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The Harp, the Lied and Ossianic Narratives in Massenet's Werther
Published online by Cambridge University Press: 29 June 2020
Abstract
The climactic scene in Massenet's opera Werther – as in Goethe's novella – occurs when Werther reads a poem by Ossian. The air resembles a German lied, with a rippling harp accompaniment that may be a reference to other Ossianic settings. Steven Huebner has suggested that the lied reference is meant to create a sense of German local colour in the opera. However, little work has been done to explain why Massenet would have chosen to set an Ossianic text in the style of a German lied.
The current article addresses this question by considering the references to specific German lieder by Schumann and Schubert heard by early critics in the Ossian reading. The subsequent discussion explores the French reception of German lieder and Massenet's personal knowledge of Schubert and Schumann's music. These references to Schumann, Schubert and Ossian expose a complex set of intertextual relationships between Massenet's opera and other Ossianic music, the characters in Massenet's opera and their milieu, and Massenet's depiction of German music and culture.
Despite Huebner's well-chosen criticisms of Massenet's depiction of the German setting, I argue that the lied and its harp accompaniment are dramatically meaningful gestures that highlight Werther's Ossianic character arc throughout the opera, hinting at his sentimentality, weakness, and non-normative masculinity in relation to nineteenth-century gender stereotypes. This interpretation, following Massenet's own account of the opera's genesis, prioritizes the Ossian reading as the crux of the drama. The resulting analysis demonstrates the audible influence of Schumann and Schubert on Werther, and Massenet's musical approach to the Ossianic tropes of nature, decay and fate.
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- Research Article
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- Copyright © Cambridge University Press, 2020
Footnotes
I am grateful to Sarah Clemmens Waltz, Annelies Andres, Joshua Neumann, Oren Vinogradov and Michele Arace, who provided comments on an earlier version of this manuscript; any errors that remain are my own. The anonymous reviewers provided insightful commentary. This research could not have been conducted without the support of the staff at Founders Library, Howard University; the Performing Arts Reading Room, Library of Congress; and Fintel Library, Roanoke College.
References
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