Grünewald to Borromini

March 20 2014

After-comment to a recent post on Peter Maxwell Davies:

“When Max dramatises Borromini in his symphony with a baritone setting of his last testament, one thinks of operatic dramatisations of Renaissance, Reformation, Counter-Reformation minds and consciences: Pfitzner’s Palestrina, Krenek’s Karl V, Hindemith’s Mathis der Maler about Grünewald and his Die Harmonie der Welt about Kepler, Max’s own Taverner.

I don’t particularly want to add Philip Glass’s Galileo here, but perhaps I should.

And of Britten’s and Shostakovich’s Italian settings of Michelangelo and Henze’s of Bruno in Novae de infinito laudes.

There’s no opera about Luther, but he is a protagonist in Karl V.

Could Sessions’s Montezuma be brought in, via the mind of Cortés?

Birth dates:

Grünewald 1470

Michelangelo 1475

Luther 1483

Cortés 1485

Taverner 1490

Charles V 1500

Palestrina 1525

Bruno 1548

Galileo 1564

Kepler 1571

Borromini 1599”

One Response to “Grünewald to Borromini”

  1. davidderrick Says:

    Perhaps Schoenberg’s Moses and Aaron is another of these serious “operas of conscience”. Consciences at transitional moments in history.

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