Some Peculiarities of "Viennese Art Nouveau" in the Musical Theater and E.V. Korngold's Opera The Dead City (Die Tote Stadt)
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Abstract
The purpose of this article is to determine the characteristics of the “Viennese Art Nouveau” style in musical theater. The diversity and inconsistency of the fin de siècle era stipulate for the author՚s appeal not only to the musicology, but also to some aspects of cultural studies, philosophy and aesthetics. The article analyzes the interaction of the three main directions of fin de siècle: late Romanticism, Expressionism and Art Nouveau. The close connection with literature and theater becomes one of the main reasons for the most vivid manifestation of the research object in the musical and stage genres.
The operatic works by Alexander Tsemlinsky, Franz Schreker, and Erich Wolfgang Korngold provide ample opportunities for studying the specific features of “Viennese Art Nouveau”. The subject of the study in the text is the opera The Dead City by Erich Wolfgang Korngold. Using the method of comparative studies, the author considers this work in the context of the epoch of the 19th – 20th centuries turn. The philosophical characteristics of the “Viennese Art Nouveau” (first of all, the idea of the world as a complex of sensations) facilitate a new type of opera drama, concentrated on the main character. The whole world around us, the characters and events are the result of the hero’s changing feelings. These dramatic features, in turn, entail new principles of shaping the musical material. As a result of the research, the author concludes that the implementation of the main ideas of the “Viennese Art Nouveau” in the opera leads to significant discoveries in the stage drama (new types of characters, the creation of a special type of reality) and the formation of original principles of semantic and intonational variability of thematic structures.
Keywords: Viennese Art Nouveau, opera, Korngold, musical drama, fin de siècle.
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