DOCSLIB.ORG

Richard-Wagner-Platz, Broschüre

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Richard-Wagner-Platz, Broschüre Urban lighting project »Richard-Wagner-Platz« Beleuchtungsprojekt »Richard­Wagner­Platz« Copyright: Stadt Leipzig, Michael Moser Impressum Impressum City of Leipzig | The Mayor | Department for Urban Stadt Leipzig | Der Oberbürgermeister | Dezernat Development and Construction | City Planning Offi ce | für Stadtentwicklung und Bau | Stadtplanungsamt | Offi ce for Traffi c an Civil Engineering | August 2014 Verkehrs- und Tiefbauamt | August 2014 Content Inhalt Description of the urban lighting project 2 Beschreibung des Lichtprojektes Objectives of the urban designer / landscape architect in this project 3 Ziele der Stadtgestalter/Landschaftsarchitekten in diesem Projekt Contribution for the city 4 Beitrag für die Stadt People involved in the project 6 Beteiligte Impressions 15 Impressionen Description of the urban lighting project Beschreibung des Lichtprojektes Richard-Wagner-Platz and area sur- Der Richard-Wagner-Platz und In a citizens forum and an expert colloquium (landscape In einem Bürgerforum und einem Expertenkolloquium rounding the “Höfe am Brühl” shopping das Umfeld des Einkaufszentrums planners, musicologists, playground experts, artists, (Landschaftsarchitekten, Musikwissenschaftler, Spielraum- representatives of political parties, diverse citizens‘ action experten, Künstler, Vertreter der politischen Fraktionen, center “Höfe am Brühl” groups, representatives of all relevant city departments), diverse Bürgervereine, Vertreter aller relevanten städti- the core tasks were intensively discussed for an anony- schen Ämter) wurden die Aufgabenschwerpunkte für einen The Richard-Wagner-Platz and the area surrounding Der Richard-Wagner-Platz und das Umfeld „Höfe am mous design competition that was open to a restricted begrenzt offenen, anonymen Realisierungswettbewerbs „Höfe am Brühl“ form the northwestern corner of Leipzig‘s Brühl“ liegen in der nordwestlichen Ecke des Leipziger number of applicants. The results of these events were intensiv diskutiert. Das Ergebnis dieser Veranstaltungen downtown area. The boundaries are formed to the west Stadtzentrums. Sie werden nach Westen und Norden vom summarized in the form of ten core sentences, which were wurde in Form von 10 Kernsätzen zusammengefasst, die and north by the intersection of Goerdelerring/Tröndlinring, Kreuzungsbereich Goerdelerring/Tröndlinring, nach Osten refl ected in the public offer of the tender as recommendati- als Empfehlung und Maßgabe für die Wettbewerbsaufgabe to the east by a department store building that is characte- durch die sogenannte „Blechbüchse“, einem durch eine on and stipulation for criteria in the design competition. Eingang in die Auslobung fanden rized by its aluminum facade and thus commonly referred Aluminiumfassade geprägten Kaufhausgebäude, und nach to as the „Blechbüchse“ or „tin can“, and to the southwest Südwesten durch den im klassizistischen Stil errichteten During the course of realizing the preferred design, the Im Rahmen der Realisierung des favorisierten Entwurfes by the classicistic „Großer Blumberg“ building and a „Großen Blumberg“ sowie eine Parkanlage als Teil des plans for a new skateboarding installation in particular wurden insbesondere die Pläne für eine neue Skateran- park as part of the landmarked green Promenadenring. denkmalgeschützten grünen Promenadenrings begrenzt. were discussed in detail with kids and teenagers of the lage im Detail mit Kindern und Jugendlichen des Vereins Richard-Wagner-Platz thus represents an important point Der Richard-Wagner-Platz stellt somit einen bedeutenden Verein Urban Souls e.V. (Club of Urban Souls) and the Urban Souls e.V. diskutiert und die neue Skateranlage of access to Leipzig‘s downtown. Stadteingang in die Leipziger Innenstadt dar. new skateboarding installation was designed and con- nach den Vorstellungen und Erfahrungen der zukünftigen structed according to the ideas and experiences of the Nutzer geplant und gebaut. In conjunction with the construction of the new „Höfe am Im Zusammenhang mit dem Neubau des innerstädti- future users. Brühl“ shopping center in the downtown area, the City of schen Einkaufszentrums „Höfe am Brühl“ beabsichtigte Die Entwicklung des Richard-Wagner-Platzes und des Leipzig intends to redesign the Richard-Wagner-Platz that die Stadt Leipzig, den unmittelbar an das Bauvorhaben Since the development of Richard-Wagner-Platz and the Umfeldes „Höfe am Brühl“ stellt somit einen für die Stadt is directly adjacent to the building project including the angrenzenden Richard-Wagner-Platz einschließlich der area surrounding „Höfe am Brühl“ thus represented an Leipzig wichtigen Beitrag zur Baukultur dar, da ein für public street space and open areas adjacent to the new sich an den Neubau anschließenden öffentlichen Straßen- important contribution to Leipzig‘s unique building culture, viele Partner und Beteiligte zufriedenstellendes Ergebnis building. Especially for Richard-Wagner-Platz there are und Freiräume neu zu gestalten. Insbesondere für den it would only be possible to obtain a satisfactory result for nur über den Bürgerdialog und den Partizipationsprozess a wide variety of demands on the future use, design and Richard-Wagner-Platz bestanden dabei sehr unterschied- many partners and stakeholders by seeking dialog with the sowie eine fachlich breit gefächerte Jury im Wettbewerbs- signifi cance of this plaza - especially during the day, in the liche Ansprüche an die künftige Nutzung, Gestaltung und public and a participation process and a jury, composed verfahren möglich war. evening and at night. Bedeutung dieses Stadtplatzes - sowohl am Tage als auch of experts from a wide variety of fi elds, in the competitive in den Abendstunden und bei Nacht. tendering process. Situation before | vor der Umgestaltung Copyright: Stadt Leipzig, Michael Moser Copyright: Stadt Leipzig Copyright: Stadt Leipzig, Amt für Geoinformation und Bodenordnung, 2011 2 3 The conceptual groundwork and procedures for conduc- Die konzeptionelle Vorbereitung und Durchführung des of the „Blechbüchse“ or the department store located at se“ am Richard-Wagner-Platz geschaffen hatte, waren in ting the competition for the Richard-Wagner-Platz were Wettbewerbsverfahrens für den Richard-Wagner-Platz Richard-Wagner-Platz, were to be integrated in the vicini- das Umfeld der „Höfe am Brühl“ zu integrieren. carefully monitored and reviewed by Leipzig‘s citizens with wurde von der fachlichen und kulturellen Öffentlichkeit ty of the „Höfe am Brühl“. their expertise and cultural preferences. At the same time, in der Stadt Leipzig aufmerksam und kritisch begleitet. • Das Verkehrs- und Tiefbauamt bestand auf dem Erhalt a wide variety of interests and functional requirements Zugleich waren sehr vielschichtige Interessenlagen und • The Verkehrs- und Tiefbauamt (Traffic and Civil Engi- der erst kürzlich im Zuge des Straßenumbaus herge- became apparent that had to be taken into account while funktionelle Erfordernisse deutlich geworden, die bei neering Office) insisted on preserving the footpaths and stellten Geh- und Radwegbereiche am Verkehrsknoten planning public spaces in the area surrounding the project. der Gestaltung der öffentlichen Räume im Umfeld des bicycle paths that were recently prepared during the Tröndlinring. That included in particular the following: Projektes berücksichtigt werden mussten. Dazu gehörten course of the street reconstruction project at the Tröndlin- insbesondere folgende: ring traffic junction. • Mit dem Neubau des großen Einkaufszentrums „Höfe am • The German composer Richard Wagner was born on Brühl“, aber auch im Zusammenhang mit weiteren pers- May 22, 1813 in Leipzig. The house where he was born • Der Komponist Richard-Wagner wurde am 22. Mai 1813 • With the construction of the new large-scale „Höfe am pektivischen Projekten im Bereich der Großen Fleischer- in Brühl no longer exists today. To commemorate his birth in Leipzig geboren. Sein Geburtshaus im Brühl existiert Brühl“ shopping center, but also in connection with other gasse/Hainstraße wurden andere Nutzungsfrequenzen house, a dot screen is embedded at the original location heute nicht mehr. Um an das Geburtshaus zu erinnern, perspective projects in the area of Große Fleischergasse/ und Nutzungsprofile für den Platz und die angrenzenden in the glass facade of the „Höfe am Brühl“ building. The ist dieses als Punktraster an originalem Standort in die Hainstraße, other uses and utilization profiles were pre- Straßenräume (Brühl und Richard-Wagner-Straße) pro- societies and organizations involved in the recognition Glasfassade der Bebauung „Höfe am Brühl“ eingelas- dicted for the plaza and the adjacent street spaces (Brühl gnostiziert. Diese mussten ebenfalls in die Betrachtung of Richard Wagner considered Richard-Wagner-Platz, sen worden. Die für die Würdigung von Richard Wagner and Richard-Wagner-Straße). These also had to be taken einfließen. which is close by, as location for a Richard Wagner mo- engagierten Vereine und Verbände sahen den in un- into consideration. nument, which should have a similar effect as the Bach mittelbarer Nähe gelegenen Richard-Wagner-Platz als • Die Beleuchtungsanlage des Richard-Wagner-Platzes and Mendelssohn monuments located within the Prome- Standort für ein Richard-Wagner-Denkmal, das ähnliche • The lighting system of Richard-Wagner-Platz was over war über 30 Jahre alt und musste grundhaft erneuert nadenring. Wirkung entfalten sollte, wie das Bach- und Mendels- thirty years old and has to be modernized thoroughly. The werden. Die Eingangssituation in das Stadtzentrum mit sohndenkmal
Load more

Recommended publications
  • 05-11-2019 Gotter Eve.Indd
    Synopsis Prologue Mythical times. At night in the mountains, the three Norns, daughters of Erda, weave the rope of destiny. They tell how Wotan ordered the World Ash Tree, from which his spear was once cut, to be felled and its wood piled around Valhalla. The burning of the pyre will mark the end of the old order. Suddenly, the rope breaks. Their wisdom ended, the Norns descend into the earth. Dawn breaks on the Valkyries’ rock, and Siegfried and Brünnhilde emerge. Having cast protective spells on Siegfried, Brünnhilde sends him into the world to do heroic deeds. As a pledge of his love, Siegfried gives her the ring that he took from the dragon Fafner, and she offers her horse, Grane, in return. Siegfried sets off on his travels. Act I In the hall of the Gibichungs on the banks of the Rhine, Hagen advises his half- siblings, Gunther and Gutrune, to strengthen their rule through marriage. He suggests Brünnhilde as Gunther’s bride and Siegfried as Gutrune’s husband. Since only the strongest hero can pass through the fire on Brünnhilde’s rock, Hagen proposes a plan: A potion will make Siegfried forget Brünnhilde and fall in love with Gutrune. To win her, he will claim Brünnhilde for Gunther. When Siegfried’s horn is heard from the river, Hagen calls him ashore. Gutrune offers him the potion. Siegfried drinks and immediately confesses his love for her.Ð When Gunther describes the perils of winning his chosen bride, Siegfried offers to use the Tarnhelm to transform himself into Gunther.
    [Show full text]
  • IN SUMMER Lucerne Is a Wagner City
    Der Ring des Nibelungen IN SUMMER Lucerne is a Wagner city. For six years – from 1866 to 1872 – the com- poser resided at the Villa Tribschen. This was a decisive period for him artistically as well as personally. It was here that he completed Die Meistersinger von Nürnberg and resumed work on The Ring of the Nibelung, composing both the third act of Siegfried and Götterdäm- merung. Wagner’s Lucerne years also represented a turning point in his personal life. He moved into his new home on Lake Lucerne with Cosima von Bülow, whom he then married on 25 August 1870 in the Protestant parish church. And it was in Tribschen that two of the couple’s three children – their daughter Eva and son Siegfried – were born. To mark the composer’s 200th birthday, LUCERNE FESTIVAL is presenting the first complete performance of theRing cycle in the Wagner city of Lucerne, with the English conductor Jonathan Nott, the Bamberg Symphony Orchestra, and internationally acclaimed Wagner singers, including Albert Dohmen as Wotan, the ruler of the gods, Petra Lang making her role debut as Brünnhilde, Torsten Kerl as Siegfried, Klaus Florian Vogt in the role of Siegmund, and the Russian bass Mikhail Petrenko in a threefold assignment as Fafner, Hunding, and Hagen. This concert presentation of the epoch-making work will enable us to focus on Wagner the musical revolutionary. The highly acclaimed acoustics of the KKL Lucerne’s Salle blanche concert hall will bring out the sonic details and nuances of Wagner’s astounding orchestration with a transparency that has not been heard before.
    [Show full text]
  • Johannes Brahms and Hans Von Buelow
    The Library Chronicle Volume 1 Number 3 University of Pennsylvania Library Article 5 Chronicle October 1933 Johannes Brahms and Hans Von Buelow Otto E. Albrecht Follow this and additional works at: https://repository.upenn.edu/librarychronicle Part of the Arts and Humanities Commons, and the Library and Information Science Commons Recommended Citation Albrecht, O. E. (1933). Johannes Brahms and Hans Von Buelow. University of Pennsylvania Library Chronicle: Vol. 1: No. 3. 39-46. Retrieved from https://repository.upenn.edu/librarychronicle/vol1/iss3/5 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/librarychronicle/vol1/iss3/5 For more information, please contact [email protected]. not later than 1487. Incidentally it may be mentioned that the Gesamtkatalog fully records a "Seitengetreuer Nach- druck" (mentioned by Proctor) as of [Strassburg, Georg Husner, um 1493/94]. The two editions (of which Dr. Ros- enbach's gift is the original) have the same number of leaves but the register of signatures is different. And now in 1933 comes the Check list of fifteenth century books in the New- berry Library, compiled by Pierce Butler, capping the struc- ture with the date given as [1488] and the printer Johann Priiss, OTHER RECENT GIFTS Through the generosity of Mr. Joseph G. Lester the Library has received a copy of Lazv Triumphant, by Violet Oakley. The first volume of this beautifully published work contains a record of the ceremonies at the unveiling of Miss Oakley's mural paintings, "The Opening of the Book of the Law," in the Supreme Court room at Harrisburg, and the artist's journal during the Disarmament Conference at Gen- eva.
    [Show full text]
  • 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]
  • RICHARD WAGNER Sämtliche Werke
    Musikwissenschaftliche Editionen – Jahresbericht 2007 RICHARD WAGNER Sämtliche Werke Träger: Gesellschaft zur Förderung der Richard Wagner-Gesamtausgabe e. V., Mainz. Vorsitzender: Professor Dr. Christoph-Hellmut Mahling, Mainz. Herausgegeben in Verbindung mit der Bayerischen Akademie der Schönen Künste, München. Begründet von Carl Dahlhaus. Editionsleitung: Dr. Egon Voss, München. Anschrift: Richard Wagner-Gesamtausgabe, c/o Henle-Verlag, Forstenrieder Allee 122, 81476 München Tel.: 089/7598264, Fax: 089/ 7598263, e-mail: Klaus.Doege@extern- lrz-muenchen.de, Internet: http://www.adwmainz.de. Verlag: Schott Music, Mainz. Umfang der Ausgabe: Geplant sind im Notenteil (Reihe A) 57 Teilbände, einschließlich der Kritischen Berichte, und im Dokumententeil mit den Quellen zu Wagners Arbeit an seinen Bühnenwerken (Reihe B) 12 Teilbände; erschienen sind seit 1968 47 Teilbände der Reihe A und 7 Teilbände der Reihe B sowie das Wagner-Werk-Verzeichnis. Das Wagner-Briefe-Verzeichnis (Wiesbaden 1998) wurde in Zusammenarbeit mit der Richard Wagner-Gesamtausgabe erstellt. An der Richard Wagner-Gesamtausgabe arbeiten als hauptamtliche Wissenschaftliche Mitarbeiter Dr. Klaus Döge, Dr. Christa Jost, Dr. Peter Jost und Dr. Egon Voss (60% Teilzeit). Dr. Gabriele E. Meyer ist als wissenschaftliche Mitarbeiterin mit 19, seit 1. Juli mit 29 Stunden, Eva Katharina Klein M. A. als geprüfte wissenschaftliche Hilfskraft mit 19 Stunden tätig. Die Editionsleitung hat weiterhin Egon Voss. Leiter der Münchner Editionsstelle ist Klaus Döge. Alle hauptamtlichen Mitarbeiter
    [Show full text]
  • From Page to Stage: Wagner As Regisseur
    Wagner Ia 5/27/09 3:55 PM Page 3 Copyrighted Material From Page to Stage: Wagner as Regisseur KATHERINE SYER Nowadays we tend to think of Richard Wagner as an opera composer whose ambitions and versatility extended beyond those of most musicians. From the beginning of his career he assumed the role of his own librettist, and he gradually expanded his sphere of involvement to include virtually all aspects of bringing an opera to the stage. If we focus our attention on the detailed dramatic scenarios he created as the bases for his stage works, we might well consider Wagner as a librettist whose ambitions extended rather unusually to the area of composition. In this light, Wagner could be considered alongside other theater poets who paid close attention to pro- duction matters, and often musical issues as well.1 The work of one such figure, Eugène Scribe, formed the foundation of grand opera as it flour- ished in Paris in the second quarter of the nineteenth century. Wagner arrived in this operatic epicenter in the fall of 1839 with work on his grand opera Rienzi already under way, but his prospects at the Opéra soon waned. The following spring, Wagner sent Scribe a dramatic scenario for a shorter work hoping that the efforts of this famous librettist would help pave his way to success. Scribe did not oblige. Wagner eventually sold the scenario to the Opéra, but not before transforming it into a markedly imaginative libretto for his own use.2 Wagner’s experience of operatic stage produc- tion in Paris is reflected in many aspects of the libretto of Der fliegende Holländer, the beginning of an artistic vision that would draw him increas- ingly deeper into the world of stage direction and production.
    [Show full text]
  • Wagner) Vortrag Am 21
    Miriam Drewes Die Bühne als Ort der Utopie (Wagner) Vortrag am 21. August 2013 im Rahmen der „Festspiel-Dialoge“ der Salzburger Festspiele 2013 Anlässlich des 200. Geburtstags von Richard Wagner schreibt Christine Lemke-Matwey in „Der Zeit“: „Keine deutsche Geistesgröße ist so gründlich auserzählt worden, politisch, ästhetisch, in Büchern und auf der Bühne wie der kleine Sachse mit dem Samtbarrett. Und bei keiner fällt es so schwer, es zu lassen.“1 Allein zum 200. Geburtstag sind an die 3500 gedruckte Seiten Neuinterpretation zu Wagners Werk und Person entstanden. Ihre Bandbreite reicht vom Bericht biographischer Neuentdeckungen, über psychologische Interpretationen bis hin zur Wiederauflage längst überholter Aspekte in Werk und Wirkung. Inzwischen hat die Publizistik eine Stufe erreicht, die sich von Wagner entfernend vor allen Dingen auf die Rezeption von Werk und Schöpfer richtet und dabei mit durchaus ambivalenten Lesarten aufwartet. Begegnet man, wie der Musikwissenschaftler Wolfgang Rathert konzediert, Person und Werk naiv, begibt man sich alsbald auf vermintes ideologisches Terrain,2 auch wenn die Polemiken von Wagnerianern und Anti-Wagnerianern inzwischen nicht mehr gar so vehement und emphatisch ausfallen wie noch vor 100 oder 50 Jahren. Selbst die akademische Forschung hat hier, Rathert zufolge, nur wenig ausrichten können. Immerhin aber zeigt sie eines: die Beschäftigung mit Wagner ist nicht obsolet, im Gegenteil, die bis ins Ideologische reichende Rezeption führe uns die Ursache einer heute noch ausgesprochenen Produktivität vor Augen – sowohl diskursiv als auch auf die Bühne bezogen. Ich möchte mich in diesem Vortrag weniger auf diese neuesten Ergebnisse oder Pseudoergebnisse konzentrieren, als vielmehr darauf, in wieweit der Gedanke des Utopischen, der Richard Wagners theoretische Konzeption wie seine Opernkompositionen durchdringt, konturiert ist.
    [Show full text]
  • A World-Class City of Music Experience the Fascinating Power of Music
    www.leipzig.travel Experience music Leipzig A World-Class City of Music Experience the fascinating power of music Gewandhaus concert hall Leipzig – where music calls the tune 3 Gewandhausorchester – a world-renowned ensemble 4 Leipzig Opera – a superlative artistic experience 5 Johann Sebastian Bach – his heirs, his followers 6 Mahler, Bach, Mendelssohn, Wagner. Music Festivals in 2021/22. 8 Experience authentic historic places 12 Leipzig Music Trail 14 Organ building and BurgenLandKlänge I Leipzig Region 16 Event highlights 18 Travel offer 20 Richard Wagner’s “The Ban on Love, or The Novice of Palermo” at the Leipzig Opera 2 Leipzig – where music calls the tune In Leipzig you can feel the fascinating power of music everywhere – in the streets and squares, in churches, concert halls and in the many authentic places where famous composers and musicians lived and worked. A long-standing tradition: over 500 composers have lived here over the centuries including the greatest names in music history – Johann Sebastian Bach, Felix Mendelssohn Bartholdy and the married couple Clara and Robert Schumann, as well as Richard Wagner, Edvard Grieg, Albert Lortzing, Gustav Mahler and Hanns Eisler. Music comes to life The city’s rich musical heritage also includes the Gewandhaus- orchester and the world-renowned St. Thomas Boys Choir, which can look back on over 800 years of history. Leipzig Opera, which has always sought to preserve Wagner’s heritage, is the third oldest civic venue for musical theatre in Europe. In the capital of music, outstanding ensembles and soloists delight audiences at concerts, ballets, the Summer Organ Festival and the world- famous Leipzig Bachfest.
    [Show full text]
  • Wagner Biography
    GÖTTERDÄMMERUNG Composer Biography: Richard Wagner Richard Wagner (May 22, 1813 – February 13, 1883), German composer, conductor, theatre director of operas, is considered one of the most important figures of nineteenth-century music. Wagnerʼs music is still widely recognized today, accompanying celebrations with the ever-present Wedding March (Bridal Chorus) from the opera Lohengrin and the Ride of the Valkyries from the opera Die Walküre, which has been used in movie soundtracks to great effect. Richard Wagner was born at No. 3 (The House of the Red and White Lions), the Brühl, in the Jewish quarter of Leipzig, the ninth child of Carl Friedrich Wagner, who was a clerk in the Leipzig police service, and his wife Johanna Rosine, the daughter of a baker. He enrolled at the University of Leipzig in 1831, taking composition lessons with the cantor of Saint Thomas Church, Christian Theodor Weinlig, who arranged for the composerʼs first work, his Piano Sonata in B-flat to be published. In 1833, Wagner's older brother Karl Albert managed to obtain for Richard a position as choir master in Würzburg. At the age of 20, Wagner composed his first complete opera Die Feen, which was not performed until after the composerʼs death. His reputation grew as the composer of works such as Der fliegende Holländer (1843), Tannhaüser (1845), and Lohengrin (1850), which were broadly in the romantic vein of Weber and Meyerbeer. Wagner's compositions are notable for their complex texture, rich harmonies and orchestration, and the elaborate use of leitmotifs: musical themes associated with individual characters, places, ideas or plot elements.
    [Show full text]
  • Wagner 'S Das Liebesverbot
    A l WAGNER 'S DAS LIEBESVERBOT THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By Danna Behne, B. M. E. Denton, Texas May, 1973 Behne, Danna, Wagner's Das Liebesverbot. Master of Music (Musicology), May, 1973, 192 pp., 162 illustrations, bibliography, 76 titles. Wagner's second opera Das Liebesverbot, composed in 1835 and first performed in Magdeburg in 1836, could be termed Wagner's "Italian" opera. It represents Wagner's attitudes and feelings at the time of its composition. During this period in Wagner's life the composer had be come particularly enchanted with Italian music and also with the Italian way of sensuous and carefree living. At the same time his disillusionment with German conservatism and pedantry also had an influence on the composition of this opera. Although Das Liebesverbot sounds for the most part like the French and Italian operas after which it was patterned, a few traits of the later Wagner can also be detected. The use of the leitmotif in Das Liebesverbot foreshadows its more highly developed use in the later dramas. The dramatic compactness in this early opera is also a characteristic trait of all of Wagner's operas. Das Liebesverbot was termed a "sin of my youth" by the composer and ordered never to be performed at Bayreuth. This decree was recently broken with the performance of the 1 2 opera by the Bayreuth International Youth Festival. Over the years a few other German and English theaters have staged Das Liebesverbot, among those being Munich, Leipzig, Berlin, Dortmund, Nottingham, and London.
    [Show full text]
  • B. Buchner: Wagners Welttheater
    Bernd Buchner. Wagners Welttheater: Die Geschichte der Bayreuther Festspiele zwischen Kunst und Politik. Darmstadt: Wissenschaftliche Buchgesellschaft, 2013. 224 S. ISBN 978-3-534-72994-4. Reviewed by Gero Tögl Published on H-Soz-u-Kult (September, 2015) Das Wagner-Jahr 2013 brachte eine durchaus 1966). Bis heute gilt der „Jahrhundertring“ Patrice stattliche Anzahl von Neuerscheinungen zu Le‐ Chéreaus und Pierre Boulez’ aus dem Jahr 1976 ben, Werk und Wirkung des – im Positiven wie im als Fluchtpunkt für die Überleitung des Wagner‐ Negativen – deutschesten aller Komponisten. Die schen Werkes in die Gegenwart des Regietheaters Bilanz fällt allerdings doch recht durchwachsen sowie für die Transformation der Bayreuther aus: Neben den unvermeidlichen Biografien zum Festspiele von einer Pilgerstätte in einen vielbe‐ 200. Geburtstag des „Meisters“ Beispielhaft ge‐ achteten, letztlich aber nicht mehr grundsätzlich nannt seien: Martin Gregor-Dellin, Richard Wag‐ herausgehobenen Fixpunkt des zeitgenössischen ner. Sein Leben, sein Werk, sein Jahrhundert, Festivalkalenders. Es schwingt somit stets eine ge‐ München 2013; Walter Hansen, Richard Wagner. wisse Grundskepsis gegenüber Neuerscheinungen Biographie, München 2013; Dieter Borchmeyer, auf dem teils überbearbeiteten Feld der Wagner‐ Richard Wagner. Werk, Leben, Zeit, Stuttgart forschung und -publizistik mit, der sich jeder Au‐ 2013. erschienen auch die zu erwartenden aktua‐ tor zu stellen hat. lisierten Studien zur Wirkungsgeschichte aus den Dies betrifft auch die vom Journalisten Bernd Reihen der oft jahrzehntelang umtriebigen Wag‐ Buchner vorgelegte Monografie zur „Geschichte nerforscher Jens Malte Fischer, Richard Wagner der Bayreuther Festspiele zwischen Kunst und Po‐ und seine Wirkung, Wien 2013; Udo Bermbach, litik“, die zunächst dadurch positiv auffällt, dass Mythos Wagner, Berlin 2013. , substantiell neue sie sich mit der von Wagner ins Leben gerufenen Beiträge zur (theater- und musik-)historischen Institution auseinanderzusetzen verspricht und Forschung waren jedoch die Ausnahme.
    [Show full text]
  • Press Release
    27. April 2015 Press Release Grand Opening Richard Wagner Museum Haus Wahnfried in Bayreuth Photograph: RWM National-Archive, Post-card Haus Wahnfried, around 1915 Richard Wagner's ‘Haus Wahnfried’ and the Richard Wagner Museum Bayreuth are re-opening to the public. After almost three years of construction and 20-Million Euro investment in the restoration of Haus Wahnfried and the new Museum building the work has now reached it´s finishing straight. The project was made possible due to prestigious grants from the Federal State, State of Bavaria, as well as other public grant donors such as the Upper Franconia Foundation, the Bavarian ‘Landesstiftung’ and the ‘Landesstelle’ for non-governmental museums in Bavaria. 1 On 26 July 2015 Bayreuth and the Richard Wagner Foundation opens the new and most significant Museum of the City. The Museum in Haus Wahnfried, which first opened for visitors in 1976, will be presented anew with an extension and three thematically different permanent exhibitions. The Richard Wagner Museum doubled its permanent exhibition space with three substantive priorities in the future: Visitors will experience the most authentic place of documentation about the life, works and achievements of Richard Wagner in Haus Wahnfried. The ground floor opens with a complete insight into the time around 1880 and the world of Richard Wagner for the first time. Many friends and celebrities were guests here. Documents from manuscripts and graphic collections from the National Archives will be presented in changing exhibitions on the mezzanine floor. Architect Staab, Design of the New Building 2013 2 The extended building, designed from the well-known Berlin museum architect Volker Staab, is dedicated to the performance history of the Bayreuth Festival from its beginnings to the present.
    [Show full text]