Contrary to the dominant view of modernity as future-oriented, defined by the new and the progressive, this chapter explores musical modernity as shaped around a prevailing sense of lateness. This idea is enacted in operas based on the myth of Orpheus, from Monteverdi’s Orfeo (1607) to Birtwistle’s The Mask of Orpheus (1986), but also in Wagner whose music dramas are structured by their compulsion to retell the past and which foreground a failure to actualize the new. More broadly, the pastoral, from Monteverdi’s madrigals and the Lieder of Schubert and Schumann to musical Modernism, provides the site of a musical re-membering, piecing back together the brokenness of the past in the re-enchantment of the world through the singing voice.
Oxford Scholarship Online requires a subscription or purchase to access the full text of books within the service. Public users can however freely search the site and view the abstracts and keywords for each book and chapter.
If you think you should have access to this title, please contact your librarian.