This article investigates the emergence and evolution of two mainstream romantic tropes (the relationship between the beautiful and the sublime as well as that between man and nature) in the philosophy, aesthetics and painting of Carl Maria von Weber’s time, directing it towards an analysis of Weber’s musical style and expression as manifested in his insert aria for Luigi Cherubini’s Lodoïska “Was Sag Ich,” (J. 239). The essay argues that the cosmopolitan characteristic of Weber’s operatic expression, that is, his merging of French and Italian styles of operatic expression, was a natural consequence of his participation in the synaesthetic movement of the Romantic era.

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Joseph E. Morgan

Fotografía: José Aguilar Civera – @500mg_del_duque_de_devonsire.