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Hans Sachs. Leipzig 1854. by Hugo Bürkner (1818-1897) Source: Wikimedia Commons SAN FRANCISCO OPERA Education Materials DIE MEISTERSINGER VON NÜRNBERG Hans Sachs. "Bibliothek des allgemeinen und praktischen Wissens. Bd. 5" (1905), Deutsche Literaturgeschichte, Seite 59 Source: Wikimedia Commons SAN FRANCISCO OPERA Education Materials DIE MEISTERSINGER VON NÜRNBERG German soprano Lotte Lehmann (1888–1976) starring in Richard Wagner's 1868 opera Die Meistersinger von Nürnberg Source: Bain Collection - Library of Congress SAN FRANCISCO OPERA Education Materials DIE MEISTERSINGER VON NÜRNBERG The birthhouse of Richard Wagner in Leipzig. Photo by Hermann Walter (1838-1909). SAN FRANCISCO OPERA Education Materials DIE MEISTERSINGER VON NÜRNBERG Facsimile of manuscript of Die Meistersinger von Nürenberg by composer Richard Wagner (1813-1883). Publisher: Mainz : B. Schott's Söhne. 1893. Source: Duke University Libraries Internet Archive https://archive.org/details/diemeistersinger1893wagn SAN FRANCISCO OPERA Education Materials DIE MEISTERSINGER VON NÜRNBERG German opera singer and director Max Staegemann (1843-1905) as Hans Sachs in Richard Wagner's Die Meistersinger von Nürnberg Source: Portrait Collection Friedrich Nicolas Manskopf, Johann Wolfgang Goethe-University Frankfurt am Main SAN FRANCISCO OPERA Education Materials DIE MEISTERSINGER VON NÜRNBERG Assumption of the Virgin (1516-1518) by Titian (1490-1576) Source: Wikimedia Commons In 1861, Wagner visits Venice and sees Titianʼs painting and is inspired to write Die Meistersinger von Nürnberg… "the extraordinary loftiness gave me an aesthetic thrill ... so I decided to compose Meistersinger ... in music there is nothing so accomplished." SAN FRANCISCO OPERA Education Materials DIE MEISTERSINGER VON NÜRNBERG View of Nuremberg with the Church of St. Egidino.. by German School, 1500–1550 Pen, ink and watercolour Dimensions: 9 x 22 cm (Previously attributed to Albrecht Durer.) Source: British Museum SAN FRANCISCO OPERA Education Materials DIE MEISTERSINGER VON NÜRNBERG Walther and Eva at the Church of Nuremberg From The Meistersingers, Wagner by James Cuthbert Hadden (1861-1914) Publisher: London : T.C. & E.C. Jack ; New York : Frederick A. Stokes, 1907 Source: John M. Kelly Library, University of Toronto SAN FRANCISCO OPERA Education Materials DIE MEISTERSINGER VON NÜRNBERG .

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Meistersinger Von Nürnberg
RICHARD WAGNERʼS DIE MEISTERSINGER VON NÜRNBERG Links to resources and lesson plans related to Wagnerʼs opera, Die Meistersinger von Nürnberg. Classical Net http://www.classical.net/music/comp.lst/wagner.php Includes biographical information about Richard Wagner. Dartmouth: “Under the Linden Tree” by Walter von der Vogelweide (1168-1228) http://www.dartmouth.edu/~german/German9/Vogelweide.html Original text in Middle High German, with translations into modern German and English. Glyndebourne: An Introduction to Wagnerʼs Die Meistersinger von Nürnberg https://www.youtube.com/watch?v=tXPY-4SMp1w To accompany the first ever Glyndebourne production of Wagner's Die Meistersinger von Nürnberg (the long held dream of the founder John Christie) Professor Julian Johnson of London Holloway University gives us some studied insights into the work. Glyndebourne: Scale and Detail Die Meistersinger von Nürnberg https://vimeo.com/24310185 Get a glimpse into putting on this epic scale Opera from Director David McVicar, Designer Vicki Mortimer, Lighting designer Paule Constable, and movement director Andrew George. Backstage and rehearsal footage recorded at Glyndebourne in May 2011. Great Performances: Fast Facts, Long Opera http://www.pbs.org/wnet/gperf/gp-met-die-meistersinger-von-nurnberg-fast-facts-long-opera/3951/ Die Meistersinger von Nürnberg (“The Master-Singer of Nuremberg”) received its first Great Performances at the Met broadcast in 2014. The Guardian: Die Meistersinger: 'It's Wagner's most heartwarming opera' http://www.theguardian.com/music/2011/may/19/die-meistersinger-von-nurnberg-glyndebourne Director David McVicar on "looking Meistersinger squarely in the face and recognising the dark undercurrents which are barely beneath the surface." "When Wagner composed the opera in the 1860s, he thought he was telling a joyous human story," he says.
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SWR2 Musikstunde
SWR2 MANUSKRIPT ESSAYS FEATURES KOMMENTARE VORTRÄGE SWR2 Musikstunde Herbst des Mittelalters (3) „Verachtet mir die Meister nicht!“ – Spruchdichtung und Meistergesang Auf dem Weg zu einem musikalischen Regelwerk Von Bettina Winkler Sendung: Mittwoch , 01. Oktober 2014 9.05 – 10.00 Uhr Redaktion: Bettina Winkler Bitte beachten Sie: Das Manuskript ist ausschließlich zum persönlichen, privaten Gebrauch bestimmt. Jede weitere Vervielfältigung und Verbreitung bedarf der ausdrücklichen Genehmigung des Urhebers bzw. des SWR. Mitschnitte auf CD von allen Sendungen der Redaktion SWR2 Musik sind beim SWR Mitschnittdienst in Baden-Baden für € 12,50 erhältlich. Bestellungen über Telefon: 07221/929-26030 Kennen Sie schon das Serviceangebot des Kulturradios SWR2? Mit der kostenlosen SWR2 Kulturkarte können Sie zu ermäßigten Eintrittspreisen Veranstaltungen des SWR2 und seiner vielen Kulturpartner im Sendegebiet besuchen. Mit dem Infoheft SWR2 Kulturservice sind Sie stets über SWR2 und die zahlreichen Veranstaltungen im SWR2-Kulturpartner-Netz informiert. Jetzt anmelden unter 07221/300 200 oder swr2.de 2 Musikstunde vom 29. 9. bis 2. 10. 2014, 9.05 bis 10.00 Uhr mit Bettina Winkler Herbst des Mittelalters (3) „Verachtet mir die Meister nicht!“ – Spruchdichtung und Meistergesang Auf dem Weg zu einem musikalischen Regelwerk Signet Musikstunde 0‘05 …mit Bettina Winkler. In meinen Musikstunden geht es diese Woche um den „Herbst des Mittelalters“. Der dritte Teil befasst sich mit Spruchdichtung und Meistgesang: „Verachtet mir die Meister nicht“ – auf dem Weg zu einem musikalischen Regelwerk. Musikstunden-Indikativ – ca. 0‘20 Was fällt Ihnen spontan ein, wenn ich den Begriff „Meistersinger“ in den Raum werfe? Sicherlich denken Sie zuerst an Richard Wagners Oper, an das alte Nürnberg und an den Schuster Hans Sachs, der alles so wohl zu richten wusste.
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Die Meistersinger Von Nürnberg
RICHARD WAGNER die meistersinger von nürnberg conductor Opera in three acts James Levine Libretto by the composer production Otto Schenk Saturday, December 13, 2014 12:00–6:00 PM set designer Günther Schneider-Siemssen costume designer Rolf Langenfass lighting designer Gil Wechsler choreographer The production of Die Meistersinger von Nürnberg Carmen De Lavallade is made possible by a generous gift from stage director Mrs. Donald D. Harrington Paula Suozzi The revival of this production is made possible by a gift from Mr. and Mrs. Corbin R. Miller and Mr. and Mrs. Charles Scribner III, in honor of Father Owen Lee general manager Peter Gelb music director James Levine principal conductor Fabio Luisi The 413th Metropolitan Opera performance of RICHARD WAGNER’S This performance die meistersinger is being broadcast live over The von nürnberg Toll Brothers– Metropolitan Opera International Radio Network, sponsored by Toll Brothers, conductor America’s luxury James Levine ® homebuilder , with in order of vocal appearance generous long-term support from walther von stol zing, konr ad nachtigall, tinsmith The Annenberg a knight from fr anconia John Moore* Johan Botha° Foundation, The fritz kothner, baker Neubauer Family eva, pogner’s daughter Martin Gantner Foundation, the Annette Dasch Vincent A. Stabile hermann ortel, soap-maker Endowment for magdalene, her at tendant David Crawford Broadcast Media, Karen Cargill balthasar zorn, pew terer and contributions David Cangelosi from listeners david, apprentice to sachs worldwide. Paul Appleby* augustin moser, tailor veit pogner, goldsmith Noah Baetge Visit List Hall at the Hans-Peter König second intermission ulrich eisslinger, grocer Tony Stevenson* for the Toll Brothers– six tus beckmesser, Metropolitan Opera town clerk hans foltz, coppersmith Quiz.
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Contemplating Die Meistersinger (Published in Limelight Magazine, November 2018) Richard Wagner Once Said of Johann Sebastian Bach’S Music: “That Made Me What I Am
Contemplating Die Meistersinger (Published in Limelight Magazine, November 2018) Richard Wagner once said of Johann Sebastian Bach’s music: “That made me what I am. My unending melody is predestined in it.” In Die Meistersinger von Nürnberg, Wagner demonstrated to post-Tristan sceptics his mastery of traditional musical forms. Sonorous chorales, a fugally-inspired toccata, an unforgettable quintet and counterpoint worthy of Bach all feature in this magnificent score celebrating the marriage of inspiration and tradition. Incredibly, Bach’s major works had been ignored and forgotten until Mendelssohn presented the St Matthew Passion in Leipzig in 1829. The neglect of Bach for at least fifty years was symptomatic of a much wider problem. During the 18th century, the Austro-German ruling classes had been indifferent to (Lutheran) German culture and were inclined to rubbish anything that was not neo-classical and French or Italian inspired. The Holy Roman Emperor Joseph II experimented with a German theatre in 1778, the National Singspiel, for which Mozart wrote Die Entführung aus dem Serail. However, this project failed after only five years and the emperor (famously complaining of “too many notes”) turned instead to melodious, lightly scored Italian alternatives. Even in Prussia, Frederick the Great, champion of the Enlightenment, regarded German culture as being inferior to that of France and Italy. In the 1780s a new edition of the Nibelungenlied (the 13th century ‘Song of the Nibelungs’, which would play an important part in Wagner’s plans for a drama on the death of Siegfried and later Der Ring des Nibelungen) was dedicated to Frederick, but the king responded in the following terms: Dear faithful scholar, You judge far too favourably these poems.
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Die Meistersinger Von Nürnberg on Stage in the Weimar Republic
This is a repository copy of Displacement, repetition and repression : Die Meistersinger von Nürnberg on stage in the Weimar Republic. White Rose Research Online URL for this paper: https://eprints.whiterose.ac.uk/122212/ Version: Accepted Version Article: Sheil, Aine Catherine orcid.org/0000-0001-6890-3204 (2018) Displacement, repetition and repression : Die Meistersinger von Nürnberg on stage in the Weimar Republic. Cambridge Opera Journal. pp. 117-151. ISSN 0954-5867 https://doi.org/10.1017/S095458671700012X Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Displacement, repetition and repression: Die Meistersinger von Nürnberg on stage in the Weimar Republic Áine Sheil Abstract Relatively little scholarly attention has been paid to the performance and reception history of Die Meistersinger von Nürnberg during the Weimar Republic (1919-33), but as this article will demonstrate, the opera played an indispensable role in the repertories of Weimar opera houses. Despite an evident desire on the part of some Weimar directors and designers of Die Meistersinger to draw on staging innovations of the time, productions of the work from this period are characterised by scenic conservatism and repetition of familiar naturalistic imagery.
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Richmond Symphony Orchestra the Grand Tour, March 16, 2019 NOTES on the MUSIC by Dr
Richmond Symphony Orchestra The Grand Tour, March 16, 2019 NOTES ON THE MUSIC by Dr. Robert M. Johnstone Prelude to Act I of “Die Meistersinger von Nürnberg” Richard Wagner born in Leipzig, Germany, in 1813; died in Venice, Italy, in 1883 Premiere: Munich, June 21, 1868 Instrumentation: piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons; 4 horns, 3 trumpets, 3 trombones, tuba; timpani, percussion, harp; strings Duration: 10 minutes The great Polish pianist and patriot Paderewski described Die Meistersinger as “the greatest work of genius ever achieved by any artist in any field of human endeavor.” A debatable point---even among the staunchest of Wagnerians---but it is nonetheless a work of genius. Wagner’s only “comic” opera, its creation was to occupy a span of twenty-two years, from its inception in 1845 to its completion on October 24, 1867. Meistersinger was conceived as a humorous companion to his early success, Tannhäuser, yet comic writing did not come easily to Wagner; or perhaps it was just that other, more profound ideas intervened---Lohengrin, the Ring cycle, Tristan und Isolde---to push Meistersinger aside. He returned to it, in part, as a diversion from a sea of troubles, both musical and personal, that plagued him in the early 1860s. A story has it that one of his great loves, Mathilda Wesendonck, prompted him to return to Meistersinger in order to show his critics that he could smile in the teeth of adversity. He certainly seized the chance in his new opera to skewer some of his most implacable enemies, among them the critic Eduard Hanslick, who is deliciously dissected as the villainous rascal, “Beckmesser.” Meistersinger is not only Wagner’s sole comic opera, it is the only one to deal with ordinary historical figures.
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Die Meistersinger Through the Lens of the Third Reich
Loyola University Chicago Loyola eCommons History: Faculty Publications and Other Works Faculty Publications 2003 "The Most German of All German Operas": Die Meistersinger through the Lens of the Third Reich David B. Dennis Loyola University Chicago, [email protected] Follow this and additional works at: https://ecommons.luc.edu/history_facpubs Part of the Ethnomusicology Commons, European History Commons, Musicology Commons, and the Music Performance Commons Recommended Citation Dennis, David B.. "The Most German of All German Operas": Die Meistersinger through the Lens of the Third Reich. Wagner's Meistersinger: Performance, History, Representation, , : 98-119, 2003. Retrieved from Loyola eCommons, History: Faculty Publications and Other Works, This Book Chapter is brought to you for free and open access by the Faculty Publications at Loyola eCommons. It has been accepted for inclusion in History: Faculty Publications and Other Works by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. © 2002 Nicholas Vazsonyi Die Meistersinger through the Lens of the Third Reich 99 6 this summary continues. "The Wagnerian motif was apparently suggested by Riefenstahl but was a natural and appropriate choice." 3 Such claims are generally taken for granted: students, general readers, and even scholars have little difficulty accepting associations between Wagner's nationalistic music drama and National S?cia~ist .self-promotion in film. However, the main premise of this content10n 1s simply not true: "The Most German of all while Triumph des Willens later refers to Die Meistersinger, 4 the film does not open with music from Wagner's opera.
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Der Minnesänger L. Ein Sohn Unserer
Zurich Open Repository and Archive University of Zurich Main Library Strickhofstrasse 39 CH-8057 Zurich www.zora.uzh.ch Year: 2012 Konrad von Würzburg Stridde, Christine DOI: https://doi.org/10.1515/9783598441424.176 Posted at the Zurich Open Repository and Archive, University of Zurich ZORA URL: https://doi.org/10.5167/uzh-147068 Book Section Published Version Originally published at: Stridde, Christine (2012). Konrad von Würzburg. In: Achnitz, Wolfgang. Lyrik und Dramatik. Berlin: De Gruyter, 452-460. DOI: https://doi.org/10.1515/9783598441424.176 2. Hälfte 13. Jh. Gunther ¨ von dem Forste (62001) S. 278 f. (Tf. 136). – Erwin Buhl: Der Ausgaben: HMS 2 (1838) S. 164–168 (Text); Minnesanger¨ L. Ein Sohn unserer Heimat. Litschau 4 (1838) 477 f. (Komm.). – Kraus LD 1 (21978) 1990. – Margreth Egidi: Hofische¨ Liebe. Entwurfe¨ S. 131–140 (Nr. 17); 2 (21978) S. 167–173 der Sangspruchdichtung. Literarische Verfahrens- (Komm.). – Helmut de Boor (Hg.): MA. Texteund weisen v. Reinmar v. Zweter bis Frauenlob. Hei- Zeugnisse. 2. Teilbd. (Die Dt. Lit. Texteund Zeug- delberg 2002, S. 156–158 u. o.¨ – Collmann-Weiß nisse. I/2). Munchen¨ 1965 (Nachdr. ebd. 2001) 2005 (s. Ausg.). – Frieder Schanze: Scharfe Schelte. S. 1640 f., 1694–97. – Die Große Heidelberger Drei unedierte Strophen im Ehrenton Reinmars v. Liederhs. (Codex Manesse). In getreuem Textab- Zweter. In: Dichtung und Didaxe. Lehrhaftes Spre- druck hg. v. Fridrich Pfaff [1909]. 2., verb. und chen in der dt. Lit. Hg. v. Henrike Lahnemann/¨ erg. Aufl. bearb. v. Hellmut Salowsky. Heidelberg Sandra Linden. Berlin u. a. 2009, S. 107–116. 1984, Sp. 1014–1020 (Nr.
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Hugo Von Montfort. 1881
Music of the Minnesinger and Early Meistersinger COLLEGE OF ARTS AND SCIENCES ImUNCI Germanic and Slavic Languages and Literatures From 1949 to 2004, UNC Press and the UNC Department of Germanic & Slavic Languages and Literatures published the UNC Studies in the Germanic Languages and Literatures series. Monographs, anthologies, and critical editions in the series covered an array of topics including medieval and modern literature, theater, linguistics, philology, onomastics, and the history of ideas. Through the generous support of the National Endowment for the Humanities and the Andrew W. Mellon Foundation, books in the series have been reissued in new paperback and open access digital editions. For a complete list of books visit www.uncpress.org. r •.... 'l"l'' •. 1ii71•11 'Ji!,JP4'u I • 3 ..,. -- ..~ . -> 4-• ► . r-J...., ' .¢. .,. / l. ~ - J ..; t~•-,.,,..:.,. .-..p ....... - - .,,. --~ /':)••.. -t,.- ~ 1~-... ?1:-9 ~ ,_,. ... ~/}...._ .,. ... ". -- - ':-:: . -. "' ~ -.../..., ~ ~ ~ ~ -..,., J t.. t.-... ~I- a-td'. ~~- .. Berlin, Germ. Fol. 24, f. 224v. Music of the Minnesinger and Early Meistersinger A Bibliography robert white linker UNC Studies in the Germanic Languages and Literatures Number 32 Copyright © 1962 This work is licensed under a Creative Commons cc by-nc-nd license. To view a copy of the license, visit http://creativecommons. org/licenses. Suggested citation: Linker, Robert White. Music of the Minnesinger and Early Meistersinger: A Bibliography. Chapel Hill: University of North Carolina Press, 1962. doi: https://doi.org/ 10.5149/9781469657806_ Linker Library of Congress Cataloging-in-Publication Data Names: Linker, Robert White. Title: Music of the Minnesinger and Early Meistersinger : A bibliography / by Robert White Linker. Other titles: University of North Carolina Studies in the Germanic Languages and Literatures ; no.
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Implications of the Meistersinger Tabulatur
RICE UNIVERSITY Implications of the Meistersinger fabulatur by Heinz C. Christiansen A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF Master of Arts Houston, Texas March, 1967 HEINZ <?. ABSIS.ACI Historical, political, economic, and social evolution in Germany during the late thirteenth and the following centuries outdated chivalry and its ideals, linnesang, one form of literary expression of the courtly period declined, because the discrepancy between the ideal world and the real world could no longer be reconciled, The new Middle Class of the growing cities assumed the obligation to continue the tradition of Minnesang. In this new environment however, linnesang lost its identity and an entirely different genre was created: Meistergesang. She Meistersinger organized into strict and exclusive schools and developed for its supervision a statute, which they called the Tabulatur. This Tabulatur contained rules for the writing of the songs and for every activity connected with the schools and its members. This thesis attempts to outline and analyze the Meistersinger's need for technical aids and organisational patterns closely resembling their own professional guilds. Furthermore, this thesis suggests that the very same Tabulatur, intended to unite and establish the Meistersinger movement behind common methods and goals, was in part responsible for the mediocrity of Meistergesang and its decay. Obviously, the entire scope of the leister- gesang era cannot be explored in this thesis* There are numerous achievements accredited to this group of middle class artisan-poets. We are concerned only with the phenomenon of the Tabulatur and its specific implications* CONTBHTS I* The historical setting • •*•••••*• 1 IX* The relationship of Meistergesang to Mimegesang *** 8 III.
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M¹â¢>§Xéìê? )$Àaﬁ0™Ë!Ç°†
111128-31 bk Meisters EU 4/3/06 10:49 AM Page 16 WAGNER Also available: Die Meistersinger von Nürnberg PE NAP RTS K BU S S N C A H H 19 ng 50-51 Recordi Paul Schoeffler • Hilde Gueden Gunther Treptow • Karl Dönch 8.110308-10 Vienna State Opera Chorus Vienna Philharmonic Orchestra Hans Knappertsbusch 8.111128-31 16 111128-31 bk Meisters EU 4/3/06 10:49 AM Page 2 Great Opera Recordings Mark Obert-Thorn Mark Obert-Thorn is one of the world’s most respected transfer artist/engineers. He has worked for a number of Richard specialist labels, including Pearl, Biddulph, Romophone and Music & Arts. Three of his transfers have been nominated for Gramophone Awards. A pianist by training, his passions are music, history and working on projects. WAGNER He has found a way to combine all three in the transfer of historical recordings. (1813-1883) Obert-Thorn describes himself as a ‘moderate interventionist’ rather than a ‘purist’ or ‘re-processor,’ unlike those who apply significant additions and make major changes to the acoustical qualities of old recordings. His philosophy is that a good transfer should not call attention to itself, but rather allow the performances to be heard Die Meistersinger von Nürnberg with the greatest clarity. There is no over-reverberant ‘cathedral sound’ in an Obert-Thorn restoration, nor is there the tinny bass and Comic Opera in Three Acts piercing mid-range of many ‘authorised’ commercial issues. He works with the cleanest available 78s, and consistently achieves better results than restoration engineers working with the metal parts from the archives of the Hans Sachs, cobbler .
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Nicholas Vazsonyi Curriculum Vitae
updated: 9/7/2019 Nicholas Vazsonyi curriculum vitae Department of Languages, Literatures & Cultures University of South Carolina Columbia, South Carolina 29208-0001 office: 803.777.9734 / mobile: 803.447.1442 [email protected] https://sc.edu/study/colleges_schools/artsandsciences/dllc/our_people/vazsonyi_nicholas.php CURRENT FACULTY POSITION: 2011 – Current Jesse Chapman Alcorn Memorial Professor of German & Comparative Literature ADMINISTRATIVE EXPERIENCE: 2013 – Current Chair, Department of Languages, Literatures & Cultures University of South Carolina (R1, Flagship State University) RESPONSIBILITIES: 5 budget lines; 69 FTE faculty; 5 full-time staff; 11 language programs; 7 BA, 5 MA/MAT, & 2 PhD programs; T&P Dept. Chair vote; Language Lab oversight; annual faculty & staff performance review; strategic planning; hiring & retention; curriculum development & assessment; alumni & donor newsletter; supporting Development Office; Regular dept, staff, senior staff & “town hall” meetings; managing student complaints and faculty conflict resolution. ACHIEVEMENTS: Led overhaul of basic language courses curriculum to new “flipped/blended” model; managed 10% budget cut while increasing support for faculty and grad student travel; led faculty committee to draft a new departmental strategic plan; successfully lobbied for 10 tenure- track searches over six-year period; improved departmental communication; devised and implemented web-based student-centered class override request system, eliminating student and parent complaints by 100%; increased
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