Wagner and Buddhism

Total Page:16

File Type:pdf, Size:1020Kb

Wagner and Buddhism Index A ai 愛 (desire-driven love) 38 Albisbrunn sanatorium (Hausen am Albis) 13 Amfortas 38 amour original 18, 19, 21, 27, 35, 38 Ananda 31, 33, 34, 35, 40–42, 47, 49 Anquetil-Duperron, Abraham-Hyacinthe 18, 19, 21, 27, 35, 38, 59 Antinoff , Steven 9 appeasement 29, 30 App, Urs 50, 58, 59, 63, 67, 69, 73 Richard Wagner und der Buddhismus 9 Schopenhauer’s Compass 59 Th e Birth of Orientalism 58, 59, 73 artist 12, 13, 15, 16, 23, 31, 39, 40 artistic intuition 23, 28 artist vs. philosopher 23 Asyl (Wagner’s house in Zürich) 13, 78, 79 Atma (ātman) 18 avidyā (ignorance) 19, 26, 53 B Baudelaire, Charles 18, 58 Baumgartner, Wilhelm 11, 76 Bayreuth 45, 50, 65 Beelzebub 30 Bhagavad Gita 18 bliss 24, 26, 28, 29 Bodhisattvas 54 boredom 20 89 Brahma (Bramâ) 39, 40, 61, 80 Brahmanism 17, 19, 71, 72 Brahmans 17, 41, 60 Brahm (Brahman) 18 Bramâ-World 40 Brand, Hans 36, 50 Brockhaus, Hermann (indologist) 77 Brockhaus (publishing company) 16, 60, Brünnhilde 14, 15, 24, 26, 53 Buddha 5, 8, 31, 33–35, 40–46, 48, 54, 57, 58, 61, 62, 69, 70–73, 78–82 “Victoriously-Perfect One” 43 Czakya, Çakya 34, 35, 42 Buddha’s community (sangha) 34 Buddha statue of Schopenhauer Frontispiece, 78 Buddhism 17–24, 26–28, 32, 33, 35, 38, 39, 44, 45, 51, 53, 54, 57, 58, 60, 62, 63, 67–69, 71, 73, 75, 77–79, 81, 82 Four Noble Truths of 20 Mahāyāna Buddhism 17, 54 Hīnayāna Buddhism 53 Mongolian Buddhism 69 religion of Fo 17 Vajrayāna 53 Buddhist 11, 13, 19, 21, 22, 24, 28, 32–34, 37, 46, 47, 51–53, 60, 68, 69, 78, 79 Burnouf, Eugène 8, 22, 32, 33, 40, 43, 45, 46, 48, 52–54, 57, 63, 66, 67, 70, 78, 80, 81 Introduction à l’histoire du Buddhisme indien 33, 78 C Çakya (Buddha) 34, 35, 42 90 Chandala 33, 34 chastity 33 China 17, 22, 67, 69 Christ 45, 58 Christianity 17, 44, 45, 60, 71, 81 compassion (karunā) 22, 26, 41, 43, 45, 54, 61 concentration (samādhi) 63 concupiscence 37, 38, 68 consciousness better consciousness 18 double consciousness 18 empirical consciousness 18 individual consciousness 60 contradiction 24, 27, 28, 33, 35 craving (tanhā) 19, 21, 22, 27, 53 creative imagination 31 cupidity 37 curse of existence 38 D Dahlhaus, Carl 65 Dähnert, Johann Carl 58 Dalai-Lama (“Dalai-Lahma”) 17 Dārā Shikoh 19 darkness 14 Das Asiatische Magazin (ed. J. Klaproth) 17, 58 death 11, 28, 54, 66 décadence 72 de Guignes, Joseph Histoire générale des Huns, des Turcs, des Mogols 17, 58 deliverance 29, 35, 36, 41, 54 delusion 53, 54, 65 91 Deshauterayes, Michel-Ange-André Leroux 68 desire 12, 19, 21, 22, 26, 28, 29, 33, 34, 36, 37, 38, 40, 43, 78, 82 eradication of 22 Deussen, Paul 59, 60 Sechzig Upanishad’s des Veda 60 dissatisfaction 22 Dorner, C. 25 Dörpinghaus, Andreas 59 drama 28, 33, 34, 38, 41, 43, 45, 51, 54 Durch Mitleid wissend (wisdom through compassion) 22, 26, 43, 54 E ego 19 egoism 19, 21, 28, 39, 53, 59 Elsa (protagonist in Lohengrin) 12, 47 emotional experience 41 emptiness 17, 20, 54 enlightened knowledge via compassion 22, 26, 43, 54 Esposito, Monica 9 existence 12, 14, 20, 21, 29, 31, 32, 38, 41, 53, 59, 60, 81 contradiction of 31, 32 extinction 22 F Feuerbach, Ludwig 11–13, 15, 23, 76, 77 Fidelio (Beethoven) 75 Fleisch 48 Fluch 39 Fo 佛 (Buddha) 58 fulfi llment 12, 28 92 G Geneva 66, 79 Germany 17, 48, 80 God 18, 45, 48, 59, 60, 70, 71 Goethe, Johann Wolfgang 65 H heaven 18 Herwegh, Georg 12–14, 16, 76–78 Hīnayāna 53 Hinduism 22, 39 Holtzmann, Adolf 66 Hübscher, Arthur 62, 67, 68, 70 I I and other 19 idealism, Buddhist 19 ignorance 18, 19, 53 illness 21 illusion 19, 21, 22, 26 India 18, 19, 22, 33, 48, 80 Indian, Indians 19, 21, 39, 44, 49, 53, 62, 66, 67 Indian imagery 44 individual consciousness, total abolition of 60 insight 19, 26, 31, 38, 39, 43, 53, 54 J Japan 17, 54 Jātaka legend of Buddha 81 Jewish teachings 60 93 K Kapp 13, 25 Karma 81 karunā 22, 26, 54 Klaproth, Julius 17, 58 knowledge 18 Koeppen, Carl Friedrich 57, 79 Die Religion des Buddha und ihre Entstehung 57 Kundry 8, 30, 35, 36, 38, 43, 50, 52, 53 L Lake of Constance 11 Lamotte, Étienne 62 Lanczkowski, G. 62 Langeweile 20 Jammer des Lebens 20 Leipzig 64 Leitmotiv technique 38, 46 libretto 11, 14, 44, 75, 77, 81 life-and-death see samsāra life, torment of 31, 40 life, wretchedness of 20 light 18 Linji 臨濟 (jap. Rinzai), Chinese Zen Master 54 Liszt, Franz 11, 15, 32, 34, 39, 60, 66, 78 Lohengrin (protagonist) 12, 47, 80 longing 12, 36, 38, 60 longing without ever reaching 36 lotus fl owers 44 love 12, 14–16, 18, 19, 21, 24, 26–30, 32–34, 37, 38, 43, 48, 55, 65, 66 ai 愛 (desire-driven love) 38 94 as saving force 27 as the fundamental problem 27 coming to terms with 24, 55 essence of 12 necessity of 12, 15 of life 37 of mankind 29 primordial love 18 sexual love 29, 30 love-death (Liebestod) 28 lovelessness 15 Love – Tragedy (Liebe – Tragik) 28, 36, 43 Lucerne 79, 80 Ludwig II, King of Bavaria 48, 80 lust 14 lust, ultimate 30 Luther, Martin 48, 80 M Mahāyāna 17, 22, 51, 53, 54, 69, 74 man and woman 29 mango trees 44 man, ideality of 43 Marx, Karl 12 māyā 18, 19, 21, 26, 62 Meilen (near Zürich) 14, 48 melancholy 73 mendicancy 79 metaphysics of will (Schopenhauer) 18 metempsychosis 26 monasticism 71 morality (śīla) 63 95 Mughal dynasty 19 music 11, 14–16, 23, 34, 38–41, 44, 46, 51, 75, 78, 80 mysticism, Islamic 19 N Nagao, Gadjin 54, 74 Nietzsche, Friedrich 45, 80 night 14, 18, 38, 39 nirvāna (Nirvâna, Nirwana) 6, 22, 26, 39, 63, 65 Noble Truths of Buddhism 20 O Oldenberg, Hermann Buddha, seine Lehre, seine Gemeinde 58, 81 optimism 15, 22–24, 47–49, 59, 60 optimism, soteriological 60 ordinary awareness 39 Osterwalder, Joseph 9 Osterwalder, Steffi 9 Osthoff , Wolfgang 70 Oupnek’hat (Latin Upanishads) 18, 21 P pain 14, 24, 26, 38 Pali language 53, 73 Paris 11, 57, 58, 66, 70, 75, 76 Payne, E. F. J. 62, 63 Persian (language) 19 pessimism 23, 24, 39, 59, 60, 73 phenomena 15, 22 philosopher 23, 29 philosophy 64 96 Planer, Minna (Wagner’s wife) 13, 75, 80 Plato 68 pleasure 14, 21 poetry 39, 40 prajñā (enlightened wisdom) 22, 26, 54, 63 Prakriti 33–35, 38, 41, 43, 53, 78 precept 41 property 13, 24 Pythagoras 68 R rapture 30, 34 reason 20, 39, 44, 46, 51 religion 61, 81 religion, oldest of humanity 60 renunciation 16, 23, 30, 33, 34, 43, 45, 47–49, 60, 79 resurrection 28 Rietberg Museum 9, 13, 65, 71, 79 Röckel, August 22, 26, 28, 63, 65, 66, 78 Rorschach 11 Rousseau, Jean-Jacques 71, 72 S saint, saints 31, 39, 41, 60, 61, 77 salvation 16, 19, 23, 24, 26, 28, 29, 31, 32, 34, 43, 44, 47, 78, 79, 81 salvation from love 24 salvation through love 24, 28 samsāra (Sansâra) 22, 38–40, 65, 80 Sanskrit 19 Śārdūlakarnāvadāna 67 Satan 18 97 Savitri (Sawitri) 31, 34, 47, 35, 66 Sayn-Wittgenstein, Marie von 34 Schmidt, Isaac Jacob 69 Schopenhauer, Arthur 16–19, 21, 22, 24, 26–30, 33, 35, 37–39, 47, 51, 53, 57–60, 62–64, 66–71, 73, 75, 77–80 metaphysics of will 18, 27 philosophical system 19 Schopenhauer’s Buddha statuette Frontispiece, 70 Schopenhauer’s works Die Welt als Wille und Vorstellung (Th e World as Will and Representation) 16, 19, 21, 62, 68, 77 Parerga und Paralipomena 16 Sinology essay 67 Über den Willen in der Natur (On Will in Nature) 33, 66 sexual love 29, 30 Shankara 19 shock 41 sin 19, 39, 61 Sinology 33, 67 soul, individual 21 St. Gallen 9 struggle for existence 20 suff ering 20–22, 29, 38, 46, 53, 61, 64, 82 Sufi , Sufi sm 19 Suneson, Carl Richard Wagner und die indische Geisteswelt 53, 66, 67, 69, 73 śūnyatā 17 Switzerland 9, 11, 13, 65, 71 98 T tanhā (craving) 19, 21 Th ailand 70 thirst (trsnā) 19, 21, 26, 27, 35 for existence 21 for impermanence 21 for pleasure 21 Tibet 17, 22, 70 tragedy 22, 23, 43 tragic confl ict 28 transmigration 17, 26, 37, 38, 46, 47, 68, 80 apex of all myths 37 Tribschen (near Lucerne) 80 trikāya 69 Tristan chord 38 trsnā (see thirst) truth 20, 39 two principles, struggle of 18 U unconscious 30 unconsciousness 15 UniversityMedia East-West Discovery series 9, 59 Upanishads 18, 19, 21, 59 V Vajrayāna 53 Venice 29, 30, 43, 79 Vimalakīrti 54 Vimalakīrti-sūtra 54 voidness of the world of phenomena 22 99 W Wagner, Cosima 44, 45, 71, 72, 80, 81 Wagner, Minna 13, 75, 80 Wagner Museum, Bayreuth 65 Wagner’s musical works Rienzi 11, 75 Tannhäuser 11, 15, 18, 23, 28, 58, 76 Der fl iegende Holländer (Th e Flying Dutchman) 11, 15, 23, 28, 76 Der Ring des Nibelungen (Ring of the Nibelung) 11, 13, 14, 16, 22–24, 26, 27, 32, 48, 70, 76, 77, 78 Die Feen (Th e Fairies) 75 Die Novize von Palermo (Th e Novice of Palermo) 75 Götterdämmerung (Twilight of the Gods) 11, 32 Lohengrin 11, 12, 15, 23, 28, 47, 76, 80 Parsifal 22, 28, 30, 35–38, 40, 43, 44, 47, 49, 54, 70, 71, 79, 80 Rheingold 77 Siegfried 11, 78, 79, 80 Tristan und Isolde 9, 18, 21, 28, 29, 30, 32, 34–36, 38, 39, 77–79 Walküre (Valkyrie) 14, 16, 78 Wesendonck-Lieder (Wesendonck-Songs) 79 Wagner’s written works Das Braune Buch (Th e Brown Book) 6, 66, 69 Das Kunstwerk der Zukunft (Th e Work of Art of the Future) 12, 76 Das Liebesverbot (Th e Interdiction to Love) 75 Der Künstler und die Öff entlichkeit (Th e Artist and the General Public) 75 Der Virtuos und der Künstler (Th e Virtuoso and the Artist) 75 100 Die deutsche Oper (Th e German Opera) 75 Die Kunst und die Revolution (Art and Revolution) 76 Die Revolution (Th e Revolution) 76 Die Sieger (Th e Victors) passim Eine Mitteilung an meine Freunde (A Message to my Friends) 12, 76 Jesus von Nazareth (Jesus of Nazareth) 76 Luthers Heirat (Luther’s Marriage) 80 Mein Leben (My Life) 22 Oper und Drama (Opera and Drama) 12, 76 Siegfried’s Tod (Siegfried’s death) 11 Über das Weibliche im Menschlichen (About the Femi- nine in Humanity) 43 Über deutsche Musik (About German Music) 75 Über die Ouvertüre
Recommended publications
  • RODDY-DISSERTATION.Pdf
    Copyright by Conor Roddy 2011 The Dissertation Committee for Conor Roddy Certifies that this is the approved version of the following dissertation: Nietzsche’s Buddhist Leidmotive: A Comparative Study of Nietzsche’s Response to the Problem of Suffering Committee: Kathleen Marie Higgins, Supervisor Katherine Arens Lars Gustafsson A. P. Martinich Stephen H. Phillips Nietzsche’s Buddhist Leidmotive: A Comparative Study of Nietzsche’s Response to the Problem of Suffering by Conor Roddy, B.A., M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin December 2011 Dedication In loving memory of my parents Larry and Patricia Roddy Acknowledgements ―For Confucius,‖ as Herbert Fingarette once remarked, ―unless there are at least two human beings, there can be no human beings‖ (217). One cannot become a person on one‘s own in other words, and although it sometimes seems like a lonely process, one cannot write a dissertation by oneself either. There are so many people who made so many things possible for me to whom I wish to express my gratitude, and since I‘m not planning on writing another dissertation in the near future, I‘m going to do so now. I want to thank all my professors in Dublin, Honolulu, and Austin. When I was an undergraduate in Ireland, it was a passing remark by William Lyons that first got me interested in Nietzsche. During my time in Hawaii, Arindam Chakrabarti, Graham Parkes, and Roger Ames were particularly helpful.
    [Show full text]
  • What Price Love.Pdf
    Ring 2018 articles V2.qxp_RING 2018 5/19/18 4:20 PM Page 1 B Y P E T E R B A S S E T T WHAT ichard Wagner’s Der Ring des Nibelungen is rarely described as an extended love story, but that is what it is. The changing relationships throughout the four oRperas tend to obscure this central idea but, when you think about PRICE it, love is the thread that binds the whole story together—not love confined to a single pair of individuals but love as the alternative to hatred and revenge, power and property, greed and envy. The story begins with love’s renunciation and ends with its triumph as LOVE? the one irreplaceable, transforming ingredient in a new world order. That surely is the significance of the soaring orchestral melody that concludes Götterdämmerung. It is difficult to separate the allegory of the Ring from events in A century before post-Napoleonic europe when rival forces were attempting, on the one hand, to restore reactionary systems of government (think George Orwell’s 1984, of them as the gods) and, on the other hand, to establish new sys- tems of capital ushered in by the Industrial Revolution (think of alberich and his ilk). The result was a chain of political uprisings the Ring warned of throughout europe in the 1830s and ’40s—and incredible intellec- tual and creative ferment. Goethe and Beethoven were alive when the rise of totalitarianism Wagner was a teenager, Charles Darwin was four years his senior, and Karl Marx was five years his junior.
    [Show full text]
  • Richard Wagner RIENZI Der Letzte Der Tribunen
    Richard Wagner RIENZI der letzte der Tribunen Grande opera tragica in cinque atti Libretto di Richard Wagner Dal romanzo “Rienzi, the Last of the Roman Tribunes” di Edward Bulwer-Lytton Traduzione italiana di Guido Manacorda Prima rappresentazione Dresda, Königliches Hoftheater 20 ottobre 1842 PERSONAGGI COLA DI RIENZI tribuno romano tenore IRENE, sua sorella soprano STEFANO COLONNA capo della famiglia Colonna basso ADRIANO suo figlio mezzosoprano PAOLO ORSINI capo della famiglia Orsini basso RAIMONDO legato pontificio basso BARONCELLI tenore CECCO DEL VECCHIO basso UN MESSO DI PACE soprano Cittadini romani, inviati delle città lombarde, nobili romani, cittadini di Roma, messi dipace, ecclesiastici di ogni ordine, guardie romane. Wagner: Rienzi – atto primo ATTO PRIMO [N° 1 - Introduzione] Scena I° Una via di Roma. Sullo sfondo la chiesa del Laterano; sul davanti a destra la casa di Rienzi. È notte (Orsini con 6-8 suoi partigiani davanti alla casa di Rienzi) ORSINI ORSINI È qui, è qui! Su, svelti amici. Hier ist’s, hier ist’s! Frisch auf, ihr Freunde. appoggioate la scala alla finestra! Zum Fenster legt die Leiter ein! (Due nobili salgono la scala ed entrano per una finestra aperta nella casa di Rienzi) La fanciulla più bella di Roma sarà mia, Das schönste Mädchen Roms sei mein; penso che sarete d’accordo con me. ihr sollt mich loben, ich versteh’s. (I due nobili portano Irene fuori dalla casa) IRENE IRENE Aiuto! Aiuto! O Dio! Zu Hilfe! Zu Hilfe! O Gott! GLI O RSINIANI DIE ORSINI Ah, che divertente rapimento Ha, welche lustige Entführung dalla casa del plebeo! aus des Plebejers Haus! IRENE IRENE Barbari! Osate un tale oltraggio? Barbaren! Wagt ihr solche Schmach? GLI O RSINIANI DIE ORSINI Non opporre resistenza, bella fanciulla, Nur nicht gesperrt, du hübsches Kind, Vedi: sono troppi gli aspiranti! du siehst, der Freier sind sehr viel! ORSINI ORSINI Vieni, pazzerella, non essere cattiva.
    [Show full text]
  • The Role of Music in European Integration Discourses on Intellectual Europe
    The Role of Music in European Integration Discourses on Intellectual Europe ALLEA ALLEuropean A cademies Published on behalf of ALLEA Series Editor: Günter Stock, President of ALLEA Volume 2 The Role of Music in European Integration Conciliating Eurocentrism and Multiculturalism Edited by Albrecht Riethmüller ISBN 978-3-11-047752-8 e-ISBN (PDF) 978-3-11-047959-1 e-ISBN (EPUB) 978-3-11-047755-9 ISSN 2364-1398 Library of Congress Cataloging-in-Publication Data A CIP catalog record for this book has been applied for at the Library of Congress. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available in the Internet at http://dnb.dnb.de. © 2017 Walter de Gruyter GmbH, Berlin/Boston Cover: www.tagul.com Typesetting: Konvertus, Haarlem Printing: CPI books GmbH, Leck ♾ Printed on acid free paper Printed in Germany www.degruyter.com Foreword by the Series Editor There is a debate on the future of Europe that is currently in progress, and with it comes a perceived scepticism and lack of commitment towards the idea of European integration that increasingly manifests itself in politics, the media, culture and society. The question, however, remains as to what extent this report- ed scepticism truly reflects people’s opinions and feelings about Europe. We all consider it normal to cross borders within Europe, often while using the same money, as well as to take part in exchange programmes, invest in enterprises across Europe and appeal to European institutions if national regulations, for example, do not meet our expectations.
    [Show full text]
  • Robert Schumann and the Gesangverein: the Dresden Years (1844 - 1850) Gina Pellegrino Washington University in St
    Washington University in St. Louis Washington University Open Scholarship All Theses and Dissertations (ETDs) January 2011 Robert Schumann and the Gesangverein: The Dresden Years (1844 - 1850) Gina Pellegrino Washington University in St. Louis Follow this and additional works at: https://openscholarship.wustl.edu/etd Recommended Citation Pellegrino, Gina, "Robert Schumann and the Gesangverein: The Dresden Years (1844 - 1850)" (2011). All Theses and Dissertations (ETDs). 276. https://openscholarship.wustl.edu/etd/276 This Dissertation is brought to you for free and open access by Washington University Open Scholarship. It has been accepted for inclusion in All Theses and Dissertations (ETDs) by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY IN ST. LOUIS Department of Music Dissertation Examination Committee: Hugh Macdonald, Chair Garland Allen Todd Decker Martin Kennedy Michael Lützeler Craig Monson John Stewart ROBERT SCHUMANN AND THE GESANGVEREIN: THE DRESDEN YEARS (1844–1850) by Gina Marie Pellegrino A dissertation presented to the Graduate School of Arts and Sciences of Washington University in partial fulfillment of the requirements for the degree of Doctor of Philosophy May 2011 Saint Louis, Missouri ABSTRACT Nineteenth-century Germany saw an expansion of choral music in a secular context, bringing about changes not only in the nature of the organizations but also in the character of the music. Often depicted in history books as the age of the Lied, the early nineteenth century was also the age of the Chorgesang, creating a demand for music for social gatherings. Amateur choruses and partsinging reached their peak of popularity in nineteenth-century Germany.
    [Show full text]
  • Richard Wagner's Prose Sketches for Jesus of Nazareth
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Repository@Nottingham 1 Richard Wagner’s Prose Sketches for Jesus of Nazareth: Historical and Theological Reflections on an Uncompleted Opera Richard H. Bell Department of Theology and Religious Studies, University of Nottingham, Nottingham, UK [email protected] Abstract In May 1849 Wagner fled Dresden after the failure of the uprising of which he was a leader. His last creative work in Dresden was prose sketches for an opera Jesus of Nazareth, the result of his study of the Graeco-Roman world and the New Testament together with some knowledge of biblical criticism. Although he portrays Jesus as a social revolutionary in that he attacks the Pharisees, oppression and injustice, he is by no means a political messiah; indeed Wagner emphases his sacrificial death which results in the giving of the Holy Spirit. Key theological themes of the work which I explore include Jesus’ messiahship, law and freedom, and the significance of his death. Keywords christology; freedom; law; redemption; Richard Wagner; sacrifice. Introduction Richard Wagner was one of the leaders of the May 1849 uprising in Dresden, the capital city of Saxony. When the troops were sent in to quash the revolt, Wagner fled the city on the night of 9/10 May 1849 and by a very fortunate series of events evaded arrest and what could have been a very long imprisonment or even execution.1 He fled to Switzerland where he was, for the most part, to spend his years of exile.
    [Show full text]
  • Richard Wagner's Jesus Von Nazareth
    Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2013 Richard Wagner's Jesus von Nazareth Matthew Giessel Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the History Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/3284 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. © Matthew J. Giessel 2013 All Rights Reserved Richard Wagner’s Jesus von Nazareth A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts at Virginia Commonwealth University by Matthew J. Giessel B.A., Virginia Commonwealth University, 2009 Director: Joseph Bendersky, Ph.D. Professor, Department of History, Virginia Commonwealth University Thesis Committee: Second Reader: John Powers, Ph.D. Assistant to the Chair, Department of History, Virginia Commonwealth University Third Reader: Paul Dvorak, Ph.D. Professor Emeritus, School of World Studies, Virginia Commonwealth University Virginia Commonwealth University Richmond, Virginia December 2013 ii Acknowledgment τῇ Καλλίστῃ: ὁ ἔρως ἡμῶν ἦν ἀληθινός. “Jede Trennung giebt einen Vorschmack des Todes, — und jedes Wiedersehn einen Vorschmack der Auferstehung.” iii Table of Contents Abstract…………………………………………………………………………………………....v Introduction………………………………………………………………………………………..1
    [Show full text]
  • 13895 Wagner News
    No: 207 October 2012 Number 207 October 2012 INSIDE 4 Annual General Meeting: 21 st June 6 From the Committee 7 New Committee Members 8 Helena Dix in Bayreuth 10 Book: The Power of The Ring David Edwards 12 Die Walküre at Deutsche Oper, Berlin Robert Mitchell 13 Wagnerjobs: Writing and photography needed 14 Fulham Opera Das Rheingold Katie Barnes 18 Opera North Die Walküre at Birmingham Paul Dawson-Bowling 20 Dame Gwyneth Jones in Wagnerin Roger Lee 21 From the Chairman of the Leipzig Wagner Society Thomas Krakow 22 Richard Strauss: A Patriot but not a Nazi Chris Argent 23 Liszt, Alkan and Berlioz Societies Andrea Buchanan 24 Renewing your Membership Mike Morgan 26 Longborough Götterdämmerung Paul Dawson-Bowling 30 A Longborough Vassal’s Blog Nick Fowler 34 Bayreuth Festival 2012 Robert Mitchell 36 Presteigne Weekend: 21 st to 23 rd September Chris Argent and Roger Lee 40 Barry Millington: The Sorcerer of Bayreuth Christian Hoskins 41 Wagner 200 42 John Tomlinson Weekend 2013 43 Wagner Birthday Lunch 44 Richard Wagner and the Indian connection Dilip Roy 45 Book: Music in 1853 Roger Lee 47 Wagner Society Contacts 48 Events for your diary Cover: Stuart Pendred and Malcolm Rivers as Hagen and Alberich in the Longborough Festival Opera production of Götterdämmerung . See page 26. Printed by Rap Spiderweb – www.rapspiderweb.com 0161 947 3700 –2– EDITOR’S NOTE “The musician is the servant of the composer.” So said Sir George Solti. The centenary of his birth will be celebrated on 21st October in Chicago, the city which he made his musical home.
    [Show full text]
  • Wagner, Schopenhauser, and the Orient.Pdf
    Ring 2018 articles V2.qxp_RING 2018 5/19/18 4:20 PM Page 4 S e Wagner, G S a e M G I a N M a Schopenhauer, I M N e a G M D e I R G B D I / and the Orient R B H T / u H e “My sleep is dreaming, my dreaming brooding, my T R R y I a brooding the mastery of knowledge.” With this sentence, H B , & M erda addresses the Wanderer in the final act of Siegfried, R u R e S o u and her words resonate with the eastern practice of N K M / R meditation in the pursuit of wisdom. e o N T G Richard Wagner’s interest in the east had been o a H P W stimulated by his brother-in-law, the orientalist Hermann D Z R S a Brockhaus, who had married ottilie Wagner in 1836. It H © C I R was the Brockhaus family firm that had first published German philosopher Arthur arthur Schopenhauer’s philosophical masterpiece The Schopenhauer (1788–1860) Having acquired the ring illegally and World as Will and Representation, a work destined to immorally, Wotan is also destined to lose it. make a profound impression on the composer. In order to satisfy the contractual claims of Schopenhauer’s knowledge of the Hindu upanishads and Buddhist scriptures dated the giants, Fasolt and Fafner, builders of val- from the end of 1813, by which time he had formulated many of his own insights from halla, he reluctantly parts with the ring, doing the vantage point of Western philosophy.
    [Show full text]
  • Parsifal Victorian Opera Presents
    RICHARD WAGNER PARSIFAL VICTORIAN OPERA PRESENTS PRESENTING PARTNER PARSIFAL STAGE DEDICATION FESTIVAL PLAY (BÜHNENWEIHFESTSPIEL) IN THREE ACTS Composer and Librettist Richard Wagner Conductor Richard Mills AM Director Roger Hodgman Set Designer Richard Roberts Costume Designer Christina Smith Lighting Designer Matt Scott Associate Conductor Daniel Carter Assistant Director Brock Roberts Choreographer Elizabeth Hill-Cooper CAST Parsifal Burkhard Fritz Kundry Katarina Dalayman Gurnemanz Peter Rose Amfortas James Roser Klingsor* Derek Welton Titurel Teddy Tahu Rhodes Grail Knights Squires Stephen Marsh, Timothy Reynolds Georgia Wilkinson, Shakira Dugan, Flower Maidens Carlos E. Bárcenas, Paul Biencourt Kathryn Radcliffe, Rebecca Rashleigh, The Voice from Above Emily Uhlrich, Georgia Wilkinson, Heather Fletcher Shakira Dugan, Juel Riggall Australian Youth Orchestra (AYO) 20, 22 and 24 FEBRUARY 2019 Palais Theatre, St Kilda Original premiere 26 July 1882, Bayreuth Festival Approximate timings: Act One 105 minutes / Dinner Break 90 minutes / Act Two 65 minutes / Interval 20 minutes / Act Three 75 minutes Finishing time: 10:25pm (weekdays) / 8:55pm (Sunday) Sung in German with English surtitles In the rehearsal room: James Roser (Amfortas) *The Richard Wagner Society Inc (Vic) is supporting the role of Klingsor 3 PRODUCTION ORCHESTRA PRODUCTION TEAM CELLO HORN Caleb Wong Principal Timothy Allen-Ankins Principal Production Manager Eduard Inglés Caleb Murray Oscar Schmidt Deputy Production Manager Peter Darby Hamish Jamieson Sunga Lee Michael
    [Show full text]
  • 02-27-2018 Parsifal Eve.Indd
    Synopsis Act I Near the sanctuary of the Holy Grail, the old knight Gurnemanz and two sentries wake and perform their morning prayers, while other knights prepare a bath for their ailing ruler Amfortas, who suffers from an incurable wound. Suddenly, Kundry—a mysterious, ageless woman who serves as the Grail’s messenger— appears. She has brought medicine for Amfortas. The knights carry in the king. He reflect on a prophecy that speaks of his salvation by a “pure fool, enlightened by compassion,” then is borne off. When the sentries ask about Klingsor, a sorcerer who is trying to destroy the knights of the Grail, Gurnemanz tells the story of Amfortas’s wound: The Holy Grail—the cup from which Christ drank at the Last Supper—and the Spear that pierced his body on the cross were given into the care of Titurel, Amfortas’s father, who assembled a company of knights to guard the relics. Klingsor, wishing to join the brotherhood, tried to overcome his sinful thoughts by castrating himself, but the brotherhood rejected him. Seeking vengeance, he built a castle across the mountains with a magic garden full of alluring maidens to entrap the knights. Amfortas set out to defeat Klingsor, but a terribly beautiful woman seduced him. Klingsor stole the Holy Spear from Amfortas and used it to stab him. The wound can only be healed by the innocent youth of which the prophecy has spoken. Suddenly, a swan plunges to the ground, struck dead by an arrow. The knights drag in a young man, who boasts of his archery skills.
    [Show full text]
  • Summary of Dissertation Recitals-Page Number
    Articulating han: An Exploration of the Distinctions between Western and Korean Vocal Music by Yongmin Kim A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts (Music: Performance) in the University of Michigan 2018 Doctoral Committee: Associate Professor Stephen Lusmann, Chair Professor Cheong-Hee Chang Professor Stanford Olsen Associate Professor Wayne Petty Assistant Professor Scott Piper Yongmin Kim [email protected] ORCID iD: 0000-0003-2615-2048 © Yongmin Kim 2018 DEDICATION To my amazing wife, Hyewon, and lovely daughters, Elizabeth Soo-ah and Abigail Soo-hyun. ii ACKNOWLEDGEMENTS During my time at the University of Michigan I have been the recipient of much help and support. I would like to extend my sincere gratitude and appreciation to my teachers and friends who shaped me into a better artist. I would especially like to acknowledge my teacher, Professor Stephen Lusmann, who dedicates himself wholly, sincerely, and generously to each of his students. He has inspired and encouraged me throughout my DMA and has instilled in me greater confidence that grew from a relationship built upon mutual trust and collaboration. Because of his teaching, a goal that once seemed impossible became possible. I am deeply grateful to the many musicians who generously collaborated with me on my recitals. It was a blessing and joy to have performed with you all. I am indebted with profound gratitude to my wife, Hyewon, for her endless support and understanding of my goals and aspirations. Her true love and support have always been my strength. Her patience and sacrifice will remain my inspiration throughout my life.
    [Show full text]