Word: schrade
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Dates: during 1960-1969
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...previous lectures, Schrade called such music dramas only close forms of tragedy; he claimed that baroque opera consisted only of "tragic situations" and that Wagner did not depart from this practice...
Baroque opera laid the ground for all music drama that was to follow it, contended Leo Schrade at his fourth Norton lecture last night. The aim of all opera from then on was, he said, the declamation of human passion...
...Schrade also used fate as the criterion for determining the character of the tragedy which a musical drama conveys. Baroque opera, he said, held "not providence, not moira, but man himself" as the source of fate, for man lived, in their view, "under the sway of the demon of his passion...
...Schrade, Charles Eliot Norton Professor of Poetry, will deliver the fourth Charles Eliot Norton lecture for 1962-63 in Paine Hall tonight...
...rather made it a human condition which the opera sought to communicate. The tragic element in his works was only "a momentary constellation and not of lasting significance, its roots are in human nature and the real and not in fate or the propitious shape of art." Schrade lays great emphasis on the role of fate in tragedy; he thus set Monteverdi's use of it apart from a truer form...