DOCSLIB.ORG

Mother Mime: Siegfried, the Fairy Tale, and the Metaphysics of Sexual Difference Author(S): Adrian Daub Source: 19Th-Century Music, Vol

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Mother Mime: Siegfried, the Fairy Tale, and the Metaphysics of Sexual Difference Author(S): Adrian Daub Source: 19Th-Century Music, Vol Mother Mime: Siegfried, the Fairy Tale, and the Metaphysics of Sexual Difference Author(s): Adrian Daub Source: 19th-Century Music, Vol. 32, No. 2 (Fall 2008), pp. 160-177 Published by: University of California Press Stable URL: http://www.jstor.org/stable/10.1525/ncm.2008.32.2.160 Accessed: 08-11-2017 01:27 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 University of California Press is collaborating with JSTOR to digitize, preserve and extend access to 19th-Century Music This content downloaded from 70.103.220.4 on Wed, 08 Nov 2017 01:27:53 UTC All use subject to http://about.jstor.org/terms 19TH CENTURY MUSIC Mother Mime: Siegfried, the Fairy Tale, and the Metaphysics of Sexual Difference ADRIAN DAUB In a letter to Theodor Uhlig, Richard Wagner fried’s central contradiction. In particular, act I writes in 1851 that his Young Siegfried “has of Siegfried sees the story of the Nibelungs and the enormous advantage, that it presents the the gods of Valhalla grind to a virtual halt, as important mythos to the audience in a playful the cast pauses to stage a production of the manner, the way one presents a fairy tale to a Grimms’ story of the “youth who went forth to child.”1 Even when Young Siegfried, the pre- learn what fear was.”3 lude to a projected Siegfried’s Death, trans- formed into the “second day” of the Ring cycle,2 the opera retained this doubleness: Siegfried is 3In fact, it is clear from Wagner’s correspondence that Der Junge Siegfried was initially conceived as a fairy-tale op- mythos condensed into a fairy-tale setting, or era. Siegfried started out simply as the nameless “Bursche conversely a fairy tale that hides a mythos. The . der auszog das Fürchten zu lernen,” and Wagner only doubleness that Wagner seems to find so ad- subsequently hit on the idea that this “Bursche” could be identical with the hero of Siegfrieds Tod. In May 1851, vantageous, however, also constitutes Sieg- Wagner wrote to Theodor Uhlig: “Didn’t I tell you earlier about this light subject matter? It was the youth who went forth ‘to find out what fear was’ and who is so dumb that he never wants to learn it. Imagine my start when I 1Richard Wagner, Sämtliche Briefe—Band IV: Mai 1851 suddenly realized that this boy is none other than—the bis September 1852, ed. Gertrud Strobel and Werner Wolf young Siegfried who wins the treasure and wins (Leipzig: Deutscher Verlag für Musik, 2000), p. 44: “Der Brünnhilde” (Habe ich Dir nicht früher schon einmal von ‘junge Siegfried’ hat den ungeheuren Vortheil, daß er den einem heitren stoffe geschrieben? Es war dieß der bursche wichtigen Mythos dem publikum im spiel, wie einem kinde der auszieht ‘um das fürchten zu lernen’ und so dumm ist, ein märchen, beibringt.” es nie lernen zu wollen. Denke Dir meinen schreck, als 2On the transformation Wagner’s original text underwent ich plötzlich erkenne, daß dieser bursche niemand anders to become “Siegfried,” see Daniel Coren, “The Texts of ist, als—der junge Siegfried, der den hort gewinnt und Wagner’s Der junge Siegfried and Siegfried,” this journal 6 Brünnhilde erweckt!) (Wagner, Sämtliche Briefe, Band IV, (1982), 17–30. 44). 160 19th-Century Music, vol. 32, no. 2, pp. 160–77. ISSN: 0148-2076, electronic ISSN 1533-8606. © 2008 by the Regents of the University of California. All rights reserved. Please direct all requests for permission to photocopy or reproduce article content through the University of California Press’s Rights and Permissions Web site, at http://www.ucpressjournals.com/ reprintInfo.asp. DOI: 10.1525/ncm.2008.32.2.160. This content downloaded from 70.103.220.4 on Wed, 08 Nov 2017 01:27:53 UTC All use subject to http://about.jstor.org/terms As Carl Dahlhaus suggested with respect to only a fairy tale, but one upon which some- ADRIAN DAUB Siegfried, a classic fairy tale is characterized by thing foreign, namely the mythos, is always Siegfried, both timelessness and immanence.4 In setting already encroaching: “This particular fairy tale Fairy Tale, up its protagonist, in outlining that protagonist’s does have a sequel, but it takes place outside of Metaphysics travails and their eventual resolution, a fairy the world of the fairy tale and destroys it. The tale draws on no external resources, whether fairy tale of young Siegfried is like one of the social, historical, or even logical. It answers Fortunate Islands, which is swallowed up by exactly the questions it poses, without remain- the myth[os].”6 der. When Wagner distinguished between The stark dualism that seems to character- Mythos and Märchen, he was clearly drawing ize Wagner’s understanding of mythos and fairy on the distinction between the historical axis tale therefore asserts itself in the plot of the and dynastic concerns of the epic/mythos, and opera. Siegfried stages an opposition between the compressed and self-contained temporality an epic plot, namely the story of the Nibelungs of the fairy tale. and the end of the gods of Valhalla, and a fairy- Of course, recent scholarship has argued tale plot, the story of Siegfried leaving his for- against a stark dichotomization of mythos and est and reaching (sexual) maturity. And since fairy tale. It is, these scholars argue, just as the intersection between the epic plot that needs misguided to regard the fairy tale as entirely to be advanced and the fairy-tale anti-plot that ahistoric as it is to set up the mythos as its attempts to suspend its development occurs exact opposite, fully divorced from immanentist precisely in the realm of sexuality, sexuality concerns.5 For a fairy tale almost always has to emerges as a central thematic node of Siegfried. do with, if not overtly sexual, at least familial What is more, the dualism of self-enclosure relationships, such as siblinghood, parenthood, and epic development plays itself out in and descent. It was this conjunction of attributes Siegfried’s music as well. that made the fairy tale one of the prime sites The hero of both mythos and fairy tale per- and resources for psychoanalytic interpretation sists in, or rather exists as, the intersection of around the turn of the twentieth century. It fairy-tale timelessness and mythic provenance. offers, on the one hand, a static, atemporal He emerges from somewhere outside concrete structure that, on the other hand, exists only in historical sequence yet comes to influence and iteration and so furnishes a ground for histori- even inaugurate historical sequence. The magic cal sequence. Especially for a period so preoc- spot of intersection is inherently contradictory, cupied with questions of descent, (de)generation, and the hero’s position at that point in the and breeding as the nineteenth century, the story overdetermined. In Siegfried, more im- sexual was the historical par excellence. The portantly, the hero is not alone at the intersec- familial resources that give rise to the imma- tion of myth and fairy tale: his foster parent nence of the fairy tale thus threaten to explode and cunning exploiter, Mime, occupies that very the genre whose very lack of presuppositions they are supposed to vouch for. In Wagner’s Ring des Nibelungen, this con- 6“Timeless though a fairy tale may be, it has its frontiers. tradiction between genetic temporality and The waking of Brünnhilde, just like that of Sleeping Beauty, marks an ending that admits no future development be- pure, ostensibly static form becomes a contra- cause it represents perfection and fulfil[l]ment. This par- diction of genres. The cycle’s “second day,” ticular fairy tale does have a sequel, but it takes place Siegfried, as Dahlhaus argued, constitutes not outside of the world of the fairy tale and destroys it. The fairy tale of young Siegfried is like one of the Fortunate Islands, which is swallowed up by the myth” (So zeitlos eine Märchenhandlung ist, so geschlossen ist sie andererseits. Die Erweckung Brünnhildes stellt, nicht 4Carl Dahlhaus, Richard Wagner’s Musical Dramas (Cam- anders als die Dornröschen, ein Ende dar, das keine bridge: Cambridge University Press, 1979), pp. 126–28; Fortsetzung zuläßt, weil es Vollendung bedeutet. Was idem, Richard Wagners Musikdramen (Stuttgart: P. dennoch folgt, liegt jenseits der Märchenwelt, die es Reclam, 1996), p. 183. zerstört. Das Märchen vom jungen Siegfried gleicht einer 5See, e.g., Jack Zipes, The Brothers Grimm: From Enchanted glücklichen Insel, die vom Mythos verschlungen wird) Forests to the Modern World (New York: Palgrave (Dahlhaus, Wagner’s Musical Dramas, pp. 127–28; idem, Macmillan, 2002), pp. 208–30. Wagners Musikdramen, p. 183). 161 This content downloaded from 70.103.220.4 on Wed, 08 Nov 2017 01:27:53 UTC All use subject to http://about.jstor.org/terms 19TH same vexed spot. In Mime’s case, the opera the causal chains of instrumental reason. And CENTURY MUSIC obsessively asserts the impossibility of his po- it is sexual causation, of which Mime appears sition, turning him into the tortured citizen of incapable, that proves to be his downfall. two worlds. In the case of Siegfried, however, it Mime’s dizzying carousel of sexual personae just as strenuously denies the impossibility of is at once strangely desexualized (in many ways the youth’s position within the narrative.
Load more

Recommended publications
  • WAGNER and the VOLSUNGS None of Wagner’S Works Is More Closely Linked with Old Norse, and More Especially Old Icelandic, Culture
    WAGNER AND THE VOLSUNGS None of Wagner’s works is more closely linked with Old Norse, and more especially Old Icelandic, culture. It would be carrying coals to Newcastle if I tried to go further into the significance of the incom- parable eddic poems. I will just mention that on my first visit to Iceland I was allowed to gaze on the actual manuscript, even to leaf through it . It is worth noting that Richard Wagner possessed in his library the same Icelandic–German dictionary that is still used today. His copy bears clear signs of use. This also bears witness to his search for the meaning and essence of the genuinely mythical, its very foundation. Wolfgang Wagner Introduction to the program of the production of the Ring in Reykjavik, 1994 Selma Gu›mundsdóttir, president of Richard-Wagner-Félagi› á Íslandi, pre- senting Wolfgang Wagner with a facsimile edition of the Codex Regius of the Poetic Edda on his eightieth birthday in Bayreuth, August 1999. Árni Björnsson Wagner and the Volsungs Icelandic Sources of Der Ring des Nibelungen Viking Society for Northern Research University College London 2003 © Árni Björnsson ISBN 978 0 903521 55 0 The cover illustration is of the eruption of Krafla, January 1981 (Photograph: Ómar Ragnarsson), and Wagner in 1871 (after an oil painting by Franz von Lenbach; cf. p. 51). Cover design by Augl‡singastofa Skaparans, Reykjavík. Printed by Short Run Press Limited, Exeter CONTENTS PREFACE ............................................................................................ 6 INTRODUCTION ............................................................................... 7 BRIEF BIOGRAPHY OF RICHARD WAGNER ............................ 17 CHRONOLOGY ............................................................................... 64 DEVELOPMENT OF GERMAN NATIONAL CONSCIOUSNESS ..68 ICELANDIC STUDIES IN GERMANY .........................................
    [Show full text]
  • Diegeheimnissederformbeirich
    Intégral 30 (2016) pp. 81–98 Die Geheimnisse der Form bei Richard Wagner: Structure and Drama as Elements of Wagnerian Form* by Matthew Bribitzer-Stull Abstract. Wagnerian operatic forms span a continuum. At one end lie the delin- eated, non-developmental, “structural” kinds of shapes, at the other the “formless” streams of music that arguably depend on the extra-musical for their continuity and coherence. In between we find musical processes that embody more of a senseof motion and development than the fixed structures, but that cohere without the need of a text or programme. In this article I attempt to illustrate this range by applying my analytic methodology to two contrasting examples, one leaning heavily toward the structural (the Todesverkündigung scene from Die Walküre Act II, Scene 4) and the other (the Act II, Scene 2 love duet from Tristan und Isolde) best understood as a musi- cal representation of the drama. The overarching point I make with this comparison is that the range of Wagnerian formal techniques is best served by a flexible, multi- valent analytic orientation. Keywords and phrases: Wagner, opera, form, Alfred Lorenz, Tristan und Isolde, Der Ring des Nibelungen, Die Walküre. Introduction Lorenz’s study was the first serious attempt to present the formal process of the Wagnerian Musikdrama in a system- nyone familiar with Alfred Lorenz’s exhaustive analyses of Der Ring des Nibelungen, Tristan und Isolde, atic, analytic way, an argument against the then-prevalent A 1 Die Meistersinger von Nürnberg, and Parsifal, published be- view that Wagner’s late music was formless.
    [Show full text]
  • Die Geburt Des Festspielgedankens Aus Dem Geist Derbäderkur
    343 DIE GEBURT DES FESTSPIELGEDANKENS AUS DEM GEIST DERBÄDERKUR Matthias Theodor Vogt (Rom) Im gleichen Jahr, 1876 wie das Boyreuther Festspielunternehmen eröffnet in Falkenstein am Taunus ein Institut mit ähnlich strenger Tageseinteilung für seine Gäste: die erste geschlossene Anstalt zur Behandlung von' Tuber­ kulose-Krahken. Oie Organisation des Tagespl<lnels der Kranken ebenso wie die Einführung der liegekur (zuvor war es weitgehend eine Sitzkur, gewesen) bringen so· große Erfolge, daß Oettweilers System der Aussetzung, seiner Patienten an die freie Natur Schule macht~ Thomas Manns Zauberberg über• liefert ein anschauliches Bild der in ebensolcher Ausschließlichkeit um die Krankheit und'-ihre Kurierong kreisenden Gespräche,' wie es in Bayreuth dem Werk Wagners widerfährt. Zu den Eigentümtichkeiten des Festspietablaufs _gehört seit Anbeginn die strikte Regulierung des Tagesablaufs seiner Festspielgäste. Eine eigene Ver­ haltensanweisung- war nicht nöt.ig,· da' diese sich von selbst ergab. Einkaufen oder Spielbankbe'suche wie in den mondäneren unter den Badeorten war in dem absichtsvoll gewählten Provinzort nicht möglich - wer nicht zu Hause blieb und den Klavierauszug oder wenigstens die damals schon zahlreiche Sekundärliteratur studierte, ging spazieren. Nach dem Mittagessen {die Jagd nach Eßbarem, die 1876 zumindest tür. Tschaikowsky den musikalischen Eindruck überwogen zu haben scheint, war unvorhersehbarl legte der frühe Beginn der Aufführung und die Anstrengung des langen und konzentrierten Sitzoos auf den damals freilich noch bequemeren und vor allem ,schweißdurch• lässigen Stühlen eine Siesta .nahe. 'Der Gang zum Hügel war der nächste Spaziergang. Froh um etwas frische _luft und Bewegung 'war man in den bewußt einstündig gewählten Pausen noch ,dem mindestens ein:-. beim so unglücklich verlängerten ersten Götterdämmerungs-Akt bekanntlich ..über zwei­ stündigem Sitzen- ohne Klimaanlage.
    [Show full text]
  • Richard Wagner and Buddhism
    CORE Metadata, citation and similar papers at core.ac.uk Richard Wagner and Buddhism Tristan and Isolde and The Victors Dorothea Watanabe Dauer Richard Wagner’s influence on the cultural developments of the nineteenth century was probably more profound and more diverse than that of any other artist of that period. Wagner became the object either of ardent enthusiasm or bitter contempt, and this has remained unchanged to this day. Again and again Wagnerians and anti-Wagnerians have confronted each other over the works of this great but controversial artist and thinker. Since World War II these confrontations have become more belligerent, and this alone may suffice to secure for Wagner’s works and ideas a recognition as long as interest in Western art and music, as we have known it, continues. The Renaissance focussed the cultural interests of the Western World almost exclusively on antiquity. Up to 1854 Wagner was no exception to this trend. However, he made a rigorous distinction between the world of Greece and the world of Rome, and had praise only for Greece and its ideal of the self-confident man. The young Wagner, until 1848, was an enthusiastic admirer of Feuerbach, Bakunin, Prudhomme and other March Revolutionaries. After the failure of the revolution and because of his participation in the movement that led to the so-called May Uprising, a warrant for the arrest of the former Hof-Kapellmeister at the Dresden Staatstheater was issued. With a passport bearing the name of a Professor Widmann,1 he fled to Zurich. At that time the thirty-six year old Wagner was firmly convinced of the need for a political reorganization of Germany, since he could also expect a comparable transformation in the arts 1 Guy de Pourtates, Richard Wagner, Mensch und Meister (Berlin: Th.
    [Show full text]
  • Inhaltsverzeichnis
    INHALTSVERZEICHNIS Bernd Loebe und Norbert Abels 15 „Schafft Neues!..." Ein Vorwort zu Richard Wagner in Frankfurt Richard Wagner 25 Ein Brief an Professor Franz Wigard vom 19.05.1848 Richard Wagner 27 Ein Brief an Gustav Schmidt vom 18.03.1852 Richard Wagner 31 Ein Brief an Theodor Uhlig vom 12.09.1852 Richard Wagner 33 Ein Brief an Gustav Schmidt vom 13.01.1853 Richard Wagner 35 Ein Brief an Gustav Schmidt vom 17.[10.]1854 Richard Wagner 38 Metaphysik der Geschlechtsliebe, an Arthur Schopenhauer Richard Wagner 39 Ein Brief an Minna: Über reiche Frankfurter Der Theaterzettel 41 zum Lohengrin am 12.09.1862 Frankfurter Nachrichten 42 Theaterkritik zum Lohengrin in Frankfurt, 14.09.1862 5 http://d-nb.info/1029327386 Frankfurter Nachrichten 43 Theaterkritik zum zweiten Lohengrin-Abend, 16.09.1862 Franz Brandt 44 Ein Brief an das Freie Deutsche Hochstift Richard Wagner 45 Brief an das Freie Deutsche Hochstift vom 19.07.1864 Jürgen Gauert 46 Hümpchen in Wahnfried Freies Deutsches Hochstift 54 Gratulation zu den ersten Festspielen Friedrich Stoltze 56 Vorschlag zu einer Giebelgruppe Friedrich Stoltze 57 Zum Wagner'schen Wörterbuche, Frankfurter Latern Willehalm 58 Richard Wagner in Frankfurt, Kleine Chronik am 17.02.1879 Friedrich Stoltze 65 Von der Gartenlaube jüngst ein Messias genannt August Fester 67 Ein Viertelstündchen mit Richard Wagner Friedrich Stoltze 71 Hampelmann spricht mit seiner Frau Settche Brigitte Höft 76 Otto Dessoff - Wagner-Inszenierungen von 1880 bis 1892 Freies Deutsches Hochstift 89 Aus einem Sitzungsprotokoll: Zum Tode
    [Show full text]
  • Schumann Und Wagner
    ROBERT-SCHUMANN-HAUS ZWICKAU MUSEUM • KONZERTSAAL • FORSCHUNGSZENTRUM Schumann und Wagner Sonderausstellung 8. Juni bis 25. August 2013 Öffnungszeiten: Di – Fr 10 bis 17 Uhr Sa/So 13 bis 17 Uhr 1 Programm Gewandhaus Leipzig, 10.1.1833 Robert-Schumann-Haus Zwickau: 10463,27c-C3 Das 12. Abonnement-Konzert im Leipziger Gewandhaus begann mit der Aufführung von Wagners ‚Jugendsinfonie’. Auch Clara Wieck war unter den Mitwirkenden, sie spielte ein Klavierkonzert von Johann Peter Pixis. 2 Richard Wagner, Sämtliche Schriften, Leipzig 1883 Robert-Schumann-Haus Zwickau: 5693-C1m Im letzten Band der in Wagners Todesjahr erschienenen Ausgabe sind seine Erinnerungen an die Aufführung seiner Jugendsinfonie im Leipziger Gewandhaus abgedruckt. Anlass war eine private Wiederaufführung des Werks anlässlich des Geburtstags Cosima Wagners am Weihnachtstag 1882. 3 Richard Wagner, Stich nach einer Zeichnung von Kietz Robert-Schumann-Haus Zwickau: 3240-B2s Ernst Benedikt Kietz war ein Cousin Clara Wiecks und eng mit Wagner befreundet (vgl. auch 15). Die Zeichnung entstand 1842, der Stahlstich von Carl Mayer's Kunst-Anstalt Nürnberg erschien um 1850. 4 Programm Gewandhaus Zwickau, 18.11.1832 Robert-Schumann-Haus Zwickau: 10463,26-C3 In einem großen Konzert im Zwickauer Gewandhaus wurde der zweite Teil durch den ersten Satz von Schumanns ‚Jugendsinfonie’ („erste“) eröffnet. Auch Clara Wieck war unter den Mitwirkenden, ihr Vater spielte ein von ihm komponiertes Notturno für Klavier und Physharmonika (CD-Ersteinspielung im Rahmen der Zwickauer Musiktage 2007). 5 Robert Schumann, Skizze zum Finale der Jugendsinfonie Robert-Schumann-Haus Zwickau: 4644-A1 Im Gegensatz zu den weitgehend abgeschlossenen Partiturniederschriften zu den ersten drei Sätzen von Schumanns ‚Zwickauer’ Jugendsinfonie in g-Moll, kam das Finale nicht über Particell-Entwürfe wie auf diesem Einzelskizzenblatt hinaus.
    [Show full text]
  • Delphine Vincent “Den Propheten Der Neuen Welt”. Is Meyerbeer's Style
    Delphine Vincent “Den Propheten der neuen Welt”. Is Meyerbeer’s style cinematic?1 Giacomo Meyerbeer is famous for his contributions to opera, in particular his develop- ment of Grand opéra, characterized by early modern historical subjects and local color, in his Parisian works Robert le diable (1831), Les Huguenots (1836), Le Prophète (1849), and VascodeGama (1865). Atthe time of their creations, these works werestagedafterintensive research into historically accurate visual elements. This importance given to realist mise en scène in Grand opéra is one important aspect which has led modern researchers to consider links between Meyerbeer’s music and film. Moreover, fantastical aspects, such as those found in the plot of Robert le diable, invite the use of special effects like those required for cinematic representation in order to appeal to an audience today. The spectacular component of Grand opéra – and its expensive cost – seems to resonate with equivalent aspects in cinema, in particular historical period films. Another aspect which invites this comparison is the crucial importance given to the crowd, portrayed in a very vivid manner and in all its diversity in Grand opéra. The numerous changes of musical focus during such scenes evoke film technique and editing potential. As Anselm Gerhard has shown in his brilliant study of music theatre in Paris in the nineteenth century, the development of Grand opéra is inextricably linked to the expansion of mass urban society.2 This suggests another argument in favor of a connection between Meyerbeer and cinema, both being products of the modern age. In fact, the modernity of his musical and dramatic methods of representation has led some researchers to assume that Meyer- beer’s style is in some sense “cinematic”.
    [Show full text]
  • Neo-Riemannian Transformations and Prolongational Structures in Wagner's Parsifal Steven Scott Baker
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2003 Neo-Riemannian Transformations and Prolongational Structures in Wagner's Parsifal Steven Scott Baker Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY SCHOOL OF MUSIC NEO-RIEMANNIAN TRANSFORMATIONS AND PROLONGATIONAL STRUCTURES IN WAGNER’S PARSIFAL By STEVEN SCOTT BAKER A Dissertation submitted to the School of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Spring Semester, 2003 The members of the Committee approve the dissertation of Steven Scott Baker defended on April 1, 2003. _______________________ Jane Piper Clendinning Professor Directing Dissertation _______________________ Douglas Fisher Outside Committee Member _______________________ Evan Jones Committee Member _______________________ James R. Mathes Committee Member _______________________ Matthew R. Shaftel Committee Member The office of Graduate Studies has verified and approved the above named committee members. ii This document is dedicated to Dr. Jonathan May for instilling in me a love of music that has never wavered. I extend my deepest gratitude to him for believing that I could succeed in the field of music, and more importantly, for making me believe it. iii ACKNOWLEDGEMENTS My thanks and appreciation are extended to Prof. Jane Piper Clendinning for her constant support and advice during the preparation of this document. I am forever indebted to her for being the best and most enthusiastic advisor I could have asked for. I would also like to thank the members of my dissertation committee: Prof. Evan Jones, Prof.
    [Show full text]
  • Nicholas Vazsonyi Curriculum Vitae
    updated: 8/21/2020 Nicholas Vazsonyi curriculum vitae College of Architecture, Arts and Humanities Clemson University Clemson, South Carolina 29634 +1.864.656.3084 / [email protected] EDUCATION 1990-1993 University of California, Los Angeles Ph.D. Germanic Languages 1986-1988 University of California, Los Angeles M.A. German 1979-1982 Indiana University, Bloomington B.A. German summa cum laude, Phi Beta Kappa 1976-1978 Westminster School, London 8 O’ Levels (Oxford & Cambridge Board) EMPLOYMENT HISTORY 2020-current College of Architecture, Arts and Humanities Dean Clemson University 2013-2020 Dept of Languages, Literatures and Cultures Chair University of South Carolina 2011-2020 Jesse Chapman Alcorn Memorial Professor of Foreign Languages 2010-2020 University of South Carolina, Columbia Professor 2001-2010 University of South Carolina, Columbia Associate Professor 1997-2001 University of South Carolina, Columbia Assistant Professor 1994-1997 Vanderbilt University, Nashville Visiting Assistant Prof. 1993-1994 UCLA Extension, Humanities Division Instructor 1990-1992 University of California, Los Angeles Teaching Fellow 1984-1990 Telemusic, Inc. Artistic Director Documentary Film Production vazsonyi · curriculum vitae PUBLICATIONS BOOKS Richard Wagner. Die Entstehung einer Marke. Bd. 7. Wagner in der Diskussion. Trans. Michael Halfbrodt. Würzburg: Königshausen & Neumann, 2012. [reviews to date in: klassik.com, Das Orchester, Süddeutsche Zeitung, Klassiek Centraal (Netherlands); Literaturkritik.de; Der Tagespiegel, Versorgerin (Austria);
    [Show full text]
  • Weimar – Eisenach
    Helen Geyer, Kiril Georgiev, Stefan Alschner (Hg.) Wagner – Weimar – Eisenach Musik und Klangkultur | Band 39 Helen Geyer (Prof. Dr.), geb. 1953, studierte Klavier, Musikwissenschaft, Ka- tholische Theologie, Christliche Archäologie und Germanistik in Würzburg. Zwischen 1985 und 1995 war sie wissenschaftliche Mitarbeiterin am Institut für Musikwissenschaft der Universität Regensburg. 1995 wurde sie an das Institut für Musikwissenschaft Weimar-Jena an der Hochschule für Musik Franz Liszt Weimar berufen, das sie von 1997 bis 2000 sowie von 2012 bis 2014 leitete. Als Spezialistin für die Musikgeschichte des 16. bis 20. Jahrhunderts leitet sie u.a. das Projekt »Wissenschaftlich kommentierte Quellenanalyse und Diskussion ausgewählter Aspekte der Richard-Wagner-Sammlung Nikolaus J. Oesterleins in Eisenach«, das von der VolkswagenStiftung gefördert wird. Außerdem ist sie seit 2013 Vizepräsidentin des Deutschen Studienzentrums in Venedig (DSZV). Kiril Georgiev (M.A.), geb. 1978, studierte Musikwissenschaft, Erziehungs- wissenschaft und Philosophie in Weimar und Jena. Nach Lehraufträgen am Institut für Musikwissenschaft Weimar-Jena ist er seit 2016 wissenschaftlicher Mitarbeiter im Projekt »Wissenschaftlich kommentierte Quellenanalyse und Diskussion ausgewählter Aspekte der Richard-Wagner-Sammlung Nikolaus J. Oesterleins in Eisenach«, das von der VolkswagenStiftung gefördert wird. Stefan Alschner (M.A. mult.), geb. 1988, studierte Musikwissenschaft und Skandinavistik an der Universität Tübingen. Dies ergänzte er durch ein inter- nationales Masterfernstudium
    [Show full text]
  • Bemerkungen Und Dokumente Zu Richard Wagner Siegfried Zusammengestellt Von Hartmut Haenchen
    Bemerkungen und Dokumente zu Richard Wagner Siegfried Zusammengestellt von Hartmut Haenchen Wenn man den Ring als dramatische Sinfonie in 4 Sätzen betrachtet, dann hat Siegfried die Stellung des Scherzo - allerdings eines monumentalen (Wagner: "Denn was ich niederschreibe, ist eben alles Superlativ"). Ein sehr zwielichtiges Scherzo zugleich. Trotz der Idylle, die Zertrümmerung des Götterspeers (Symbol der alten, korrumpierten Weltherrschaft). Der Weg für den "neuen Menschen" ist frei. Daß auch er zu Schuldverstrickung und Untergang führen wird, verrät die Siegfried-Partitur noch nicht. Das ist dann auch der Unterschied der Siegfried-Figur Wagners zum volkstümlichen Helden der Sage und der Unterschied zum Sigurd der nordischen Sage. Am Anfang von Wagners Schöpfungsprozeß stand die dramatische Dichtung Siegfrieds Tod. Am Anfang der sich über 26 Jahre erstreckenden Arbeit am Ring standen Siegfried-Noten: die Skizzen zu einer Szene Siegfried-Brünnhilde und zu einer der Nornen, datiert vom 12.8.1850, also um vier Jahre älter als die ersten Takte des Rheingold. Siegfrieds Tod wurde im Revolutionsjahr 1848 als Einabend-Drama entworfen. Es genügte seinem Schöpfer, je mehr seine Phantasie in die Tiefe drang, nicht mehr. Die Dichtung setzte Ringe an, erweiterte sich rückwärts Schritt für Schritt, chronologisch in Richtung Rheingold: Tragischer Siegfried - Jüngling Siegfried - Siegmund/Wotan - bis zum Ursprung der Welt: Rheingold. Der Übergang von der Romantik im 1. und 2. Akt zur Spätromantik vollzieht sich mit dem 3. Akt. Tagebucheintragung Eduard Devrients vom 12. Oktober 1848: Gegen Abend kam Kapellmeister Wagner, den ich trotz Thereses Widerspruch geladen hatte. Mag er auch jetzt politisch anrüchig sein, man darf ihn darum nicht gesellschaftlich desavouieren. Er las uns seine Zusammenstellung der Siegfriedsagen vor; es war mit großem Talent gemacht.
    [Show full text]
  • The Texts of Wagner's "Der Junge Siegfried" and "Siegfried" Author(S): Daniel Coren Source: 19Th-Century Music, Vol
    The Texts of Wagner's "Der junge Siegfried" and "Siegfried" Author(s): Daniel Coren Source: 19th-Century Music, Vol. 6, No. 1 (Summer, 1982), pp. 17-30 Published by: University of California Press Stable URL: http://www.jstor.org/stable/746228 Accessed: 08-11-2017 01:27 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 University of California Press is collaborating with JSTOR to digitize, preserve and extend access to 19th-Century Music This content downloaded from 70.103.220.4 on Wed, 08 Nov 2017 01:27:21 UTC All use subject to http://about.jstor.org/terms The Texts of Wagner's Derjunge Siegfried and Siegfried DANIEL COREN On 10 May 1851 Wagner wrote in a letter On tothe his impetus of this insight, Wagner com- friend Theodor Uhlig: posed a new dramatic poem, Der junge Sieg- fried, intending it as an introduction to Sieg- I have been plagued by an idea all winter, and have been so strongly inspired by it that I am now frieds going Tod, to the original version of Gotterddim- realize it [as a drama]. The idea concerns the merung, lad who which he had written in 1848 and sets out to learn fear, but who is so dumb 1849.that heWith is his fresh vision of Siegfried before not able to succeed.
    [Show full text]