Sturm und Drang
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Sturm und Drang (
The philosopher
History
Counter-Enlightenment
Etymology
The term Sturm und Drang first appeared as the title of
Sturm und Drang came to be associated with literature or music aimed at shocking the audience or imbuing them with extremes of emotion. The movement soon gave way to
There is much debate regarding whose work should or should not be included in the canon of Sturm und Drang. One point of view would limit the movement to
Related aesthetic and philosophical movements
As a precursor to Sturm und Drang, the
Major philosophical/theoretical influences on the literary Sturm und Drang movement were Johann Georg Hamann (especially the 1762 text Aesthetica in nuce. Eine Rhapsodie in kabbalistischer Prose) and Johann Gottfried Herder, both from Königsberg, and both formerly in contact with Immanuel Kant. Significant theoretical statements of Sturm und Drang aesthetics by the movement's central dramatists themselves include Lenz' Anmerkungen übers Theater and Goethe's Von deutscher Baukunst and Zum Schäkespears Tag (sic). The most important contemporary document was the 1773 volume Von deutscher Art und Kunst. Einige fliegende Blätter, a collection of essays that included commentaries by Herder on Ossian and Shakespeare, along with contributions by Goethe, Paolo Frisi (in translation from the Italian), and Justus Möser.
In literature
Characteristics
The
The story of hopeless love and eventual suicide presented in
The absence or exclusion of women writers from accounts of Sturm und Drang can be taken as a consequence of the movement's and the period's masculinist ethos or as a failure of more recent literary criticism to engage with literary works by women--such as Marianne Ehrmann--that might merit inclusion.[10]
Notable literary works
- Johann Wolfgang von Goethe (1749–1832):
- Zum Shakespears Tag (1771)
- Sesenheimer Lieder (1770–1771)
- Prometheus (1772–1774)
- Götz von Berlichingen (1773)
- Clavigo (1774)
- Die Leiden des jungen Werthers (1774)
- Mahomets Gesang (1774)
- Adler und Taube (1774)
- An Schwager Kronos (1774)
- Gedichte der Straßburger und Frankfurter Zeit (1775)
- Stella. Ein Schauspiel für Liebende (1776)
- Die Geschwister (1776)
- Friedrich Schiller (1759–1805):
- Die Räuber(1781)
- Die Verschwörung des Fiesko zu Genua(1783)
- Kabale und Liebe(1784)
- An die Freude(1785)
- Jakob Michael Reinhold Lenz (1751–1792)
- Anmerkung über das Theater nebst angehängtem übersetzten Stück Shakespeares (1774)
- Der Hofmeister oder Vorteile der Privaterziehung (1774)
- Lustspiele nach dem Plautus fürs deutsche Theater (1774)
- Die Soldaten (1776)
- Friedrich Maximilian Klinger(1752–1831):
- Das leidende Weib (1775)
- Sturm und Drang (1776)
- Die Zwillinge (1776)
- Simsone Grisaldo (1776)
- Gottfried August Bürger (1747–1794):
- Lenore (1773)
- Gedichte (1778)
- Wunderbare Reisen zu Wasser und zu Lande, Feldzüge und lustige Abenteuer des Freiherren von Münchhausen (1786)
- Heinrich Wilhelm von Gerstenberg (1737–1823):
- Gedichte eines Skalden (1766)
- Briefe über Merkwürdigkeiten der Literatur (1766–67)
- Ugolino (1768)
- Johann Georg Hamann (1730–1788):
- Sokratische Denkwürdigkeiten für die lange Weile des Publikums zusammengetragen von einem Liebhaber der langen Weile (1759)
- Kreuzzüge des Philologen (1762)
- Johann Jakob Wilhelm Heinse (1746–1803):
- Ardinghello und die glückseligen Inseln (1787)
- Johann Gottfried Herder (1744–1803):
- Fragmente über die neuere deutsche Literatur (1767–1768)
- Kritische Wälder oder Betrachtungen, die Wissenschaft und Kunst des Schönen betreffend, nach Maßgabe neuerer Schriften (1769)
- Journal meiner Reise im Jahre (1769)
- Abhandlung über den Ursprung der Sprache (1770)
- Von deutscher Art und Kunst, einige fliegende Blätter (1773)
- Volkslieder (1778–79)
- Vom Geist der Hebräischen Poesie (1782–1783)
- Ideen zur Philosophie der Geschichte der Menschheit (1784–1791)
In music
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The
History
Nevertheless, relative to the influence of Sturm und Drang on literature, the influence on
Haydn
A Sturm und Drang period is often attributed to the works of the Austrian composer Joseph Haydn from the late 1760s to early 1770s. Works during this period often feature a newly impassioned or agitated element; however, Haydn never mentions Sturm und Drang as a motivation for his new compositional style,[12] and there remains an overarching adherence to classical form and motivic unity. Though Haydn may not have been consciously affirming the anti-rational ideals of Sturm und Drang, one can certainly perceive the influence of contemporary trends in musical theatre on his instrumental works during this period.
Mozart
Notable composers and works
- Carl Philipp Emanuel Bach
- Symphonies, keyboard concertos and sonatas including Symphony in E minor Wq. 178 (1757–62)
- Johann Christian Bach
- Symphony in G minor Op. 6 No. 6
- Johann Christoph Friedrich Bach
- Wilhelm Friedemann Bach
- Adagio und Fuge in D minor Falk 65
- Joseph Haydn
- Symphony No. 39 in G minor (1767)
- Symphony No. 49 in F minor La Passione (1768)
- Symphony No. 26 in D minor Lamentatione (1769)
- Symphony No. 52 in C minor (1771)
- Symphony No. 44 in E minor Trauer (Mourning) (1772)
- Symphony No. 45 in F sharp minor Farewell (1772)
- String Quartet No. 11 in D minor, Op. 9 No. 4 (1769)
- String Quartet No. 19 in C minor, Op. 17 No. 4 (1771)
- String Quartet No. 23 in F minor, Op. 20 No. 5 (1772)
- String Quartet No. 26 in G minor, Op. 20 No. 3 (1772)
- Piano Sonata Hob. XVI/47 in E minor (1765-67)
- Piano Sonata Hob. XVI/20 in C minor (1771)
- Piano Sonata Hob. XVI/44 in G minor (1771-73)
- Piano Sonata Hob. XVI/32 in B minor (1774-76)
- Joseph Martin Kraus
- Symphony in C minor Symphonie funebre
- Symphony in C-sharp minor
- Wolfgang Amadeus Mozart
- Symphony No. 25 in G minor, K. 183 (1773)
- String Quartet No. 13 in D minor, K. 173 (1773)
- Violin Sonata No. 21 in E minor, K. 304 (1778)
- Piano Sonata No. 8 in A minor, K. 310 (1778)
- Johann Gottfried Müthel
- Works for keyboard
- Johann Baptist Wanhal
- Symphony in D minor (Bryan d1)
- Symphony in G minor (Bryan g1)
- Symphony in A minor (Bryan a2)
- Symphony in E minor (Bryan e1)
- Ernst Wilhelm Wolf
- Works for keyboard
In visual art
The parallel movement in the visual arts can be witnessed in paintings of storms and shipwrecks showing the terror and irrational destruction wrought by nature. These pre-
.In theatre
The Sturm und Drang movement did not last long; according to Betty Waterhouse it began in 1771 and ended in 1778 (Waterhouse v). The rise of the middle class in the 18th century led to a change in the way society and social standings were looked at. Dramatists and writers saw the stage as a venue for critique and discussion of societal issues. French writer
The Sturm und Drang movement also paid a lot of attention to the language of a piece of literature. It is no wonder that
Six main playwrights initiated and popularized the Sturm und Drang movement: Leisewitz, Wagner, Goethe, Lenz, Klinger, and Schiller. The theatre director
Johann Anton Leisewitz
Johann Anton Leisewitz was born in Hanover in 1752 and studied law. He is remembered for his single complete play, Julius of Taranto (1776), which is considered the forerunner of Schiller's work The Robbers (1781).[16] He was married to Sophie Seyler, the daughter of theatre director Abel Seyler.
Wagner
Heinrich Leopold Wagner was born in Strasbourg on February 19, 1747. He studied law and was a member of the literary group surrounding Johann Daniel Salzmann. He was a dramatist, producer, translator, and lawyer for the traveling Abel Seyler theatre company. Wagner was best known for his two plays, Die Reue nach der Tat (“The Remorse After the Deed”) in 1775 and Die Kindermorderin (“The Childmurderess”) in 1776. Child murder was a very popular topic in the 18th century and all of the major Sturm und Drang writers used it as a subject in their writings (Waterhouse 97). Die Kindermorderin was one of the most traditional plays of the Sturm und Drang. Although sharing aspects of neoclassical plays, such as a fairly simple plot and very few changes in the setting, it breaks away from the neoclassical idea that the protagonist must be of noble descent. Instead, this play shows how the aristocracy disrupts the lives of middle class characters (Liedner xii). This play also uses a vast array of colorful language to demonstrate the variety of characters and their social statuses. Another common theme seen in Die Kindermorderin is the idea of society hindering change. Groningseck, a lieutenant, seems to be willing to look past social norms and break down walls between the classes, but a fellow officer, Hasenpoth, betrays him (Liedner xii).
Goethe
Lenz
Klinger
Schiller
See also
- Antihero
- Jena Romanticism
- Gotthold Ephraim Lessing — his opinions influenced the theatre practitioners who began the movement of Sturm und Drang
Notes
- ISBN 978-1-4058-8118-0.
- ^ E.g. HB Garland, Storm and Stress (London, 1952); German Drang literally translates to throng, and has the sense of "impulse, urge, pressure, stress; longing, desire".
- ^ Karthaus, Ulrich: Sturm und Drang. Epoche-Werke-Wirkung. München: C.H.Beck Verlag, 2. aktualisierte Auflage. 2007, S. 107.
- ^ Preminger, Alex; Brogan, T. V. F. (eds.). (1993). The New Princeton Encyclopedia of Poetry and Poetics. Princeton: Princeton University. p. 1.
- ^ Pascal, Roy. (April, 1952). The Modern Language Review, Vol. 47, No. 2. pp. 129–151: p. 32.
- ^ Pascal, p. 129.
- ^ Heckscher, William S. (1966–1967) Simiolus: Netherlands Quarterly for the History of Art, Vol. 1, No. 2. pp. 94–105: p. 94.
- ^ Leidner, Alan. (March 1989). C. PMLA, Vol. 104, No. 2, pp. 178-189: p. 178
- ^ Alan Liedner, p. 178
- ^ Ruth P. Dawson, The Contested Quill, pp. 230-237 and passim
- ^ Heartz, Daniel and Bruce Alan Brown. (Accessed 21 March 2007). 'Sturm und Drang', Grove Music Online, "http://www.grovemusic.com/shared/views/article.html?section=music.27035"
- ^ Brown, A. Peter. (Spring, 1992). The Journal of Musicology, Vol. 10, No. 2. pp. 192-230: p. 198
- ^ Wright, Craig and Bryan Simms. (2006). Music in Western Civilization. Belmont: Thomson Schirmer. p. 423
- ^ A. Peter Brown, p. 198
- ^ Heartz/Bruce, p. 1
- ^ Johann Anton Leisewitz, Encyclopædia Britannica
References
- Baldick, Chris. (1990) The Concise Oxford Dictionary of Literary Terms. Oxford: Oxford University.
- Brown, A. Peter. (Spring, 1992). The Journal of Musicology, Vol. 10, No. 2. pp. 192–230.
- Buschmeier, Matthias; Kauffmann, Kai (2010) Einführung in die Literatur des Sturm und Drang und der Weimarer Klassik. Darmstadt: Wissenschaftliche Buchgesellschaft.
- Heartz, Daniel and Bruce Alan Brown. (Accessed 21 March 2007). Sturm und Drang, Grove Music Online, "http://www.grovemusic.com/shared/views/article.html?section=music.27035"
- Heckscher, William S. (1966–1967) Simiolus: Netherlands Quarterly for the History of Art, Vol. 1, No. 2. pp. 94–105.
- Leidner, Alan. (March 1989). C. PMLA, Vol. 104, No. 2, pp. 178–189.
- Leidner, Alan C. Sturm Und Drang: The German Library. 14. New York: The Continuum Publishing Company, 1992. Print.
- Pascal, Roy. (April 1952). The Modern Language Review, Vol. 47, No. 2. pp. 129–151.
- Preminger, Alex; Brogan, T. V. F. (eds.). (1993) The New Princeton Encyclopedia of Poetry and Poetics. Princeton: Princeton University.
- Waterhouse, Betty. Five Plays of the Sturm und Drang. London: University Press of America, Inc, 1986. v. Print.
- Wilson, Edwin, and Alvin Goldfarb, comp. Living Theatre: History of Theatre. 6th Edition. New York: McGraw-Hill Companies, 2012. Print.
- Wright, Craig and Bryan Simms. (2006). Music in Western Civilization. Belmont: Thomson Schirmer.
External links
- BBC audio file. Radio 4 discussion programme In our time.
- Sturm und Drang. The Columbia Encyclopedia
- Sturm und Drang. Literary Encyclopedia