Richard Wagner RIENZI Der Letzte Der Tribunen
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RODDY-DISSERTATION.Pdf
Copyright by Conor Roddy 2011 The Dissertation Committee for Conor Roddy Certifies that this is the approved version of the following dissertation: Nietzsche’s Buddhist Leidmotive: A Comparative Study of Nietzsche’s Response to the Problem of Suffering Committee: Kathleen Marie Higgins, Supervisor Katherine Arens Lars Gustafsson A. P. Martinich Stephen H. Phillips Nietzsche’s Buddhist Leidmotive: A Comparative Study of Nietzsche’s Response to the Problem of Suffering by Conor Roddy, B.A., M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin December 2011 Dedication In loving memory of my parents Larry and Patricia Roddy Acknowledgements ―For Confucius,‖ as Herbert Fingarette once remarked, ―unless there are at least two human beings, there can be no human beings‖ (217). One cannot become a person on one‘s own in other words, and although it sometimes seems like a lonely process, one cannot write a dissertation by oneself either. There are so many people who made so many things possible for me to whom I wish to express my gratitude, and since I‘m not planning on writing another dissertation in the near future, I‘m going to do so now. I want to thank all my professors in Dublin, Honolulu, and Austin. When I was an undergraduate in Ireland, it was a passing remark by William Lyons that first got me interested in Nietzsche. During my time in Hawaii, Arindam Chakrabarti, Graham Parkes, and Roger Ames were particularly helpful. -
What Price Love.Pdf
Ring 2018 articles V2.qxp_RING 2018 5/19/18 4:20 PM Page 1 B Y P E T E R B A S S E T T WHAT ichard Wagner’s Der Ring des Nibelungen is rarely described as an extended love story, but that is what it is. The changing relationships throughout the four oRperas tend to obscure this central idea but, when you think about PRICE it, love is the thread that binds the whole story together—not love confined to a single pair of individuals but love as the alternative to hatred and revenge, power and property, greed and envy. The story begins with love’s renunciation and ends with its triumph as LOVE? the one irreplaceable, transforming ingredient in a new world order. That surely is the significance of the soaring orchestral melody that concludes Götterdämmerung. It is difficult to separate the allegory of the Ring from events in A century before post-Napoleonic europe when rival forces were attempting, on the one hand, to restore reactionary systems of government (think George Orwell’s 1984, of them as the gods) and, on the other hand, to establish new sys- tems of capital ushered in by the Industrial Revolution (think of alberich and his ilk). The result was a chain of political uprisings the Ring warned of throughout europe in the 1830s and ’40s—and incredible intellec- tual and creative ferment. Goethe and Beethoven were alive when the rise of totalitarianism Wagner was a teenager, Charles Darwin was four years his senior, and Karl Marx was five years his junior. -
Wagmer Neypmd Good and Evil
36167_u01.qxd 1/7/08 4:06 PM Page 3 1. Wagner Lives Issues in Autobiography Wagner’s biography has been researched to within an inch of its life. It has been dissected, drenched with no end of detail, eroticized, vilified, heroi- cized, and several times filmed.1 Its foundations are the collected writings, which in the first instance Wagner edited himself in the spirit of an autobi- ographical enterprise;2 a separate and lengthy autobiography, Mein Leben (My life), dictated to his mistress and later second wife, Cosima, daughter of Franz Liszt;3 notebooks and diaries;4 photographs and portraits;5 an un- usually large number of letters;6 mounds of anecdotal gossip; and no end of documentation on the way he lived and how his contemporaries saw him.7 In this sense, he is almost the exact antithesis of Shakespeare, whose life, or at least what is safely known about it in terms of verifiable “facts,” can be told in a relatively short space. I have summarized the history of Wagner biography elsewhere.8 Here I want to look at Wagner’s own portrayals of his life, some issues they raise, the philosophical spirit in which I believe they were attempted, and their effect on the generation that came immediately after him. Biographers of Shakespeare have had to resort to imaginative recon- structions and not infrequently to knowingly forged documents that have accorded their subject more lives than a cat.9 In stark contrast, there appears to be only one life for Wagner, which he did his best to determine in large part himself. -
Gottfried Semper. Ein Bild Seines Lebens Und Wirkens Mit Benutzun
GOTTFRIED SEMPER EIN BILD SEINES LEBENS UND WIRKENS MIT BENUTZUNG DER FAMILIENPAPIERE VON HANS SEMPER PROFESSOR DER KUNSTGESCHICHTE IN INNSBRUCK. BERLIN VERLAG VON S. CALVARY & CO. MDCCCLXXX. GOTTFRIED SEMPER EIN BILD SEINES LEBENS UND WIRKENS MIT BENUTZUNG DER FAMILIENPAPIERE HANS SEMPER PROFESSOR DER KUNSTGESCHICHTE IN INNSBRUCK. BERLIN VERLAG VON S. CALVARY & CO. MDCCCLXXX. (jTottfried Semper wurde am 29. November 1803 zu Hamburg als der zweitjüngste Sohn eines Wollen -Fabrikanten geboren und in der evangelisch -reformirten Kirche zu Altona getauft. Er erhielt eine sorg- fältige Erziehung und insbesondere übte der willensstarke Charakter sei- ner Mutter einen grossen Einfluss auf seine Entwickelung aus. — Trotz der strengen Zucht, unter der er heranwuchs, verkündigten doch schon mehrere Vorfälle seiner Kindheit, mit welcher unerschrockenen Energie er dereinst seinen Ueberzeugungen und seinem Streben Ausdruck und Gel- tung verschaffen würde. Er machte die Gymnasialstudien, die er glän- zend absolvirte, am Johanneum seiner Vaterstadt und legte dort den Grund zu seiner Liebe zum Alterthum, sowie zu seiner umfassenden Kenntniss der griechischen und römischen Literatur. Wie lebendig er schon in dieser Zeit den Geist der alten Schrift- steller in sich aufnahm, wie er aber trotz dieser Vorliebe für das klas- sische Alterthum dennoch von den Qualen nicht verschont blieb, die so mancher Jüngling empfindet, an den die Wahl des Lebensberufes heran- tritt, das zeigt eine Stelle aus einem Briefe, den er viele Jahre nachher an Regierungsrath Hagenbuch -
The Role of Music in European Integration Discourses on Intellectual Europe
The Role of Music in European Integration Discourses on Intellectual Europe ALLEA ALLEuropean A cademies Published on behalf of ALLEA Series Editor: Günter Stock, President of ALLEA Volume 2 The Role of Music in European Integration Conciliating Eurocentrism and Multiculturalism Edited by Albrecht Riethmüller ISBN 978-3-11-047752-8 e-ISBN (PDF) 978-3-11-047959-1 e-ISBN (EPUB) 978-3-11-047755-9 ISSN 2364-1398 Library of Congress Cataloging-in-Publication Data A CIP catalog record for this book has been applied for at the Library of Congress. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available in the Internet at http://dnb.dnb.de. © 2017 Walter de Gruyter GmbH, Berlin/Boston Cover: www.tagul.com Typesetting: Konvertus, Haarlem Printing: CPI books GmbH, Leck ♾ Printed on acid free paper Printed in Germany www.degruyter.com Foreword by the Series Editor There is a debate on the future of Europe that is currently in progress, and with it comes a perceived scepticism and lack of commitment towards the idea of European integration that increasingly manifests itself in politics, the media, culture and society. The question, however, remains as to what extent this report- ed scepticism truly reflects people’s opinions and feelings about Europe. We all consider it normal to cross borders within Europe, often while using the same money, as well as to take part in exchange programmes, invest in enterprises across Europe and appeal to European institutions if national regulations, for example, do not meet our expectations. -
Richard Wagner on the Practice and Teaching of Singing
Richard Wagner on the Practice and Teaching of Singing By Peter Bassett [A paper presented to the 8th International Congress of Voice Teachers on 13 July 2013.] Weber and Beethoven were still alive when Wagner was a teenager, and their long shadows, together with those of Mozart and Marschner fell on all his early projects. His first completed opera Die Feen, composed in 1833 when he was just twenty years old, was never performed in his lifetime but, even if it had been, it wouldn’t have sounded as good as it does in the best recorded versions we know today. The type of singing familiar to Wagner was far from ideal, and many German singers of his era were poorly trained and had unsophisticated techniques. His sternest critic, Eduard Hanslick had something to say on the difference between German and Italian singers at that time: ‘With the Italians’ he said, ‘great certainty and evenness throughout the role; with the Germans an unequal alternation of brilliant and mediocre moments, which seems partly accidental.’ Wagner had to entrust his major roles to inadequately trained singers in many cases, which must have been challenging to say the least. He worked hard to improve matters, pouring much time and energy into the preparation of performances. ‘I do not care in the slightest’ he once said, ‘whether my works are performed. What I do care about is that they are performed as I intended them to be. Anyone who cannot, or will not, do so, had better leave them alone.’ David Breckbill has written that ‘The differences between the singing which Wagner knew and that which we hear today are considerable. -
Degenerate Religion and Masculinity in Parsifal Reception
Degenerate Religion and Masculinity in Parsifal Reception James Kennaway Our future historians will cull from still unpublished letters and memoirs ... the idea that the performances at Bayreuth had really much the status of religious rites and that their effects were not unlike what is technically called a revival. -Vernon Lee (1911: 875) The idea that there is something religious about Bayreuth is not new, and goes well beyond cliches about opera houses as the "cathedrals of the bourgeoisie:' The words used to describe the festival by Wagnerians and anti -Wagnerians alike have often been consciously religious. One makes a pilgrimage to the holy site, there are acolytes who serve the holy work and the orthodoxy, her etics are excommunicated-the comparisons are all too obvious. Friedrich Nietzsche referred to this phenomenon in a letter to his friend Malwida von Meysenburg when he suggested that "all this Wagnerizing" was "an unconscious emulation of Rome" (Fischer-Dieskau 1974:202). Even in more recent times, after the moral, ideological, and organizational disasters that the festival was caught up in during the twentieth century, the skies above the Festspielhaus were scoured for signs of the white smoke announcing which member of the dysfunctional clan was to succeed the composer's grandson Wolfgang Wagner. If this musical Vatican has a central rite, it is surely Parsifal. Not an opera or a music drama but a "Biihnenweihfestspiel" (a "stage-festival consecration-play"), Wagner's last work leaves the cheerful paganism of the Ring far behind.l The composer had toyed with aspects of Christianity as far back as Tannhiiuser, but in Parsifal he went much further, almost to the point, many believed, of creating opera as sacrament. -
Richard Wagner Im Hotel Fantaisie
Das erste 2 Baubeginn des 1872 Arbeit am 1872 Bayreuther Domizil 1872 Festspielhauses Ring des Nibelungen Bayreuth ist ohne Richard Wagner (1813 – 1883) nicht mehr zu denken. 1871 beschloss er, angeregt durch das dann Richard Wagner aber zu kleine Markgräfliche Opernhaus, sich hier anzusiedeln, Am 29. April 1872 begannen, nach jahrelangen Planungen, endlich 9. Juni: Nachmittags spielt und singt R. aus der Götterdämmerung um die später weltberühmten Festspiele zu gründen. die Erdarbeiten für die Fundamentierung des Bayreuther Festspiel- und wird darüber melancholisch, daß es ihm so fremd geworden, hauses. Früh geschah der erste Spatenstich. Am 1. Mai fand die erste er sieht die Notwendigkeit ein, sich wieder an die Musik zu machen. im Hotel Fantaisie Ihre erste Bayreuther Wohnung bezog die Familie Wagner Konferenz mit dem technischen Direktor Carl Brandt und dem Ende April 1872 im neu erbauten Hotel Fantaisie am Architekten des Festspielhauses, Otto Brückwald, statt. 24. Juni: R. spielt mir, was er heute geschaffen, Siegfried‘s Eingang zu jenem Traumpark, wo sie sich bis zum Der Festspielhausbau trat damit, wie Wagners Biograph C.F. beginnende Erzählung. Spätsommer glücklich fühlen sollten: die Großfamilie Glasenapp schrieb, „in eine neue, hoffnungsvolle Phase, nachdem Richard und Cosima mit den 5 Kindern Daniela, Blandine, alles Vorhergehende zu keinem befriedigenden Ziele geführt hatte“. 6. Juli: R. spielt uns aus der Götterdämmerung, Hagen‘s Ruf und Isolde, Eva & Fidi (Siegfried). die Rheintöchter. (R. arbeitet.) An Bürgermeister Theodor Muncker: Richard Wagner gefiel es hier, als er, aus der Schweiz Mein theurer Freund! 10. Juli: Herrliches Wetter; von der Schweizerei zu Fuß nach Haus, kommend, Bayreuther Land betrat. -
Meyerbeer Bibliography by David A
An Open Meyerbeer Bibliography by David A. Day ** = verification in progress Articles in periodicals Abert, Hermann. “Meyerbeer.” Jahrbuch der Musikbibliothek Peters 25 (1919): 37-52. Altmann, Wilhelm. “Aus Gottfried Webers brieflichem Nachlass.” Sammelbände der Internationalen Musikgesellschaft 10 (1908-9): 477-504. ________. “Briefe Meyerbeers an Gottfried Weber: Aus den Jahren 1811-15, 1833 und 37.” Die Musik 7 (1907-8): 71-86, 155-61. ________. “Geschichte der königlischen preussischen Hofkapelle.” Die Musik 3 (1903-04): 3- 22, 211-27. ________. “Meyerbeer im Dienste des preussischen Königshauses.” Zeitschrift für Musikwissenschaft 2 (1919): 94-112. ________. “Meyerbeer-Forschungen.” Sammelbände der Internationalen Musikgesellschaft 4 (1903): 519-34. ________. “Meyerbeer's Bibliothek.” Allgemeine Musikzeitung 43 (1916): 254-58. ________. “Meyerbeers Nordstern, e. m. Unrecht vergess. Oper.” Die deutsche Bühne 11 (1919): 212, 230. ________. “Richard Wagner und die Berliner General-Intendantur.” Die Musik 2 (1902-3): 331- 45. ________. “Spohrs Beziehungen zur General-Intendantur der Königlichen Schauspiele in Berlin.” Neue Zeitschrift für Musik 71 (1904): 199-202. ________. “Spontini an der Berliner Oper.” Sammelbände der Internationalen Musikgesellschaft 4 (1903): 244-92. Ballin, Gerhard. “Die Ahnen des Komponisten Giacomo Meyerbeer.” Genealogie 8 (1966): 228- 34. Baricelli, J. P. “Autour de 'Gambara': In Balzac et Meyerbeer.” Année balzacienne 8 (1967): 157-64. Becker, Heinz. “Giacomo Meyerbeer. On the Occasion of the Centenary of His Death.” Leo Baeck Institute Yearbook 9 (1964): 178-201. ________. “Glanz , Elend und Bedeutung der Grand Opera.” Fonoforum 9, no. 5 (1964): 174-77. ________. “Meyerbeer erstes Bühnewerk: Der Fischer und das Milchmädchen.” Kleine Schriften der Gesellschaft für Theatergeschichte 1 (1958): 26-36. -
Richard Wagner in München
Richard Wagner in München MÜNCHNER VERÖFFENTLICHUNGEN ZUR MUSIKGESCHICHTE Begründet von Thrasybulos G. Georgiades Fortgeführt von Theodor Göllner Herausgegeben von Hartmut Schick Band 76 Richard Wagner in München. Bericht über das interdisziplinäre Symposium zum 200. Geburtstag des Komponisten München, 26.–27. April 2013 RICHARD WAGNER IN MÜNCHEN Bericht über das interdisziplinäre Symposium zum 200. Geburtstag des Komponisten München, 26.–27. April 2013 Herausgegeben von Sebastian Bolz und Hartmut Schick Weitere Informationen über den Verlag und sein Programm unter: www.allitera.de Dezember 2015 Allitera Verlag Ein Verlag der Buch&media GmbH, München © 2015 Buch&media GmbH, München © 2015 der Einzelbeiträge bei den AutorInnen Satz und Layout: Sebastian Bolz und Friedrich Wall Printed in Germany · ISBN 978-3-86906-790-2 Inhalt Vorwort ..................................................... 7 Abkürzungen ................................................ 9 Hartmut Schick Zwischen Skandal und Triumph: Richard Wagners Wirken in München ... 11 Ulrich Konrad Münchner G’schichten. Von Isolde, Parsifal und dem Messelesen ......... 37 Katharina Weigand König Ludwig II. – politische und biografische Wirklichkeiten jenseits von Wagner, Kunst und Oper .................................... 47 Jürgen Schläder Wagners Theater und Ludwigs Politik. Die Meistersinger als Instrument kultureller Identifikation ............... 63 Markus Kiesel »Was geht mich alle Baukunst der Welt an!« Wagners Münchener Festspielhausprojekte .......................... 79 Günter -
Eva Rieger. 2011. Richard Wagner's Women. Translated By
Eva Rieger. 2011. Richard Wagner’s Women. Translated by Chris Walton. Woodbridge, UK: Boydell Press. Laurence Dreyfus. 2010. Wagner and the Erotic Impulse. Cambridge, MA: Harvard University Press. Reviewed by Jeremy Coleman The anniversary commemoration of great artistic figures would be incomplete without a survey of the scholarly landscape. So in the year of Richard Wagner’s bicentenary, the publication of new books shows no sign of abating, and nor should it, when there is still so much to be said about this most controversial of composers. But many of the literary products that pass for Wagner scholarship are still beset by popular assumption, blind deference, and trite dismissal, imposing a dead weight that threatens to smother the critical spark that alone can do Wagner justice and demonstrate his startling relevance. It is in this spirit that the present article will individually review two recent publications on gender and sexuality in Wagner, and finally compare them and reflect on wider scholarly trends and possibilities. In Richard Wagner’s Women, an English translation by Chris Walton of “Leuchtende Liebe, lachender Tod”: Richard Wagners Bild der Frau im Spiegel seiner Musik (2009), Eva Rieger offers one of the first “feminist” studies of Wagner’s life and work. Specifically, Rieger assesses the dramatic function and characterization of both women and, to a lesser extent, “feminized” men in Wagner’s operas, from Das Liebesverbot to Parsifal. The original German–language publication was warmly praised in a review, “Role Play,” by Walton (2010), who evidently valued the study highly enough to bring it to a wider readership. -
Robert Schumann and the Gesangverein: the Dresden Years (1844 - 1850) Gina Pellegrino Washington University in St
Washington University in St. Louis Washington University Open Scholarship All Theses and Dissertations (ETDs) January 2011 Robert Schumann and the Gesangverein: The Dresden Years (1844 - 1850) Gina Pellegrino Washington University in St. Louis Follow this and additional works at: https://openscholarship.wustl.edu/etd Recommended Citation Pellegrino, Gina, "Robert Schumann and the Gesangverein: The Dresden Years (1844 - 1850)" (2011). All Theses and Dissertations (ETDs). 276. https://openscholarship.wustl.edu/etd/276 This Dissertation is brought to you for free and open access by Washington University Open Scholarship. It has been accepted for inclusion in All Theses and Dissertations (ETDs) by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY IN ST. LOUIS Department of Music Dissertation Examination Committee: Hugh Macdonald, Chair Garland Allen Todd Decker Martin Kennedy Michael Lützeler Craig Monson John Stewart ROBERT SCHUMANN AND THE GESANGVEREIN: THE DRESDEN YEARS (1844–1850) by Gina Marie Pellegrino A dissertation presented to the Graduate School of Arts and Sciences of Washington University in partial fulfillment of the requirements for the degree of Doctor of Philosophy May 2011 Saint Louis, Missouri ABSTRACT Nineteenth-century Germany saw an expansion of choral music in a secular context, bringing about changes not only in the nature of the organizations but also in the character of the music. Often depicted in history books as the age of the Lied, the early nineteenth century was also the age of the Chorgesang, creating a demand for music for social gatherings. Amateur choruses and partsinging reached their peak of popularity in nineteenth-century Germany.