Richard Wagner and His World by Thomas S. Grey

By Thomas S. Grey

Richard Wagner (1813-1883) aimed to be greater than only a composer. He got down to redefine opera as a "total paintings of art" combining the top aspirations of drama, poetry, the symphony, the visible arts, even faith and philosophy. both celebrated and vilified in his personal time, Wagner keeps to impress debate this present day concerning his political legacy in addition to his track and aesthetic theories. Wagner and His international examines his works of their highbrow and cultural contexts.
Seven unique essays examine such themes as song drama in mild of rituals of naming within the composer's works and the politics of style; the function of leitmotif in Wagner's reception; the urge for extinction in Tristan und Isolde as psychology and image; Wagner as his personal level director; his conflicted dating with pianist-composer Franz Liszt; the anti-French satire Eine Kapitulation within the context of the Franco-Prussian warfare; and responses of Jewish writers and musicians to Wagner's anti-Semitism. as well as the editor, the individuals are Karol Berger, Leon Botstein, Lydia Goehr, Kenneth Hamilton, Katherine Syer, and Christian Thorau.
This e-book additionally comprises translations of essays, experiences, and memoirs by means of champions and detractors of Wagner; glimpses into his household sphere in Tribschen and Bayreuth; and all of Wagner's application notes to his personal works. Introductions and annotations are supplied through the editor and David Breckbill, Mary A. Cicora, James Deaville, Annegret Fauser, Steven Huebner, David Trippett, and Nicholas Vazsonyi.
Review:
"Offers a lot stimulating fabric, awarded in kaleidoscopic style, that are meant to be required interpreting for someone wanting a extra profound insight."--Della Couling, Classical track Magazine
"Grey once more has ferreted out topics and unique fabric at the composer that have no longer been over-exposed in English translation."--Mike Ashman, Gramophone
TABLE OF CONTENTS:

Preface and Acknowledgments ix
Permissions xv

PART I: ESSAYS
From web page to degree: Wagner as Regisseur 3
KATHERINE SYER
Wagner and Liszt: non-compulsory Affinities 27
KENNETH HAMILTON
From Opera to track Drama: Nominal Loss, Titular achieve 65
LYDIA GOEHR
Eine Kapitulation: Aristophanic Operetta as Cultural conflict 87
in 1870
THOMAS S. GREY
A notice on Tristan's dying want 123
KAROL BERGER
Guides for Wagnerites: Leitmotifs and Wagnerian Listening 133
CHRISTIAN THORAU
German Jews and Wagner 151
LEON BOTSTEIN

PART II: BIOGRAPHICAL CONTEXTS
Wilhelmine Schröder-Devrient and Wagner's Dresden 201
CLAIRE VON GLÜMER, HENRY CHORLEY
TRANSLATED, brought, AND ANNOTATED through THOMAS S. GREY
Catulle Mendès Visits Tribschen 230
CATULLE MENDÈS
TRANSLATED, brought, AND ANNOTATED through THOMAS S. GREY
Recollections of Villa Wahnfried from Wagner's American Dentist 237
NEWELL SILL JENKINS
INTRODUCED AND ANNOTATED by way of THOMAS S. GREY

PART III: towards A song OF the long run, 1840-1860
The Overture to Tannhäuser 251
FRANZ LISZT
INTRODUCED, EDITED, AND ANNOTATED via DAVID TRIPPETT
TRANSLATED by means of JOHN SULLIVAN DWIGHT
Letters to a tender Composer approximately Wagner 269
JOHANN CHRISTIAN LOBE
INTRODUCED, EDITED, AND TRANSLATED by means of DAVID TRIPPETT
Franz Brendel's Reconciliation handle 311
FRANZ BRENDEL
INTRODUCED AND ANNOTATED by way of JAMES DEAVILLE
TRANSLATED via JAMES DEAVILLE AND MARY A. CICORA

PART IV: WAGNER AND PARIS
Wagner Admires Meyerbeer (Les Huguenots) 335
RICHARD WAGNER
TRANSLATED, brought, AND ANNOTATED through THOMAS S. GREY
Debacle on the Paris Opéra: 347
Tannhäuser and the French Critics, 1861
OSCAR COMETTANT, PAUL SCUDO
TRANSLATED via THOMAS S. GREY
INTRODUCED through ANNEGRET FAUSER
ANNOTATED via ANNEGRET FAUSER AND THOMAS S. GREY
The Revue wagnérienne: Symbolism, Aestheticism, 372
and Germanophilia
J. okay. HUYSMANS, TEODOR DE WYZEWA, EDOUARD DUJARDIN
INTRODUCED by means of STEVEN HUEBNER
SELECTIONS TRANSLATED through BRENDAN KING AND CHARLOTTE MANDELL

PART V: THE BAYREUTH ERA
Press Releases from the Bayreuth competition, 1876: 391
An Early test at Spin Control
J. ZIMMERMANN
INTRODUCED, TRANSLATED, AND ANNOTATED by way of NICHOLAS VAZSONYI
Hanslick contra Wagner: 409
"The Ring Cycle involves Vienna" and
"Parsifal Literature"
EDUARD HANSLICK
TRANSLATED, brought, AND ANNOTATED by way of THOMAS S. GREY
Hans von Wolzogen's Parsifal (1887) 426
HANS VON WOLZOGEN
TRANSLATED, brought, AND EDITED through MARY A. CICORA
Cosima Wagner's Bayreuth 435
RICHARD POHL, ARTHUR SEIDL, EUGEN GURA, ARNOLD SCHERING, HEINRICH CHEVALLEY
TRANSLATED via MARY A. CICORA
INTRODUCED AND ANNOTATED by means of DAVID BRECKBILL

PART VI: the whole software NOTES OF RICHARD WAGNER
Wagner Introduces Wagner (and Beethoven): 479
Program Notes Written for live performance Performances by way of and of Richard Wagner, 1846-1880
RICHARD WAGNER
TRANSLATED, ANNOTATED, AND brought via THOMAS S. GREY
Beethoven's 9th Symphony
Beethoven's Eroica Symphony
Beethoven's Coriolan Overture
Overture to Tannhäuser
Overture to Der fliegende Holländer
Prelude to Lohengrin
Tannhäuser
Lohengrin
L. van Beethoven, String Quartet in C-sharp Minor, op. 131
Tristan und Isolde: Prelude to behave 1
Tristan und Isolde: Prelude to behave 1 and end ("Transfiguration")
Die Meistersinger von Nürnberg: Preludes to Acts 1 and 3
Götterdämmerung
Die Walküre
Parsifal: Prelude to behave 1
Index 523
Notes at the individuals 539

Show description

By Thomas S. Grey

Richard Wagner (1813-1883) aimed to be greater than only a composer. He got down to redefine opera as a "total paintings of art" combining the top aspirations of drama, poetry, the symphony, the visible arts, even faith and philosophy. both celebrated and vilified in his personal time, Wagner keeps to impress debate this present day concerning his political legacy in addition to his track and aesthetic theories. Wagner and His international examines his works of their highbrow and cultural contexts.
Seven unique essays examine such themes as song drama in mild of rituals of naming within the composer's works and the politics of style; the function of leitmotif in Wagner's reception; the urge for extinction in Tristan und Isolde as psychology and image; Wagner as his personal level director; his conflicted dating with pianist-composer Franz Liszt; the anti-French satire Eine Kapitulation within the context of the Franco-Prussian warfare; and responses of Jewish writers and musicians to Wagner's anti-Semitism. as well as the editor, the individuals are Karol Berger, Leon Botstein, Lydia Goehr, Kenneth Hamilton, Katherine Syer, and Christian Thorau.
This e-book additionally comprises translations of essays, experiences, and memoirs by means of champions and detractors of Wagner; glimpses into his household sphere in Tribschen and Bayreuth; and all of Wagner's application notes to his personal works. Introductions and annotations are supplied through the editor and David Breckbill, Mary A. Cicora, James Deaville, Annegret Fauser, Steven Huebner, David Trippett, and Nicholas Vazsonyi.
Review:
"Offers a lot stimulating fabric, awarded in kaleidoscopic style, that are meant to be required interpreting for someone wanting a extra profound insight."--Della Couling, Classical track Magazine
"Grey once more has ferreted out topics and unique fabric at the composer that have no longer been over-exposed in English translation."--Mike Ashman, Gramophone
TABLE OF CONTENTS:

Preface and Acknowledgments ix
Permissions xv

PART I: ESSAYS
From web page to degree: Wagner as Regisseur 3
KATHERINE SYER
Wagner and Liszt: non-compulsory Affinities 27
KENNETH HAMILTON
From Opera to track Drama: Nominal Loss, Titular achieve 65
LYDIA GOEHR
Eine Kapitulation: Aristophanic Operetta as Cultural conflict 87
in 1870
THOMAS S. GREY
A notice on Tristan's dying want 123
KAROL BERGER
Guides for Wagnerites: Leitmotifs and Wagnerian Listening 133
CHRISTIAN THORAU
German Jews and Wagner 151
LEON BOTSTEIN

PART II: BIOGRAPHICAL CONTEXTS
Wilhelmine Schröder-Devrient and Wagner's Dresden 201
CLAIRE VON GLÜMER, HENRY CHORLEY
TRANSLATED, brought, AND ANNOTATED through THOMAS S. GREY
Catulle Mendès Visits Tribschen 230
CATULLE MENDÈS
TRANSLATED, brought, AND ANNOTATED through THOMAS S. GREY
Recollections of Villa Wahnfried from Wagner's American Dentist 237
NEWELL SILL JENKINS
INTRODUCED AND ANNOTATED by way of THOMAS S. GREY

PART III: towards A song OF the long run, 1840-1860
The Overture to Tannhäuser 251
FRANZ LISZT
INTRODUCED, EDITED, AND ANNOTATED via DAVID TRIPPETT
TRANSLATED by means of JOHN SULLIVAN DWIGHT
Letters to a tender Composer approximately Wagner 269
JOHANN CHRISTIAN LOBE
INTRODUCED, EDITED, AND TRANSLATED by means of DAVID TRIPPETT
Franz Brendel's Reconciliation handle 311
FRANZ BRENDEL
INTRODUCED AND ANNOTATED by way of JAMES DEAVILLE
TRANSLATED via JAMES DEAVILLE AND MARY A. CICORA

PART IV: WAGNER AND PARIS
Wagner Admires Meyerbeer (Les Huguenots) 335
RICHARD WAGNER
TRANSLATED, brought, AND ANNOTATED through THOMAS S. GREY
Debacle on the Paris Opéra: 347
Tannhäuser and the French Critics, 1861
OSCAR COMETTANT, PAUL SCUDO
TRANSLATED via THOMAS S. GREY
INTRODUCED through ANNEGRET FAUSER
ANNOTATED via ANNEGRET FAUSER AND THOMAS S. GREY
The Revue wagnérienne: Symbolism, Aestheticism, 372
and Germanophilia
J. okay. HUYSMANS, TEODOR DE WYZEWA, EDOUARD DUJARDIN
INTRODUCED by means of STEVEN HUEBNER
SELECTIONS TRANSLATED through BRENDAN KING AND CHARLOTTE MANDELL

PART V: THE BAYREUTH ERA
Press Releases from the Bayreuth competition, 1876: 391
An Early test at Spin Control
J. ZIMMERMANN
INTRODUCED, TRANSLATED, AND ANNOTATED by way of NICHOLAS VAZSONYI
Hanslick contra Wagner: 409
"The Ring Cycle involves Vienna" and
"Parsifal Literature"
EDUARD HANSLICK
TRANSLATED, brought, AND ANNOTATED by way of THOMAS S. GREY
Hans von Wolzogen's Parsifal (1887) 426
HANS VON WOLZOGEN
TRANSLATED, brought, AND EDITED through MARY A. CICORA
Cosima Wagner's Bayreuth 435
RICHARD POHL, ARTHUR SEIDL, EUGEN GURA, ARNOLD SCHERING, HEINRICH CHEVALLEY
TRANSLATED via MARY A. CICORA
INTRODUCED AND ANNOTATED by means of DAVID BRECKBILL

PART VI: the whole software NOTES OF RICHARD WAGNER
Wagner Introduces Wagner (and Beethoven): 479
Program Notes Written for live performance Performances by way of and of Richard Wagner, 1846-1880
RICHARD WAGNER
TRANSLATED, ANNOTATED, AND brought via THOMAS S. GREY
Beethoven's 9th Symphony
Beethoven's Eroica Symphony
Beethoven's Coriolan Overture
Overture to Tannhäuser
Overture to Der fliegende Holländer
Prelude to Lohengrin
Tannhäuser
Lohengrin
L. van Beethoven, String Quartet in C-sharp Minor, op. 131
Tristan und Isolde: Prelude to behave 1
Tristan und Isolde: Prelude to behave 1 and end ("Transfiguration")
Die Meistersinger von Nürnberg: Preludes to Acts 1 and 3
Götterdämmerung
Die Walküre
Parsifal: Prelude to behave 1
Index 523
Notes at the individuals 539

Show description

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Sample text

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.

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