DOCSLIB.ORG

Laingah 1973Redux.Pdf (7.070Mb)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Laingah 1973Redux.Pdf (7.070Mb) TONALITY IN WAGNER'S PER RING PES NIBELUNOEN I certify that this thesis is ngr pwn unaided work A.H. LAING TONALITY IN WAGNER'S PER RING PES NIBELUNGEN How is the harmonic direction of the music determined by non-musical considerations? A.H. Laing Ph.D. University of Edinburgh 1973 ABSTRACT OF THESIS Name of Candidate j Address 12 RAYMOND AVENUE. CANTERBURY". KENT i Degree. Date. 1st August..1973 1 Title of Thesis JQimJlY:...m...EICHAHD..mGMER.l..S....DER..ia3JG....DES....iaiBELlMGEM....s....Ho.w:...is.....the. the harmonic direction of- the music determined by non-musical Considerations ? The the.sis examines the extent to which considerations other than those derived from "purely musical" concepts of harmonic architecture determine .the movement of tonalities in the Ring.' Reference is made to Wagner's. own theoretical and biographical^ writings and to his correspondence, arid extensive reference is made to the original sketches of the Ring music < (now housed in the Richard-Wagner-Archiv,Bayreuth). Although reference is...- - *' made to other Wagner works, the thesis is concerned particularly with the Ring; the structure of complex Motiv manipulation and the Stabreim- verse construction being peculiar to that work. The examination is divided into five sections. I ' In the first of these, the. relatiqnship between particular -musical Motive and particular tonalities is exhaustively investigated. From this investi¬ gation it is evident that certain Motive do have a very close link with a particular tonality, and that the use of these Motive (particularly in response to mention of an object or character in the text) is instrumental in the determination of the harmonic direction of the music. Other Motive display relationships of varying consistency and type; and these are ■classified accordingly, - N . " • ' r y * ;> W • • The second section examines the Ring for similar relationships between characters or emotions', and tonality. Less conclusive and more variable relationships are here established. c, The third section is concerned with the way is which these various relation¬ ships are used to influence the harmonic structure of the Ring beyond the simple device of direct object-Motiv association. Hare extensive reference is made to the technique of "Foreboding and Remembrance" expounded by.jWagner in Oper und Drama (18£l), by which musical Motive not explicit in the text would be introduced to a form musical drama complementing and extending that . on the stage. This section also examines the use of dramatic recapitulation J of more extended sections of music in the same terms. ' ■/ ■ The fourth section examines the ways in which variation of the relationships established in the preceding sections may lead to further situations in which the drama can be felt to be influencing the harmonic architecture. In particular, the dramatic significances of diatonicism and chromaticism are discussed. An examination of Wagner's .technique of underlying the drama / over Use other side if necessary. by combination of two or more Motive into a single musical unit (as suggested in his Ueber die Anwendung der Musik auf das Drama of 1879) reveals little of significance in terms of the drama itself influencing haimonic direction. The final section is concerned with the influence of the verse of the Ring poem itself upon the haimonic architecture. Wagner's adaptation of the Old High German Stabreim verse is related to his concept of the "poetic-musical-period" (introduced in Oper und Drama),. and sections of the Ring are analysed to illustrate the extent to which this procedure, in which musical modulation is determined by the movement of emotions and changing of alliterative sounds in.the text, was applied. A comparisc is made with the major analysis of the Ring made by Alfred Eorenz in the 1920's which, though concerned.with the "poetic-musical period", approach* the analysis more from a musical' than a dramatic standpoint. The material of the preceding four sections is here utilised to illustrate the way in .which predetermination of tonality, and even actual moments of modulationa were alreac(y implicit in the verse of the Ring |5oem, independent of any considerations of abstract, "purely-muSical" harmonic architecture. % CONTENTS : INTRODUCTION AND P» * NOTES: 9 1. Siegfrieds Tod 2. The Ring sketches 3o Abbreviations . 4. Translations 5. Nomenclature of Leitmotive FOREWORD 19 I THE RELATIONSHIP BETWEEN MOTIVE AND TONALITY 26 1. The principles of Motiv-toriality relationship 27 2. The classification of Motive 33 3* Conclusion 63 II OTHER TONALITY RELATIONSHIPS 67 1. Character and tonality 68 2, . Emotion and tonality ' 84 3* A note on transposition 89 4. The choices of tonalities for extended' sections of the Ring 103 III AHNUNG UND ERINNERUNG ("FOREBODING AND REMEMBRANCE") 111 •1. The theory as it appears in Oper und Drama 112 2. The extension of the Oper und Drama theory in the Ring 119 3* Investigation of the extent to which the use of the technique affects tonality in the Ring i) "Foreboding" without "Remembrance" 124 ii) "Remembrance" without "Foreboding" 131 iii) "Remembrance and Foreboding" 142 IV CHROMATICISM, MOTIV-ADAPTATION AND -COMBINATION, 187 1. The dramatic significances of diatonicism and chromaticism 188 2. The technique of harmonic/emotional intensi¬ fication of Motive 203 3. Motiv-combination 220 4. A note on the use of key-signatures in the Ring 236 V THE STABREIM AND THE DICHTERISCH-MUSIKALISCHE PERI ODE 245 1. The Stabreim i) The Stabreim in Old High German verse 246 ii) Wagner's adoption and adaptation of the Stabreim 249 2. ■ The dichterisch-musikalische Periode i) Wagner's poetic-musical theory . 26l ii) The theory in practice in the Ring 266 3. Analysis of Siegfried Act I Sc.l and comparison with the Periode analysis.of Alfred Lorenz a) Some details in Mime's soliloquy 283 b) The large-scale analysis of the remainder of the scene . 289 4* Conclusions 501 APPENDICES 307 1. Table of Motive • 308 2. Classification of Motive 321 3* The relationship between character and tonality 325 4* 'The.Periode structure of the Ring 326 BIBLIOGRAPHY . 332 ACKNOWLEDGEMENTS 337 I ERRATUM "Eulenburg" (Miniature Scores) is misspellt "Eulenberg" throughout; INTRODUCTION and NOTES The existing Wagner literature falls into the following main categories: i) musical ii) biographical iii) concerning the poems and their philosophy and psychology iv) concerning performance These may comprise separate volumes or form the constituent parts of a general study of Wagner. It is however notable that the first of these aspects, the musical, has had comparatively little, space devoted to it. Such literature as concerns itself with musical commentary or analysis comprises: - a) the separate references or single chapter within a book basically concerned with biography or with some aspect of the drama. ' In this category may also be included collections of essays, and articles. b) the continuous.commentary: a retelling of the story, but with musical illustration and comment. c) the exhaustive study of some single aspect or aspects of Wagner's work, taking up an entire volume. While the first of these, the short chapter or article, may contain material of importance, it generally stiffers from its brevity in relation to the size of Wagner's output unless the matter with which it is concerned is extremely limited. The second, by its nature, generally does not have the scope to examine issues in detail Of the exhaustive studies of Wagner's works, one thing is immediately apparent - the reluctance of authors to deal with • Wagner's musical language. There exists a monumental study of the formal construction, and investigations into the purely musical structure (particularly of Tristan), but very few indeed have ever attempted to relate the musical content of the works to the stand¬ point of Wagner's own statements on the matter. The fact that these statements are extremely few and far between in his voluminous and frequently obscure writings may account for this, especially as such statements are concerned with music related to drama, rather than with music itself. Few but the most casual readers of the Ring score can however fail to have been struck by the fact that certain elements of the musical matte;r appear to be strongly associated with parti¬ cular tonalities. The most obvious of such relationships is that between the Motiv of the fortress Walhall and the key of D flat major* Wagner himself however makes no.mention in his writings of anything concerning harmonic construction down to the details of individual tonalities, and the significances cf individual tonalities have not been exhaustively investigated by the analysts. My original intention had been to examine Wagner's harmonic structure from the starting point of such relationships between dramatic elements and the tonalities associated with them (with reference, as far as is possible, to the statements in Wagner's theoretical works), and then to relate this examination to the larger construction. This large-scale construction of the mature works had been fairly exhaustively investigated by Alfred Lorenz. in the 1920's, although he did not generally attempt to account for the way in which various tonalities were used in the structure, a structure which he derived from Wagner's concept of the dichterisch- musikalische Periode. In fact, Lorenz largely ignored that part of the Periode theory which was concerned with modulation within that unit of construction, and he further applied the term,
Load more

Recommended publications
  • 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]
  • AMS/SMT Indianapolis 2010: Abstracts
    AMS_2010_full.pdf 1 9/11/2010 5:08:41 PM ASHGATE New Music Titles from Ashgate Publishing… Adrian Willaert and the Theory Music, Sound, and Silence of Interval Affect in Buffy the Vampire Slayer The Musica nova Madrigals and the Edited by Paul Attinello, Janet K. Halfyard Novel Theories of Zarlino and Vicentino and Vanessa Knights Timothy R. McKinney Ashgate Popular and Folk Music Series Includes 69 music examples Includes 20 b&w illustrations Aug 2010. 336 pgs. Hbk. 978-0-7546-6509-0 Feb 2010. 304 pgs. Pbk. 978-0-7546-6042-2 Changing the System: The Musical Ear: The Music of Christian Wolff Oral Tradition in the USA Edited by Stephen Chase and Philip Thomas Anne Dhu McLucas Includes 1 b&w illustration and 49 musical examples SEMPRE Studies in The Psychology of Music Aug 2010. 284 pgs. Hbk. 978-0-7546-6680-6 Includes 1 b&w illustration, 2 music examples and a CD Mar 2010. 218 pgs. Hbk. 978-0-7546-6396-6 Shostakovich in Dialogue Form, Imagery and Ideas in Quartets 1–7 Music and the Modern Judith Kuhn Condition: Investigating Includes 32 b&w illustrations and 99 musical examples Feb 2010. 314 pgs. Hbk. 978-0-7546-6406-2 the Boundaries Ljubica Ilic Harrison Birtwistle: Oct 2010. 140 pgs. Hbk. 978-1-4094-0761-4 C The Mask of Orpheus New Perspectives M Jonathan Cross Landmarks in Music Since 1950 on Marc-Antoine Charpentier Includes 10 b&w illustrations and 12 music examples Edited by Shirley Thompson Y Dec 2009. 196 pgs. Hbk. 978-0-7546-5383-7 Includes 2 color and 20 b&w illustrations and 37 music examples Apr 2010.
    [Show full text]
  • The Institute of Musicology at the Ludwig Maximilian University During National Socialism: the Career of the Wagner Scholar Alfred Lorenz
    The Institute of Musicology at the Ludwig Maximilian University during National Socialism: the Career of the Wagner Scholar Alfred Lorenz WILLIAM KINDERMAN Introduction It was not originally my intention to research the history of the Institute of Musicology at the Ludwig Maximilian University in Munich. When I wrote a book about Wagner’s final drama, Parsifal,1 however, I was obliged to engage with the legacy of Alfred Lorenz, whose monograph from 1933 was long regarded as the most comprehensive study of Parsifal.2 In order to best understand the work of Alfred Lorenz at the Institute of Musicology, we must briefly sketch the developing stages of Wagner reception. The history of Wagner reception after the composer’s death in 1883 is a complex story with dark contours. Important events in this development unfolded in Munich, and particularly in the main building of the Ludwig Maximilian University, just a few steps away from the institute. It makes sense to divide the history of Wagner reception in Germany into two broad periods: the 62 years from 1883 until 1945, and the 71 years from 1945 until 2016. The first of these periods was characterized by an increasingly narrow focus, whereby a Germanic-nationalist orientation assumed primacy. The important ways in which the Wagner family in Bayreuth contributed to this development was bound up with Cosima Wagner’s ambition to control the Wagnerian legacy. She was unhappy about the performances of Wagner’s first opera Die Feen (The Fairies) beginning in 1888 in Munich, and she was concerned as well about the opening at Munich in 1901 of the Prince Regent Theater, since that theater, based on plans by Max Littmann, bore a strong resemblance to the Festival Theater at Bayreuth.
    [Show full text]
  • Is It Here That Time Becomes Space? Hegel, Schopenhauer, History and Grace in Parsifal
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Royal Holloway - Pure The Wagner Journal, 3, 3, 29–59 Is it Here that Time becomes Space? Hegel, Schopenhauer, History and Grace in Parsifal Mark Berry Richard Wagner’s final drama, Parsifal, has generally been understood to represent the culmination of an ideological line very different from that of his earlier works, with the exception of Tristan und Isolde and possibly the later sections of Der Ring des Nibelungen. The revolutionary of the Dresden barricades in 1849 has finally sold out to the quietism of Schopenhauer and/or to Christianity – or, which amounts to the same thing, he has at last cast off the folly of his radical youthful flirtations. Thus Roger Scruton posits a ‘transformation of the Ring story, from Young Hegelian beginnings to a quasi-Christian or at any rate Schopenhauerian end’, in which ‘we witness a process of growing up in Wagner for which there is no equivalent in Marx’. Mention of Marx is far from inciden- tal, since Wagner is thereby achieving an emancipation from Hegel such as Marx never does. The Ring, Scruton startlingly claims, is therefore ‘not about power or money or even love; it is about original sin’.1 This nicely sets the scene for the less ambiguously Christian milieu and message of Parsifal.2 Nietzsche was more hostile: for what would a seriously intended Parsifal mean? Must one really see in it (as some- body has expressed it against me) ‘the abortion […] of a hatred of knowledge, spirit, and sensuality’? A curse upon senses and spirit in a single hatred and breath? An apos- tasy and reversion to sickly Christian and obscurantist ideals? And in the end even self-abnegation, self-striking-himself-out on the part of an artist who had previously striven with all of his will’s might to achieve the opposite, the highest spiritualisation and sensualisation in his art? […] One should remember how enthusiastically Wagner followed in the footsteps of the philosopher Feuerbach.
    [Show full text]
  • Guez Article Option 2.Indd
    You Hear What You Will, The Horns I Hear Them Still: Prolongation and Persistence in Act II Scene 1 of Tristan und Isolde JONATHAN GUEZ I. INTRODUCTION The investigation of musical meaning in Wagner’s operas is as old as the operas themselves.1 The last century of Wagner criticism has produced analyses ranging (in rough historical order) from studies of leitmotiv, to explorations of large-scale form, key, and modulation, to in-depth investigations of harmony and voice leading using sophisticated analytical methods.2 What the differing music-analytic approaches tend to have in common is that the goal of the musical analyses, whatever parameter they emphasize—e.g., leitmotiv, form, harmony, instrumentation—has largely been to illuminate or elucidate the dramatic meaning of the operas. Such a critical positioning, which sees the domains of drama and music as being organically integrated and mutually reinforcing, is characteristic of much recent analysis of texted music; it is elevated, for instance, in David Lewin’s “Musical Analysis as Stage Direction” to a general maxim: “no analysis without direction; no directing without analysis.”3 But many critics traverse the space that separates their musical and dramatic observations too quickly, and correspondingly, the musical evidence they provide in support of their dramatic claims proves not actually to generate those claims, but to grate against them.4 An opera analyst’s musical and dramatic claims may both be sound, and yet the logical relationship that obtains between them may not be “organic,”
    [Show full text]
  • THE EDGE-MAN of BAYREUTH: RICHARD WAGNER, LIMINAL SPACE, and the POWER of POTENTIAL Heidi Lee Jensen
    University of New Mexico UNM Digital Repository Music ETDs Electronic Theses and Dissertations 9-1-2015 THE EDGE-MAN OF BAYREUTH: RICHARD WAGNER, LIMINAL SPACE, AND THE POWER OF POTENTIAL Heidi Lee Jensen Follow this and additional works at: https://digitalrepository.unm.edu/mus_etds Recommended Citation Jensen, Heidi Lee. "THE EDGE-MAN OF BAYREUTH: RICHARD WAGNER, LIMINAL SPACE, AND THE POWER OF POTENTIAL." (2015). https://digitalrepository.unm.edu/mus_etds/14 This Thesis is brought to you for free and open access by the Electronic Theses and Dissertations at UNM Digital Repository. It has been accepted for inclusion in Music ETDs by an authorized administrator of UNM Digital Repository. For more information, please contact [email protected]. Heidi Jensen Candidate Music Department This thesis is approved, and it is acceptable in quality and form for publication: Approved by the Thesis Committee: Dr. Ana Alonso-Minutti, Chairperson Prof. Michael Chapdelaine Dr. Kristina Jacobsen-Bia Dr. David Michael Bashwiner i THE EDGE-MAN OF BAYREUTH: RICHARD WAGNER, LIMINAL SPACE, AND THE POWER OF POTENTIAL By HEIDI JENSEN A.S., Behavioral Science, SUNY Monroe, 2005 B.A., Anthropology, University of Rochester, 2003 THESIS Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Music The University of New Mexico Albuquerque, New Mexico July, 2015 ii Dedication But then I cried out in the house one morning: “a son is there!” How different the world now looked of a sudden! Happy the mother who saw all at once that my past and my future had now acquired a quite different meaning. ~Richard Wagner To my son, I cannot wait to meet you.
    [Show full text]
  • Is It Here That Time Becomes Space? Hegel, Schopenhauer, History and Grace in Parsifal
    The Wagner Journal, 3, 3, 29–59 Is it Here that Time becomes Space? Hegel, Schopenhauer, History and Grace in Parsifal Mark Berry Richard Wagner’s final drama, Parsifal, has generally been understood to represent the culmination of an ideological line very different from that of his earlier works, with the exception of Tristan und Isolde and possibly the later sections of Der Ring des Nibelungen. The revolutionary of the Dresden barricades in 1849 has finally sold out to the quietism of Schopenhauer and/or to Christianity – or, which amounts to the same thing, he has at last cast off the folly of his radical youthful flirtations. Thus Roger Scruton posits a ‘transformation of the Ring story, from Young Hegelian beginnings to a quasi-Christian or at any rate Schopenhauerian end’, in which ‘we witness a process of growing up in Wagner for which there is no equivalent in Marx’. Mention of Marx is far from inciden- tal, since Wagner is thereby achieving an emancipation from Hegel such as Marx never does. The Ring, Scruton startlingly claims, is therefore ‘not about power or money or even love; it is about original sin’.1 This nicely sets the scene for the less ambiguously Christian milieu and message of Parsifal.2 Nietzsche was more hostile: for what would a seriously intended Parsifal mean? Must one really see in it (as some- body has expressed it against me) ‘the abortion […] of a hatred of knowledge, spirit, and sensuality’? A curse upon senses and spirit in a single hatred and breath? An apos- tasy and reversion to sickly Christian and obscurantist ideals? And in the end even self-abnegation, self-striking-himself-out on the part of an artist who had previously striven with all of his will’s might to achieve the opposite, the highest spiritualisation and sensualisation in his art? […] One should remember how enthusiastically Wagner followed in the footsteps of the philosopher Feuerbach.
    [Show full text]
  • Wagner's Relevance for Today by Theodor W. Adorno and Susan
    Jean Stein Wagner's Relevance for Today Author(s): Theodor W. Adorno and Susan Gillespie Source: Grand Street, No. 44 (1993), pp. 32-59 Published by: Jean Stein Stable URL: http://www.jstor.org/stable/25007612 Accessed: 08-11-2017 00:51 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 Jean Stein is collaborating with JSTOR to digitize, preserve and extend access to Grand Street This content downloaded from 70.103.220.4 on Wed, 08 Nov 2017 00:51:58 UTC All use subject to http://about.jstor.org/terms I , wX* | t-t u8 k ,^ - This content downloaded from 70.103.220.4 on Wed, 08 Nov 2017 00:51:58 UTC All use subject to http://about.jstor.org/terms THEODOR W. ADORNO Wagner's Relevance for Today This essay is drawnfrom a lecture given in September 1963 during the Berliner Festspielwochen. O f the countless aspects with which Wagner's work presents us, I select one at random, as is unavoid able for the lecture form: the question of Wagner's relevance for today, of the perspective of present-day consciousness toward his work-assuming that one can speak gen erally of such a perspective.
    [Show full text]
  • Copyright and Use of This Thesis This Thesis Must Be Used in Accordance with the Provisions of the Copyright Act 1968
    COPYRIGHT AND USE OF THIS THESIS This thesis must be used in accordance with the provisions of the Copyright Act 1968. Reproduction of material protected by copyright may be an infringement of copyright and copyright owners may be entitled to take legal action against persons who infringe their copyright. Section 51 (2) of the Copyright Act permits an authorized officer of a university library or archives to provide a copy (by communication or otherwise) of an unpublished thesis kept in the library or archives, to a person who satisfies the authorized officer that he or she requires the reproduction for the purposes of research or study. The Copyright Act grants the creator of a work a number of moral rights, specifically the right of attribution, the right against false attribution and the right of integrity. You may infringe the author’s moral rights if you: - fail to acknowledge the author of this thesis if you quote sections from the work - attribute this thesis to another author - subject this thesis to derogatory treatment which may prejudice the author’s reputation For further information contact the University’s Copyright Service. sydney.edu.au/copyright CURATING OPERA Stephen James Mould A thesis submitted in fulfilment of requirements for the degree of Doctor of Philosophy Sydney Conservatorium of Music University of Sydney October 2015 Page | 1 CANDIDATE’S DECLARATION Thesis title: Curating Opera Candidate’s name: Stephen James Mould I declare that this thesis is the result of my own research, that it does not incorporate without acknowledgment, any material submitted for a degree or diploma in any university and that it does not contain any materials previously published, written or produced by another person except where due reference is made in the text.
    [Show full text]
  • Associació Wagneriana. Apartat Postal 1159. Barcelona 08080 Http
    WAGNERIANA CASTELLANA Nº 60 AÑO 2007 TEMA 5: WAGNERIANISMO TÍTULO: ALGUIEN A QUIEN ECHAMOS DE MENOS – EN MEMORIA DE ALFRED LORENZ. (fallecido el 20 de noviembre de 1939) AUTOR: Prof. Univ. Dr. Hans Alfred Grunsky, Munich Creemos que la mejor manera de expresar la gran pérdida que para la investigación wagneriana supone la muerte de Lorenz es comenzar la serie de trabajos que componen este tomo con una reseña sobre su personalidad y su producción científica. Este artículo forma parte de las “Neue Wagner-Forschungen” (Nuevas investigacio- nes sobre Wagner). Publicación de la Richard-Wagner-Forschungsstätte Bayreuth. Erste Folge (Otoño 1943). A muy pocos eruditos les ha sido concedido poder crear en su ciencia algo totalmente nuevo, más allá del mero desarrollo de los principios ya conocidos. A ellos pertenece Alfred Lorenz, el pensador más importante en el campo de la nueva teoría de la música. “Richard Wagner” fue el inamovible norte que guió toda su vida. Gracias a su dedicación infatigable y llena de amor al mundo del Maestro de Bayreuth, brotaron en él unas ideas que enriquecerían enormemente la musicología: es descubrimiento de las leyes básicas de toda forma musical. Con ayuda de esta nueva arma expulsó definitivamente a los adversarios de Wagner de posiciones de las que anteriormente no habrían podido ser eliminados por camínos científicos, defendiendo siempre con intensidad la sana intuición frente a las habladurías sobre la presunta incorrección de la música wagneriana. Gracias a la obra de Lorenz “Das Geheimnis der Form bei Richard Wagner” (El Misterio de la Forma en Richard Wagner) (así se denomina su obra principal en cuatro tomos), que demuestra que las obras de Wagner sí se someten a una perfección de formas, se han visto obligados a enmudecer para siempre aquellos argumentos que, Associació Wagneriana.
    [Show full text]