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Freemasonry and Civil Society: Reform of Manners and the Journal Fu¨R Freymaurer (1784-1786)
111 Freemasonry and civil society: reform of manners and the Journal fuÈr Freymaurer (1784-1786) ANDREAS OÈ NNERFORS Freemasonry as a tool of moral improvement In 1784 the Bohemian mineralogist Ignaz von Born, in his capacity as master of the Masonic lodge Zur wahren Eintracht [True Union] in Vienna, took the initiative to publish the ®rst successful Masonic period- ical in Europe, the Journal fuÈr Freymaurer.1 It was subsequently edited in twelve quarterly volumes, with an average of 250 pages, printed in 1000 copies and disseminated across the entire Habsburg Monarchy, a vast undertaking, bearing in mind the transport infrastructure of the eight- eenth century. The journal contained extensive treatments of religious traditions resembling Freemasonry, essays on Masonic virtues and values, reviews of Masonic literature, poetry and Masonic news from all parts of Europe. But a signi®cant number of the essays included in the journal also covered the impact of Freemasonry on society. The Masonic move- ment interpreted itself as a moral force with the potential to transform manners for the universal bene®t and improvement of society and mankind. Born wrote in his address to readers that, within the Order of Freemasons, freedom of thought and equality of all natural rights was a fundamental law. Hence, it was a right to communicate the results of such free deliberation to fellow brethren.2 Based upon a series of essays focusing on the moral aspects of Freemasonry, this article attempts to outline the content of these `free deliberations' that only a few years before the French Revolution read surprisingly radical, especially in the context of the Habsburg Monarchy. -
Karl Ludwig Giesecke
73 Karl Ludwig Giesecke (1761 – 1833) Zur Erinnerung an den Augsburger Theaterdichter, Forschungsreisenden und Mineralogen Gerd Ibler Kryolith von Ivigtut (Ivittuut), Südgrönland. Kryolith von Ivigtut (Ivittuut), Südgrönland. Augsburg. Gerd Ibler/Richard Speckmeier, Foto: Vor 250 Jahren, am 6. April 1761, wurde Giesecke nennen sollte, und mit diesem in Augsburg Johann Georg Metzler gebo- Pseudonym als Theaterdichter und Mine- ren, der sich als 20-Jähriger Karl Ludwig raloge Geschichte machte. Herkunft und Ausbildung Sein Vater, Johann Georg Metzler, ein Anwesen „Bei den sieben Kindeln“ in der Schneidermeister aus Edelfingen in Würt- Augsburger Altstadt befindet. Der jun- temberg, war mit Sibylla Magdalena Götz ge Metzler besuchte das Humanistische aus Augsburg verheiratet. Die Mutter Gymnasium St. Anna, wo er 1781 sein schenkte insgesamt 15 Kindern das Leben. Abi tur ablegte. Danach war er Student der Johann Georg Metzler alias Karl Ludwig Rechte an der Georg-August-Universität Giesecke war der zweitgeborene Sohn. Er in Göttingen und wurde vom 1.11.1781 wurde in St. Jacob evangelisch getauft. Die bis Michaelis 1783 mit einem Stipendium Familie Metzler bewohnte ab 1763 das des evangelischen Scholarchats des Augs- Haus H 375, das heutige Haus „Mittlerer burger Gymnasiums Annaneum unter- Graben Nr. 30“, das sich gegenüber dem stützt. Naturhistorica BERICHTE DER NATURHISTORISCHEN GESELLSCHAFT HANNOVER 153 · 2011 74 Gerd Ibler Metzler/Giesecke als Schauspieler und Dichter Johann Georg Metzler brach plötzlich Muttersöhnchen auf der Galeere oder man sein Studium ab und wurde nicht Jurist, trägt den Krug solange zum Brunnen, bis sondern begeisterte sich für das Theater. Er er bricht“. tingelte als Schauspieler unter dem Künst- Als Journalist und Chronist des Thea- lernamen Karl Ludwig Giesecke mit ver- terlebens hat Giesecke sich in Regensburg schiedenen Wanderbühnen von Bremen, von 1784 bis 1786 und in Salzburg von Pyrmont, Köln, Bonn, Mainz, Frankfurt/ 1786 bis 1787 hervorgetan und zwei Thea- Main über Regensburg, Augsburg, Salz- terjournale geschrieben. -
Mozart's Die Zauberflöte: a Kingdom of Notes and Numbers
MOZART’S DIE ZAUBERFLÖTE: A KINGDOM OF NOTES AND NUMBERS by Daemon Garafallo A Thesis Submitted to the Faculty of The Dorothy F. Schmidt College of Arts and Letters In Partial Fulfillment of the Requirements for the Degree of Master of Arts Florida Atlantic University Boca Raton, FL May 2016 Copyright 2016 by Daemon Garafallo ii ACKNOWLEDGMENTS The author wishes to express his thanks to his committee members for their guidance, especially to his thesis advisor, Dr. Ken Keaton, for helping the author through a difficult time these past few years, and to Dr. Sandra McClain for going above and beyond in her dual role of committee member and academic advisor and for doing an excellent job at both. He also would like to acknowledge Dr. James Cunningham for his help and guidance throughout his degree. iv ABSTRACT Author: Daemon Garafallo Title: Mozart’s Die Zauberflöte: A Kingdom of Notes and Numbers Institution: Florida Atlantic University Thesis Advisor: Dr. Ken Keaton Degree: Master of Arts Year: 2016 Wolfgang Amadeus Mozart composed Die Zauberflöte in the last year of his life. It was intended in part to glorify Freemasonry as a new Emperor, more hostile to the Masons, took his office. After a brief survey of his life and works, this paper shows how Mozart used number symbolism in the opera, and will equip the reader with an understanding of this as practiced by the Freemasons. Further, it will show how Mozart associated the characters of the opera with specific musical tones. It will expose a deeper understanding of the question of meaning in word and text in his opera. -
Whose Enlightenment?
Erschienen in: Austrian History Yearbook ; 48 (2017). - S. 111-125 https://dx.doi.org/10.1017/S0067237817000017 Whose Enlightenment? FRANZ L. FILLAFER HE ENLIGHTENMENT SEEMS OUT OF KILTER. Until fairly recently, its trajectories were beguilingly simple and straightforward. Devised by Western metropolitan Tmasterminds, the Enlightenment was piously appropriated by their latter-day apprentices in Central and Eastern Europe. This process of benign percolation made modern science, political liberty, and religious toleration trickle down to East-Central Europe. The self-orientalizing of nineteenth-century Central European intellectuals reinforced this impression, making concepts that were ostensibly authentic and pristine at their “Western” sources seem garbled and skewed once appropriated in their region. Today science, liberty, and toleration are recognized to have also been much patchier and more “provincial” at their putative chief sources in England, France, and the Netherlands. The once stable assumptions of Cold War histories of science and ideas seem increasingly untenable. Over the past two decades, the coherence and “Western” credentials of modernity have waned, and so has its essentially anti-clerical thrust.1 Historians have done much to dispel clichés about the Enlightenment fabricated by nineteenth-century liberals who drew on its legacy and thereby belittled collateral heirs’ claims to the same heritage. Conservative and religious varieties of the Enlightenment have re-emerged from the shambles of the liberal narrative,2 religion is being rediscovered as a “chrysalis” rather than as a mere “casualty of modernity.”3 1See, for example, John Tutino, Making a New World: Founding Capitalism in the Bajío and Spanish North America (Durham, NC, 2011). -
The House Composers of the Theater Auf Der Wieden in the Time of Mozart (1789-91)1
The House Composers of the Theater auf der Wieden in the Time of Mozart (1789-91)1 DAVID J. BUCH Some of the most important theatrical music in Europe was produced at the Theater auf der Wieden in suburban Vienna in the years 1789 to 1801. Beginning with the immensely popular Die zween Anton oder der dumme Gärtner aus dem Gebirge in July 1789, Emanuel Schikaneder produced one successful singspiel after another. The most successful of these were quickly staged in other European venues, both in the original German and in translation.2 Yet, until recently, we have known only a single opera from that period, Mozart’s Die Zauberflöte. Because scholars have not studied this repertory,3 a myth of singularity for Mozart’s singspiel has dominated the secondary literature. But Mozart’s opera was in fact the fourth in a series of fairy-tale singspiels based on texts associated with Christoph Martin Wieland. And the music of Mozart’s singspiel is firmly rooted in a unique style developed at the theater by a group of talented composers who interacted with Mozart, both learning from the master and influencing him in turn. Another myth about this theater has also persisted in modern literature, namely, that the music was of an inferior quality and that the performances were rather crude. While there is one derisive review of a performance at the Theater auf der Wieden by a north German commentator in 1793,4 most contemporary reviews were positive, noting a high standard of musical performance. In his unpublished autobiography, Ignaz von Seyfried recalled performances of operas in the early 1790s by Mozart, Süßmayr, Hoffmeister etc., writing that they were performed with rare skill (ungemein artig). -
Die Zauberflöte, Masonic Opera, and Other Fairy Tales Author(S): David J
Die Zauberflöte, Masonic Opera, and Other Fairy Tales Author(s): David J. Buch Source: Acta Musicologica, [Vol.] 76, [Fasc.] 2 (2004), pp. 193-219 Published by: International Musicological Society Stable URL: http://www.jstor.org/stable/25071239 Accessed: 11/10/2010 08:38 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=inmuso. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. International Musicological Society is collaborating with JSTOR to digitize, preserve and extend access to Acta Musicologica. http://www.jstor.org Die Zauberfl?te, Masonic Opera, and Other Fairy Tales* David J.Buch Cedar Falls, Iowa The term 'Masonic opera' isoften applied to Mozart's Die Zauberfl?te to indicate per vasive Masonic content in the form of a hidden coherent allegory with a complex representation of the order's symbols and initiation rituals. -
IO MINIK ROSING Grønland - En Verden Af Mineraler
IO MINIK ROSING Grønland - en verden af mineraler AF MINIK ROSING figur i. Kryolit- Den 31. maj 1806 ankom mineralogen Karl Ludwig Da transporten over Atlanten efterhånden blev krystaller fra Giesecke til Frederikshåb, det nuværende Paamiut, i mere og mere besværliggjort af krigshandlingerne og Ivittuut. Foto: Vestgrønland. Han var udsendt af Christian VII’s i særdeleshed af tabet af den danske flåde i 1807, måtte O. Johnsen. Kongelige Grønlandske og Færøske Handelscommis- Giesecke fortsætte sit arbejde i Grønland helt frem til sion for at undersøge og registrere de mineralogiske 1813, hvor det endelig efter syv hårde års indsamling af rigdomme, man måtte formode lå gemt i Grønland. mineraler fra hele det da kendte Grønland lykkedes Et par år forinden havde han i stor hast og efter alt ham at komme med et skib mod Europa. Han havde at dømme med pantefogeden i hælene forladt sit ar allerede fået efterretninger om, at hans samling var bejde som librettist og skuespiller i Schikaneders sku forsvundet i England, og han stoppede derfor i Leith, espilstrup i Wien. Han havde været involveret i op som dengang var en af anløbshavnene på vejen mel sætningen af Tryllefløjten og havde selv spillet 1. slave lem Danmark og Grønland. ved uropførelsen. På vejen nordover havde han lagt Naturhistorikeren Morten Wormskjold fra Køben sit oprindelige navn Johann Georg Metzler og skue havns Universitet var i 1812 på vej mod Grønland, spillet bag sig, og han optrådte i København som mi men sad fast i Leith. For at udnytte tiden fulgte han neralogen Karl Ludwig Giesecke. mineralogiforelæsninger hos Robert Jameson i Edin Straks efter ankomsten til Frederikshåb/Paamiut burgh. -
Redalyc.THE REAL THING? ADAPTATIONS, TRANSFORMATIONS and BURLESQUES of SHAKESPEARE, HISTORIC and POST-MODERN
Ilha do Desterro: A Journal of English Language, Literatures in English and Cultural Studies E-ISSN: 2175-8026 [email protected] Universidade Federal de Santa Catarina Brasil Draudt, Manfred THE REAL THING? ADAPTATIONS, TRANSFORMATIONS AND BURLESQUES OF SHAKESPEARE, HISTORIC AND POST-MODERN Ilha do Desterro: A Journal of English Language, Literatures in English and Cultural Studies, núm. 49, julio-diciembre, 2005, pp. 289-314 Universidade Federal de Santa Catarina Florianópolis, Brasil Available in: http://www.redalyc.org/articulo.oa?id=478348687015 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative The real thing? Adaptations, transformations... 289 THE REAL THING?1 ADAPTATIONS, TRANSFORMATIONS AND BURLESQUES OF SHAKESPEARE, HISTORIC AND POST-MODERN Manfred Draudt University of Austria The practice of adapting great authors to fit current requirements is not just a recent phenomenon. The first great wave of adaptations of Shakespeare came after the period of the closing of theatres in 1642, with the advent of the Restoration in 1660. Political change was accompanied by a radical change in tastes, ideals and conditions: theatres were roofed in and artificially illuminated (like the earlier private theatres); there was also elaborate changeable scenery; and for the first time female roles were taken by professional actresses. Most importantly, French neo-classicism was adopted as the fashionable theory that shaped both the form and the language of plays. These currents of change motivated playwrights and managers to “improve on” Shakespeare by rewriting and staging his plays in accordance with the spirit of the new times. -
The Influence of Ancient Esoteric Thought Through
THROUGH THE LENS OF FREEMASONRY: THE INFLUENCE OF ANCIENT ESOTERIC THOUGHT ON BEETHOVEN’S LATE WORKS BY BRIAN S. GAONA DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Music with a concentration in Performance and Literature in the Graduate College of the University of Illinois at Urbana-Champaign, 2010 Urbana, Illinois Doctoral Committee: Clinical Assistant Professor/Artist in Residence Brandon Vamos, Chair Professor William Kinderman, Director of Research Associate Professor Donna A. Buchanan Associate Professor Zack D. Browning ii ABSTRACT Scholarship on Ludwig van Beethoven has long addressed the composer’s affiliations with Freemasonry and other secret societies in an attempt to shed new light on his biography and works. Though Beethoven’s official membership remains unconfirmed, an examination of current scholarship and primary sources indicates a more ubiquitous Masonic presence in the composer’s life than is usually acknowledged. Whereas Mozart’s and Haydn’s Masonic status is well-known, Beethoven came of age at the historical moment when such secret societies began to be suppressed by the Habsburgs, and his Masonic associations are therefore much less transparent. Nevertheless, these connections surface through evidence such as letters, marginal notes, his Tagebuch, conversation books, books discovered in his personal library, and personal accounts from various acquaintances. This element in Beethoven’s life comes into greater relief when considered in its historical context. The “new path” in his art, as Beethoven himself called it, was bound up not only with his crisis over his incurable deafness, but with a dramatic shift in the development of social attitudes toward art and the artist. -
Mozart and the American Revolutionary Upsurge
Click here for Full Issue of Fidelio Volume 1, Number 4, Winter 1992 Mozart and th by David Shavin n the summer of 1781,the 25-year-old musical genius Wolfgang Amadeus I Mozart was chosen by the Emperor Joseph II of Austria to set the opera The Abduction fr om the Seraglio, for the occa sion of a critical state visit to Vienna of the Russian Grand Duke Paul, son of Cather ine the Great. Mozart had recently arrived in Vienna, having broken with his father's employer, the Archbishop Colloredo of Salzburg. The Emperor Joseph had had sole possession of the throne of the Austro Hungarian Empire for less than a year,for his co -regent, his mother Maria Theresa, had died the past November. The fortunes of the upstart revolutionaries in the British colonies in America were still in doubt. And the Russian court was pressing Joseph to ignore the new developments in America and to join them in a colonial Bettmann Archive venture against the Turks, who were by that time no longer a serious threat to Europe, as they to obscure Mozart's very human, and very rigorous, had been in past centuries. compositional process. Even a beginning effort to situate Within a year, Mozart had pulled off a stunning the singular features of this revolutionary period will political and cultural victory,the Americans had shocked serve to completely undercut not only such puerile fanta the British Empire at Yorktown,and Joseph had derailed sies about Mozart, but also related fantasies regarding the war-party from Russia, winning several years of the actual birth of the modern republican form of gov critical time to attempt to base Austria upon his educa ernment. -
Sir Charles Lewis Giesecke (1761-1833) and Greenland: a Recently Discovered Mineral Collection in Trinity College, Dublin
SIR CHARLES LEWIS GIESECKE (1761-1833) AND GREENLAND: A RECENTLY DISCOVERED MINERAL COLLECTION IN TRINITY COLLEGE, DUBLIN PATRICKN. WYSE JACKSON (Received26 October 1996) Abstract Sir Charles Lewis Glesecke (1761-1833), who was born minGermany, became a mineralogistafter a diversity of careers He spent seven years minGreenland from 1806 and amassed large collections of minerals, including the rare species cryohliteand sapphirine.These collections were dispersedduring his hlifetimeand are now found min a numberof institutions minEurope. He donated a collection and catalogue to Trimnity College, Dublin, in 1824, but until recently this material remained unrecogmsed Rediscovery in 1994 of the catalogue, which lists 149 specimens from Greenlandand Norway, has led to the recogmnitionof nearly one-third of the material to date in the presentholdings of the Geological Museum in TrinityCollege. Introduction describes the background to the acquisition, and the presentextent of the collection. CharlesLewis Giesecke (1761-1833) was an important mineralogist who assembled large Charles Lewis Giesecke (1761-1833) and unique collections of minerals from Greenland minthe early 1800s. The history of Sir Charles Lewis Giesecke (1761-1833) the dispersal of these collections is well was born minAugsburg, Bavaria, Germany, on 6 known, and the material can now be found in April 1761, the eldest son of George Melchior the Natural History Museum, London, the Metzler, a Protestant tailor, and Sibylla National Museum in Vienna, and in the Magadalena Gotz (Craig 1993), and was Geological Museum of Copenhagen named either Johann Georg or Karl Ludwig. University. More material is possibly minthe Questions also surround the name and National Museum of Ireland, where it remains occupation of his father, which have been to be recogmnised.Recently a long-forgotten given as JohannGeorg, a vintner (Petersenand suite of Giesecke's Greenland specimens, Secher 1993). -
A Chronology of Mozart and His Times
BYU Studies Quarterly Volume 43 Issue 3 Article 3 7-1-2004 A Chronology of Mozart and His Times Hans-Wilhelm Kelling Follow this and additional works at: https://scholarsarchive.byu.edu/byusq Recommended Citation Kelling, Hans-Wilhelm (2004) "A Chronology of Mozart and His Times," BYU Studies Quarterly: Vol. 43 : Iss. 3 , Article 3. Available at: https://scholarsarchive.byu.edu/byusq/vol43/iss3/3 This Preface is brought to you for free and open access by the Journals at BYU ScholarsArchive. It has been accepted for inclusion in BYU Studies Quarterly by an authorized editor of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Kelling: A Chronology of Mozart and His Times A Chronology of Mozart and His Times Hans-Wilhelm Kelling 1756 Wolfgang Amadeus Mozart is born on January 17 in a flat located at what is now Getreidegasse 9 in Salzburg, Austria. Leopold Mozart, the father of Wolfgang, publishes his Violin Method. This year sees the com mencement of the Seven Year War. When it ends in 1763, Prussia has defeated Austria, France, and Russia and has become the strongest military power in Europe. 1757 Domenico Scarlatti, the well-known Baroque Italian composer, dies in Madrid. 1759 Georg Friedrich Handel, composer of Messiah, dies in London on April 14. Mozart, who admired Handel's compositions, performs sev eral of them at the age of eight for King George III of England in 1764. Friedrich Schiller, Germany's foremost dramatist (Don Carlos, Wal- lenstein, Maria Stuart, Wilhelm Tell), who lectures and writes on history at the University of Jena (History of the Revolt of the Nether lands, History of the Thirty Years' War), is born.