Singspiels of Hans Iver Horn

Annabella Skagen

doi:10.7557/4.5527

Abstract

This article focuses on two singspiels that were created in the intersection of professional and amateur production in Denmark-Norway during the Danish-Swedish war of 1808–1809, namely Kapertoget (The Capturing Raid) and Fredsfesten (The Peace Festival). Both were written by the Danish-Norwegian physician Hans Iver Horn, with music by Friedrich L.Æ. Kunzen and Hans Hagerup Falbe, respectively. They are among the rare examples of plays in this period where the setting, characters and action are presented from a Norwegian point of view. During the years of war leading up to 1814, questions of nationality and national identity became increasingly significant in Denmark-Norway. The article examines the representation of Norwegian identity and self-perception, ideals of patriotism, and political tendencies in Horn’s scripts, seen within their historical performance context. The analyses demonstrate an ongoing negotiation between an established twin-state patriotism and a separate Norwegian nationalist identity, with an early Scandinavist interest in Sweden as a possible liaison. The national character probably found expression through staging and music as well as in the written dialogue. The article argues that singspiels and occasional dramas produced within amateur circles should be seen as part of a politically charged discourse, reflecting and affecting issues of historical significance.

Highlights

The dramatic form of the singspiel was popular in the twin-realms of Denmark and Norway both before and after the countries were separated in 1814.1 Plays in this genre were produced and performed by the Royal Theatre in Copenhagen as well as by the widespread private amateur dramatic societies in both countries
This article focuses on two singspiels that were created in the intersection of professional and amateur production in Denmark-Norway during the DanishSwedish war of 1808–1809, namely Kapertoget (Kapertoget) and Fredsfesten (Fredsfesten)
Both were written by the Danish-Norwegian physician Hans Iver Horn, with music by Friedrich L.Æ

Summary

Introduction

The dramatic form of the singspiel (syngespil) was popular in the twin-realms of Denmark and Norway both before and after the countries were separated in 1814.1 Plays in this genre were produced and performed by the Royal Theatre in Copenhagen as well as by the widespread private amateur dramatic societies in both countries. While closely related to the traditions of representative, occasional theatre, the genre was influenced both by the satirical esprit of rationalism as well as by a new mode for sentimentality, which in Denmark-Norway found its particular expression in the scenic rendition of a recognizable, bourgeois life-world These dynamics contributed in making the singspiel a form of theatre imbued with references to Danish-Norwegian society and politics. This article focuses on two rarely discussed singspiels that were created in the intersection of professional and amateur production during the long eighteenth century, namely Kapertoget (Kapertoget) and Fredsfesten (Fredsfesten) Both were written by Danish-Norwegian physician Hans Iver Horn (1761–1836), with music by Friedrich L.Æ. Patriotic ideals and conceptions of national identity were expressed in the plays within their performance contexts?

Article structure and research method

Dramatic action

Discussion