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The topical label ofSturm und Drang, which draws on parallels between certain movements of Haydn’s middle-period symphonies and the trend in German Romantic literature (Wyzewa 1909) was deemed misguided and no longer fit for purpose in the discipline of topic theory. In this chapter it is replaced bytempesta. This termacknowledges the origins of the topic not in Haydn’s symphonies, but in early opera, since the musical language clearly derives from depictions of storms and other devastations in the theater.Tempestais to be regarded as the counterpart ofombra, the menacing style of music associated with the supernatural. Both styles are often juxtaposed in infernal scenes, where the creeping terror ofombrais contrasted with the fast frenzy oftempesta. The aesthetic framework for these topics is Burke’s “sublime of terror” (1758) rather than the German literarySturm und Drang.
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The topical label ofSturm und Drang, which draws on parallels between certain movements of Haydn’s middle-period symphonies and the trend in German Romantic literature (Wyzewa 1909) was deemed misguided and no longer fit for purpose in the discipline of topic theory.
In this chapter it is replaced bytempesta.
This termacknowledges the origins of the topic not in Haydn’s symphonies, but in early opera, since the musical language clearly derives from depictions of storms and other devastations in the theater.
Tempestais to be regarded as the counterpart ofombra, the menacing style of music associated with the supernatural.
Both styles are often juxtaposed in infernal scenes, where the creeping terror ofombrais contrasted with the fast frenzy oftempesta.
The aesthetic framework for these topics is Burke’s “sublime of terror” (1758) rather than the German literarySturm und Drang.