The New Shudder

" It is a new shudder, but not an old fear. " Jean Paul' s sentence contains an aesthetic of the fantastic in nuce. It is based not least on the philosophy of Friedrich Heinrich Jacobi and aims at the essence of Romanticism. In addition to works by Mozart, Beethoven, Schumann and Wagner, the Romantic magic opera by Spohr, Weber and Marschner are placed in the centre of interest against this background, as well as the music-aesthetic discourse accompanying them, which was led by Tieck, Hoffmann and Horn, A. B. Marx, Brendel and Pohl, are analysed. Contrary to the tradition of musicological research, which, if not taboo, at least trivialised the fantastic, Kämpf arrives at a new understanding of musical Romanticism, according to which it does not lose its affiliation with modernity and its impact on the present because of the fantastic, but only gains it.

Concept, state of research, problem. - The fantastic between imitation of nature and poetic truth. - The fantastic between social reality and musical progress. - The fantastic of musical romanticism and musical modernism after 1900.