Ponovno o Zrinijadi na glazbenoj sceni u 'dugom 19. stoljeću'

ISBN:

Mots-clés:

Résumé:

When the play Zriny by Karl Theodor Körner, a German patriotic poet from the era of the anti-Napolenic wars, in which he celebrates his love for his homeland, was premiered in the Viennese Burgtheater in 1812, the name Zriny(i)/Zrinski became well known all over the Ger¬man-speaking lands. Nikola Šubić Zrinski's tragic and heroic death while defending Sziget- var against the Ottoman lurks in 1566 has often been compared to the sacrifice of Leonidas of Sparta in Antiquity. However, while Leonidas' figure was revived in Baroque librettos of the 17th and 18th centuries, Zrinski's patriotism inspired artists, musicians included, during the era of the awakening of national consciousness in the 19th century. Along with numerous instrumental works - symphonic poems, marches, fantasies etc., as well as choral composi¬tions - stage works in various forms and with various kinds of music would glorify the Sziget- vâr hero's patriotism and remind and encourage the audience ol the new importance of na¬tional identity, achieved by various means, including conflicts with »the Other«. In these works Zrinski was elevated to the status of a symbol, so that defining his origin and the identity of his enemies became less important, and his sacrifice was well understood in vari¬ous European countries. This paper deals with six authors: Franz Xaver Kleinheinz (1765-1832) - the author of the (lost) stage music for Körner's Zriny (1812); Franz Joseph (František) Gläser (1798-1861) and his melodrama Zriny (1836); August Adelburg Abramović (1830-1873), and his opera in five acts Zrinyi (1866); Ivan von Zajc (1832-1914) and his opera in three acts Nikola Šubić Zrinjski (1876); Albert de Vleeshouwer (1864-1913) - the author of the opera Zriny (1895, lost); and Kurt Weill (1900-1950) - the author of the opera Zriny (1916, lost). Along with the presentation of these composers and the search for still missing scores, the analyses of three preserved scores point to their relation to Körner's text, to some characteristics of the music, their impor¬tance and place concerning the question of national identity in their respective places of per¬formance, as well as language, presentation of the main characters etc.