Amerika und Europa von Marlborough bis Mirabeau. Die weltpolitische Bedeutung des belgisch-bairischen Tauschprojekts im Rahmen der hydro-geographischen Donau-Rhein-Scheldepolitik und der österreichisch-amerikanischen Handelspläne Kaiser Josephs II. und John Adams'. Die Verknüpfung des belgisch-bairischen Tauschprojekts mit der maritimen Expansionspolitik der Zarin Katharina II. und dem englisch-französischen Vorherrschaftskampfe bis 1796. Ernst F. S. Hanfstaengl

From the first days, of the first session, of the first Congress of the United States, the Senate was consumed by an issue that would do immense and lasting political harm to the sitting vice president, John Adams. The issue was a seemingly unimportant one: titles. Adams had strong opinions on what constituted a proper title for important officers of government and, either because he was unconcerned or unaware of the damage it would cause, placed himself in the middle of the brewing dispute. Adams hoped the president would be referred to as, “His highness, the President of the United States of America, and Protector of the Rights of the Same.” The suggestion enraged many, amused some, and was supported by few. He lost the fight over titles and made fast enemies with several of the Senators he was constitutionally obligated to preside over. Adams was savaged in the press, derided in the Senate and denounced by one of his oldest and closest friends. Not simply an isolated incident of political tone-deafness, this event set the stage for the campaign against Adams as a monarchist and provided further proof of his being woefully out of touch.

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John Adams, Klinghoffer and The Transmigration of Souls: Musical Responses to Terrorism

Public Voices ◽

10.22140/pv.203 ◽

2017 ◽

Vol 9 (1) ◽

pp. 58

Author(s):

John Anderson

Keyword(s):

Modern World ◽

The Political ◽

John Adams ◽

Political Dialogue ◽

The Way

This paper explores the way in which the music of John Adams responds to terrorism and looks at some of the controversies surrounding his work. It represents a reflection on how the musical and the political can interact in the modern world, engaging his work on the level of political dialogue.

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