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Stream the best stories. Start Your Free Trial. Sturm und Drang came to be associated with literature or music aimed at shocking the audience or imbuing them with extremes of emotion.
The movement soon gave way to Weimar Classicism and early Romanticism , whereupon a socio-political concern for greater human freedom from despotism was incorporated along with a religious treatment of all things natural.
There is much debate regarding whose work should or should not be included in the canon of Sturm und Drang. Nevertheless, the originators of the movement came to view it as a time of premature exuberance that was then abandoned in favor of often conflicting artistic pursuits.
The literary topos of the "Kraftmensch" existed as a precursor to Sturm und Drang among dramatists beginning with F.
Klinger , the expression of which is seen in the radical degree to which individuality need appeal to no outside authority save the self nor be tempered by rationalism.
Significant theoretical statements of Sturm und Drang aesthetics by the movement's central dramatists themselves include Lenz' Anmerkungen übers Theater and Goethe's Von deutscher Baukunst and Zum Schäkespears Tag sic.
The most important contemporary document was the volume Von deutscher Art und Kunst. Einige fliegende Blätter , a collection of essays that included commentaries by Herder on Ossian and Shakespeare, along with contributions by Goethe, Paolo Frisi in translation from the Italian , and Justus Möser.
The protagonist in a typical Sturm und Drang stage work, poem , or novel is driven to action—often violent action—not by pursuit of noble means nor by true motives, but by revenge and greed.
Goethe 's unfinished Prometheus exemplifies this along with the common ambiguity provided by juxtaposing humanistic platitudes with outbursts of irrationality.
The story of hopeless love and eventual suicide presented in Goethe 's sentimental novel Die Leiden des jungen Werthers is an example of the author's tempered introspection regarding his love and torment.
Friedrich Schiller 's drama, Die Räuber , provided the groundwork for melodrama to become a recognized dramatic form.
The plot portrays a conflict between two aristocratic brothers, Franz and Karl Moor. Franz is cast as a villain attempting to cheat Karl out of his inheritance, though the motives for his action are complex and initiate a thorough investigation of good and evil.
Both of these works are seminal examples of Sturm und Drang in German literature. The Classical period music — associated with Sturm und Drang is predominantly written in a minor key to convey difficult or depressing sentiments.
The principal themes tend to be angular, with large leaps and unpredictable melodic contours. Tempos and dynamics change rapidly and unpredictably in order to reflect strong changes of emotion.
Pulsing rhythms and syncopation are common, as are racing lines in the soprano or alto registers. Writing for string instruments features tremolo and sudden, dramatic dynamic changes and accents.
Musical theater became the meeting place of the literary and musical strands of Sturm und Drang , with the aim of increasing emotional expression in opera.
The obligato recitative is a prime example. Here, orchestral accompaniment provides an intense underlay of vivid tone-painting to the solo recitative.
Christoph Willibald Gluck 's ballet, Don Juan , heralded the emergence of Sturm und Drang in music; the program notes explicitly indicated that the D minor finale was to evoke fear in the listener.
Jean Jacques Rousseau 's play, Pygmalion first performed in is a similarly important bridge in its use of underlying instrumental music to convey the mood of the spoken drama.
The first example of melodrama , Pygmalion influenced Goethe and other important German literary figures.
Nevertheless, relative to the influence of Sturm und Drang on literature, the influence on musical composition was limited, and many efforts to label music as conforming to this trend are tenuous at best.
The clearest musical connections to the self-styled Sturm und Drang movement can be found in opera and the early predecessors of program music , such as Haydn's "Farewell" Symphony.
A Sturm und Drang period is often attributed to the works of the Austrian composer Joseph Haydn from the late s to early s. Works during this period often feature a newly impassioned or agitated element; however, Haydn never mentions Sturm und Drang as a motivation for his new compositional style,  and there remains an overarching adherence to classical form and motivic unity.
Though Haydn may not have been consciously affirming the anti-rational ideals of Sturm und Drang , one can certainly perceive the influence of contemporary trends in musical theatre on his instrumental works during this period.
Mozart 's Symphony No. Beyond the atypical key, the symphony features rhythmic syncopation along with the jagged themes associated with Sturm und Drang.
However, it is likely the influence of numerous minor-key works by the Czech composer Johann Baptist Wanhal a Viennese contemporary and acquaintance of Mozart , rather than a self-conscious adherence to a German literary movement, which is responsible for the harmonic and melodic experiments in the Symphony no.
The parallel movement in the visual arts can be witnessed in paintings of storms and shipwrecks showing the terror and irrational destruction wrought by nature.
These pre- romantic works were fashionable in Germany from the s on through the s, illustrating a public audience for emotionally provocative artwork.
Additionally, disturbing visions and portrayals of nightmares were gaining an audience in Germany as evidenced by Goethe 's possession and admiration of paintings by Fuseli capable of 'giving the viewer a good fright.
The Sturm und Drang movement did not last long; according to Betty Waterhouse it began in and ended in Waterhouse v. The rise of the middle class in the 18th century led to a change in the way society and social standings were looked at.
Dramatists and writers saw the stage as a venue for critique and discussion of societal issues. After the Seven Years' War , which ended in , German spirit was extremely high and Germans felt a sense of importance on a grander stage.
The aristocracy gained power as the ruling class, furthering the divide and increasing tensions between the classes Liedner viii.
With these new ideals came the sense that a new form of art capable of dethroning the extremely popular French neoclassicism was needed.
Germany did not have a common nationality, and the nation broke up into hundreds of small states.