Music from Nonsense Hearing Controversy and Politics in Abstraction Chapter Three: Italy, Atonally: Hans Werner Henze's König Hirsch The Bondage of bel canto The Magic of König Hirsch From Sketches to Songs Melody, the "Renegade's Hara-kiri" Chapter Four: The Opera Underneath: Carl Orff's Oedipus der Tyrann Origin Stories I: Ancient Greece in Germany Origin Stories II: Ancient Greece against the Opera An Opera without Music? Traces of the Opera Underneath Chapter Five: Explosive Pluralisms: Bernd Alois Zimmermann's Die Soldaten Wagner and Berg: Zimmermann's Operatic Pasts A Spaceship of the Mind: Zimmermann's Operatic Futures From Lenz to Literaturoper The Structure of Pluralism Serialism and Expression(ism) In the End Chapter Six: Rebuilding and Retrenchment: The Munich Nationaltheater and Werner Egk's Die Verlobung in San Domingo Ideas of Reconstruction The Reconstruction of the Munich Nationaltheater November 1963: The Gala Reopening Who Was Werner Egk? Operaticism and Racial Stereotypes in Die Verlobung in San Domingo Epilogue Bibliography

SynopsisDuring the reconstruction of West Germany's cultural life after World War II, opera resumed its central place in civic life, but German cultural traditions were tainted by the horrors of National Socialism. Emily Richmond Pollock's Opera After the Zero Hour explores composers' experiments to find expressive strategies and traditional reference points could still work for new opera, and promotes a more nuanced understanding of the relationship between opera and modernism., Opera After the Zero Hour: The Problem of Tradition and the Possibility of Renewal in Postwar West Germany presents opera as a site for the renegotiation of tradition in a politically fraught era of rebuilding. Though the "Zero Hour" put a rhetorical caesura between National Socialism and postwar West Germany, the postwar era was characterized by significant cultural continuity with the past. With nearly all of the major opera houses destroyed and a complex relationship to the competing ethics of modernism and restoration, opera was a richly contested art form, and the genre's reputed conservatism was remarkably multi-faceted. Author Emily Richmond Pollock explores how composers developed different strategies to make new opera "new" while still deferring to historical conventions, all of which carried cultural resonances of their own. Diverse approaches to operatic tradition are exemplified through five case studies in works by Boris Blacher, Hans Werner Henze, Carl Orff, Bernd Alois Zimmermann, and Werner Egk. Each opera alludes to a distinct cultural or musical past, from Greek tragedy to Dada, bel canto to Berg. Pollock's discussions of these pieces draw on source studies, close readings, unpublished correspondence, institutional history, and critical commentary to illuminate the politicized artistic environment that influenced these operas' creation and reception. The result is new insight into how the particular opposition between a conservative genre and the idea of the "Zero Hour" motivated the development of opera's social, aesthetic, and political value after World War II.

LC Classification NumberML1729.5.P65 2019