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"Sturm und Drang" Definitions
  1. a late 18th century German literary movement characterized by works containing rousing action and high emotionalism that often deal with the individual's revolt against society
  2. TURMOIL
"Sturm und Drang" Synonyms
turmoil disquiet unrest ferment restiveness restlessness uneasiness unquietness fermentation turbulence tumult upheaval anxiety agitation nervousness anguish fretfulness edginess disturbance unease fever frenzy excitement furore(UK) stew brouhaha disruption hubbub uproar fuss stir storm bustle More
"Sturm und Drang" Antonyms
calm ease peace peacefulness quiet tranquility(US) tranquillity(UK)

265 Sentences With "Sturm und Drang"

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I'd prefer to see more panic, more sturm und drang.
Why do you think there was so much Sturm und Drang around her departure?
This was epic superhero sturm und drang with a fatalistic twist, and it sold like crazy.
A mouthful, to be sure, meant to forbear any legal Sturm und Drang from Porsche itself.
Of course, this is all Sturm und Drang, as few if any minds are being changed.
After a lot of sturm und drang, David wipes Syd's mind of this particular set of memories.
Ms. Mehretu finds plenty of Sturm und Drang in abstraction; it is a mirror of its times.
But after the sturm und drang of the GOP Convention, Clinton's betting a lot of voters will find "boring" reassuring.
Whatever Sandy's persona lacked in Sturm und Drang, however, it made up for in the fire of his unbridled, fecund imagination.
Just some rampaging half-finished hosts (human and bison alike), some familiar faces, and a lot of slow-motion sturm und drang.
Despite the daily Sturm und Drang coming out of the Capitol, a congressionally established commission has been quietly doing the public's work.
It was the Sturm und Drang ("storm and stress") German literary movement of the late 18th century that spurred the discovery of nature.
Even so, the Sturm und Drang around theatrical exhibition — essentially, what makes a movie a movie — is not likely to dissipate anytime soon.
"It doesn't have the operatic Sturm und Drang of a Ferrari or Lamborghini, but it really is an everyday supercar," Mr. Alterman said.
But the Sturm und Drang was absent from a speech that all but ignored the most divisive controversies of Trump's first year in office.
There are concrete effects this political sturm und drang has on a business that you might have thought of as your respite from politics.
As political scientist John Sides notes, the outcome of the election was, after all the Sturm und Drang, roughly what the pre-election models predicted.
The plot of "Wanderer", Sarah Léon's debut novel, would not seem out of place in the library of a fan of 19th-century Sturm und Drang.
For all the Sturm und Drang surrounding the special counsel, ordinary federal prosecutors in New York were the first to formally connect the president to criminal activity.
Switching briefly into German again, he cautioned against reading too much into the "Sturm und Drang" (Storm and Stress) of the tumultuous debate in the British parliament.
Rating There's ultimately not a lot of substance behind all of the sturm und drang that has led to this final episode, and there's even less logic.
Fearful of being shut down prematurely, the first 29 days were disciplined, full of calculated Sturm und Drang, mostly failing to cohere or rise above the gratuitously aberrant.
That's a sharp contrast from the sturm und drang surrounding the College Board's introduction of the 2014 framework, the first major overhaul of the course in 60 years.
All this "sturm und drang" over blanket travel bans, premised on sweeping claims of defective vetting, therefore really covers only a 20-day period while that report is completed.
They wind up bit players in the Sturm und Drang of it all, overshadowed by financial finagling and designer wrangling, when they should be the focus of the conversation.
" Interviewed by Mr. Nobile for his book, Mr. Plimpton said of Mr. Silvers: "He was rather shy but formidable, and a strong voice amidst all this sturm und drang.
Voluptuous clouds of hair, elongated breasts and other highlighted body parts give the gestural Sturm und Drang of Willem de Kooning's oil-painted women a run for their expressionistic vigor.
"Despite the Sturm und Drang of international and market developments, the U.S. economy is, all in all, looking pretty good," Williams told an event organized by Town Hall Los Angeles.
" In his director's statement, he writes that he "read the artist's manifesto firstly as an expression of defiant youth, then as literature, then as poetry—so to say, Sturm und Drang remastered.
Running parallel to the family Sturm und Drang is a mystery, possibly supernatural in nature, involving hallucinations on Ramon's part that seem to connect him to his Iranian-American psychiatrist (Peter Macdissi).
"I Get a Sidekick Out of You" (season 6, episode 19) In the midst of all the sturm und drang that is season six, it's nice to have a moment of pure joy.
Chad Hartigan's charming new movie Morris from America feels like a minor movie next to the sturm und drang of the year's big prestige films, with their big, performative wallowing in pain and grieving.
"The remarkable thing is that via the Internet, gay teenagers are now able to partake of the normal Sturm und Drang of adolescent life, which before was largely off-limits to them," she wrote.
What's too often lost in the Sturm und Drang of recent Republican efforts to reform the insurance reforms enacted by Democrats in 2009 is this: The Affordable Care Act has not worked as advertised.
The hero of "Bat Out of Hell," directed with technological sturm und drang by the American Jay Scheib, is also irony-free, but in the mode of a heavily emoting lover from grand opera.
The bustling room fell silent, save for the furious clicks of Cardi's nails against iPhone glass, as, amid this social media Sturm und Drang, Mr. Scott's towering headpiece was gently positioned atop her head.
"Wildfire" (Columbia) It's difficult to argue with the spirit of Rachel Platten's "Fight Song," one of last year's biggest unexpected pop hits, which bristles with late-1990s optimism filtered through Katy Perry-scale sturm und drang.
He soon emerged as a leading exponent of post-painterly abstraction, a catchall term describing the impulse of the generation seeking to recast abstraction in cooler, more analytic terms after the Sturm und Drang of Abstract Expressionism.
With a new crew firmly established and a new mission of scientific research to undertake, the USS Discovery could finally get out of the Sturm und Drang of season one and let Star Trek be Star Trek again.
In a quiet coda to a period of sturm und drang at Carnegie Hall, Ronald O. Perelman, the billionaire businessman, resigned from its board of trustees earlier this month, representatives of Mr. Perelman and the hall said Friday.
The Amy Adams–starring alien-invasion drama is, unquestionably, the type of utopian sci-fi that represents a hard left turn, tonally, since Villeneuve broke big into larger North American markets with the effective, utterly adult sturm und drang of Prisoners.
In this way, Mr. Rasche, who also designed the sets, places this key work of the Sturm und Drang movement, with its exploration of human freedom and the struggle between good and evil, in a dark and strikingly abstract setting.
Hayes's word plays, from homonyms to the transmogrification of Sturm und Drang into "storm and drum," are less linguistic jokes than wry descriptions of an Anglo-America that has taken the historical discourse of Western civilization to its own brash level.
For many baby boomers, the late 1960s, with all its sturm und drang over an unpopular war and antiquated social policies, remains on their personal highlight reels (the free love and drugs may have had something to do with it, too).
During the writing process for VII: Sturm und Drang, he was recovering from an incredibly intense time in his and his family's lives—the period of grief and healing that consumed them after they tragically lost their firstborn child, Madalyn Grace Morton.
Despite all the sturm und drang about Russian collusion and the dire warnings of Trump incompetence or worse, Americans are the most upbeat they have been in decades, the stock market is soaring and the economy is showing every sign of accelerating.
He ran for mayor (quixotic!), advertised for himself, had little use for feminism, and in between the Sturm und Drang evolved into a formidable nonfiction chronicler of protest (Armies of the Night), boxing (The Fight), and the criminal mind (The Executioner's Song).
Most people feel like he's like ... It is just, look, I took a lot of flack, there was a lot of emotional sturm und drang amongst my coworkers at Facebook because I tweeted it out, and I probably shouldn't have done it, but you know.
But the ideas and art brought forth during the fecund period of Viennese history from the late 1880s to the 19473s endured—from Loos's modernist architecture to Gustav Klimt's symbolist canvasses, from Schoenberg's atonal music and Mahler's Sturm und Drang to Ludwig Wittgenstein's philosophy.
Seasoned national security reporters, like the New York Times's Matt Rosenberg, can scarcely believe it: Amidst all the sturm und drang surrounding Trump's fight with the press and intelligence community over leaks, all of the tweets and hours of congressional hearings, this is what matters.
This is partially because, similar to holiday movie counterparts like Love Actually, Jingle All the Way, and National Lampoon's Christmas Vacation, watching Home Alone once every year has become a satisfying constant amidst the sturm und drang that the holiday season can sometimes be.
The movie puts a goofy spin on the Batman saga, but it squeezes its brightest, most sustained comedy from Mr. Arnett's hypnotically sepulchral voice, which conveys the entire bat ethos — the Sturm und Drang, the darkness and aloneness, the resoluteness and echoiness — in vocal terms.
All of these pieces of public evidence, the "known knowns," point to one conclusion: Bob Mueller has a busy few weeks ahead of him—and the sturm und drang of the last week will likely only intensify as more of the investigation comes into public view.
Doesn't society actually want one solitary place that remains above the sturm und drang of the daily fray of getting it right, raising it above the type of scrutiny that potentially could lead to judges bending — indeed, yielding — to the ill winds of public discourse and internal debate-divisiveness?
In the face of all the sturm und drang about a Brexit — that's the too-cute portmanteau for a British exit – I called perhaps the most influential member of Britain's financial establishment to find out the reality of whether the country will leave and what the implications could be.
For all the Sturm und Drang about the toxic culture of Twitter, it seems possible that the leaders of both Iran and the United States turned to the social media site Tuesday to help ensure that a tense night in the Middle East didn't escalate into all-out war.
What's goofy about this sturm und drang is that I don't even like the Frozen movies all that much, but I feel so starved for a Disney story that might signal to kids that LGBTQ people are thoroughly fine that I'll grasp at whatever straws I can get.
While at court in Weimar Goethe continued to write, and to build up a network of relationships with the cultural and intellectual elite of the time, including a deep and long-lasting friendship with Schiller, a fellow poet, writer and protagonist of the Sturm und Drang (storm and urge) movement.
Today, given a week that saw immense sturm und drang over Devin Nunes' memo—a document that seems purposefully designed to obfuscate and muddy the waters around Mueller's investigation—it seems worth asking the opposite question: What are the known knowns of the Mueller investigation, and where might it be heading?
There's something more interesting than made-up money and get-rich-quick schemes going on here, and while I think it's unlikely it'll ever conquer the mainstream, I do believe there's a genuine technically, politically, financially, and socially interesting alternative movement being born, behind all the sturm und drang and laughable scams.
Now, in a quiet culmination of all the sturm und drang that accompanied its earlier iterations, the library's board on Wednesday approved an understated $200 million redesign of Mid-Manhattan by the lesser-known Dutch architecture firm Mecanoo that aims to improve the inhospitable interior and is unlikely to ruffle any feathers.
But it's a minor inconvenience for Sam, whom John Bradley-West plays as jolly comic relief amidst the Sturm und Drang, and whose wonder at the massive library is a touching moment of recognition for any bookish type who recalls visiting their university's library or a big-city bookstore for the first time.
For all the Sturm und Drang that surrounds Trump, populist Republicans and Democrats are gravitating toward the same foreign policy: We're in the middle of a clash of civilizations; the Middle East is so screwed up, we should just get out; we're too stupid/ineffective/racist/imperialistic to do any good there anyway.
I truly believe that Trump has convinced himself that all of the sturm und drang about Russia -- the special counsel investigation as well as the congressional investigations -- are solely driven by a desire among entrenched Washington powers (Democrats and Republicans) to not admit how he was right about the 2016 election and how wrong they were.
And yet, perhaps what is equally important to remember – in this age when people are famous for being famous – Plimack Mangold does not claim to make a big statement, does not resort to sturm und drang theatrics, does not make a post-easel-sized painting, does not declare that some aspect or occurrence in her early life has made her special.
"On the right, the Republican side, we have the New York real estate mogul who's very full of bluster, full of sturm und drang, makes lots of statements about how we're going to win and how the U.S. Army is going to be undefeatable, but there's no depth," Gorka said during an appearance on "The Georgene Rice Show" in April 2016, CNN reported.
After all the sturm und drang of the last few days of Donald Trump's feud with Fox News—Trump again invoked the word "bimbo" about Megyn Kelly and exchanged insults with the network brass—the "special event" he organized as an alternative to Thursday night's Republican debate turned out to be a surprisingly dull political rally dressed up as a celebration of patriotism and military service.
"Somehow, we didn't get hit with a tidal wave of selling that many expected ... despite all the sturm und drang about little Rocket Man in North Korea or the sheer impotence of Congress or Trump's tweets that often seem, let's say, out of step with folks like Washington, Jefferson [and] Lincoln, to name three of our more presidential presidents, " the "Mad Money " host said.
Seasoned national security reporters, like the New York Times's Matt Rosenberg, can scarcely believe it: Folks, let's take a step back and absorb the fact that the FBI has confirmed there is an espionage investigation involving the White House Amid all the sturm und drang surrounding Trump's fight with the press and intelligence community over leaks, all of the tweets, and hours of congressional hearings, this is what matters.
Somewhat lost in the Sturm und Drang over the nomination of Gina HaspelGina Cheri HaspelTrump meets with national security team on Afghanistan peace plan Politics must stop at the edge of intelligence for sake of security Senate braces for brawl over Trump's spy chief MORE to be CIA director (DCIA) is the fact that she is the first CIA officer who spent her entire career in the operations side of the agency; further, the success or failure of her nomination will be determined by the Senate Select Committee on Intelligence (SSCI), another first.
"For all the sturm und drang about the toxic culture of Twitter, it seems possible that the leaders of both Iran and the US turned to the social media site Tuesday to help ensure that a tense night in the Middle East didn't escalate," Garrett Graff wrote... (WIRED) -- Given Fox's incredible influence with POTUS, I tuned into Wednesday's "Fox & Friends" to see what the hosts and guests were saying... The show generally took a cautious stance, with lots of praise for Trump and criticism of Dems... (CNN Business) -- "The war has been postponed" and "we are back from the brink," Tucker Carlson said approvingly on Wednesday night.
André Linman (born 28 February 1992) was a founding member, lead singer and guitarist of the Finnish band Sturm und Drang. Sturm und Drang have been on hiatus since 2013. Linman is currently lead vocalist of One Desire. He started learning guitar and singing in 2004, the same year Sturm und Drang was formed.
Six main playwrights initiated and popularized the Sturm und Drang movement: Leisewitz, Wagner, Goethe, Lenz, Klinger, and Schiller. The theatre director Abel Seyler, the owner of the Seylersche Schauspiel-Gesellschaft, had an important role in promoting the Sturm und Drang poets.
Both of these works are seminal examples of Sturm und Drang in German literature.
Lamb of God recorded the song titled "512" for their 2015 album VII: Sturm und Drang.
The theatre director Abel Seyler The term Sturm und Drang first appeared as the title of a play by Friedrich Maximilian Klinger, written for Abel Seyler's Seylersche Schauspiel-Gesellschaft and published in 1776.Karthaus, Ulrich: Sturm und Drang. Epoche-Werke-Wirkung. München: C.H.Beck Verlag, 2. aktualisierte Auflage. 2007, S. 107.
The late 18th century in Germany sees the beginning Romantic (Novalis) and Sturm und Drang (Goethe und Schiller) movements.
Boyd, Christopher. "Sturm und Drang, South Beach- style. (German investor-turned real estate developer Thomas Kramer)." Florida Trend. 1996.
Many writers of the Sturm und Drang movement considered themselves to be challengers of the Enlightenment. However, the movement is actually a continuation of the Enlightenment. Many Sturm und Drang plays showed interest in how society affects the individual, a common theme in many Enlightenment plays as well. However, Sturm und Drang “makes its own distinctive contribution to 18th-century culture, bringing attention to the power of the environment as well as to the contradictory and self-defeating attitudes present in every segment of society” (Liedner ix).
The name "Durmstrang" is likely to be an allusion to the German phrase Sturm und Drang meaning storm and stress.
It was written in the spirit of the Sturm und Drang period for the daughter of a parson, Friederike Brion.
In discussing the different musical motives associated with ombra, he mentions tremolando, which is frequently used in Sturm und Drang music as well.
Far before its time, the divergent style of Sturm und Drang shrewdly explored depression and violence with an open plot structure (Liedner ix). The Sturm und Drang movement rebelled against all the rules of neoclassicism and the enlightenment, first recognized Shakespeare as a “genius” of dramaturgy, and provided the foundation for 19th-century romanticism. Writers such as Heinrich Leopold Wagner, Goethe, Lenz, Klinger, and Schiller used episodic structure, violence, and mixed genres to comment on societal rules and morals, while doubting that anything would change. The Sturm und Drang movement was brief, but it set a fire that still burns intensely today.
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,Brown, A. Peter. (Spring, 1992). The Journal of Musicology, Vol.
Unlike the other fugues, however, this has none of the Sturm und Drang drama about it, but is predominantly major and upbeat in character.
In these works, Klinger gives calm and dignified expression to the leading ideas which the period of Sturm und Drang had bequeathed to German classical literature.
Living Theatre: History of Theatre. 6th ed. New York: McGraw-Hill Companies, 2012. Print.Karen Otterweell, Lessing and the Sturm und Drang: A Reappraisal Revisited, Peter Lang Pub, Inc.
Egmont is a play by Johann Wolfgang von Goethe, which he completed in 1788. Its dramaturgical structure, like that of his earlier Sturm und Drang play Götz von Berlichingen (1773), is heavily influenced by Shakespearean tragedy. In contrast to the earlier work, the portrait in Egmont of the downfall of a man who trusts in the goodness of those around him appears to mark a shift away from Sturm und Drang values.
After his acquittal, Blythe recorded the album VII: Sturm und Drang with Lamb of God, an album inspired by the manslaughter case and his detention time in the Czech Republic.
The concept of Sturm und Drang can be seen in this work with very sudden dynamic changes and a sharp texture change, presented when the oboes enter with the "B" theme.
In contrast to the Sturm und Drang of the opening movement, A. P. Brown describes the Andante as "one of Haydn's most galant slow movements, with its small meter signature, sixteenth tripets, slides, weak resolutions, echoes, and generally thin texture". The minor mode returns for the Menuet which is contrasted by a bright major-mode Trio which features high notes for the first horn. The frenetic Sturm und Drang finale brings the symphony to an energetic conclusion.
Members and associates The Göttinger Hainbund ("Grove League of Göttingen") was a German literary group in the late 18th century, nature-loving and classified as part of the Sturm und Drang movement.
Fettes Brot released their new album Strom und Drang ("Electricity and Stress") in March 2008. The album's name alludes to a 19th-century epoch of German art and literature, called Sturm und Drang.
Friedrich Maximilian von Klinger (17 February 1752 - 9 March 1831) was a German dramatist and novelist. His play Sturm und Drang (1776) gave its name to the Sturm und Drang artistic epoch. He was a childhood friend of Johann Wolfgang von Goethe and is often closely associated with Jakob Michael Reinhold Lenz. Klinger worked as a playwright for the Seylersche Schauspiel- Gesellschaft for two years, but eventually left the Kingdom of Prussia to become a General in the Imperial Russian Army.
Knutzen would be an important figure in the formation of his Königsberg University students Immanuel Kant and Johann Georg Hamann (proponent of the Sturm und Drang literary movement). Knutzen died in Königsberg in 1751.
Jakob Michael Reinhold Lenz (23 January 1751, or 12 January in the Julian calendar – 4 June 1792, or 24 May in the Julian calendar) was a Baltic German writer of the Sturm und Drang movement.
The protagonist in a typical Sturm und Drang stage work, poem, or novel is driven to action—often violent action—not by pursuit of noble means nor by true motives, but by revenge and greed. Goethe's unfinished Prometheus exemplifies this along with the common ambiguity provided by juxtaposing humanistic platitudes with outbursts of irrationality.Alan Liedner, p. 178 The literature of Sturm und Drang features an anti- aristocratic slant while seeking to elevate all things humble, natural, or intensely real (especially whatever is painful, tormenting, or frightening).
45 Degree Woman, Amorphis, Apocalyptica, Bullet, Deuteronomium, Duff McKagan's Loaded, Finntroll, Hardcore Superstar (cancelled), HammerFall, Kamelot, Kotiteollisuus, Medeia, Meshuggah (cancelled), Mötley Crüe, Nightwish, Omnium Gatherum, Poisonblack, Prestige, Profane Omen, Soilwork, Sparzanza, Stratovarius, Sturm und Drang, Thor, Viikate.
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).
Preminger, Alex; Brogan, T. V. F. (eds.). (1993). The New Princeton Encyclopedia of Poetry and Poetics. Princeton: Princeton University. p. 1. Sturm und Drang came to be associated with literature or music aimed at shocking the audience or imbuing them with extremes of emotion.
Ignaz Jakob Holzbauer (18 September 1711 – 7 April 1783) was a composer of symphonies, concertos, operas, and chamber music, and a member of the Mannheim school. His aesthetic style is in line with that of the Sturm und Drang "movement" of German art and literature.
Germany did not have a common nationality, and the nation broke up into hundreds of small states. The Sturm und Drang movement was a reaction to this lack of nationality and often dealt with the idea of living life on a smaller scale and the desire to become a part of something bigger. The Sturm und Drang movement also paid a lot of attention to the language of a piece of literature. It is no wonder that Shakespeare, with his brilliant use of language, originality with complex plot lines and subplots, and multifaceted characters from all social classes, was seen as a model for German writers (Wilson and Goldfarb 287).
This idea of feeling unable to change one's situation is typical of many Sturm und Drang plays. Lenz's use of reserved dialogue, open form, violence, and a combination of comedy and tragedy precursors the works of contemporary authors such as Friedrich Dürrenmatt and Bertolt Brecht (Waterhouse v).
"Forever" is the second single by the band Sturm und Drang. It was only released as a radio promo, and there was no music video for it. The band recorded another version of it, featuring Udo Dirkschneider on backing vocals. It charted at number 9 in Finland.
American Metal band Lamb of God wrote a song on their studio album VII: Sturm und Drang, entitled "Torches", that was inspired by Palach's actions. 2018 film "Jan Palach", directed by Robert Sedláček chronicles Palach's life before his self- immolation. Palach is played by Viktor Zavadil.
Joseph Haydn's Symphony No. 46 in B major, Hoboken I/46, was composed in 1772, during his Sturm und Drang period. The work is scored for two oboes, bassoon, two horns and strings.H. C. Robbins Landon, The Symphonies of Joseph Haydn. London: Universal Edition & Rockliff (1955): 686.
Die Lesewut (German for the reading craze) or Die Lesesucht (reading mania), are terms that describe a period in German history beginning in the eighteenth century. Goethe's The Sorrows of Young Werther and the Sturm und Drang movement are considered to have been the catalyst for this event.
Advertising of Sisu has been closely attached to rock music festivals since the launch of the Sisu Horna candy in 2002. In 2007, Sisu began sponsoring the power metal band Sturm und Drang, founded in 2004 in Vaasa and consisting of Finland-Swedish young musicians from 16 to 17 years.
The Symphony No. 34 in D minor (Hoboken I/34) was written by Joseph Haydn. It was written in 1765, shortly before Haydn's Sturm und Drang period began in 1766, during his social withdrawal at Esterháza. It is the second minor-key symphony he ever wrote, the first being his Symphony No. 26.
The Symphony No. 49 in F minor (Hoboken I/49) was written in 1768 by Joseph Haydn during his Sturm und Drang period. It is popularly known as La passione (The Passion). The scoring of the symphony is typical of Haydn in this period: two oboes, bassoon, two horns, strings and continuo.
Sturm und Drang (the conventional translation is "Storm and Stress"; a more literal translation, however, might be storm and urge, storm and longing, or storm and impulse) is the name of a movement in German literature and music taking place from the late 1760s through the early 1780s in which individual subjectivity and, in particular, extremes of emotion were given free expression in response to the confines of rationalism imposed by the Enlightenment and associated aesthetic movements. The philosopher Johann Georg Hamann is considered to be the ideologue of Sturm und Drang, and Johann Wolfgang von Goethe was a notable proponent of the movement, though he and Friedrich Schiller ended their period of association with it, initiating what would become Weimar Classicism.
In the course of his long life, Gerstenberg passed through many phases of his nation's literature. He began as an imitator of the Anacreontic school (Tändeleyen, 1759); then wrote, in imitation of Gleim, Kriegslieder eines dänischen Grenadiers (1762); with his Gedicht eines Skalden (1766) he joined the group of bards led by Klopstock. He translated Beaumont and Fletcher's Maid's Tragedy (1767), and helped to usher in the Sturm und Drang period with a gruesome but powerful tragedy, Ugolino (1768). But he did perhaps even better service to the new literary movement with his Briefe über Merkwürdigkeiten der Litteratur (1766-1770), in which the critical principles of the Sturm und Drang, and especially its enthusiasm for Shakespeare, were first definitely formulated.
10, No. 2. pp. 192-230: p. 198 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.
Linman is mainly self-taught and his main influences in guitar playing comes from Judas Priest's guitarist Glenn Tipton. He also admires bands like Sonata Arctica, Iron Maiden, Dio and other heavy metal artists. Linman is also a self-taught vocalist and when Sturm und Drang started in 2004 he had never sung before.
The major promoter of the idea of the national theatre in Germany, and also of the Sturm und Drang poets, was Abel Seyler, the owner of the Hamburgische Entreprise and the Seyler Theatre Company.Wilhelm Kosch, "Seyler, Abel", in Dictionary of German Biography, eds. Walther Killy and Rudolf Vierhaus, Vol. 9, Walter de Gruyter editor, 2005, , .
Weiße was not appreciated by the literary representatives of the then new movement, Sturm und Drang. His most lasting success were the librettos to Johann Adam Hiller's Singspiele. Weiße died on 16 December 1804 in Stötteritz; he is buried in the Alter Johannisfriedhof in Leipzig. He was survived by his wife who died in 1813.
Narezhny came from a poor Szlachta family. He studied at Moscow State University from 1799 to 1801, afterwards serving in the civil service in the Caucasus and in Saint Petersburg. During his time at Moscow State University he wrote several tragedies in the Sturm und Drang style. His work Dmitry the Pretender was published in 1804.
Johann Georg Hamann The literary topos of the "Kraftmensch" existed as a precursor to Sturm und Drang among dramatists beginning with F.M. Klinger, the expression of which is seen in the radical degree to which individuality need appeal to no outside authority save the self nor be tempered by rationalism.Leidner, Alan. (March 1989). C. PMLA, Vol.
Karl Philipp Moritz (Hameln, 15 September 1756 – Berlin, 26 June 1793) was a German author, editor and essayist of the Sturm und Drang, late enlightenment, and classicist periods, influencing early German Romanticism as well. He led a life as a hatter's apprentice, teacher, journalist, literary critic, professor of art and linguistics, and member of both of Berlin's academies.
Storm & Stress (alternately styled as Storm&Stress; or Stormandstress) were an American experimental rock band formed in Pittsburgh and later based in Chicago. The band's name is derived from the German literary movement Sturm und Drang. Storm & Stress initially consisted of bassist George Draguns, drummer Kevin Shea and vocalist/guitarist Ian Williams. Eric Emm later replaced Draguns on bass.
Lamb of God released two more albums—Resolution (2012) and VII: Sturm und Drang (2015)—before parting ways with original drummer Chris Adler in 2019, who was replaced by Art Cruz. The band's self-titled eighth studio album was released on June 19, 2020, making it their first full-length in five years and first release with Cruz.
Lessing advocated the outline of drama in Aristotle's Poetics. He believed the French Academy had devalued the uses of drama through their neoclassical rules of form and separation of genres. His repeated opinions on this issue influenced theatre practitioners who began the movement of rejecting theatre rules known as Sturm und Drang ("Storm and Stress").Wilson, Edwin, and Alvin Goldfarb.
47, No. 2. pp. 129–151: p. 32. 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 Goethe, Johann Gottfried Herder, Jakob Michael Reinhold Lenz, and their direct German associates writing works of fiction and/or philosophy between 1770 and the early 1780s.
Among artists that have given concerts at the Folk Music Festival in Siglufjord are Steindór Andersen, Sigur Rós, Bára Grímsdóttir and Chris Foster, Ensemble Unicorn, Astri Skarpengland, Jerry Rockwell, Susanne Lundeng, Tómas R. Einarsson, Björn Thoroddsen, Eddie Walker, Minna Raskinen, Spilmenn Ríkinis, Marit Steinsrud and Stein Villa, Sturm und Drang, Voces Thules, Maria and Olof Misgeld, Tranotra amongst many others.
Modern literature in German begins with the authors of the Enlightenment (such as Herder). The Sensibility movement of the 1750s–1770s ended with Goethe's best- selling Die Leiden des jungen Werther (1774). The Sturm und Drang and Weimar Classicism movements were led by Johann Wolfgang von Goethe and Friedrich Schiller. German Romanticism was the dominant movement of the late 18th and early 19th centuries.
Also, the first and second violins are the same in the second movement. The last movement is "Haydn's first attempt at a symphonic rondo and is characterized by a preoccupation with imitative processes."William E. Grim, Haydn's Sturm und Drang Symphonies: Form and Meaning. Lewiston: The Edwin Mellen Press (1990): 95 It is the only one of Haydn's symphonies that contains no repeat signs.
The philosopher Johann Georg Hamann is considered to be the ideologue of Sturm und Drang; other significant figures were Johann Anton Leisewitz, Jakob Michael Reinhold Lenz, H. L. Wagner, and Friedrich Maximilian Klinger. Johann Wolfgang von Goethe and Friedrich Schiller were notable proponents of the movement early in their lives, although they ended their period of association with it by initiating what would become Weimar Classicism.
The result was a combination of Italian, French and German elements, which even anticipate the Sturm und Drang movement that was to flourish a few years later, further North. The first fruit of this francophilia was the opera Traetta wrote in 1759. Ippolito ed Aricia owes a lot to Rameau's great tragédie lyrique of 1733, Hippolyte et Aricie. But Traetta's is no mere translation of Rameau.
387 in G major) takes after the finale fugues of opus 20. The Sturm und Drang character of the second quartet (K. 421 in D minor) recalls the F minor quartet, of Haydn's; not only does the first violin line recall the sombreness of Haydn's quartet, the accompaniment figure of the opening is a close copy of Haydn's. Beethoven also recognized the importance of Haydn's work.
Ferdinand is a typical representative of Sturm und Drang, as passionate, with a temper, unrealistic and self- absorbed. Usually, the middle-class Luise would be considered as an unsuitable bride for the President's son. However, Ferdinand cares less about social classes and more about personal qualities of people. In accordance with the tradition of the Enlightenment, he despises the schemes of the courtly world.
Although Sammartini wrote in a later Baroque style, he also incorporated many Classical elements. Sammartini was forward thinking as a composer, and even used ideas such as a galant style and Sturm und Drang, (the idea of extreme and stormy emotions). Sammartini had other clearly forward thinking musical trends. An example of this would be the number of movements in some of his concertos and symphonies.
A visit to former North Rhine-Westphalia Prime Minister Johannes Rau in September 1989 netted a 50,000 mark donation; later, $700,000 was raised through private donations. The fountain was reopened on July 8, 1999 at East 161st Street and the Grand Concourse, three blocks from its original location.Christopher Gray (May 27, 2007), "Sturm und Drang Over a Memorial to Heinrich Heine", New York Times.
On May 15, 2015, it was announced that the title of the new album VII: Sturm und Drang, and would be released in July via Epic and Nuclear Blast Entertainment. The first song, "Still Echoes" was made available for streaming on LambofGodVII.com, and available for digital download on May 18. In June of the same year, the band released a video for the song "512".
Self-portrait, 1774 Lower Grindelwald glacier (1774–1777). Glacier in Berner Oberland Caspar Wolf (Muri, Aargau, 3 May 1735 - Heidelberg, 6 October 1783) was a Swiss painter, known mostly for his dramatic paintings of the Alps. He was strongly influenced by Albrecht von Haller's poems on the Alps, and the Sturm und Drang movement. After 1773 Wolf mostly painted glaciers, caves, waterfalls and gorges.
Gleim was a popular poet in his time. His poetry collection Versuch in Scherzhaften Liedern, from 1744 or 1745 is one of the most important early documents of German anacreontics. His "Romanzen" (1756) worked on the ballad seal of the Sturm und Drang generation. His Prussian war songs, written in 1757, were a milestone in the effort to bring the popular into German poetry.
Fridericus Rex (German: Fridericus Rex - 1. Teil: Sturm und Drang) is a 1922 German silent historical film directed by Arzén von Cserépy and starring Otto Gebühr, Albert Steinrück and Gertrud de Lalsky. It portrays the life of the eighteenth century monarch Frederick the Great. Immensely popular, it was followed by three sequels and launched the Prussian film as a major German genre during the Weimar era.
The Classical period music (1750–1800) associated with Sturm und Drang is predominantly written in a minor key to convey difficult or depressing sentiments. The principal themes tend to be angular, with large leaps and unpredictable melodic contours. Tempos and dynamics change rapidly and unpredictably in order to reflect strong changes of emotion. Pulsing rhythms and syncopation are common, as are racing lines in the soprano or alto registers.
His original name was Thomas Thorén and he studied at Lund University in Sweden and worked or studied at the University of Greifswald in Germany. Thorild was a supporter of the Sturm und Drang movement and considered an opponent of French-inspired classicism. In 1795 he became a professor and librarian at the University of Greifswald. He was an important member of the cultural elite in Stockholm during the Gustavian era.
Learning to Rock is the debut album by the Finnish band Sturm und Drang. It spawned "Rising Son" and "Forever" (only radio promo single) as its first two singles. The band members were only 15 and 16 years old when the album was released. The album was released in Germany, Austria and Switzerland on August 24, 2007, and the versions released there had different cover and different track lists.
Bacchantenfest', c. 1856 ' is based on a painting Bacchantenfest (Feast of the Bacchants), painted around 1856. It may recall the "folly of earlier orgiastic times", or the longing of an older person to still be part of them. Reger, who called his own experience "Sturm und Trank" (storm and drink), as pun on "Sturm und Drang", used conterpoint, harmonic development and refined instrumentation to achieve a dazzling painting in sound.
Before he left Mannheim he had tried his hand at literature, under the influence of the Sturm und Drang movement. In 1775, he published several idylls: Satyr Mopsus, Der Faun, Bacchidon und Milon, Der erschlagene Abel and Die Schafschur. In form and content, these were closely modeled on the works of Solomon Gessner. In 1778 came Adam's First Awaking and First Happy Nights (Adams erstes Erwachen; 2nd revised edition, 1779).
The plays of Gotthold Ephraim Lessing, Johann Wolfgang von Goethe, Friedrich Schiller, and other Sturm und Drang playwrights, inspired a growing faith in feeling and instinct as guides to moral behavior. Edward Bulwer-Lytton. In Britain, Percy Bysshe Shelley and Lord Byron were the most important dramatists of their time (although Shelley's plays were not performed until later in the century). In the minor theatres, burletta and melodrama were the most popular.
The Sorrows of Young Werther () is a loosely autobiographical epistolary novel by Johann Wolfgang von Goethe. First published in 1774, it reappeared as a revised edition in 1787. It was one of the most important novels in the Sturm und Drang period in German literature, and influenced the later Romantic movement. Goethe, aged 24 at the time, finished Werther in five-and-a-half weeks of intensive writing in January–March 1774.
Keith Uhlich from Slant Magazine awarded the film three and a half out of four stars, writing, "Many directors would no doubt take a god’s-eye perspective of Haze's hero, but Tsukamoto favors an intimate camera style that offsets the genre film sturm und drang and grounds his movie in a terrifyingly mortal perspective." Niina Doherty from HorrorNews.net gave the film a positive review, praising the film's claustrophobic atmosphere, sound design, and cinematography.
The symphony is scored for flute, two oboes, bassoon, two horns and strings. #Adagio, – Allegro con brio, #Adagio F major, #Menuetto & Trio, #Finale: Vivace, After dark string sonorities reminiscent of Sturm und Drang in the slow introduction, the Allegro begins with a very light galante theme which is interrupted periodically by more darkly colored strings. The transitional material is notable for its use of counterpoint.Brown, A. Peter, The Symphonic Repertoire (Volume 2).
Some reasons include: as a symbol of Sturm und Drang; modulation; and for characterisation. The diminished seventh chord is seen more frequently in late classical and romantic period works but is also found in Baroque and Renaissance period works, though not as frequently. All of the elements of the diminished seventh chord can be found in the dominant seventh flat nine (79) chord as seen in a comparison of the two chords.
The first movement is in a classical sonata form, with repeats for the exposition, the development and recapitulation. There are two basic characteristics exemplified in the first movement: the song-like themes and the combination of styles. Mozart uses diverse styles including galant homophony, learned counterpoint, and even the intense Sturm und Drang style. In the first theme of the exposition begins with a right hand melody over a left hand Alberti bass figure.
Prometheus Brings Fire to Mankind (c. 1817) by Heinrich Füger "Prometheus" is a poem by Johann Wolfgang von Goethe, in which the character of the mythic Prometheus addresses God (as Zeus) in misotheist accusation and defiance. The poem was written between 1772 and 1774 and first published in 1789 after an anonymous and unauthorised publication in 1785 by Friedrich Heinrich Jacobi. It is an important work of the Sturm und Drang movement.
French neoclassicism (including French neoclassical theatre), a movement beginning in the early Baroque, with its emphasis on the rational, was the principal target of rebellion for adherents of the Sturm und Drang movement. For them, sentimentality and an objective view of life gave way to emotional turbulence and individuality, and enlightenment ideals such as rationalism, empiricism, and universalism no longer captured the human condition; emotional extremes and subjectivity became the vogue during the late 18th century.
Recording is by Caeli Smith and Ryan Shannon, violins, Nora Murphy, viola, and Nick Thompson and Rachel Grandstrand, celli The alternating Sturm und Drang and relaxation continue throughout the movement. These contending forces are expressed in some of Schubert's other works: in the quartet Death and the Maiden, the Rosamunde quartet and in the stormy, one- movement Quartettsatz, D. 703.For an analysis of these works, as well as the quintet, see Willi Kahl, "Schubert", in .
As a composer, Schmitt's works are beautifully crafted. His style is sparkling and cosmopolitan. It is definitely influenced by Abel, Bach's sons and the Mannheimers, but also possesses a highly refreshing originality and a highly distinctive voice - beautifully balancing elegance, energy and sturm und drang elements. As a historical figure, Schmitt has largely been ignored by the Dutch, despite his pioneering role in the realisation of the country's first purpose built concert hall, the Felix Meritis.
Cambridge: Harvard University Press, 1968. His approach to symphonic composition was unique in that it drew influence from the trio sonata and concerto forms, in contrast to other composers during the time that modeled symphonies after the Italian overture. His symphonies were driven by rhythm and a clearer form, especially early sonata and rounded binary forms. His works never ceased to be inventive, and sometimes anticipated the direction of classical music such as the Sturm und Drang style.
On its final return, the main theme is syncopated against triplets. Not withstanding its seeming simplicity, this sonata introduces the "Sturm und Drang" character that became so commonly identified with Beethoven. He adds drama both in the contrast between the lyrical passages that follow very active, textured thematic sections. Furthermore, the contrasting dynamics and variation between major and minor, between using the parallel minor and the subdominant of its relative major (E minor to C major).
"In canone" he writes in the finale of number 5. The finale of number six is a "Fuga a 3 Soggetti" (a fugue with three fugal subjects). The fugal finales are not mere formalism, however; Haydn clothes them in a dramatic structure suitable for the Sturm und Drang. All three movements start out sotto voce; as the fugue develops formally, the tension mounts, but Haydn does not increase the volume, until a sudden, startling burst of forte.
For the Romantic era, Prometheus was the rebel who resisted all forms of institutional tyranny epitomised by Zeus – church, monarch, and patriarch. The Romantics drew comparisons between Prometheus and the spirit of the French Revolution, Christ, the Satan of John Milton's Paradise Lost, and the divinely inspired poet or artist. Prometheus is the lyrical "I" who speaks in Goethe's Sturm und Drang poem "Prometheus" (written c. 1772–74, published 1789), addressing God (as Zeus) in misotheist accusation and defiance.
Gluck turned his back on Italian opera seria and began to write opéra comiques. In 1761 Gluck produced the groundbreaking ballet-pantomime Don Juan in collaboration with the choreographer Gasparo Angiolini; the more radical Jean-Georges Noverre was involved for the first time? The climax of Gluck's opéra comique writing was La rencontre imprévue (1764). By that time, Gluck created musical drama, based on Greek tragedy, with more compassion, influencing the latest style Sturm und Drang.
Johann Gottfried Müthel. Johann Gottfried Müthel (January 17, 1728 - July 14, 1788) was a German composer and noted keyboard virtuoso. Along with C.P.E. Bach, he represented the Sturm und Drang style of composition. As far as is known, he was the first to use the term fortepiano in a published work, in the title of his Duetto für 2 Clavier, 2 Flügel, oder 2 Fortepiano (1771), which reflects the rising popularity of the instrument at that time.
What follows is a coda where the theme slowly dies away. The "Minuetto al Roverso" is the reason this symphony is sometimes called "The Palindrome": the second part of the Minuet is the same as the first but backwards, and the Trio is also written in this way.Antony Hodgson, The Music of Joseph Haydn: The Symphonies, London: The Tantivy Press (1976): 74.Mark Evan Bonds, "Haydn's 'Cours complet de la composition' and the Sturm und Drang", in Haydn Studies, ed.
Schiller's highly emotional language and his depiction of physical violence mark the play as a quintessential Sturm und Drang work. At the same time, the play utilizes a traditional five-act structure, with each act containing two to five scenes. The play uses alternating scenes to pit the brothers against each other, as one quests for money and power, while the other attempts to create a revolutionary anarchy in the Bohemian Forest. Schiller raises many disturbing issues in the play.
The ideas of Classicism, Romanticism, Humanism and Sturm und Drang, among others, flooded into the country. At the same time, the foundation of the Helvetische Gesellschaft in 1761 helped develop Switzerland's national identity and unify the country. The idea of a shared foundation of Republicanism (the Landsgemeinde), pastoral life in alpine meadows and the legend of William Tell were all part of the Classicism interpreted in Switzerland. Beginning in the 1760s many skilled architects, builders and artists from Ticino relocated to Imperial Russia.
Placing emphasis on the contribution of the performers over the computer tools they used, Idol felt the album achieved a "garage band" spirit, that had captured the "Sturm und Drang" he found in rock and roll, and had simply modified it digitally. Idol thus felt that the album could be best identified as a rock album, rather than a techno album. Idol later agreed with an interviewer who commented that the album's digital production and themes were ahead of their time.
Graeme Garrard follows Melzer in his "Rousseau's Counter-Enlightenment" (2003). This contradicts Berlin's depiction of Rousseau as a philosophe (albeit an erratic one) who shared the basic beliefs of his Enlightenment contemporaries. But similar to McMahon, Garrard traces the beginning of Counter-Enlightenment thought back to France and prior to the German Sturm und Drang movement of the 1770s. Garrard's book Counter-Enlightenments (2006) broadens the term even further, arguing against Berlin that there was no single 'movement' called 'The Counter-Enlightenment'.
Edward Young's Conjectures on Original Composition (1759) was the most significant reformulation of "genius" away from "ability" and toward the Romantic concept of "genius" as seer or visionary. His essay influenced the Sturm und Drang German theorists, and these influenced Coleridge's Biographia Literaria. The Romantics saw genius as superior to skill, as being far above ability. James Russell Lowell would say "talent is that which is in a man's power: genius is that in whose power a man is" (quoted in Brogan).
Prometheus is a poem by Johann Wolfgang von Goethe, in which a character based on the mythic Prometheus addresses God (as Zeus) in a romantic and misotheist tone of accusation and defiance. The poem was written between 1772 and 1774. It was first published fifteen years later in 1789. It is an important work as it represents one of the first encounters of the Prometheus myth with the literary Romantic movement identified with Goethe and with the Sturm und Drang movement.
Symphony No. 39 ("Tempesta di mare") is a symphony in G minor (Hoboken 1/39) by Franz Joseph Haydn in 1765, at the age of 33 under the beneficence of Prince Nikolaus Esterházy. It is the earliest of Haydn's minor key symphonies associated with his Sturm und Drang period works (such as the Symphony No. 45). The work was influential and inspired later G minor symphonies by Johann Christian Bach (Op. 6, No. 6) and Wolfgang Amadeus Mozart (No. 25).
Rock 'n Roll Children is the second album by Finnish band Sturm und Drang. The album was released 12 November 2008 in Finland, and 16 January 2009 in other parts of Europe. Rock 'n Roll Children went straight to number two on the Finnish sales chart and it also sold gold (15.000 records) within one week in Finland. The album was produced by Jimmy Westerlund, and co-produced by André Linman, Patrick Linman, Mats Persson, Erik Mårtensson and Johan Becker.
With Georg Büchner, Grabbe was one of the principal German dramatists of his time. His debut Herzog Theodor von Gothland overtaxed contemporary critics by its all- pervasive nihilism. Influenced by Shakespeare and the Sturm und Drang movement, his plays were very ambitious, with crowd scenes and rapid scene changes that challenged the technical capacity of the theaters of the time. He resolved the strict forms of the classical drama in a loose series of scenes that were a precursor of the realist drama.
In 1811, he became lieutenant-general. He then gradually gave up his official posts, and after living for many years in retirement, died in the imperial city of Dorpat in present-day Estonia. Klinger was a man of vigorous moral character and full of fine feeling, though the bitter experiences and deprivations of his youth are largely reflected in his dramas. It was one of his earliest works, Sturm und Drang (1776), which gave its name to this artistic epoch.
Cf. Nivelle, Les Théories esthétiques en Allemagne de Baumgarten à Kant. Bibliothèque de la Faculté de Philosophie et Lettres de l'Université de Liège (Paris, 1955), pp. 21 ff.) It was no inquiry into taste—into positive or negative appeals—nor sensations as such but rather a way of knowledge. Baumgarten's emphasis on the need for such "sensuous" knowledge was a major abetment to the "pre-Romanticism" known as Sturm und Drang (1765), of which Goethe and Schiller were notable participants for a time.
Georg Seyler was a son of the court pharmacist Abel Seyler the Younger and Caroline Klügel, and was a grandson of the famous theatre principal Abel Seyler and of the mathematician and physicist Georg Simon Klügel. He belonged to the originally Swiss Seyler family from Liestal and Basel. He was a nephew of the prominent Hamburg banker Ludwig Erdwin Seyler and of the Sturm und Drang poet Johann Anton Leisewitz. He early took an interest in classics and literature, and was particularly influenced by Shakespeare and Goethe.
60 and 66; and to alternate rapidly between plucking and bowing (e.g. no. 69).Jones (2009: 16) The time when the trios were composed (1765-1775) was an important period of evolution in Haydn's style, including the so-called "Sturm und Drang" period that included works such as the "Farewell Symphony" and the C-minor piano sonata of 1772. Haydn was also busy composing a series of 18 string quartets (opp. 9, 17 and 20) that established his reputation as founder and master of this genre.
The setting of the play is the unfolding American Revolution, in which the author gives violent expression to difficult emotions and extols individuality and subjectivity over the prevailing order of rationalism. Though it is argued that literature and music associated with Sturm und Drang predate this seminal work, it was from this point that German artists became distinctly self-conscious of a new aesthetic. This seemingly spontaneous movement became associated with a wide array of German authors and composers of the mid-to-late Classical period.
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 Louis-Sébastien Mercier suggested that drama be used to promote political ideas, a concept that would develop many years later.
Sir William Quiller Orchardson by Henry Weigall The period between 1862 and 1880 was one of quiet ambitions, of a characteristic insouciance, of life accepted as a thing of many-balanced interests rather than as a matter of Sturm und Drang. In 1865 Pettie married, and the Fitzroy Square ménage was broken up. In 1868 Orchardson was elected A.R.A. (Associate of the Royal Academy). In 1870 he spent the summer in Venice, travelling home in the early autumn through a France overrun by the German armies.
The revised 1799 version borrowed its overture from an earlier Méhul opera, Horatius Coclès (1794). Dry recitative, with only the simplest of orchestral accompaniment, predominates in the early part of the opera, possibly as a way of allowing the singers more freedom in their declamation. Musical numbers become more frequent as the score progresses. The score shows the influence of the Sturm und Drang style popular during the French Revolutionary era - and already present in operas such as Johann Christoph Vogel's La toison d'or (1786).
There's plenty of hot party action down in rockland, but Eddie's band is the one with the chops — not just notes and chords and string-bashing Sturm und Drang, but the filigree detail that makes a simple-minded riff a symphony. [...] On 5150, Eddie Van Halen and Sammy Hagar speak each other's language." A retrospective review from AllMusic's Stephen Thomas Erlewine was fairly positive. Erlewine noted that "Eddie Van Halen wanted respect to go along with his gargantuan fame, and Roth wasn't willing to play.
Sturm und Drang is a Finland-Swedish heavy metal/hard rock band from Vaasa, Finland, formed in 2004. The band currently consists of lead singer/guitarist André Linman, guitarist Jani Kuoppamaa, keyboardist Jesper Welroos, bassist/backing vocalist Joel Wendlin and drummer/backing vocalist Calle Fahllund, following the departures of bassist Henrik Kurkiala and guitarist Alexander Ivars. The band started off as schoolmates covering bands such as Judas Priest and gradually started writing their own material. They were discovered in 2005 by record label HMC.
Salis- Seewis was one of the favourites of Marie Antoinette. In the next year Salis- Seewis undertook a journey to the Netherlands and Germany (including Weimar), meeting Goethe, Herder, Schiller, Wieland, and Matthisson. He particularly connected with Matthisson, and an intimate friendship developed. The poet colleagues shared a sense of Sturm und Drang and empathy, calling it the "Bündner Nachtigall" (Graubünden nightingale). Salis-Seewis returned to Switzerland in 1791, living in Chur and marrying there, on 26 December 1793, the 22-year-old Ursina v.
First edition, 1781 The Robbers (') is the first drama by German playwright Friedrich Schiller. The play was published in 1781 and premiered on 13 January 1782 in Mannheim, Germany, and was inspired by Leisewitz' earlier play Julius of Taranto. It was written towards the end of the German Sturm und Drang ("Storm and Stress") movement, and many critics, such as Peter Brooks, consider it very influential in the development of European melodrama.Stephanie Barbé Hammer, Schiller's Wound: The Theater of Trauma from Crisis to Commodity (Wayne State University Press, 2001), page 32.
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.
Katrin Keller, "Saxony: Rétablissement and Enlightened Absolutism." German History 20.3 (2002): 309–331. Johann Gottfried von Herder (1744–1803) broke new ground in philosophy and poetry, as a leader of the Sturm und Drang movement of proto-Romanticism. Weimar Classicism ("Weimarer Klassik") was a cultural and literary movement based in Weimar that sought to establish a new humanism by synthesizing Romantic, classical, and Enlightenment ideas. The movement, from 1772 until 1805, involved Herder as well as polymath Johann Wolfgang von Goethe (1749–1832) and Friedrich Schiller (1759–1805), a poet and historian.
19th-century artists and intellectuals were greatly inspired by the ideas of the French Revolution and the great poets and writers Johann Wolfgang von Goethe (1749–1832), Gotthold Ephraim Lessing (1729–1781) and Friedrich Schiller (1759–1805). The Sturm und Drang romantic movement was embraced and emotion was given free expression in reaction to the perceived rationalism of the Enlightenment. Philosophical principles and methods were revolutionized by Immanuel Kant's paradigm shift. Ludwig van Beethoven (1770–1827) was the most influential composer of the period from classical to Romantic music.
As with all the other titles that have become attached to Haydn's symphonies, this did not originate with the composer himself. It was long believed that the nickname "La passione" or The Passion derived from the nature of the music itself: the slow opening movement of the sinfonia da chiesa, its minor key modality and its association with the Sturm und Drang period of Haydn's symphonic output. Drawing from this traditional reading, H.C. Robbins Landon has described it as "dark-hued, sombre – even tragic."Landon, Haydn Chronicle, vol.
It was also around this time that Haydn became interested in writing fugues in the Baroque style, and three of the Op. 20 quartets end with a fugue. Following the climax of the "Sturm und Drang", Haydn returned to a lighter, more overtly entertaining style. There are no quartets from this period, and the symphonies take on new features: the scoring often includes trumpets and timpani. These changes are often related to a major shift in Haydn's professional duties, which moved him away from "pure" music and toward the production of comic operas.
German Romanticism was the dominant intellectual movement in the philosophy, the arts, and the culture of German-speaking countries in the late-18th and early 19th centuries. Compared to English Romanticism, German Romanticism developed relatively late, and, in the early years, coincided with Weimar Classicism (1772–1805); in contrast to the seriousness of English Romanticism, the German variety of Romanticism notably valued wit, humour, and beauty. Sturm und Drang, literally "Storm and Drive", "Storm and Urge", though conventionally translated as "Storm and Stress")E.g. H. B. Garland, Storm and Stress (London, 1952).
Klett, Stuttgart 1980, Goethe, however, was not pleased with the Freuden and started a literary war with Nicolai that lasted all his life, writing a poem titled "Nicolai auf Werthers Grabe" ("Nicolai on Werther's grave"), in which Nicolai (here a passing nameless pedestrian) defecates on Werther's grave, so desecrating the memory of a Werther from which Goethe had distanced himself in the meantime, as he had from the Sturm und Drang. This argument was continued in his collection of short and critical poems, the Xenien, and his play Faust.
" In his 2011 AllMusic review, Steve McDonald wrote: "the album opened with daring quietness, with David Jackson's flute echoing across the stereo space, joined by Hammill's voice as he whispered the opening lines. There was sturm und drang to come, but the music had been opened up and the lyrics had developed more focus, often abandoning metaphor in favor of statement. Godbluff was a bravura comeback – only four cuts, but all were classics." In a May 2002 review in Mojo magazine, Julian Cope said of the album: "It was the best re-formation ever.
The empfindsamer Stil is similar to and often considered a dialect of the international galant style, which is marked by simple homophonic textures (a single, clear melody, supported by subordinate chordal accompaniment) and periodic melodic phrases. (; ). Empfindsamkeit, however, unlike the broader galant style, empfindsamer Stil tends to avoid lavish ornamentation . The dramatic fluidity that was a goal of the empfindsamer Stil has encouraged historians to view mid-century Empfindsamkeit as a slightly earlier parallel to the showier and stormier phase called Sturm und Drang (storm and stress) that emerged around 1770 .
He developed his cut-paper style over successive books, adding multiple layers for depth and detail to characters and scenes. For the 16 illustrations in one book, he estimated he made 800 to 1,000 cuts. After Golem, Wisniewski turned to lighter fare: "I didn't really have another historical epic left in me for a while, because it's such a Sturm-und-Drang kind of story". However, his first comic pitches to Clarion were rebuffed, and he returned to Lothrop to publish The Secret Knowledge of Grown-Ups in 1998.
He also studied voice with Faustina Bordoni-Hasse, and castrato Domenico Annibali. Bilohradsky eventually became one of the highest trained musicians in the Russian Court Capella. In 1739 Bilohradsky returned to St Petersburg, where he continued to work as a court musician. In 1741 he returned to Germany where he became known as a virtuoso lutenist and singer and for some time lived in Königsberg where he had a number of students - notably Johann Reichardt (father of Johann Friedrich Reichardt), and Johann Georg Hamann, the Sturm-und-Drang philosopher.
Göttingen Nacht der Kultur (Göttingen Cultural Night) Prior to the period of German romanticism, a group of German poets that had studied at this university between 1772 and 1776, formed the Göttinger Hainbund or "Dichterbund" ('circle of poets'). Being disciples of Klopstock, they revived the folksong and wrote lyric poetry of the Sturm und Drang period. Their impact was essential on romanticism in the German-speaking area and on folklore in general. Since the 1920s, the town has been associated with the revival of interest in the music of George Frideric Handel.
Although the Göttinger Hainbund (the German poet group that flourished in 1772-74) no longer existed, Kraus found himself very much attracted to the ideas of this group of young poets who were almost fanatically devoted to Friedrich Gottlieb Klopstock. In this period Kraus composed a recently rediscovered book of 19 poems titled Versuch von Schäfersgedichten. He became increasingly involved with the Sturm und Drang movement, which influenced both his writing and his music. In 1775, at the age of nineteen, Kraus wrote his Requiem, one of his earliest compositions.
546 Joseph Haydn playing string quartets But the sodden air of Eszterháza was not the only influence on the emotional character of the quartets. It was a time of ferment: new ideas that were to spur the Romantic movement in another 30 years were taking root. Philosopher Jean-Jacques Rousseau expounded a philosophy of human freedom and a return to nature. Poets Johann Wolfgang von Goethe and Friedrich Schiller espoused the new Sturm und Drang movement, that "exalted nature, feeling, and human individualism and sought to overthrow the Enlightenment cult of Rationalism".
The Symphony No. 52 in C minor is one of the last Sturm und Drang symphonies composed by the Austrian composer Joseph Haydn while the composer was in residence at Esterházy in 1771 or 1772.H. C. Robbins Landon, It is one of a number of minor-key symphonies that Haydn composed in the late 1760s and early 1770s, the others being Symphonies Nos. 39, 44, 45, and 49. The symphony was described by H. C. Robbins Landon as "the grandfather of Beethoven's Fifth Symphony, also created with mathematical precision and in extreme conciseness."H.
John Campbell at Rock im Park 2015 On November 14, 2016, Lamb of God released a new EP titled "The Duke", which featured two new songs from the VII: Sturm und Drang recordings and three live tracks. The title track is dedicated to a fan and friend of vocalist Randy Blythe, Wayne Ford, who died after a 5-year battle with leukaemia. In addition to the new release, several members of the band auctioned off their instruments, signed CDs, lyric books and gold records to raise money for the Leukemia and Lymphoma Society.
After Schiller's death, the continuity of these objections partly elucidates the nature of Goethe's ideas in art and how they intermingled with his scientific thinking as well,Vaget, Dilettantismus und Meisterschaft. Zum Problem des Dilettantismus bei Goethe: Praxis, Theorie, Zeitkritik (Munich: Winkler, 1971). inasmuch as it gives coherence to Goethe's work. Weimar Classicism may be seen as an attempt to reconcile—in "binary synthesis"—the vivid feeling emphasized by the Sturm und Drang movement with the clear thought emphasized by the Enlightenment, thus implying Weimar Classicism is intrinsically un-Platonic.
In addition to screenings in Japan, Yamada's experimental art works have been featured at Cannes, Oberhausen, Stockholm and other film festivals. His feature-films are Anmonaito no sasayaki wo kiita (I’ve heard the ammonite’s murmur:1992), Jouhatsu Tabinikki (The Soul Odyssey: 2003) based on the essay by Yoshiharu Tsuge, and Shutorumu unto Doranku (Sturm und Drang: 2014). In addition to the cinema work, Yamada works with the media of manga, painting and graphic design. His calligraphic font has been appointed for a number of publications and advertisement posters.
After being encouraged by Immanuel Kant, Reichardt later studied Jurisprudence and Philosophy in his hometown and in Leipzig from 1769 to 1771. In 1771, he escaped civil service by embarking on a Sturm-und-Drang tour as a virtuoso. He returned to Königsberg in 1774 and became the Kammersekretär (Chamber Secretary) in Ragnit. After Reichardt sent his opera Le feste galanti as a sample piece to Friedrich II, he was appointed to the position of the Royal Prussian Court Kapellmeister, a position previously held by Carl Heinrich Graun.
That is, the giant is doing something that perhaps Goya, who had been deaf since 1793, longed to be able to do. Or perhaps the giant's posture reflects the alert attentiveness of someone who is deaf or blind or both. What is certain is that the oil painting is stylistically similar to the Black Paintings. The colour black predominates, the touches of colour are minimalistic and applied with a spatula and the theme appears to be related to certain German works belonging to the Storm and Stress (Sturm und Drang) movement of early Romanticism.
Sturm und Drang (; , literally "storm and drive", though usually translated as "storm and stress")E.g. HB Garland, Storm and Stress (London, 1952) was a proto-Romantic movement in German literature and music that occurred between the late 1760s and early 1780s. Within the movement, individual subjectivity and, in particular, extremes of emotion were given free expression in reaction to the perceived constraints of rationalism imposed by the Enlightenment and associated aesthetic movements. The period is named for Friedrich Maximilian Klinger's play of the same name, which was first performed by Abel Seyler's famed theatrical company in 1777.
Johann Wolfgang von Goethe was born in August 1749, in the Free Imperial City of Frankfurt, Holy Roman Empire. He wrote his first important play, Goetz von Berlichingen in 1773, in Shakespearean style, a defining characteristic of the Sturm und Drang movement (Wilson and Goldfarb 287). Shakespeare was considered a genius among German playwrights, and was idolized for his “shattering of the dramatic unities of time, place and action; and his sharply individualized, emotionally complex characters” (Waterhouse v). Goethe was well known for his staging as well as his long dramatic poem Faust (Goethe's Faust) (Wilson and Goldfarb 287).
Four years later Friedrich entered the prestigious Academy of Copenhagen, where he began his education by making copies of casts from antique sculptures before proceeding to drawing from life. Living in Copenhagen afforded the young painter access to the Royal Picture Gallery's collection of 17th-century Dutch landscape painting. At the Academy he studied under teachers such as Christian August Lorentzen and the landscape painter Jens Juel. These artists were inspired by the Sturm und Drang movement and represented a midpoint between the dramatic intensity and expressive manner of the budding Romantic aesthetic and the waning neo-classical ideal.
In the 1770s, the 'Sturm und Drang' movement started in Germany. It questioned some key assumptions and implications of the Aufklärung and the term 'Romanticism' was first coined. Many early Romantic writers such as Chateaubriand, Federich von Hardenberg (Novalis) and Samuel Taylor Coleridge inherited the Counter- Revolutionary antipathy towards the philosophes. All three directly blamed the philosophes in France and the Aufklärer in Germany for devaluing beauty, spirit and history in favour of a view of man as a soulless machine and a view of the universe as a meaningless, disenchanted void lacking richness and beauty.
There he was heavily influenced by Freemasonry, as well as by the fashionable literary trends of English Sentimentalism and German Sturm und Drang. He also met Nikolay Karamzin, the preeminent Russian man of letters and the founding editor of the most important literary journal of the day, The Herald of Europe (Вестник Европы). In December 1802, the 19-year-old Zhukovsky published a free translation of Thomas Gray's "Elegy Written in a Country Churchyard" in Karamzin's journal. The translation was the first sustained example of his trademark sentimental-melancholy style, which at the time was strikingly original in Russian.
"I Don't Give A" is a midtempo "pop-flavoured" electro-funk song with "ballsy" electronic hip hop and industrial beats. Tracklisted after the initial dance tunes in MDNA, the mood for the song is dark and somber, with a Sturm und Drang chorus and backed by an orchestra that The New York Times reviewer Jon Pareles compared to composer Carl Orff's cantata, Carmina Burana. The ending of the song consists of a big outro, with "grandiose" choirs, "crashing" cymbals and "escalating" strings. Critics noted that Madonna's rap in the song is similar to that on her 2003 single "American Life".
Goethe was similarly unimpressed, and Hegel compared the epic unfavorably to Homer. The epic nevertheless had its supporters, such as August Wilhelm Schlegel, who called it a "great tragedy" ("große Tragödie") in a series of lectures from 1802/3. Many early supporters sought to distance German literature from French Classicism and belonged to artistic movements such as Sturm und Drang. As a consequence of the comparison of the Nibelungenlied to the Iliad, the Nibelungenlied came to be seen as the German national epic in the earlier nineteenth century, particularly in the context of the Napoleonic Wars.
After Heine's German birthplace of Düsseldorf had rejected, allegedly for anti-Semitic motives, a centennial monument to the radical German-Jewish poet (1797–1856), his incensed German-American admirers, including Carl Schurz, started a movement to place one instead in Midtown Manhattan, at Fifth Avenue and 59th Street. However, this intention was thwarted by a combination of ethnic antagonism, aesthetic controversy and political struggles over the institutional control of public art.Christopher Gray, "Sturm und Drang Over a Memorial to Heinrich Heine", The New York Times, May 27, 2007, retrieved on July 3, 2008. Archived on July 12, 2012.
The work is in four movements and is scored for two oboes, bassoon, two horns (in E and G), continuo (harpsichord) and strings:HC Robbins Landon, Haydn: Chronicle and Works, 5 vols, (Bloomington and London: Indiana University Press, 1976– ) v. 2, Haydn at Eszterhaza, 1766–1790 #Allegro con brio, #Menuetto e Trio (Trio in E major): Allegretto, #Adagio in E major, #Finale: Presto, File:Haydn-44-1-theme.png The piece is typical of Haydn's Sturm und Drang (storm and stress) period. The first movement, which is in sonata form, begins with a four-note motif played in unison which occurs throughout the movement.
Although Thalheim's career embraced a wide spectrum of literary research, his speciality remained the eighteenth century, and in particular the Sturm und Drang phase of the German classicist movement. At the heart of that was almost fifty years of work on Friedrich Schiller, whose work had been the basis for his habilitation dissertation in 1961, but he also made major contributions on Winckelmann, Goethe and Kleist. His literary approach was enriched by insights into historical context: his linguistic and stylistic analyses included reflections on the political and social contradictions of the periods in which works were created.
In Germany, there was a trend toward historical accuracy in costumes and settings, a revolution in theatre architecture, and the introduction of the theatrical form of German Romanticism. Influenced by trends in 19th-century philosophy and the visual arts, German writers were increasingly fascinated with their Teutonic past and had a growing sense of romantic nationalism. The plays of Gotthold Ephraim Lessing, Johann Wolfgang von Goethe, Friedrich Schiller, and other Sturm und Drang playwrights, inspired a growing faith in feeling and instinct as guides to moral behavior. Romantics borrowed from the philosophy of Immanuel Kant to formulate the theoretical basis of "Romantic" art.
The Sturm und Drang or "storm and drive" was a proto-Romantíc movement that helped establish the aesthetics of the Romantic era. Curated by Haydn, it contrasted with the simple pieces of the Classical era into obvious and dramatic emotionalism sought by Romantic composers. Composers such as Haydn were fond of having compositional work reflect the turbulent political climate. This led to the creation of the Farewell Symphony No. 45 in F Minor, containing several characteristics of this transition through long slow adagio and sharp turns to exemplify the demands of wavering opinions and philosophical themes taking place socially.
2014 and elements of art and narrative perceived as authentically medieval in an attempt to escape population growth, early urban sprawl, and industrialism. Although the movement was rooted in the German Sturm und Drang movement, which preferred intuition and emotion to the rationalism of the Enlightenment, the events and ideologies of the French Revolution were also proximate factors. Romanticism assigned a high value to the achievements of "heroic" individualists and artists, whose examples, it maintained, would raise the quality of society. It also promoted the individual imagination as a critical authority allowed of freedom from classical notions of form in art.
Haltestellen des Werdens – Eine biographische Ausstellungschronologie (1958–1974) by Rudolf Schmitz compiles texts by Johannes Gachnang, starting with a remark on wildness and Sturm und Drang. Rudolf Schmitz motivates his Portrait des Ausstellungsmachers als Amateur d'art with Géricaults Le Radeau de la Méduse. André Berne-Joffroy writes in Erinnerungen und Anmerkungen um die Paulhan-Ausstellung und ihren Katalog about Jean Paulhan (founder of the lettre francais and Cahiers de la Pléiade). Emile Cioran starts Aus einem Interview mit Michael Jakob with a question by Jakob, that mentions Cioran's disbelief in dialogue and his belief that every meeting was a kind of cruxification.
For example, the Symphony No. 29 in A major K. 201 has a contrapuntal main theme in its first movement, and experimentation with irregular phrase lengths. Some of his quartets from 1773 have fugal finales, probably influenced by Haydn, who had included three such finales in his recently published Opus 20 set. The influence of the Sturm und Drang ("Storm and Stress") period in music, with its brief foreshadowing of the Romantic era, is evident in the music of both composers at that time. Mozart's Symphony No. 25 in G minor K. 183 is another excellent example.
Johann Gottfried Herder (1744–1803) broke new ground in philosophy and poetry, as a leader of the Sturm und Drang movement of proto-Romanticism. Weimar Classicism ("Weimarer Klassik") was a cultural and literary movement based in Weimar that sought to establish a new humanism by synthesizing Romantic, classical, and Enlightenment ideas. The movement, from 1772 until 1805, involved Herder as well as polymath Johann Wolfgang von Goethe (1749–1832) and Friedrich Schiller (1759–1805), a poet and historian. Herder argued that every folk had its own particular identity, which was expressed in its language and culture.
Lupton stated that this ritual indicated "a firmness of purpose and an inflexible use of time". Angelou went through this process to give herself time to turn the events of her life into art, and to "enchant" herself; as she said in a 1989 interview with the BBC, to "relive the agony, the anguish, the Sturm und Drang". She placed herself back in the time she wrote about, even during traumatic experiences like her rape in Caged Bird, to "tell the human truth" about her life. Critic Opal Moore says about Caged Bird: "...Though easily read, [it] is no 'easy read'".
Johann Georg Hamann (; ; August 27, 1730 – June 21, 1788) was a German Lutheran philosopher from Königsberg known as “the Wizard of the North” who was one of the leader figures of post-Kantian philosophy. His work was used by his student J. G. Herder as the main support of the Sturm und Drang movement, and is associated with the Counter-Enlightenment and Romanticism.Isaiah Berlin, Three Critics of the Enlightenment: Vico, Hamann, Herder, London and Princeton, 2000. He introduced Kant, also from Königsberg, to the works of both Hume – waking him from his "dogmatic slumber" – and Rousseau.
On the literary front the new century opens with romanticism, a movement that spread throughout Europe in reaction to 18th-century rationalism, and it develops more or less along the lines of the Industrial Revolution, with a design to react against the dramatic changes wrought on nature by the steam engine and the railway. William Wordsworth and Samuel Taylor Coleridge are considered the initiators of the new school in England, while in the continent the German Sturm und Drang spreads its influence as far as Italy and Spain. French arts had been hampered by the Napoleonic Wars but subsequently developed rapidly. Modernism began.
18th century styles painting like Romanticism, Symbolism, Sturm und Drang, and Rococo have influenced Knight's work. Drawn to the ghostly look of French 17th century portraiture(Baroque) because of the 'heavy white powder make-up that was in vogue at the time', Knight cited the pastels used in the work of Joseph Ducreux and Louise Élisabeth Vigée Le Brun as an influence. Knight often mute the skin tones of his palette so that the characters of his paintings appear powdered and slightly translucent. Obsessed with the French Revolution since he was a kid, having always been inspired by folklore, myth, secrets, gossip, fashion and historical costumes.
The strike was done by Lavater's friend Friedrich Heinrich Jacobi who published an episode between himself and Lessing, in which Lessing confessed to be a "Spinozist", while reading Goethe's Sturm und Drang poem Prometheus.Über die Lehre des Spinoza () was a reply to Mendelssohn's Morgenstunden (). In an earlier publication Jacobi opposed to Mendelssohn's opinion about Spinoza. On the frontispice of his publication we see an allegoric representation of "the good thing" with a banner like a scythe over a human skeleton (the skull with a butterfly was already an attribute dedicated to Mendelssohn since his prized essay Phädon), referring to a quotation of Immanuel Kant on page 119 (, Google Books).
She averaged 10–12 pages of material a day, which she edited down to three or four pages in the evening. Lupton stated that this ritual indicated "a firmness of purpose and an inflexible use of time". Angelou went through this process to give herself time to turn the events of her life into art, and to "enchant" herself; as she said in a 1989 interview with the BBC, to "relive the agony, the anguish, the Sturm und Drang". She placed herself back in the time she wrote about, even during traumatic experiences like her rape in Caged Bird, to "tell the human truth" about her life.
Dr. Frankenstein's monster can also be considered a grotesque, as well as the title character, Erik in The Phantom of the Opera and the Beast in Beauty and the Beast. Other instances of the romantic grotesque are also to be found in Edgar Allan Poe, E.T.A. Hoffmann, in Sturm und Drang literature or in Sterne's Tristram Shandy. The romantic grotesque is far more terrible and sombre than the medieval grotesque, which celebrated laughter and fertility. It is at this point that a grotesque creature such as Frankenstein's monster (in Mary Shelley's novel published in 1818) begins to be presented more sympathetically as the outsider who is the victim of society.
Tracing Haydn's work over the six decades in which it was produced (roughly from 1749 to 1802), one finds a gradual but steady increase in complexity and musical sophistication, which developed as Haydn learned from his own experience and that of his colleagues. Several important landmarks have been observed in the evolution of Haydn's musical style. In the late 1760s and early 1770s, Haydn entered a stylistic period known as "Sturm und Drang" ("storm and stress"). This term is taken from a literary movement of about the same time, though it appears that the musical development actually preceded the literary one by a few years.
After the fall of Nazi Germany, Pascal's works focused more fully on literary subjects. The German Sturm und Drang appeared in 1953, followed by The German Novel three years later, and Design and Truth in Autobiography in 1960. He also authored From Naturalism to Expressionism (1973), The Dual Voice (1977) and Kafka's Narrators (1982; published posthumously). Somewhat ironically, by the late 1960s a new generation of students—many returning from semesters spent in German universities—espoused the radical politics of the New Left and at least superficially 'Marxist' ideas; Pascal, as head of the department at Birmingham, came under attack as an authoritarian, elite figure.
The musicologist Bertil van Boer identifies Kraus's Symphony in C-sharp minor as "one of only two symphonies in this key written during the eighteenth century." It was later reworked in a more 'manageable' key as Symphony in C minor, VB 142. It is still disputed whether the symphony dedicated to Haydn was the Symphony in D major VB 143 or the Symphony in C minor VB 142. The minor key and the mood of Symphony VB 142 seem to be reminiscent of Haydn's Sturm und Drang period around 1770, comparable with his earlier minor-key works, although based on the first measures of Gluck's overture to Iphigénie en Aulide.
There is no way to know for sure whether young Kraus was induced to compose this genre of church music for personal reasons, or whether his choice may have been influenced by his attraction to Sturm und Drang. The work is full of dramatic force and original, bold ideas. The Requiem was followed by two oratorios: Der Tod Jesu and Die Geburt Jesu (lost), and the musical treatise Etwas von und über Musik: fürs Jahr 1777 (Something about Music: for the year 1777; Frankfurt am Main 1778). The oratorio Der Tod Jesu differs from the oratorios of many other composers in that Kraus wrote both the music and the text.
Based on his visits to England, his Briefe aus England, with admirable descriptions of David Garrick's acting, are the most attractive of his writings published during his lifetime. From 1778 onward, Lichtenberg published the Göttinger Taschen Calender and contributed to the Göttingisches Magazin der Wissenschaften und Literatur, which he edited for three years (1780–1782) with J. G. A. Forster. The Göttinger Taschen Calender, beside being a usual Calendar for everyday usage, contained not only short writings on natural phenomena and new scientific discoveries (which would be termed popular science today), but also essays in which he contested quackery and superstition. It also contained attacks on the “Sturm und Drang” writers.
"Writing for four horns was a regular part of the Sturm und Drang G minor equipment." Robbins Landon also notes that Mozart's No. 40 was first intended to have four horns. Another convention of G minor symphonies observed in Mozart's No. 25 and No. 40 was the choice of the subdominant of the relative key (B major), E major, for the slow movement; other non-Mozart examples of this practice include J.C. Bach Opus 6 No. 6 from 1769, Haydn's No. 39 (1768/69) and Johann Baptist Wanhal's G minor symphony sometime before 1771 (Bryan Gm1).James Hepokoski and Warren Darcy, Elements of Sonata Theory (Oxford University Press: 2006) p.
Lamb of God (sometimes abbreviated as LoG) is an American heavy metal band from Richmond, Virginia. Formed in 1994 as Burn the Priest, the group consists of bassist John Campbell, vocalist Randy Blythe, guitarists Mark Morton and Willie Adler, and drummer Art Cruz. The band is considered a significant member of the New Wave of American Heavy Metal movement. Since their formation, Lamb of God has released ten studio albums: 'Burn the Priest (1999), New American Gospel (2000), As the Palaces Burn (2003), Ashes of the Wake (2004), Sacrament (2006), Wrath (2009), Resolution (2012), VII: Sturm und Drang (2015), Legion: XX (2018), and Lamb of God (2020).
Gotter was the chief representative of French taste in the German literary life of his time. His poetry is elegant and polished, and largely free from the trivialities of the Anacreontic lyric of the earlier generation of imitators of French literature; but he lacked imaginative depth. His plays, of which Merope (1774), an adaptation in blank verse of the tragedies of Maffei and Voltaire, and Medea (1775), a melodrama, are best known, were mostly based on French originals and had considerable influence in counteracting the formlessness and irregularity of the Sturm und Drang drama. Medea served as a libretto for an opera by Jiří Antonín Benda (1778).
At this time the Weimar ducal court also went through its sturm und drang phase, drawing not only Goethe but also the Ernestines from Miseleien and Eseleien. The resulting emotional coldness did not help their marriage, with her husband publicly humiliating the marriage by a long-term affair with the actress Karoline Jagemann. Louise only gave him the heir in 1783, with the birth of Charles Frederick; after him, followed four more children, of whom two survive infancy: Caroline Louise in 1786 and Bernhard in 1792. With the birth of Bernhard the marriage had finally served its purpose of guaranteeing the succession to the throne and the continuation of the dynasty.
"Gesang der Geister" has been contrasted with "" (), a 1772-73 poem by Goethe which describes the course of an idealised river from a mountain spring to the ocean. Both poems are examples of Sturm und Drang ("Storm and Stress"), a German proto-Romantic aesthetic movement with an emphasis on subjective experience. interpreted "Gesang der Geister" as an extended Romantic metaphor, in which the repeated ascent and descent of water between Heaven and Earth represents man's attempt to grasp both the mundane and the eternal, and the contrast between the restless cascade and the tranquil lake is between stormy passions and calm reflection, in a kind of mysticism or pantheism where these opposites blend to form a natural whole. By .
After the Seven Years' War, which ended in 1763, German spirit was extremely high and Germans felt a sense of importance on a grander stage. The aristocracy gained power as the ruling class, furthering the divide and increasing tensions between the classes (Liedner viii). With these new ideals came the sense that a new form of art capable of dethroning the extremely popular French neoclassicism was needed. Johann Georg Hamann, a noted German philosopher and a major promoter of the Sturm und Drang movement, “defended the native culture of the Volk and maintained that language, the root of all our experience, was richer in images and more powerful prior to the ‘abstract’ eighteenth century” (Liedner viii).
Goethe portrait in profile Werther was one of Goethe's few works aligned with the aesthetic, social and philosophical ideals that pervaded the German proto-Romantic movement known as Sturm und Drang, before he and Friedrich von Schiller moved into Weimar Classicism. The novel was published anonymously, and Goethe distanced himself from it in his later years, regretting the fame it had brought him and the consequent attention to his own youthful love of Charlotte Buff, then already engaged to Johann Christian Kestner. Although he wrote Werther at the age of 24, it was all for which some of his visitors in his old age knew him. His views of literature had changed radically by then.
After his Harz journey, Goethe was ready to move on from the unrestrained forms of expression which characterised the Sturm und Drang. Later in life, he distanced himself from the sentiments of his earliest work, including ‘The Sorrows of Young Werther’, seeking measure and order instead. At the time ‘Harzreise im Winter’ was written however, ‘The Sorrows of Young Werther‘ continued to exert a strong influence on many young men. One of these was Friedrich Victor Leberecht Plessing, the prototype for the unfortunate person referred to in the poem as consumed in bitterness. He had been greatly influenced by Goethe's work and after studying theology and jurisprudence had returned to his parents’ house in Wernigerode, consumed with melancholy.
In October 1836, after receiving his M.D. and being appointed by the University of Zürich as a lecturer in anatomy, Büchner relocated to Zürich where he spent his final months writing and teaching until his death from typhus at the age of twenty-three. Gravestone of Georg Büchner on Germaniahügel in Zürich-Oberstrass His first play, Dantons Tod (Danton's Death), about the French revolution, was published in 1835, followed by Lenz (first partly published in Karl Gutzkow's and Wienberg's Deutsche Revue, which was quickly banned). Lenz is a novella based on the life of the Sturm und Drang poet Jakob Michael Reinhold Lenz. In 1836 his second play, Leonce and Lena, satirized the nobility.
A literary celebrity by the age of 25, Goethe was ennobled by the Duke of Saxe-Weimar, Karl August, in 1782 after taking up residence in Weimar in November 1775 following the success of his first novel, The Sorrows of Young Werther (1774). He was an early participant in the Sturm und Drang literary movement. During his first ten years in Weimar, Goethe became a member of the Duke's privy council, sat on the war and highway commissions, oversaw the reopening of silver mines in nearby Ilmenau, and implemented a series of administrative reforms at the University of Jena. He also contributed to the planning of Weimar's botanical park and the rebuilding of its Ducal Palace.
Spector felt that the development process's highlights were the "high-level vision" and length of preproduction, flexibility within the project, testable "proto-missions", and Unreal Engine license. Their pitfalls included the team structure, unrealistic goals, underestimating risks with artificial intelligence, their handling of proto- missions, and weakened morale from bad press. He referred to that period of Ion Storm as "Sturm und Drang" with its degree of hype and as a target of vitriol following Daikatana "suck it down" trash talk marketing and what Spector saw as negative press in 1998 and 1999. He said that his Austin team had "frequent" slumps in morale from taking the company's coverage personally and seeing their private emails posted online.
Minstrelsy of the Scottish Border exercised a powerful influence on both British and European literature, not least on Scott himself. His first efforts as a writer had been translations of German Sturm und Drang poems, together with one or two original pieces in the same lurid manner. His experience as a ballad-editor did a great deal towards purifying his taste and turning him towards a more simple and natural style. His experience of working with both the English and Scots languages, with narrative verse and critical and historiographical prose, and integrating them together, was to prove formative on his original works, steeped as they are both in the spirit of the Scottish oral tradition and in his own experience of antiquarian commentary on it.
One of the forces that worked as an impetus for his pressing forward was the first stirring of what would later be called Romanticism—the Sturm und Drang, or "storm and stress" phase in the arts, a short period where obvious and dramatic emotionalism was a stylistic preference. Haydn accordingly wanted more dramatic contrast and more emotionally appealing melodies, with sharpened character and individuality in his pieces. This period faded away in music and literature: however, it influenced what came afterward and would eventually be a component of aesthetic taste in later decades. The Farewell Symphony, No. 45 in F Minor, exemplifies Haydn's integration of the differing demands of the new style, with surprising sharp turns and a long slow adagio to end the work.
The poem features a dedication (a 20-line verse, starting with the words: "Inspired by you only / I was writing these sad lines...") but the addressee of it remained unknown. Her hand-written name on the first page autograph had been blackened out, with only a drawing of a girl's face and a bare little tree left. Two possible candidates have been suggested, a distant cousin Anna Stolypina and Yekaterina Sushkova, but no conclusive evidence has been put forward to back either claim. According to critic N.A.Lyubovich, stylistically Menschen und Leidenschaften is an amalgam of the 18th-century realistic French comedy and the German drama of the Sturm und Drang period, with Yuri Volin's passionate rhetoric reminding monologues from early Friedrich Schiller's work.
Unfortunate speculations brought him into pecuniary embarrassment in 1788, and although friends, notably Goethe, were ready to come to his assistance, his losses — combined with the death of five of his children — so preyed upon his mind that he committed suicide on 27 June 1791. Merck distinguished himself mainly as a critic; his keen perception, critical perspicacity and refined taste made him a valuable guide to the young writers of the Sturm und Drang. He also wrote a number of small treatises, dealing mostly with literature and art, especially painting, and a few poems, stories, narratives and the like; but they have not much intrinsic importance. Merck's letters are particularly interesting and instructive, and throw much light upon the literary conditions of his time.
Many writers were influenced by the works, including Walter Scott, and painters and composers chose Ossianic subjects. One poem was translated into French in 1762, and by 1777 the whole corpus.Okun, 330 In the German-speaking states Michael Denis made the first full translation in 1768–69, inspiring the proto-nationalist poets Klopstock and Goethe, whose own German translation of a portion of Macpherson's work figures prominently in a climactic scene of The Sorrows of Young Werther (1774).Arnold M. Thor, myth to marvel; Continuum Publishing, 2011, pp92-97. Goethe's associate Johann Gottfried Herder wrote an essay titled Extract from a correspondence about Ossian and the Songs of Ancient Peoples (1773) in the early days of the Sturm und Drang movement.
Holzbauer's librettist, Anton Klein — a former Jesuit who taught philosophy and literature at Mannheim University — was a strong advocate for the use of German and set about writing a libretto comparable to those written for Italian opera seria. The writing was also influenced by contemporary Sturm und Drang literature. However, the colourful music was praised unanimously whereas the drama divided its critics into those who exalted it and its strongly patriotic message, and those who thought that it lacked literary quality. Mozart attended a performance on 5 November 1777 and in a letter to his father on 14 November 1777, he praised the music but scorned the libretto: > Holzbauer′s music is very beautiful, but the poetry is not worthy of such > music.
In Britain, the 19th century is dominated by the Victorian era, characterized by Romanticism, with Romantic poets such as William Wordsworth, Lord Byron or Samuel Taylor Coleridge and genres such as the gothic novel. Charles Dickens, perhaps the most famous novelist in the history of English literature, was active during this time and contributed to the novel's emergence as the leading literary genre of Victorian England. In Germany, the Sturm und Drang period of the late 18th century merges into a Classicist and Romantic period, epitomized by the long era of Goethe's activity, covering the first third of the century. The conservative Biedermeier style conflicts with the radical Vormärz in the turbulent period separating the end of the Napoleonic wars from the Revolutions of 1848.
Of equal importance was Wieland's translation of twenty-two of Shakespeare's plays into prose (8 vols., 1762–1766); it was the first attempt to present the English poet to the German people in something approaching entirety.Meisnest, F.W. Wieland's translation of Shakespeare (1914) With the poems Musarion oder die Philosophie der Grazien (1768), Idris (1768), Combabus (1770), Der neue Amadis (1771), Wieland opened the series of light and graceful romances in verse which appealed so irresistibly to his contemporaries and acted as an antidote to the sentimental excesses of the subsequent Sturm und Drang movement. Musarion advocates a rational unity of the sensual and spiritual; Amadis celebrates the triumph of intellectual over physical beauty.Ham, Edith M. Wieland's "Neuer Amadis" (1919) Wieland married Anna Dorothea von Hillenbrand (July 8, 1746 - November 9, 1801) on October 21, 1765.
Alternatives include a keyboardist, guitarist, drummer, bassist, and saxophonist, such as the Sonics, the Dave Clark Five, and Sam the Sham and the Pharaohs. Another alternative is three guitarists, a bassist and a drummer, such as Foo Fighters, Radiohead, and the Byrds. Some five-person bands feature two guitarists, a keyboardist, a bassist and a drummer, with one or more of these musicians (typically one of the guitarists) handling lead vocals on top of their instrument (examples being Children of Bodom, Styx, Sturm und Drang, Relient K, Ensiferum, the Cars and the current line up of Status Quo). In some cases, typically in cover bands, one musician plays either rhythm guitar or keyboards, depending on the song (one notable band being Firewind, with Bob Katsionis handling this particular role).
The melancholy man, known to contemporaries as a "malcontent", is epitomized by Shakespeare's Prince Hamlet, the "Melancholy Dane". A similar phenomenon, though not under the same name, occurred during the German Sturm und Drang movement, with such works as The Sorrows of Young Werther by Goethe or in Romanticism with works such as Ode on Melancholy by John Keats or in Symbolism with works such as Isle of the Dead by Arnold Böcklin. In the 20th century, much of the counterculture of modernism was fueled by comparable alienation and a sense of purposelessness called "anomie"; earlier artistic preoccupation with death has gone under the rubric of memento mori. The medieval condition of acedia (acedie in English) and the Romantic Weltschmerz were similar concepts, most likely to affect the intellectual.
In Germany at the turn of the 19th century, the Sturm und Drang movement in literature began to shift the perception of man's relationship to the world and, though Senff would create images of the movement's major players (including Friedrich Maximilian Klinger who wrote the drama that gave the epoch its name), his work remained quite conservative. At the outset of the movement, his canvasses began to resemble the Biedermeier style whereby, according to art historian Sergey Kuznetsov, "portraits, landscapes and still-lifes were painted with equal scrupulousness." Kuznetsov notes that unlike the burgeoning group of Romantic artists of the period, "Senff’s landscapes are completely purged of feeling, and they focus on the accurate and precise representation of detail." Senff's work has been frequently compared to Ivan Khrutsky in Vilnius.
Previously, his fourth symphony had had some Beethovenian influence (although it is more reminiscent of the earlier Sturm und Drang movement), his fifth Mozartian influence, and his sixth Rossinian influence (Schubert had listened to Rossini's music before writing his sixth symphony and was extremely impressed, then incorporating aspects of Rossini's style into his music). After writing the sixth symphony, Schubert experienced a directional crisis in his symphonic output, as he was not sure about whether to continue on the path, as in the sixth symphony, of being influenced by Rossini. There is thus some Beethovenian influence present, which would persist throughout his symphonic output, but in D 708A Schubert starts to create his own style and explore new territory. Additionally, he was still learning how to master instrumental writing, despite having done so for vocal works some years before.
English melodrama evolved from the tradition of populist drama established during the Middle Ages by mystery and morality plays, under influences from Italian commedia dell'arte as well as German Sturm und Drang drama and Parisian melodrama of the post-Revolutionary period. A notable French melodramatist was Pixérécourt whose La Femme à deux maris was very popular.Jean Tulard (1985) Naploleon: The Myth of the Saviour. London, Methuen: 213-14 The first English play to be called a melodrama or 'melodrame' was A Tale of Mystery (1802) by Thomas Holcroft. This was an example of the Gothic genre, a previous theatrical example of which was The Castle Spectre (1797) by Matthew Gregory Lewis. Other Gothic melodramas include The Miller and his Men (1813) by Isaac Pocock, The Woodsman's Hut (1814) by Samuel Arnold and The Broken Sword (1816) by William Dimond.
The piece is written for two oboes, bassoon, two horns (in A and E), and strings (violins in two sections (four in the final Adagio), violas, cellos and double basses). The turbulent first movement of the work opens in a manner typical of Haydn's Sturm und Drang period, with descending minor arpeggios in the first violins against syncopated notes in the second violins and held chords in the winds. The movement can be explained structurally in terms of sonata form, but it departs from the standard model in a number of ways (just before the recapitulation, for example, new material is introduced, which might have been used as the second subject in the exposition in a more conventional work). Also, the exposition moves to C minor, the dominant minor, rather than the more usual relative major.
Herman Grimm: Goethe. Vorlesungen gehalten an der Königlichen Universität zu Berlin. Vol. 1\. J.G. Cotta'sche Buchhandlung Nachfolger, Stuttgart / Berlin 1923, p. 77 He roamed the surrounding area with Friederike, undertook boat trips with her, in the waters of the Rhine, and visited acquaintances with her. For the ensuing time, Sessenheim became the “center of the Earth” for the poet. He experienced an idyll that brought about things new and unknown to himValerian Tornius: Goethe — Leben, Wirken und Schaffen. Ludwig Röhrscheid publishers, Bonn 1949, p. 59 and was inspirited by this to verse, after a longer time, again. In spring 1771, he wrote a couple of poems and songs, which he sometimes sent to Friederike with painted ribbons. These Sesenheimer Lieder (among them Maifest, Willkommen und Abschied and Heidenröslein) became crucial for the Sturm und Drang and founded Goethe's fame as a poet.
No production of > the German "Sturm und Drang"—not even Goethe's Werther, which appeared a few > months later—had such far-reaching effects on other literatures as Bürger's > Lenore; it helped materially to call the Romantic movement in Europe to > life. In a similar tone, English literature scholar Marti Lee claims that: > "Lenore" had tremendous influence on the literature of the late eighteenth- > and early [n]ineteenth-centuries, and in fact, today's popular horror books > and movies are still feeling the reverberations. [...] In short, Bürger’s > achievement, while minor in itself, helped father an international movement > that led directly to the massive popularity of Gothic works then and now. > [...] As the Gothic novel borrowed many of its original conventions from the > German ballads, as popularized by "Lenore," we can fairly say that Bürger is > one of the most influential founding fathers of the Gothic and horror > genres.
The symphony is scored for flute, two oboes, two bassoons, two horns and strings and is in the typical four movements: #Allegro spiritoso #Adagio #Menuetto #Finale: Presto The first movement opens with a theme in the cellos accompanied by tremolos in the strings evoking a strong sense of Sturm und Drang. After the second theme provides a brief respite in the relative major, the music becomes turbulent as it transitions again. What follows is a very striking expositional coda which is a light, dancing theme featuring Lombard rhythms and scored for solo flute and first violin against a pizzicato bass. The development begins with a quirky coda theme in the remote key of D flat major and then slowly works it up the scale until it reaches A major followed by another grand pause and then the theme is repeated again in the relative major of F major.
Besides operas, Méhul composed a number of songs for the festivals of the republic (often commissioned by the emperor Napoleon), cantatas, and five symphonies in the years 1797 and 1808 to 1810. Mehul's First Symphony (1808) is notable for its dissonant and violent mood, and has been compared to Beethoven's Symphony No. 5, written in the same year. Taking inspiration from the more anguished works of Haydn and Mozart, such as Haydn's Sturm und Drang and later Paris Symphonies of 1785–86 and Mozart's Symphony No. 40 (K. 550, 1788), it was revived in one of Felix Mendelssohn's concerts with the Leipzig Gewandhaus Orchestra in 1838 and 1846 to an audience including Robert Schumann, who was impressed by the piece.Cf. footnote 41 of the Preface by David Charlton in his critical edition of the score of the G minor symphony published by A-R Editions, Inc.
Abel Jacob Gerhard Seyler (1756 – 1805), also known as Abel Seyler the Younger, was a German scholar, pharmacist, freemason and a member of the original Illuminati order. Described as highly erudite, he was court pharmacist in Celle from 1791 to 1803, and also owned the famous Andreae & Co. court pharmacy in Hanover with his two siblings as co-owners from 1793 to 1803. He was the oldest son of the Swiss-born banker turned theatre principal Abel Seyler and his first wife Sophie Elisabeth Andreae, and was a maternal grandson of the wealthy Hanover court pharmacist Leopold Andreae (1686–1730). He was a brother of the Hamburg banker Ludwig Erdwin Seyler and of Sophie Marie Katharina Seyler (1762–1833), who was married to the Sturm und Drang poet Johann Anton Leisewitz. After the death of their mother in 1764, he and his siblings grew up in Hanover with their uncle, the natural scientist Johann Gerhard Reinhard Andreae.
Calpin's subsequent career seems to have been characterised by misfortune as he ended up serving a term of imprisonment for financial crimes. Overshadowing the changes taking place in the management of the Witness were the events leading up to the Second World War (1939–45), as well as the sturm und drang of the war itself. Not surprisingly for someone with a Quaker background, Calpin greeted Chamberlain's diplomatic intervention at Munich with enthusiasm, noting in an October 1938 editorial that “the agreement signed in Munich lifts a burden almost too great to be borne by the peoples of the world”. Although the war seemed to hold out hope of an increased demand for hard news on the part of the local population, this was not immediately apparent as the paper experienced a sharp drop in advertising revenue which led to a decision by the board to cut the salaries of 14 members of the business and editorial staff by 12 percent.
Louis Ramond de Carbonnières Louis Ramond was born in Strasbourg, to Pierre-Bernard Ramond (1715–1796), treasurer of war, and Rosalie-Reine Eisentrand (1732–1762). He studied law at the University of Strasbourg in 1775 and became a lawyer in February 1777. In Strasbourg he became friends with another student, Jakob Michael Reinhold Lenz (1751–1792), a writer belonging to the then-fashionable Sturm und Drang movement. During this period Ramond discovered German Romantic literature, in particular Goethe's The Sorrows of Young Werther; this book inspired him to become a writer and in 1777 he published the Werther- influenced Les Dernières aventures du jeune d’Olban (The Last Adventures of Young Olban). Ramond undertook a voyage to Switzerland in May 1777 where he met writers and poets, as well as scientists: the theologian Johann Kaspar Lavater (1741–1801), and the zoologists Albrecht von Haller (1708–1777) and Charles Bonnet (1720–1793); he also came across his friend Lenz there.
Trees in the Harz mountains after heavy snowportrait of Goethe by Angelica Kaufmann in 1787view of the Goetheweg on the Brocken "Harzreise im Winter" (‘Winter Journey in the Harz’) is a poem by Johann Wolfgang von Goethe, inspired by his ascent of the Brocken in the Harz mountains during the winter of 1777. He reached the summit in the heat of midday, in deep snow, with the landscape below him shrouded in cloud. The Brocken had always been a place of mystery, connected with witches and devils; where illusions such as the Brocken spectre might confuse an unwary traveller, and where few ventured by choice. This was the inspiration and the setting for his poem. "Harzreise im Winter" was the last of Goethe's works in his Sturm und Drang period, marking the end of a series of long, free-verse poems hymns by the young poet that had begun with ‘Wandrers Sturmlied’, and it is less self-absorbed than his earlier writing.
Embarked with the 1916 Lin Mosei(:zh:林茂生)’s Yangmingism comparative systemic study with Kant and Descartes, Taiwanese Philosophy was burgeoning with the ‘Sturm und Drang’ in the East Asia, e.g. the institutionalization of philosophy departments, from the 1910 in Tokyo Imperial University, the 1912 in Kyoto University with the founding of the Kyoto School, in the same year in Peking University. Taiwanese intellectuals who endeavored under the modernization education were multi-cultural and -lingual, from Taiwanese, Japanese, English, and even French and German. Hung Yao-hsün(:zh:洪耀勳), Chin-sui Hwang(:zh:黃金穗), and Zeng Tianzong(:zh:曾天從) were intellectually associative with the Kyoto School and familiar with Japanese and German languages; Lin Mosei(:zh:林茂生), Wen Kwei Liao(:zh:廖文奎) had their doctorates in the United States for their fluent articulations in English, and Wen Kwei Liao(:zh:廖文奎) have his manifest ‘Quo Vadis Formosa?’ in French.
The most important of Goethe's works produced before he went to Weimar were Götz von Berlichingen (1773), a tragedy that was the first work to bring him recognition, and the novel The Sorrows of Young Werther (German: Die Leiden des jungen Werthers) (1774), which gained him enormous fame as a writer in the Sturm und Drang period which marked the early phase of Romanticism. Indeed, Werther is often considered to be the "spark" which ignited the movement, and can arguably be called the world's first "best-seller." During the years at Weimar before he met Schiller he began Wilhelm Meister's Apprenticeship, wrote the dramas Iphigenie auf Tauris (Iphigenia in Tauris), Egmont, Torquato Tasso, and the fable Reineke Fuchs. To the period of his friendship with Schiller belong the conception of Wilhelm Meister's Journeyman Years (the continuation of Wilhelm Meister's Apprenticeship), the idyll of Hermann and Dorothea, the Roman Elegies and the verse drama The Natural Daughter.
Lessing wrote his influential work on drama and which gave its name to the field of dramaturgy, Hamburg Dramaturgy, as a collection of commentary on the plays; her prominent role within the national theatre is documented by Lessing in the Hamburg Dramaturgy, where Lessing lauded her as one of Germany's finest actresses. The Hamburg National Theatre had to close in 1769 when Abel Seyler's money had run out after two years of lavish spending. In 1769 Abel Seyler established the travelling Seyler Theatre Company, an effective successor of the national theatre, retaining Konrad Ekhof and Friederike Sophie Hensel as its leading actors. The company established itself as the leading theatre company in German-speaking Europe in the 1770s, and is credited with popularising Shakespeare's plays in German-speaking Europe and with promoting the Sturm und Drang playwrights and a serious German opera tradition. Initially based in Hanover, the company stayed for three years at the court of the arts patron Duchess Anna Amalia in Weimar from 1771 to 1774, coinciding with the infancy of the cultural era known as the Weimar Classicism.
This sketch is the first of a series of four unfinished symphonies – D 615, D 708A, D 729 (the seventh), and D 759 (the eighth) – that are milestones in Schubert's symphonic development between the sixth and ninth symphonies. These four symphonies are in varying states of completion: D 615 has incomplete sketches of only two movements (the allegro and the finale), D 708A has incomplete sketches of all four movements, D 729 is structurally complete but was not fully orchestrated, and D 759 has the first two movements complete and orchestrated and a third movement in an incomplete piano sketch. Previously, his fourth symphony had had Beethovenian influence (although it is more reminiscent of the earlier Sturm und Drang movement), his fifth Mozartian influence, and his sixth Rossinian influence (Schubert had listened to Rossini's music before writing his sixth symphony and was extremely impressed, then incorporating aspects of Rossini's style into his music). After writing the sixth symphony, Schubert experienced a crisis in his symphonic output, as he was not sure about whether he should continue on the path he was on in the sixth symphony of being influenced by Rossini.
Jakob Michael Reinhold Lenz was born in Sesswegen, now Latvia, on the January 23, 1751. He studied theology and philosophy at the University of Konigsberg. His first poem, Die Landplagen (“Torments of the Land”), emerged in 1769. He went on to write “Notes on the Theatre”, The New Menoza and Der Hofmeister (“The Tutor”) in 1774, Pandemonium Germanicum in 1775, and Die Soldaten (“The Soldiers”) in 1776 (Liedner xi). Lenz took Aristotle’s popular idea of plot being more important than character and reversed it, as well as reclassified the distinctions between comedy and tragedy. In Lenz’s works, tragedies feature characters that make decisions that cause events, and in comedies a resolute milieu pushes and pulls the character through events (Liedner xi). The Soldiers is most likely Lenz’s most distinct example of Sturm und Drang literature. It centers on an idea of degradation of civilians by soldiers, but more specifically the seduction and abuse of young women by soldiers. Illustrating an undesirable, conflicted character with no power over her situation who does whatever she can to get through her current state, The Soldiers displays a “well-observed world where one’s identity is fluid – and hopelessly entangled in the social and linguistic environment” (Liedner xi).

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