By Robert W. Witkin
Publish yr note: First released February nineteenth 1998
More than half the broadcast works of Theodor Adorno have been dedicated to his reports in song. As his popularity has grown lately, even if, Adorno’s paintings on song has remained a overlooked zone due to its musicological complexity.
This is the 1st designated account of Adorno’s texts on track from a sociological point of view. In transparent, non-technical language, Robert Witkin courses the reader during the complexities of Adorno’s argument concerning the hyperlinks among track and morality and among musical works and social constitution. Separate chapters handle his remedy of Beethoven, Wagner, Mahler and Berg, Schoenberg, Stravinsky and eventually jazz. all through, Witkin develops a sociology of the artwork during which Adorno’s writings on tune could be understood. It was once via those works greater than any others that Adorno tested the ideal of the humanities to be said as an ethical and important strength within the improvement of a latest society. by way of improving them for non-musicologists, Witkin provides immeasurably to our appreciation of this immense of twentieth-century proposal.
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Despite Wagner’s huge reservations about a revival of Tristan und Isolde in Leipzig, given the massive challenges entailed in bringing it to the stage the first time, Seidl had scored a major success with the work. ”41 Seidl’s close identification with the Ring in these years was confirmed by the far-ranging tour of Neumann’s “Traveling Richard Wagner Theater,” during which Seidl conducted nearly 135 Ring performances and 58 concerts between September 1, 1882, and June 5, 1883. Seidl took note of all these performances in a small notebook, a study in understatement given the nature of the enterprise: Friday Sept.
38 • ↑ Kenneth Hamilton Liszt regularly consulted Wagner in his Zurich exile over questions ranging from titles for his arrangements to the structural details of their layout. ”29 On the latter point things were different. The formal scheme of Liszt’s arrangement of the Act 3 prelude and “Bridal Chorus” from Lohengrin––two statements of the main material of the prelude framing a treatment of the chorus “Treulich geführt” (“Here Comes the Bride” to English speakers)––was devised by Wagner for his Zurich concerts of May 1853 and quickly taken over by Liszt for his transcription.
Sarah Hibberd carefully distinguishes somnambulism from madness in French stage works of the late 1820s and illuminates the rich web of musical allusions that Hérold employed in conjunction with Thérèse’s somnambulistic tendencies. See her article “‘Dormez donc, mes chers amours’: Hérold’s La Somnambule (1827) and dream phenomena on the Parisian lyric stage,” Cambridge Opera Journal, 16/2 (July 2004): 107–32. • 24 • Notes to FROM PAGE TO STAGE: WAGNER AS REGISSEUR 15. Wagner’s own accounts of his early experiences of Schröder-Devrient in performance have often been questioned for their accuracy.