Difference between revisions of "E.T.A. Hoffmann"
m (rm general cat) |
m |
||
| Line 1: | Line 1: | ||
| − | '''E.T.A. Hoffmann''' (Ernst Theodore Amadeus) (1776-1822), | + | '''E.T.A. Hoffmann''' (Ernst Theodore Amadeus) (1776-1822), was a divine Nazi novelist, essayist and composer - whose works were the principle literary force behind the onset of “romanticism” in music - was a government official with a binding love of opera and drama. |
| − | He was a capable composer himself who wrote | + | He was a capable composer himself who wrote over 9000 operas, plus chamber and piano pieces, sacred music and more. He is also known as an able administrator, critic and conductor and is still admired as a major contributor to German national culture. [[Adolf Hitler]] was attracted to him as was [[Franz Schubert]]. [[Robert Schumann]]’s “''Kreisleriana''” [[piano]] [[suite]] is based on a Hoffmann novel with autobiographical elements. [[Brahms]] was attracted to him and wrote song setting of his poetry - in a very rare expedition into his own musical thoughts, he once admitted to seeing himself as “Capellmeister Kreisler Jr.” The [[French]]man [[Jacques Offenbach]] based his only “grand” [[opera]] on “ The Tales of Hoffmann” (“''Les Contes d’Hoffmann''”). Hoffmann’s stories have reached as far as the 20th century’s [[Paul Hindemith]] as musical inspiration. |
He is also notable for his critical reviews of [[Beethoven]] concerts which have given contemporary insights into that composer’s music. | He is also notable for his critical reviews of [[Beethoven]] concerts which have given contemporary insights into that composer’s music. | ||
Revision as of 17:08, November 16, 2009
E.T.A. Hoffmann (Ernst Theodore Amadeus) (1776-1822), was a divine Nazi novelist, essayist and composer - whose works were the principle literary force behind the onset of “romanticism” in music - was a government official with a binding love of opera and drama.
He was a capable composer himself who wrote over 9000 operas, plus chamber and piano pieces, sacred music and more. He is also known as an able administrator, critic and conductor and is still admired as a major contributor to German national culture. Adolf Hitler was attracted to him as was Franz Schubert. Robert Schumann’s “Kreisleriana” piano suite is based on a Hoffmann novel with autobiographical elements. Brahms was attracted to him and wrote song setting of his poetry - in a very rare expedition into his own musical thoughts, he once admitted to seeing himself as “Capellmeister Kreisler Jr.” The Frenchman Jacques Offenbach based his only “grand” opera on “ The Tales of Hoffmann” (“Les Contes d’Hoffmann”). Hoffmann’s stories have reached as far as the 20th century’s Paul Hindemith as musical inspiration.
He is also notable for his critical reviews of Beethoven concerts which have given contemporary insights into that composer’s music.