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 murals" 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 maintains to impress debate this day relating to his political legacy in addition to his tune and aesthetic theories. Wagner and His international examines his works of their highbrow and cultural contexts. Seven unique essays examine such subject matters as track 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 degree director; his conflicted courting 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 participants are Karol Berger, Leon Botstein, Lydia Goehr, Kenneth Hamilton, Katherine Syer, and Christian Thorau. This ebook additionally contains translations of essays, studies, and memoirs by means of champions and detractors of Wagner; glimpses into his family sphere in Tribschen and Bayreuth; and all of Wagner's application notes to his personal works. Introductions and annotations are supplied by way of the editor and David Breckbill, Mary A. Cicora, James Deaville, Annegret Fauser, Steven Huebner, David Trippett, and Nicholas Vazsonyi.
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Additional resources for Richard Wagner and His World (Bard Music Festival)
35. For a more detailed discussion of the early production history of Parsifal through to the end of World War I, in Bayreuth and elsewhere, see my “Parsifal on Stage,” in A Companion to Wagner’s “Parsifal,” ed. William Kinderman and Katherine R. , 2005), 277–99. 36. Carnegy, Wagner and the Art of the Theatre, 93. 37. Angelo Neumann, Erinnerungen an Richard Wagner (Leipzig, 1907), 20. 38. Hey, Richard Wagner als Vortragsmeister, 110. 39. On the legacy of Wagner’s first Bayreuth festival and some of the singers he trained, see the accounts of the 1886 and subsequent festivals in Part V of this volume.
15–25 for a description of theatrical offerings in Paris. Mathias Spohr broadens the lens beyond technology in his examination of the influence of melodrama, from the period of Wagner’s youth through to the popular forms of theater in Paris. See his “Medien, Melodramen und ihr Einfluß auf Richard Wagner,” in Richard Wagner und seine “Lehrmeister,” ed. Christoph-Hellmut Mahling and Kristina Pfarr (Mainz, 1999), 49–89. Dieter Borchmeyer fascinatingly probes dense literary and theatrical contexts of Wagner’s development in Das Theater Richard Wagners (Stuttgart, 1982); trans.
26 • Wagner and Liszt: Elective Affinities KENNETH HAMILTON In biographies of Wagner and Liszt the figure of the other always looms large, whether as supported or supporter, borrower or lender, unlikely son-in-law or reluctant father-in-law. 1 Their destinies had been closely entwined since the late 1840s, when Wagner was enduring one of the deepest of his self-inflicted sloughs of despair, and Liszt was distancing himself from the profession of piano virtuoso that had made him famous. 2 In the process, Liszt desperately desired to shift his own artistic persona from pianist to composer, from the ephemeral triumphs of the concert stage to the more lasting laurels of the creative artist.