Wie Aus Einem Fröhlichen Musical Ein Trauerspiel Werden KannHans Christian Andersen By Leon Botstein Written for the concert Hans Christian Andersen, performed on March 11, 2005 at Avery Fisher Hall at Lincoln Center. Hans Christian Andersen lived from 1805 to 1875. This year we celebrate the bicentenary of his birth. We are, however, certainly not the first generation to recognize and be fascinated by his peculiar genius. For the composers on tonight’s program, Andersen’s contributions to the genre of the fairy tale held a special enchantment, which actually reflected a larger pattern of recollection and nostalgia for the early romanticism of the nineteenth century. Hoffmann, Novalis, Hölderlin, and certainly the Grimm Brothers, Andersen seemed to embody for the generations following the pivotal year of 1848 a purer form of romanticism, perhaps even romanticism in its youth. Early romanticism was an era that became idealized by subsequent generations. 'Baby Driver' Ansel Elgort Als Hans Christian Andersen Im Musical Über Den 'Die Kleine Meerjungfrau'-DichterSassenburger Künstlerkarussell – A Capella, Märchen Und Musical In Der SassenburgIt was a time when the aesthetic imagination flourished in the first of many encounters with modernity and industrialism. For Andersen, the demonic, mystical, magical and fantastic, in all its darkness as well as joy, dramatized life’s experiences by suggesting a world of morally ordered supernaturalism, of rules and actions which provoked consistent consequences of tragedy or triumph. Such is the world as children might experience it. Vanished childhood is a theme that runs parallel to the construction of national identity and one of its key components, the study of the history of language. In both Denmark and Germany, the early nineteenth century witnessed an explosion in the creation of dictionaries and the systematic exploration of etymology designed to reveal and stabilize language as a national, historical patrimony. These efforts, on the one hand, reflected a progressive attempt to standardize language and education, and on the other, a reactionary attempt to resuscitate a past that seemed threatened with deterioration by the mores that derived from material progress. Hans Christian Andersen’s earliest readers approached his seemingly simple stories in a context of significant social and political transformation. The composers on tonight’s program, however, belong to a later era. For them Hans Christian Andersen had already assumed his historical place as a teller of psychological myth and parables. His simple narratives hinted at a fantasy within, a realm of psychic imagination and repressed or displaced desire. What may have first been comfortingly viewed as morality tales became for the early twentieth century modern myths, pregnant with dangerous meaning. As such writers as Bruno Bettelheim later explained, the interest of fairy tales is in what is beneath their seemingly innocent surfaces, and what is beneath is often sexuality.
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