The Fade Out: Metaphysics and Dialectics in Wagner
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English Translation of the German by Tom Hammond
Richard Strauss Susan Bullock Sally Burgess John Graham-Hall John Wegner Philharmonia Orchestra Sir Charles Mackerras CHAN 3157(2) (1864 –1949) © Lebrecht Music & Arts Library Photo Music © Lebrecht Richard Strauss Salome Opera in one act Libretto by the composer after Hedwig Lachmann’s German translation of Oscar Wilde’s play of the same name, English translation of the German by Tom Hammond Richard Strauss 3 Herod Antipas, Tetrarch of Judea John Graham-Hall tenor COMPACT DISC ONE Time Page Herodias, his wife Sally Burgess mezzo-soprano Salome, Herod’s stepdaughter Susan Bullock soprano Scene One Jokanaan (John the Baptist) John Wegner baritone 1 ‘How fair the royal Princess Salome looks tonight’ 2:43 [p. 94] Narraboth, Captain of the Guard Andrew Rees tenor Narraboth, Page, First Soldier, Second Soldier Herodias’s page Rebecca de Pont Davies mezzo-soprano 2 ‘After me shall come another’ 2:41 [p. 95] Jokanaan, Second Soldier, First Soldier, Cappadocian, Narraboth, Page First Jew Anton Rich tenor Second Jew Wynne Evans tenor Scene Two Third Jew Colin Judson tenor 3 ‘I will not stay there. I cannot stay there’ 2:09 [p. 96] Fourth Jew Alasdair Elliott tenor Salome, Page, Jokanaan Fifth Jew Jeremy White bass 4 ‘Who spoke then, who was that calling out?’ 3:51 [p. 96] First Nazarene Michael Druiett bass Salome, Second Soldier, Narraboth, Slave, First Soldier, Jokanaan, Page Second Nazarene Robert Parry tenor 5 ‘You will do this for me, Narraboth’ 3:21 [p. 98] First Soldier Graeme Broadbent bass Salome, Narraboth Second Soldier Alan Ewing bass Cappadocian Roger Begley bass Scene Three Slave Gerald Strainer tenor 6 ‘Where is he, he, whose sins are now without number?’ 5:07 [p. -
Wagner Sept 2012.Indd
Wagner Society in NSW Inc. Maximise your enjoyment and understanding of Wagner’s music Newsletter No. 126, September 2012 In Memoriam DENIS CONDON Piano Historian & Collector Dies - Article Below President’s Report Welcome to the third newsletter for 2012. STOP PRESS 1: It has been an exciting time for us Wagner lovers. First, our patron, Simone Young somehow managed to fi t us On 12 August a capacity audience of Members into an incredibly busy schedule, and was the star of our and guests met our Patron, Simone Young AO. last function, on 12 August. An unprecedented number A large group went north to hear the Hamburg attended the event – 160 in all - including a quite a few Opera Orchestra and cast of Das Rheingold in two non-members, some of whom joined the Society on the sensational performances. spot. The fi rst part of the meeting consisted of an interview between Francis Merson and Maestra Young (I refuse to call her “Maestro,” so henceforth she will be “Simone”). Francis is the editor of Limelight Magazine, and he asked a number of interesting questions about Simone’s background and her future plans. Simone, who was amazingly relaxed, given her other commitments, gave very full responses about her musical experiences, and spoke in an extremely frank and sometimes self-deprecating manner. We were treated to a number of anecdotes from her life, delivered with great humour. Some of them are described in detail later in this newsletter. As to her future plans, she is committed to remain in Hamburg until the end of the 2015 season, at which time she proposes to do freelance work. -
Reflections on Wagner Dream) Comment Je Compose - Réflexions Sur Wagner Dream Jonathan Harvey
Document généré le 29 sept. 2021 06:11 Circuit Musiques contemporaines How do I compose? (Reflections on Wagner Dream) Comment je compose - Réflexions sur Wagner Dream Jonathan Harvey La fabrique des oeuvres Résumé de l'article Volume 18, numéro 1, 2008 Dans ce texte écrit en mai 2007, Jonathan Harvey s’interroge sur sa manière de composer, à la faveur d’un retour rétrospectif sur la genèse de son opéra URI : https://id.erudit.org/iderudit/017907ar Wagner Dream. Il aborde notamment : les évocations personnelles associées à DOI : https://doi.org/10.7202/017907ar la première note jouée par le cor ; la logique de conception des deux espaces harmoniques principaux ; l’incidence d’une forte tempête qui s’est produite Aller au sommaire du numéro sur l’un des lieux de la composition ; ce qu’il a tiré de la pensée et l’oeuvre de Wagner pour son opéra. Éditeur(s) Les Presses de l'Université de Montréal ISSN 1183-1693 (imprimé) 1488-9692 (numérique) Découvrir la revue Citer cet article Harvey, J. (2008). How do I compose? (Reflections on Wagner Dream). Circuit, 18(1), 38–43. https://doi.org/10.7202/017907ar Tous droits réservés © Les Presses de l’Université de Montréal, 2008 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. -
Read Book Wagner on Conducting
WAGNER ON CONDUCTING PDF, EPUB, EBOOK Richard Wagner,Edward Dannreuther | 118 pages | 01 Mar 1989 | Dover Publications Inc. | 9780486259321 | English | New York, United States Richard Wagner | Biography, Compositions, Operas, & Facts | Britannica Impulsive and self-willed, he was a negligent scholar at the Kreuzschule, Dresden , and the Nicholaischule, Leipzig. He frequented concerts, however, taught himself the piano and composition , and read the plays of Shakespeare, Goethe, and Schiller. Wagner, attracted by the glamour of student life, enrolled at Leipzig University , but as an adjunct with inferior privileges, since he had not completed his preparatory schooling. Although he lived wildly, he applied himself earnestly to composition. Because of his impatience with all academic techniques, he spent a mere six months acquiring a groundwork with Theodor Weinlig, cantor of the Thomasschule; but his real schooling was a close personal study of the scores of the masters, notably the quartets and symphonies of Beethoven. He failed to get the opera produced at Leipzig and became conductor to a provincial theatrical troupe from Magdeburg , having fallen in love with one of the actresses of the troupe, Wilhelmine Minna Planer, whom he married in In , fleeing from his creditors, he decided to put into operation his long-cherished plan to win renown in Paris, but his three years in Paris were calamitous. Living with a colony of poor German artists, he staved off starvation by means of musical journalism and hackwork. In , aged 29, he gladly returned to Dresden, where Rienzi was triumphantly performed on October The next year The Flying Dutchman produced at Dresden, January 2, was less successful, since the audience expected a work in the French-Italian tradition similar to Rienzi and was puzzled by the innovative way the new opera integrated the music with the dramatic content. -
Apocalypticism in Wagner's Ring by Woodrow Steinken BA, New York
Title Page Everything That Is, Ends: Apocalypticism in Wagner’s Ring by Woodrow Steinken BA, New York University, 2015 MA, University of Pittsburgh, 2018 Submitted to the Graduate Faculty of the Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2021 Committee Page UNIVERSITY OF PITTSBURGH DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Woodrow Steinken It was defended on March 23, 2021 and approved by James Cassaro, Professor, Music Adriana Helbig, Associate Professor, Music David Levin, Professor, Germanic Studies Dan Wang, Assistant Professor, Music Dissertation Director: Olivia Bloechl Professor, Music ii Copyright © by Woodrow Steinken 2021 iii Abstract Everything That Is, Ends: Apocalypticism in Wagner’s Ring Woodrow Steinken, PhD University of Pittsburgh, 2021 This dissertation traces the history of apocalypticism, broadly conceived, and its realization on the operatic stage by Richard Wagner and those who have adapted his works since the late nineteenth century. I argue that Wagner’s cycle of four operas, Der Ring des Nibelungen (1876), presents colloquial conceptions of time, space, and nature via supernatural, divine characters who often frame the world in terms of non-rational metaphysics. Primary among these minor roles is Erda, the personification of the primordial earth. Erda’s character prophesies the end of the world in Das Rheingold, a prophecy undone later in Siegfried by Erda’s primary interlocutor and chief of the gods, Wotan. I argue that Erda’s role changes in various stage productions of the Ring, and these changes bespeak a shifting attachment between humanity, the earth, and its imagined apocalyptic demise. -
'Alles, Was Ist, Endet:' on Dramatic Text, Absolute Music, Adorno, and Wagner's Ring
SHERRY D. LEE ‘Alles, was ist, endet:’ On Dramatic Text, Absolute Music, Adorno, and Wagner’s Ring ABSTRACT The crux of the operatic genre has always been the perennially problematic relationship between text and music. Richard Wagner attempted to solve this con- undrum in his new art form of music drama – first embodied in his monumental Ring cycle – which he theorized in gendered terms as a union of poetry (male) and music (female), an imagined marriage between the qualities of Shakespearean drama and Beethovenian symphony. But according to Theodor Adorno, the very notion of symphonic music, which follows its own musical logic, is antitheti- cal to the genre of opera, which demands that music construct itself according to its relationship to language. From the impasse between the demands of the opera- tic art form and the increasingly autonomous music of the late nineteenth and early twentieth centuries, he theorized the end of opera itself in the age of mod- ernism. This article entwines Wagner’s concept of music drama, the musico- dramatic character of Erda who prophesies the end of the world in the Ring, and Adorno’s diagnosis of opera’s fatal condition in the decades following Wagner, to examine the principle of ending in opera, and of opera, and how the former can be read as a prefiguration of the latter. ‘All that is, ends.’ This terse announcement is made by the goddess Erda in act 4 of Das Rheingold, the opening opera in Richard Wagner’s monumental Ring cycle. The prophecy of an inevitable end, which hangs over the entire remainder of this fifteen-plus-hour opus, arrives near the end of the begin- ning of the Ring and dramatically signals the beginning of the end. -
Journal Des Richard-Wagner- Verbandes Leipzig
Journal des Richard-Wagner- Verbandes Leipzig Aktuelles aus der Geburtsstadt des Meisters 1 / 2016 durch die Stadtverwaltung. Dafür ist unser Geburtstagsfeier für Richard Wagner Verband dankbar, auch den vielen Mitgliedern und Vorsitzenden von Wagner-Verbänden auf dem Richard-Wagner-Platz weltweit, die sich für unseren Richard- Wagner-Platz als identitätsstiftenden Ort deutscher Kulturgeschichte stark machten. eipzig ist immer eine Aufregung wert. Kopfschütteln. Soviel Aufmerksamkeit hatte Somit können die Leipziger und ihre Gäste LDie Stadt machte in den letzten Monaten Leipzig seit den Richard-Wagner-Festtagen am 21. Mai 2016 an der traditionellen öffent- unter Kulturfreunden von sich reden, als der Stadt zum 200. Geburtstag ihres weltweit lichen Kaffeetafel auf dem Richard-Wagner- eine Initiative den Weg von der fixen Idee auf berühmtesten Sohnes 2013 nicht mehr. Die Platz auf den 203. Geburtstag des Meisters der Straße bis in den Stadtrat fand, um auf Notwendigkeit war dem Image der Musik- anstoßen. Richard Wagner steht per se wie dem Richard-Wagner-Platz den virulenten stadt allerdings nicht zuträglich. Wir waren der nach ihm benannte Platz, an dem unser Zeitgeist zu etablieren. Unsere Mitglieder selbst erstaunt über Unterschriftensamm- Verband seinen Sitz hat, für Weltoffenheit, beteiligten sich nicht an dem Geschrei auf lungen in deutschen und französischen Internationalität und kulturelle Identität. und im Umfeld des Richard-Wagner-Platzes, Städten und eine Welle der Solidarität, auch sondern mahnten mit ihrem Vorstand mit unserem Verband. Das schätzt auch die Vielzahl internationaler kulturpolitische Vernunft an. Mitglieder und Gäste. Mit ihnen feiern wir Über 9000 Unterschriften mit überwiegend die Richard-Wagner-Festtage Leipzig vom Offen für Gespräche, z. -
2018 DAS EWIG–WEIBLICHE in WAGNERS RING Masterproef
Academiejaar 2017 – 2018 DAS EWIG–WEIBLICHE IN WAGNERS RING EEN EVALUATIE VAN DE RECENTE FILOSOFISCHE INZICHTEN VAN ROGER SCRUTON OVER DE ROL VAN DE VROUW IN DER RING DES NIBELUNGEN VAN RICHARD WAGNER Masterproef voorgelegd aan de Faculteit Letteren en Wijsbegeerte, Vakgroep Kunst-, Muziek- en Theaterwetenschappen, voor het verkrijgen van de graad van Master, door Eddy Verelst (01003645). Promotor: prof. dr. Francis Maes 1 Inhoudsopgave I. Inleiding 4 II. Roger Scruton en The Ring of Truth 6 II.1. Hoe het verhaal van Der Ring kan begrepen worden 6 II.2. Karakter en symbool 8 II.2.1. Brünnhilde kiest voor menselijkheid 8 II.2.2. Brünnhilde en Siegfried ontdekken liefde 11 II.2.3. Verdere transities van Brünnhilde 16 II.3. Liefde en macht 21 II.4. Siegfried en andere problemen 22 II.5. Terugblik 25 II.6. Samenvatting van de visie van Scruton 27 III. Andere auteurs over de vrouw in Der Ring des Nibelungen 28 III.1. Friedrich Nietzsche: ook Wagner werd verlost 30 III.2. George Bernard Shaw: een kwestie van grote emoties 33 III.3. Robert Donington: het vrouwelijk innerlijk van de man, het mannelijk innerlijk van de vrouw 35 III.4. Deryck Cooke: meerdere betekenissen van Brünnhilde’s slotmonoloog 37 III.5. Catherine Clément: het vrouwelijke personage in een ander daglicht 41 III.6. Carolyn Abbate: Brünnhilde komt tot wijsheid en rijpheid 44 III.7. Willem Bruls: de liefde als redmiddel? 47 III.8. Karol Berger: de vrije keuze van Brünnhilde 50 III.9. Recapitulatie 55 IV. Wat gebeurt er op de scène: beschouwingen bij de praktijk 56 IV.1. -
"How Do I Compose? (Reflections on Wagner Dream) "
Article "How do I compose? (Reflections on Wagner Dream) " Jonathan Harvey Circuit : musiques contemporaines, vol. 18, n° 1, 2008, p. 38-43. Pour citer cet article, utiliser l'information suivante : URI: http://id.erudit.org/iderudit/017907ar DOI: 10.7202/017907ar Note : les règles d'écriture des références bibliographiques peuvent varier selon les différents domaines du savoir. Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y compris la reproduction) est assujettie à sa politique d'utilisation que vous pouvez consulter à l'URI https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Érudit est un consortium interuniversitaire sans but lucratif composé de l'Université de Montréal, l'Université Laval et l'Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. Érudit offre des services d'édition numérique de documents scientifiques depuis 1998. Pour communiquer avec les responsables d'Érudit : [email protected] Document téléchargé le 10 février 2017 03:25 et l’unicité du métier, à la fois sur le plan administratif et sur 5. Modalys est un logiciel de synthèse par modèles physiques celui de la formation universitaire (voir notamment http :// conçu et développé par l’équipe de recherche Acoustique rim2007.ircam.fr/). instrumentale à l’Ircam. 2. Master d’« Acoustique, Traitement du signal, Informatique, 6. Vienna Symphonic Library (base de donnée d’échantillons de Appliqués à la Musique » délivré par l’Université Pierre et Marie sons instrumentaux), http ://www.vsl.co.at/ Curie (Paris-6) et coordonné par l’Ircam, en collaboration avec 7. -
Newsletter June 2012 (PDF)
Newsletter June 2012 CHAIRMAN’S INTRODUCTION Dear Member, I am sorry it has taken some time to get the newsletter to you but every time we are ready to send it more information comes in and we have more to add. I trust you will find this newsletter particularly interesting. One of the key items of news in this newsletter is the plans for next year, and what an interesting year it promises to be. Following representation from members, we have decided to have a dinner to celebrate the 10 anniversary of the founding of the Society. This will take place on the 20th September at Donnybrook Fair. The room can only accommodate 55 so we would appreciate it if members could inform us if they are going to attend. The cost will be €30 per head excluding wine. It is great to think that in the year of our anniversary there will also be a performance of Tristan und Isolde in Dublin. We, as you read below, have tickets reserved for the first performance. I am also delighted that the Finnish Wagner Society will be organising a trip to attend and we will be using the opportunity to meet them and make them welcome. Our schedule of events this year starts in October with a lecture marking the foundation of the Society by Chris McQuaid, the title being "Wagner Chöre und Umlaute". I trust the range of lectures will provide interesting variety. Next year also sees the production of The Flying Dutchman in Belfast and we will organise a trip to see the performance. -
Richard Wagner's Legacy in Divided Germany
Composing Identity: Richard Wagner’s Legacy in Divided Germany Andrew Markoff A thesis submitted in partial fulfillment of the requirement for honors in International History. Mentor: Professor Anna von der Goltz Georgetown University Washington, DC Table of Contents Introduction ........................................................................................................................................... 1 I. Richard Wagner ................................................................................................................................. 8 II. Music and Identity ......................................................................................................................... 34 III. Nazi Culture and the Allied Response ...................................................................................... 45 IV. Reconceptualizing Wagner in the GDR ................................................................................... 65 V. “Zero Hour” at Bayreuth: Rehabilitating Wagner in the Federal Republic of Germany ... 82 Conclusion ......................................................................................................................................... 105 Bibliography ....................................................................................................................................... 109 Appendices ......................................................................................................................................... 117 I authorize the public release -
Livres Et Documents Sur Richard Wagner (1813-1883)
LIVRES ET DOCUMENTS SUR Richard WAGNER (1813-1883) (Mise à jour le 25 mars 2013) Médiathèque Musicale Mahler 11 bis, rue Vézelay – F-75008 Paris – (+33) (0)1.53.89.09.10 Médiathèque Musicale Mahler – Bibliographie Wagner / 2013 Livres et documents sur Richard Wagner (1813-1883) LIVRES A : Catalogues, catalogues d'expositions, programmes… 3 B : Ecrits de Richard Wagner, correspondance… 4 C: Biographies, études… 6 D : Ouvrages collectifs, colloques, symposiums… 15 E : Revues… 16 G : Analyses d'œuvres… 17 Wagner dans les ouvrages thématiques… 23 Wagner dans les biographies d'autres compositeurs… 32 PARTITIONS 36 ENREGISTREMENTS SONORES 41 REVUES 64 FONDS D'ARCHIVES 66 ARCHIVES NUMÉRISÉES 75 2 Médiathèque Musicale Mahler – Bibliographie Wagner / 2013 LIVRES BIOGRAPHIES DE RICHARD WAGNER A : catalogues… Bayreuth 1876-1976. - Bayreuth : Festspielleitung Bayreuth, 1976. - (BM WAG A14) Dossier Richard Wagner de Roger Commault. - . - (BM WAG A11 (Réserve)) Exposition Richard Wagner : Musée Galliéra, 24 juin-17 juillet 1966. - Paris : Musée Galliéra, 1966. - (BM WAG A13) Richard Wagner Kalender : Merkbüchlein über Richard Wagner's Leben, Werke und Wirken für alle Tage des Jahres. - Wien : Fromme, 1882. - (BM WAG A5 (Réserve)) Richard Wagners photographische Bildnisse. - München : Bruckmann, 1908. - (BM WAG A7) Wagner e Venezia : catalogo della mostra, Palazzo Vendramin-Calergi, 13 febbraio - 31 luglio 1983. - Venezia : Palazzo Vendramin-Calergi, 1983. - (BM WAG A10) ALLGEMEINER RICHARD-WAGNER-VEREIN. - Bayreuther Taschenkalender für das Jahr 1885. - München : Schmid, 1885. - (BM WAG A5 (Réserve)) ALLGEMEINER RICHARD-WAGNER-VEREIN. - Bayreuther Taschenkalender für das Jahr 1886. - München Leipzig : Schmid : Leede, 1886. - (BM WAG A5 (Réserve)) ASSOCIAZIONE RICHARD WAGNER DI VENEZIA. - Venezia per Wagner : progetto per la fondazione a Venezia di un museo e di un centro internazionale di studi e di ricerche dedicati a Richard Wagner.