Essays on Literature and Music (1985–2013) by Walter Bernhart Word and Music Studies

Essays on Literature and Music (1985–2013) by Walter Bernhart Word and Music Studies Series Editors Walter Bernhart Michael Halliwell Lawrence Kramer Steven Paul Scher† Werner Wolf VOLUME 14 The book series WORD AND MUSIC STUDIES (WMS) is the central organ of the International Association for Word and Music Studies (WMA), an association founded in 1997 to promote transdisciplinary scholarly inquiry devoted to the relations between literature/verbal texts/language and music. WMA aims to provide an international forum for musicologists and literary scholars with an interest in intermediality studies and in crossing cultural as well as disciplinary boundaries. WORD AND MUSIC STUDIES publishes, generally on an annual basis, theme-oriented volumes, documenting and critically assessing the scope, theory, methodology, and the disciplinary and institutional dimensions and prospects of the field on an international scale: conference proceedings, collections of scholarly essays, and, occasionally, monographs on pertinent individual topics. The titles published in this series are listed at brill.com/wms Essays on Literature and Music (1985–2013) by Walter Bernhart Edited by Werner Wolf LEIDEN | BOSTON Artwork and typesetting: 2.U.S.2 – Art & Graphic Design Solutions Proofreading: Cecilia Servatius Library of Congress Control Number: 2015944886 issn 1566-0958 isbn 978-90-04-30270-9 (hardback) isbn 978-90-04-30274-7 (e-book) Copyright 2015 by Koninklijke Brill NV, Leiden, The Netherlands. Koninklijke Brill NV incorporates the imprints Brill, Brill Hes & De Graaf, Brill Nijhoff, Brill Rodopi and Hotei Publishing. All rights reserved. No part of this publication may be reproduced, translated, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior written permission from the publisher. Authorization to photocopy items for internal or personal use is granted by Koninklijke Brill NV provided that the appropriate fees are paid directly to The Copyright Clearance Center, 222 Rosewood Drive, Suite 910, Danvers, MA 01923, USA. Fees are subject to change. This book is printed on acid-free paper. Contents Preface (Werner Wolf) ................................................................................. ix Theorie und Praxis der Vertonung in den elisabethanischen Airs [1985] ......................1 The Iconic Quality of Poetic Rhythm [1986] ..................................................... 19 Examples of Byron’s Impact on 19th-Century German and Austrian Music [1987] ................................................................. 35 Setting a Poem: The Composer’s Choice For or Against Interpretation [1988] ................................................................ 53 Zweimal ‘Johnny’: Der treulose Herzensbrecher bei Brecht/Weill und Auden/Britten [1991] ...................................................... 75 Prekäre angewandte Opernästhetik: Auden’s ‘sekundäre Welt’ und Hans Werner Henzes Elegie für junge Liebende [1994] ....................................99 An Exegetic Composer: Benjamin Britten’s Journey of the Magi [1995] ....................................................115 ‘Kalogenetic’ Functions of Prosody: An Exercise in Comparative Poetics [1995] ...................................................... 129 How Final Can a Theory of Verse Be? Toward a Pragmatics of Metrics [1996] ........................................................... 137 ‘Proportion’ in Elizabethan Poetry and Music [1996] ..........................................155 Cardillac, the Criminal Artist: A Challenge to Opera as a Musico-Literary Form [1997] ......................................171 Iconicity and Beyond in “Lullaby for Jumbo”: Semiotic Functions of Poetic Rhythm [1999] ....................................................181 Some Reflections on Literary Genres and Music [1999] ....................................... 195 Die Ambivalenz der Unschuld: Benjamin Britten auf der Suche nach dem kindlichen Sein [1999] .......................... 205 A Profile in Retrospect: Calvin S. Brown as a Musico-Literary Scholar [2000] ..........................................211 Typologische Überlegungen zum Melodrama [2000] ......................................... 225 vi Three Types of Song Cycles: The Variety of Britten’s ‘Charms’ [2001] ......................................................... 235 Parsifal for Our Times: Young Artists Show the Way from Interpretation to Cyberstaging [2001] ..........................251 The Turn of the Screw: Ein Glanzstück der Literaturoper [2002] ........................................................ 259 The ‘Destructiveness of Music’: Functional Intermedia Disharmony in Popular Songs [2002] ............................... 265 Peter Grimes: Auf George Crabbes Spuren zwischen Realismus und Romantik [2003] ...................................................... 275 Masterminding Word and Music Studies: A Tribute to Steven P. Scher [2002] ............................................................... 281 The Rake’s Progress: Klassizistische Oper zwischen Moralität, Märchen, Mythos und Groteske [2004] .................................291 Der ‘postmoderne’ Rosenkavalier [2005] ......................................................... 299 ‘Die lustigen Weiber’ proben den Aufstand: Transzendiertes Biedermeier in Otto Nicolais Oper [2005] .................................. 307 Narrative Framing in Schumann’s Piano Pieces [2006] ........................................315 ‘Musikalische Verse’: “Ich weiß nicht, was soll es bedeuten” [2006].................................................... 339 Myth-making Opera: David Malouf’s and Michael Berkeley’s Jane Eyre [2007] ......................................355 Words and Music as Partners in Song: ‘Perfect Marriage’ – ‘Uneasy Flirtation’ – ‘Coercive Tension’ – ‘Shared Indifference’ – ‘Total Destruction’ [2007] ............................................. 369 “Liebling der ganzen Welt”: Sir Walter Scott als Inspiration für die romantische Oper und Donizettis Lucia di Lammermoor [2008] .................................................. 381 From Novel to Song via Myth: Wuthering Heights as a Case of Popular Intermedial Adaptation [2008] ...................391 What Can Music Do to a Poem? New Intermedial Perspectives of Literary Studies [2008] ..................................... 405 vii “... pour out forgiveness like a wine”: Can Music “say an existence is wrong”? [2009] ................................................. 413 Christophorus, oder “Die Vision einer Oper”: Franz Schreker’s Opera as a Metareferential Work [2010] .................................... 431 Metareference in Operatic Performance: The Case of Katharina Wagner’s Die Meistersinger von Nürnberg [2011].................. 447 Rhythmical Ambivalence of Poetry Performance: The Case of Elizabethan Verse [2011] ............................................................ 459 Aesthetic Illusion in Instrumental Music? [2013] .............................................. 475 Sources .................................................................................................. 491 Index .................................................................................................... 495 Preface It has become something like a tradition within the book series Word and Music Studies (WMS) to render accessible musico-literary research by eminent scholars to readers who may find it interesting and helpful both to have at their disposal the most relevant texts, if not the entirety, of the respective oeuvre of pioneers in the field in one volume and to be able to follow the development of their individual thoughts without having to consult a wide and often no longer easily re- trievable variety of publications. The tradition was initiated by a volume dedicated to the doyen of musico-literary studies, Calvin S. Brown (WMS 2: Musico-Poetics in Perspective: Calvin S. Brown in Memoriam, eds. Jean-Louis Cupers and Ulrich Weisstein, Rodopi, 2000) and continued with collections of essays by the late Steven Paul Scher (WMS 5: Essays on Literature and Music (1967–2004), eds. Walter Bernhart and Werner Wolf, Rodopi, 2004) and by Ulrich Weisstein (WMS 8: Selected Essays on Opera, ed. Walter Bernhart, Rodopi, 2006). The present volume (number 14 in the series) adds to this tradition by col- lecting and presenting most of the publications related to word and music studies by Walter Bernhart. This scholar not only founded the International Association for Word and Music Studies as well as the present book series but also personal- ly co-edited numerous volumes in the series. If one adds to this scenario that he was also the pioneering chair of a research unit ‘Literature and Other Media’ at Karl-Franzens-Universität Graz until his retirement in 2008, became director of the equally Graz-based Centre for Intermediality Studies in Graz (CIMIG) and, in this capacity, initiated yet another book series, namely Studies in Intermedial- ity (SIM), his importance in the field of both intermediality studies and word and music studies becomes incontestable. Last but not least, this importance, even pre-eminence, in the area of musico-literary intermediality is perhaps best high- lighted by the fact that he, over almost three decades, has published more than three dozen texts, ranging from contributions to opera programmes to scholarly essays, book editions and monographs all dedicated to word and music studies. All of this renders Walter Bernhart

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