Richard Wagner Quiz: Questions and Answers

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kupidonia.com Richard Wagner Quiz: questions and answers Richard Wagner Quiz: questions and answers - 1 / 4 kupidonia.com 1. What was the first name of Richard Wagner? Christian Heinrich Wilhelm 2. Which famous musician did Wagner's daughter Eva marry to in 1908? Frédéric Chopin Houston Stewart Chamberlain Giuseppe Verdi 3. What is Bayreuth Festspielhaus? An opera house built by Wagner A museum of music An art institute 4. Who is Kindri in Wagner's opera "Parsifal"? A princess A witch A fairy 5. When was the arrest warrant for Richard Wagner issued after he moved to Switzerland? 1888 1867 Richard Wagner Quiz: questions and answers - 2 / 4 kupidonia.com 1849 6. In which year did Wagner complete "Götterdämmerung"? 1874 1888 1864 7. Which mythology is "Der Ring des Nibelungen" based on? Egyptian mythology Norse mythology Greek mythology 8. Whose daughter was Wagner's second wife? Ludwig Wittgenstein Franz Liszt Friedrich Nietzsche 9. In which city did Wagner build his opera house? Bayreuth Venice Paris 10. What was the name of Wagner's final opera in 1882? "Geschwindigkeitsbegrenzung" "Parsifal" "The Ring" Richard Wagner Quiz: questions and answers - 3 / 4 kupidonia.com Richard Wagner Quiz: questions and answers Right answers 1. What was the first name of Richard Wagner? Wilhelm 2. Which famous musician did Wagner's daughter Eva marry to in 1908? Houston Stewart Chamberlain 3. What is Bayreuth Festspielhaus? An opera house built by Wagner 4. Who is Kindri in Wagner's opera "Parsifal"? A witch 5. When was the arrest warrant for Richard Wagner issued after he moved to Switzerland? 1849 6. In which year did Wagner complete "Götterdämmerung"? 1874 7. Which mythology is "Der Ring des Nibelungen" based on? Norse mythology 8. Whose daughter was Wagner's second wife? Franz Liszt 9. In which city did Wagner build his opera house? Bayreuth 10. What was the name of Wagner's final opera in 1882? "Parsifal" Richard Wagner Quiz: questions and answers - 4 / 4 Powered by TCPDF (www.tcpdf.org).

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Assenet Inlays Cycle Ring Wagner OE
OE Wagner Ring Cycle Booklet 10-8-7:Layout 2 13/8/07 11:07 Page 1 An Introduction to... OPERAEXPLAINED WAGNER The Ring of the Nibelung Written and read by Stephen Johnson 2 CDs 8.558184–85 OE Wagner Ring Cycle Booklet 10-8-7:Layout 2 13/8/07 11:07 Page 2 An Introduction to... WAGNER The Ring of the Nibelung Written and read by Stephen Johnson CD 1 1 Introduction 1:11 2 The Stuff of Legends 6:29 3 Dark Power? 4:38 4 Revolution in Music 2:57 5 A New Kind of Song 6:45 6 The Role of the Orchestra 7:11 7 The Leitmotif 5:12 Das Rheingold 8 Prelude 4:29 9 Scene 1 4:43 10 Scene 2 6:20 11 Scene 3 4:09 12 Scene 4 8:42 2 OE Wagner Ring Cycle Booklet 10-8-7:Layout 2 13/8/07 11:07 Page 3 Die Walküre 13 Background 0:58 14 Act I 10:54 15 Act II 4:48 TT 79:34 CD 2 1 Act II cont. 3:37 2 Act III 3:53 3 The Final Scene: Wotan and Brünnhilde 6:51 Siegfried 4 Act I 9:05 5 Act II 7:25 6 Act III 12:16 Götterdämmerung 7 Background 2:05 8 Prologue 8:04 9 Act I 5:39 10 Act II 4:58 11 Act III 4:27 12 The Final Scene: The End of Everything? 11:09 TT 79:35 3 OE Wagner Ring Cycle Booklet 10-8-7:Layout 2 13/8/07 11:07 Page 4 Music taken from: Das Rheingold – 8.660170–71 Wotan ...............................................................Wolfgang Probst Froh...............................................................Bernhard Schneider Donner ....................................................................Motti Kastón Loge........................................................................Robert Künzli Fricka...............................................................Michaela
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The Bayreuth Festspielhaus: the Metaphysical Manifestation of Wagner's Der Ring Des Nibelungen Matthew Timmermans University of Ottawa
Nota Bene: Canadian Undergraduate Journal of Musicology Volume 8 | Issue 1 Article 6 The Bayreuth Festspielhaus: The Metaphysical Manifestation of Wagner's Der Ring des Nibelungen Matthew Timmermans University of Ottawa Recommended Citation Timmermans, Matthew (2015) "The Bayreuth Festspielhaus: The Metaphysical Manifestation of Wagner's Der Ring des Nibelungen," Nota Bene: Canadian Undergraduate Journal of Musicology: Vol. 8: Iss. 1, Article 6. The Bayreuth Festspielhaus: The Metaphysical Manifestation of Wagner's Der Ring des Nibelungen Abstract This essay explores how the architectural design of the Bayreuth Festspielhaus effects the performance of Wagner’s later operas, specifically Der Ring des Nibelungen. Contrary to Wagner’s theoretical writings, which advocate equality among the various facets of operatic production (Gesamtkuntswerk), I argue that Wagner’s architectural design elevates music above these other art forms. The evidence lies within the unique architecture of the house, which Wagner constructed to realize his operatic vision. An old conception of Wagnerian performance advocated by Cosima Wagner—in interviews and letters—was consciously left by Richard Wagner. However, I juxtapose this with Daniel Barenboim’s modern interpretation, which suggests that Wagner unconsciously, or by a Will beyond himself, created Bayreuth as more than the legacy he passed on. The juxtaposition parallels the revolutionary nature of Wagner’s ideas embedded in Bayreuth’s architecture. To underscore this revolution, I briefly outline Wagner’s philosophical development, specifically the ideas he extracted from the works of Ludwig Feuerbach and Arthur Schopenhauer, further defining the focus of Wagner’s composition and performance of the music. The analysis thereby challenges the prevailing belief that Wagner intended Bayreuth and Der Ring des Nibelungen, the opera which inspired the house’s inception, to embody Gesamtkunstwerk; instead, these creations internalize the drama, allowing the music to reign supreme.
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A History of Audio Effects
applied sciences Review A History of Audio Effects Thomas Wilmering 1,∗ , David Moffat 2 , Alessia Milo 1 and Mark B. Sandler 1 1 Centre for Digital Music, Queen Mary University of London, London E1 4NS, UK; [email protected] (A.M.); [email protected] (M.B.S.) 2 Interdisciplinary Centre for Computer Music Research, University of Plymouth, Plymouth PL4 8AA, UK; [email protected] * Correspondence: [email protected] Received: 16 December 2019; Accepted: 13 January 2020; Published: 22 January 2020 Abstract: Audio effects are an essential tool that the field of music production relies upon. The ability to intentionally manipulate and modify a piece of sound has opened up considerable opportunities for music making. The evolution of technology has often driven new audio tools and effects, from early architectural acoustics through electromechanical and electronic devices to the digitisation of music production studios. Throughout time, music has constantly borrowed ideas and technological advancements from all other fields and contributed back to the innovative technology. This is defined as transsectorial innovation and fundamentally underpins the technological developments of audio effects. The development and evolution of audio effect technology is discussed, highlighting major technical breakthroughs and the impact of available audio effects. Keywords: audio effects; history; transsectorial innovation; technology; audio processing; music production 1. Introduction In this article, we describe the history of audio effects with regards to musical composition (music performance and production). We define audio effects as the controlled transformation of a sound typically based on some control parameters. As such, the term sound transformation can be considered synonymous with audio effect.
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Catalogue-76-T-Z.Pdf
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GÖTTERDÄMMERUNG Composer Biography: Richard Wagner Richard Wagner (May 22, 1813 – February 13, 1883), German composer, conductor, theatre director of operas, is considered one of the most important figures of nineteenth-century music. Wagnerʼs music is still widely recognized today, accompanying celebrations with the ever-present Wedding March (Bridal Chorus) from the opera Lohengrin and the Ride of the Valkyries from the opera Die Walküre, which has been used in movie soundtracks to great effect. Richard Wagner was born at No. 3 (The House of the Red and White Lions), the Brühl, in the Jewish quarter of Leipzig, the ninth child of Carl Friedrich Wagner, who was a clerk in the Leipzig police service, and his wife Johanna Rosine, the daughter of a baker. He enrolled at the University of Leipzig in 1831, taking composition lessons with the cantor of Saint Thomas Church, Christian Theodor Weinlig, who arranged for the composerʼs first work, his Piano Sonata in B-flat to be published. In 1833, Wagner's older brother Karl Albert managed to obtain for Richard a position as choir master in Würzburg. At the age of 20, Wagner composed his first complete opera Die Feen, which was not performed until after the composerʼs death. His reputation grew as the composer of works such as Der fliegende Holländer (1843), Tannhaüser (1845), and Lohengrin (1850), which were broadly in the romantic vein of Weber and Meyerbeer. Wagner's compositions are notable for their complex texture, rich harmonies and orchestration, and the elaborate use of leitmotifs: musical themes associated with individual characters, places, ideas or plot elements.
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rg Richard WAGNER Symphony in C major Wilhelm Richard Wagner (22 May 1813 – 13 February 1883) was a German composer, theatre director, and conductor. Wagner's stepfather, actor and playwright Ludwig Geyer, involved the young boy in his plays, and inspired Wagner to write a drama, Leubald, at 13. While Wagner did have some musical education at the time, his inability to set the text to music led him to further study composition. After publishing his Op. 1 – the Piano Sonata in B-flat major (1831) – while enrolled at Leipzig University, Wagner would compose his first and only symphony, his first completed opera, and held positions as a choirmaster, and then a musical director in Magdeburg. Unfortunately, the opera house in Magdeburg would close in 1836 due to a financial collapse, leaving Wagner bankrupt. He married a leading actress from the theatre and left Germany, escaping from creditors and making scant livings in numerous cities. After completing his opera, Reinzi (1840), Wagner moved back to Germany, but his return lasted only until 1849, as he once again had to flee – this time to escape an arrest warrant after participating as a revolutionary in the May Uprising in Dresden. Forced to stay out of Germany for the next 12 years, Wagner and his wife moved to Switzerland. As his wife fell into a depression and Wagner had no regular income, he fell into ill-health from his grim situation and struggled to compose. Instead, Wagner began writing essays, including "The Artwork of the Future" (1849) in which he coined the term, Gesamtkunstwerk ("total work of art"), a concept of a musical work which synthesizes nearly all forms of art.
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THE BAYREUTH FESTIVAL Sunday, August 18Th Through Sunday, August 25Th
EARLY ANNOUNCEMENT THE BAYREUTH FESTIVAL Sunday, August 18th through Sunday, August 25th Bayreuth Festival Opera House agner ‘aficionados’ will be thrilled by the Stephen Gould ambience of the Festival, where formal ‘black tie’ news that we are able to offer a fourth attire is strongly recommended. (No rooms are consecutive experience at Germany’s available for any extra nights.) famed Bayreuth Festival for FOUR of Our performance dates will be August 20th for W Richard Wagner’s towering music ‘Tristan , August 21st for Tannhäuser , August dramas: Parsifal (the 2016 production which has 22nd for Parsifal , and August 24th for Die been this writer’s favorite for three years); a Meistersinger . Maestro Thielemann will be the revival of the hugely popular 2017 staging of Die conductor for ‘Tristan’; Semyon Bychkov will Meistersinger von Nürnberg , which was the return for a second year for his glowing ‘Parsifal’; hottest ticket of the past two seasons; a revival of Lise Davidsen Philippe Jordan will be in charge of Tristan und Isolde with Music Director ‘Meistersinger’; and Valery Gergiev will conduct Christian Thielemann interpreting Wagner’s the exciting new ‘Tannhäuser’. Our tickets will be most passionate score; and this summer’s eagerly scattered throughout the remarkable theatre, anticipated new production of Tannhäiser , the where there are no poor seats. (No performance opera everyone wants to see. Our Bayreuth on our first night, August 19th, to recover from jet immersion will include six nights at the lag. Please note there are no titles in Bayreuth.) Bayerischer Hof , the leading hotel in the town of Bayreuth, including a full buffet breakfast .
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Richard Wagner and 19Th-Century Multimedia Entertainments Author(S): Anno Mungen Source: Music in Art, Vol
Research Center for Music Iconography, The Graduate Center, City University of New York Entering the Musical Picture: Richard Wagner and 19th-Century Multimedia Entertainments Author(s): Anno Mungen Source: Music in Art, Vol. 26, No. 1/2 (Spring-Fall 2001), pp. 123-129 Published by: Research Center for Music Iconography, The Graduate Center, City University of New York Stable URL: http://www.jstor.org/stable/41818660 Accessed: 07-11-2017 23:10 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms Research Center for Music Iconography, The Graduate Center, City University of New York is collaborating with JSTOR to digitize, preserve and extend access to Music in Art This content downloaded from 70.103.220.4 on Tue, 07 Nov 2017 23:10:38 UTC All use subject to http://about.jstor.org/terms Anno Mungen, Wagner and 19th-century Multimedia Entertainments Music in Art XXVI/1-2 (2001) Entering the Musical Picture: Richard Wagner and 19th-century Multimedia Entertainments Anno Mungen Johannes Gutenberg-Universität, Mainz Yes, Wagner is not only an incomparable painter of external nature, of tempest and storm, rustling leaves and dazzle of waves, rainbows and dancing flames. He is also a great seer of animate nature, the eternal human heart.1 Thomas Mann on Der Ring des Nibelungen (1937) Landscape in Simulation.
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Famous Composer Richard Wagner in Bayreuth
today 1883 1872 Richard Wagner conducts Beethovens ninth Synphonie on 22 May The Festival Theatre 1876 (G. Bechstein) The funeral procession with Wagner‘s casket, 18.2.1883 World Heritage Opera House Festspielhaus on the Green Hill Arrival at the Station Richard-Wagner-Stops in Bayreuth Tourist-Information Richard Wagner’s Tannhäuser was performed here already in 1860, in the Nowhere else in the world is there an opera house built specifically for the When Wagner and his family moved to Bayreuth in 1872, they arrived at Festspielhaus Richard Wagner Museum Tourist-Information presence of King Maximilian II of Bavaria. And in 1870, when Wagner was works of just one composer. This was a dream that Richard Wagner had to the old railway station. In 1876, the year of the first Festspiele, the second Villa Wahnfried Trustees: & Bayreuth Shop still living in the Villa Tribschen in Switzerland and was on the lookout for a fight for. In those days copyright was still in its infancy and many theatres laid railway line connecting Bayreuth to Nuremberg and the new station were Festival House Richard-Wagner-Stiftung Bayreuth Opernstrasse 22 / 95444 Bayreuth venue for his Festspiele, the conductor Hans Richter recommended it to him on performances with almost no rehearsals at all and singers who were not still under construction. They finally opened in 1879, and Cosima noted in Grüner Hügel Director: Dr. Sven Friedrich Tel. +49-(0)921-885 88 on account of its unusually large stage. But when Richard and Cosima visited particularly good at singing, let alone acting. Musicians were paid servants’ her diary entry for 23 September: “Drank beer at the new station, which R.
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