The Art-Work of the Future
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Parsifal and Canada: a Documentary Study
Parsifal and Canada: A Documentary Study The Canadian Opera Company is preparing to stage Parsifal in Toronto for the first time in 115 years; seven performances are planned for the Four Seasons Centre for the Performing Arts from September 25 to October 18, 2020. Restrictions on public gatherings imposed as a result of the Covid-19 pandemic have placed the production in jeopardy. Wagnerians have so far suffered the cancellation of the COC’s Flying Dutchman, Chicago Lyric Opera’s Ring cycle and the entire Bayreuth Festival for 2020. It will be a hard blow if the COC Parsifal follows in the footsteps of a projected performance of Parsifal in Montreal over 100 years ago. Quinlan Opera Company from England, which mounted a series of 20 operas in Montreal in the spring of 1914 (including a complete Ring cycle), announced plans to return in the fall of 1914 for another feast of opera, including Parsifal. But World War One intervened, the Parsifal production was cancelled, and the Quinlan company went out of business. Let us hope that history does not repeat itself.1 While we await news of whether the COC production will be mounted, it is an opportune time to reflect on Parsifal and its various resonances in Canadian music history. This article will consider three aspects of Parsifal and Canada: 1) a performance history, including both excerpts and complete presentations; 2) remarks on some Canadian singers who have sung Parsifal roles; and 3) Canadian scholarship on Parsifal. NB: The indication [DS] refers the reader to sources that are reproduced in the documentation portfolio that accompanies this article. -
The Nineteenth Century, Part 2: Nationalism and Ideology
A-R Online Music Anthology www.armusicanthology.com Content Guide The Nineteenth Century, Part 2: Nationalism and Ideology Joseph E. Jones is Associate Professor at Texas A&M by Joseph E. Jones and Sarah Marie Lucas University-Kingsville. His research has focused on German opera, especially the collaborations of Strauss Texas A&M University-Kingsville and Hofmannsthal, and Viennese cultural history. He co- edited Richard Strauss in Context (Cambridge, 2020) Assigned Readings and directs a study abroad program in Austria. Core Survey Sarah Marie Lucas is Lecturer of Music History, Music Historical and Analytical Perspectives Theory, and Ear Training at Texas A&M University- Composer Biographies Kingsville. Her research interests include reception and Supplementary Readings performance history, as well as sketch studies, particularly relating to Béla Bartók and his Summary List collaborations with the conductor Fritz Reiner. Her work at the Budapest Bartók Archives was supported by a Genres to Understand Fulbright grant. Musical Terms to Understand Contextual Terms, Figures, and Events Main Concepts Scores and Recordings Exercises This document is for authorized use only. Unauthorized copying or posting is an infringement of copyright. If you have questions about using this guide, please contact us: http://www.armusicanthology.com/anthology/Contact.aspx Content Guide: The Nineteenth Century, Part 2 (Nationalism and Ideology) 1 ______________________________________________________________________________ Content Guide The Nineteenth Century, -
4. Wagner Prelude to Tristan Und Isolde (For Unit 6: Developing Musical Understanding)
4. Wagner Prelude to Tristan und Isolde (For Unit 6: Developing Musical Understanding) Background information and performance circumstances Richard Wagner (1813-1883) was the greatest exponent of mid-nineteenth-century German romanticism. Like some other leading nineteenth-century musicians, but unlike those from previous eras, he was never a professional instrumentalist or singer, but worked as a freelance composer and conductor. A genius of over-riding force and ambition, he created a new genre of ‘music drama’ and greatly expanded the expressive possibilities of tonal composition. His works divided musical opinion, and strongly influenced several generations of composers across Europe. Career Brought up in a family with wide and somewhat Bohemian artistic connections, Wagner was discouraged by his mother from studying music, and at first was drawn more to literature – a source of inspiration he shared with many other romantic composers. It was only at the age of 15 that he began a secret study of harmony, working from a German translation of Logier’s School of Thoroughbass. [A reprint of this book is available on the Internet - http://archive.org/details/logierscomprehen00logi. The approach to basic harmony, remarkably, is very much the same as we use today.] Eventually he took private composition lessons, completing four years of study in 1832. Meanwhile his impatience with formal training and his obsessive attention to what interested him led to a succession of disasters over his education in Leipzig, successively at St Nicholas’ School, St Thomas’ School (where Bach had been cantor), and the university. At the age of 15, Wagner had written a full-length tragedy, and in 1832 he wrote the libretto to his first opera. -
Constructing Chivalry: the Symbolism of King Mark in Wagner's Tristan
Constructing Chivalry: The Symbolism of King Mark in Wagner’s Tristan und Isolde by Julie Anne Heikel Bachelor of Music, McGill University, 2007 A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of MASTERS OF ARTS in the School of Music Julie Anne Heikel, 2010 University of Victoria All rights reserved. This thesis may not be reproduced in whole or in part, by photocopy or other means, without the permission of the author. ii Supervisory Committee Constructing Chivalry: The Symbolism of King Mark in Wagner’s Tristan und Isolde by Julie Anne Heikel Bachelor of Music, McGill University, 2007 Supervisory Committee Dr. Susan Lewis Hammond, School of Music Supervisor Kurt Kellan, School of Music Co-Supervisor Dr. Michelle Fillion, School of Music Departmental Member iii Abstract Supervisory Committee Dr. Susan Lewis Hammond Supervisor Kurt Kellan Co-Supervisor Dr. Michelle Fillion Departmental Member Despite Tristan’s place as a cornerstone of the operatic repertory, there has been surprisingly little scholarship on King Mark, whom scholars often overlook in favour of the title characters. This study examines Wagner’s adaptation of his source, the Tristan of Gottfried von Strassburg, to construct a character that represents the courtly chivalric society of the opera in opposition to the new order represented in Tristan’s passionate pursuit of love and, ultimately, of death. Building on literary scholarship of the Tristan tradition, this study explores issues of duality and decline in Mark’s character and the elements of his chivalric friendship with Tristan within the homosocial constructs of the courts. Through his use of traditional operatic lament form, associative orchestration, and text expression, Wagner constructs a king who is more nuanced that any of his predecessors: one cleansed by tragedy and capable of forgiveness. -
WAGNER 3 Cds the Royal Swedish Orchestra Traces Its Origins from the Court Chapel of the Sixteenth Century and Is One of the World’S Oldest Orchestras
660152-54 bk Tristan US 24/05/2005 09:59am Page 12 The Royal Swedish Orchestra WAGNER 3 CDs The Royal Swedish Orchestra traces its origins from the Court Chapel of the sixteenth century and is one of the world’s oldest orchestras. In 1773 Gustav III transformed it into an opera band. As the only professional orchestra in nineteenth-century Sweden it also regularly gave concerts with symphonic and vocal works. Its first encounter with Wagner’s music was probably with the Tannhäuser Overture in 1856. During the twentieth century, the orchestra Tristan und Isolde grew from around sixty to almost a hundred members. Today it numbers 114. Millgramm • Forsén • Fassbender The Royal Opera Chorus Lundberg • Kyhle • Dike The Royal Opera Chorus was created from scratch in 1773 for the first Swedish opera. At the transfer to the newly built Gustavian Opera House at Gustav Adolfs Torg in 1782, it is said to have numbered eighty members. The Royal Swedish Opera Male Chorus and Orchestra number dwindled during the nineteenth century. During its co-existence with the Royal Dramatic Theatre until 1887 chorus members also frequently took minor spoken parts in drama and musical plays. Today the chorus numbers sixty members. The chorus masters are Christina Hörnell and Folke Alin. Leif Segerstam The Royal Swedish Opera Gustav III founded the Royal Swedish Opera in 1773. The first opera house on the current site was inaugurated in 1782. From the early nineteenth century until 1887, the Royal Theatre was the national theatre for opera and ballet as well as spoken drama and concerts. -
The Love-Honor Dilemma in Tristan and Isolde: Calderón and the Tragic Conception of Wagner’S Opera
The Love-Honor Dilemma in Tristan and Isolde: Calderón and the Tragic Conception of Wagner’s Opera Master’s Thesis Presented to The Faculty of the Graduate School of Arts and Sciences Brandeis University Department of Music Eric Chafe, Advisor In Partial Fulfillment of the Requirements for the Degree Master of Fine Arts in Musicology by Eugenio Delgado May 2016 Copyright by Eugenio Delgado © 2016 Acknowledgements The opportunity to pursue my graduate studies has been supported by various people and institutions. First, and foremost, I am obliged to the CONACYT-Fundación INBA Beca para estudios en el extranjero, in Mexico, as well as the Music Department of the Graduate School of Arts and Sciences at Brandeis University, in Waltham, MA, which generously funded my studies at Brandeis University. I would like to thank all of my professors, whose humanitarian and intellectual insight went far beyond what I expected as a graduate student at this university. In particular, I am obliged to Dr. Eric Chafe, my thesis advisor, for his commitment and skill in guiding my research. Also, I would like to thank Dr. Allan Keiler, and Dr. Seth Coluzzi, who dedicated much time to reading and listening to my ideas regarding the research for the courses taken with them. I would also like to thank emphatically Dr. Mary Sterling and Dr. Lawrence J. Krakauer, beloved friends whose assistance in trying to improve every line of my paper, and pour out my ideas in correct English was truly helpful. I would also like to thank Margret Krakauer, Ileana Reisch, Amy Robinson, Frederick Burnham and Philip Radoff, whose caring friendship was vital to success in accomplishing my studies. -
Chapter Twenty Two Outline Student
Chapter 22: Musical Politics at Mid-Century: Historicism and the New German School I. Introduction A. Much music history is cast in the tale of the composers, but the people who actually do the writing are also significant contributors to how the story is told. B. “Historicism” defines social and cultural situations by their history. 1. It was promoted by Karl Heinz Brendel. 2. He wrote the most popular music history of the nineteenth century, Geschichte der Musik. II. Historicism and the Hegelian Dialectic A. The Hegelian dialectic has become somewhat a cliché. History is always in a state of flux. B. The Hegelian dialectic aims to show why things change. Historical change is to realize human freedom—the progress of the world soul. C. Brendel adopted these values. 1. He saw the history of music as a series of emancipations. 2. Musical value was best measured in how it embodied its own era’s evolutionary synthesis and pointed forward. 3. Brendel placed the highest value on German composers. III. The New German School A. Brendel became editor of the Neue Zeitschrift für Musik after Schumann, and his aesthetic preferences differed substantially from those of his predecessor. B. He formed a new organization to promote his agenda for progressive music and gave the keynote address at its formation. 1. Brendel named a group of composers who comprised the “New German School.” 2. Liszt was the honorary president. C. The “New German School” came to be identified with Liszt, Berlioz, and Wagner. D. Liszt began writing symphonic poems, which follow the Hegelian ideal of “unity of the poetic and the musical.” 1. -
Romanticism, Rebellion, and the Music of the Future an Essay By
Romanticism, Rebellion, and the Music of the Future An essay by Thomas Hampson and Carla Maria Verdino‐Süllwold From the liner notes of Berlioz, Wagner, and Liszt: Romantic Songs (EMI, 1994) “A cesspool of mud and filth!” was Richard Wagner’s first reaction to Paris when he arrived there after fleeing Riga in 1839. Yet, like countless musicians before him, the beleaguered composer had been drawn to the French capital with its diverse and stimulating cross‐section of artists, thinkers and prime movers. To some degree Wagner’s observations about mid‐19th‐century Paris were correct: the network of unpaved boulevards teemed with carriages, carts and pedestrians; sewage ran into the streets, and the scarcity of public baths made smells formidable. Yet Paris boasted Europe’s oldest university, arguably its finest cuisine, and a rich array of spectacle and serious entertainment for its citizenry. It was gas illumination in 1829 that gave the metropolis its nickname “City of Light,” but it was the radiance of its artistic and intellectual climate that made the appellation endure. 19th‐century Paris was the center of modern science, historical scholarship, philosophical, social, political and religious theory, as well as the cradle of literary, artistic and musical innovation. As the birthplace of 18th‐century revolution, she bequeathed a legacy of violent political and cultural change to the subsequent era. The collapse of Liberté, Egalité, Fraternité into the bloodbath of the Reign of Terror resulted in the rise of Napoleon, at first hailed by the Romantics as a symbol of energy and transforming power, only to be mourned, as Beethoven did in the lugubrious chords of the Eroica, as the heroic ideal manqué. -
Religious Workshop and Gregorian Chant: the Janus Liszt, Or How to Make New with the Old Nicolas Dufetel
Religious Workshop and Gregorian Chant: The Janus Liszt, or How to Make New with the Old Nicolas Dufetel To cite this version: Nicolas Dufetel. Religious Workshop and Gregorian Chant: The Janus Liszt, or How to Make New with the Old. James Deaville et Michael Saffle. Liszt’s Legacies. Based on papers presented at the International Liszt Conference held at Carleton University, Ottawa, Canada , Pendragon Press, pp.43-71, 2014. halshs-01422220 HAL Id: halshs-01422220 https://halshs.archives-ouvertes.fr/halshs-01422220 Submitted on 24 Dec 2016 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Distributed under a Creative Commons Attribution| 4.0 International License Religious Workshop and Gregorian Chant: The Janus Liszt, or How to Make New with the Old NICOLAS DUFETEL Introduction: the vague Meaning of “religious” Music Franz Liszt regarded his religious music as central to his output. In spite of renewed interest on the part of musicians and musicologists,1 however, Liszt’s Masses, motets, oratorios and psalm settings remain underappreciated. Some ten -
Nietzsche's Critique of "Absolute" Music
Georgia State University ScholarWorks @ Georgia State University Philosophy Theses Department of Philosophy 8-10-2021 Nietzsche's Critique of "Absolute" Music David Swigart Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/philosophy_theses Recommended Citation Swigart, David, "Nietzsche's Critique of "Absolute" Music." Thesis, Georgia State University, 2021. https://scholarworks.gsu.edu/philosophy_theses/289 This Thesis is brought to you for free and open access by the Department of Philosophy at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Philosophy Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. NIETZSCHE’S CRITIQUE OF “ABSOLUTE” MUSIC by DAVID SWIGART Under the Direction of Jessica Berry, PhD A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts in the College of Arts and Sciences Georgia State University 2021 ABSTRACT In Human, All-Too-Human, Nietzsche initiates an unexpected criticism of art, specifically a criticism of its ability to help humans justify life in a world full of suffering. Nietzsche sets his sights on absolute music, music that perpetuates religious values inherited from Christianity and renders the modern listener unable to affirm life. Drawing from various sources in nineteenth- century Germany, including his former friend Richard Wagner, Nietzsche demonstrates that rather than relying on absolute music to -
Art and Revolution
Art And Revolution RICHARD WAGNER Art And Revolution Table of Contents Art And Revolution...................................................................................................................................................1 RICHARD WAGNER...................................................................................................................................1 TRANSLATOR'S NOTE...............................................................................................................................1 INTRODUCTION TO ART AND REVOLUTION......................................................................................1 ART AND REVOLUTION...........................................................................................................................4 i Art And Revolution RICHARD WAGNER TRANSLATED BY WILLIAM ASHTON ELLIS This page copyright © 2002 Blackmask Online. http://www.blackmask.com • TRANSLATOR'S NOTE. • INTRODUCTION TO ART AND REVOLUTION. • ART AND REVOLUTION. Proofed and formatted by JP MOURLON, Paris, France TRANSLATOR'S NOTE. The INTRODUCTION translated on the opposite and following pages was written by Richard Wagner as the Preface to Volumes III. and IV. of his "Gesammelte Schriften," or Collected Writings, for the Edition of 1872; and applies not only to "Art and Revolution," but also to "The Art−Work of the Future" and "Opera and Drama," &c. INTRODUCTION TO ART AND REVOLUTION. THOMAS CARLYLE, in his History of Frederick the Great, (1) characterises the outbreak of the French Revolution -
Meyerbeer's Africana and Municipal
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by UCL Discovery FROM HINDUSTAN TO BRABANT: MEYERBEER’S AFRICANA AND MUNICIPAL COSMOPOLITANISM IN POST-UNIFICATION ITALY1 AXEL KÖRNER Transnational Cosmopolitanism The Prussian father of French grand opéra; a Jewish Kapellmeister and director of music at the Prussian court; a highly regarded member of Berlin’s social elite; a composer celebrated all over Europe, Meyerbeer’s life and work stands for an idea of European culture that does not easily fit the concept of an Age of Nationalism. The influential Austrian-Bohemian music critic Eduard Hanslick admired the cosmopolitan language of a composer, who had started out in Berlin, learned from Italian beauty during his travels, and made the greatest success of his career in the Paris of the Second Empire.2 Many of Hanslick’s contemporaries, including many Italians commenting on their first experience of grand opéra, perceived Meyerbeer’s music as a synthesis of styles, which had the powerful capacity to communicate across national boundaries.3 Others – most famously Wagner and Schumann – rejected Meyerbeer’s cosmopolitanism as untimely for an age of national romanticism. Anti- 1 I am grateful for comments I received during workshops organised at King’s College London as well as Villa Vigoni. In particular I would like to express my gratitude to Fabrizio della Seta, Anselm Gerhard, Roger Parker, Laura Protano-Biggs and Anna Tedesco. 2 Eduard Hanslick, ‘Meyerbeer’, in: idem., Die modern Oper. Kritiken und Studien (Berlin, 1875), 138- 173. 3 For Italian comments on international elements influencing Meyerbeer’s style see for instance Monitore di Bologna, 10 November 1869.