The symbolism of national glory in the “Freischütz” by K. M. Weber

Abstract

The purpose of the study is to highlight in the generalized expressiveness of the famous opera by K.M. Weber the means of embodying national glory through the spiritual greatness of heroes in accordance with the mysterious and theatrical traditions of the German cultural world. The methodological basis is the analytical, historical, comparative, interdisciplinary methods presented in the works of A. Losev, V. Lychkovakh, as well as the hermeneutic section of the intonational musicological expedition, which we find in the works of B. Asafiev, as well as in the works of E. Markova, O. Muravskaya, etc. The scientific novelty is due to the innovative perspective of expressing the named opera by K. M. Weber as the embodiment of the religious ideals of the Undivided Church, which were in the center of attention of Biedermeier as national-artistic refraction of the ideas of the Restoration. Conclusions. The national fame as the cultural and artistic heritage of the German nation in the conditions of the state and confessional delimitations was recognized in the Biedermeier wave at the level of revealing the spiritual chosenness of heroes, consecrated in the musical interpretation by the traditions of the «Hubert Mass» with indicative symbols of horn heights and timbre, and in the plot, the nomination of the figure of the Hermit as a vestige of primitive Christian virtues, placing the chosen one at the rank of a feat of action of Agatha in Atonement but. The final chorus raises female devotion to the level of national glorification; and this represents a new turn in national thinking in memory of the forgotten and revived glory of the first Christian sacrifice.