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Impulsive and self-willed, he was a negligent scholar at the Kreuzschule, Dresden , and the Nicholaischule, Leipzig. He frequented concerts, however, taught himself the piano and composition , and read the plays of Shakespeare, Goethe, and Schiller. Wagner, attracted by the glamour of student life, enrolled at Leipzig University , but as an adjunct with inferior privileges, since he had not completed his preparatory schooling. Although he lived wildly, he applied himself earnestly to composition. Because of his impatience with all academic techniques, he spent a mere six months acquiring a groundwork with Theodor Weinlig, cantor of the Thomasschule; but his real schooling was a close personal study of the scores of the masters, notably the quartets and symphonies of Beethoven. He failed to get the opera produced at Leipzig and became conductor to a provincial theatrical troupe from Magdeburg , having fallen in love with one of the actresses of the troupe, Wilhelmine Minna Planer, whom he married in In , fleeing from his creditors, he decided to put into operation his long-cherished plan to win renown in Paris, but his three years in Paris were calamitous. Living with a colony of poor German artists, he staved off starvation by means of musical journalism and hackwork. In , aged 29, he gladly returned to Dresden, where Rienzi was triumphantly performed on October The next year The Flying Dutchman produced at Dresden, January 2, was less successful, since the audience expected a work in the French-Italian tradition similar to Rienzi and was puzzled by the innovative way the new opera integrated the music with the dramatic content. But Wagner was appointed conductor of the court opera, a post that he held until His proposals would have taken control of the opera away from the court and created a national theatre whose productions would be chosen by a union of dramatists and composers. Preoccupied with ideas of social regeneration, he then became embroiled in the German revolution of — A conductor of remarkable power and imagination, highly creative in his interpretations, thoroughly knowledgeable about the orchestra, capable of absorbing a score until it was part of him, Wagner was, perhaps above all, a supremely confident perfectionist. Much of what Wagner thought and felt about the interpretation of music is as exciting and valid today as when he first expressed it. This is a book that composers, conductors, and students of music and musical interpretation should have. Lovers of serious music will treasure the insights it provides not only into Wagner himself but also into the often highly subjective elements that make up musical performance. Get A Copy. Paperback , pages. Published March 1st by Dover Publications first published More Details Original Title. Other Editions Friend Reviews. To see what your friends thought of this book, please sign up. To ask other readers questions about Wagner on Conducting , please sign up. Lists with This Book. This book is not yet featured on Listopia. Community Reviews. Showing Average rating 3. Rating details. More filters. Sort order. Start your review of Wagner on Conducting. Jul 02, Kevin Cheng rated it really liked it Shelves: music. When reading this book, one must remember to take what Wagner says in context, that the world was very different years ago, as was conducting back then. It should also be noted that the contents were originally written as newspaper articles, and to some degrees, were conversations and arguments with other critics. Nonetheless, the comments Wagner made were enlightening, and the book provides valuable insights into how things we consider to be basics - dynamics, tempo changes, choice of tempo When reading this book, one must remember to take what Wagner says in context, that the world was very different years ago, as was conducting back then. Nonetheless, the comments Wagner made were enlightening, and the book provides valuable insights into how things we consider to be basics - dynamics, tempo changes, choice of tempo etc. His comments on choice of tempo were particularly enlightening - whilst he never gave metronome measures of how fast he tackled a particularly work, he outlined an approach to determine a proper tempo, something any worthy modern conductor should know! View 2 comments. Jun 23, George rated it really liked it. Interesting look at Wagner's thoughts about conducting. I especially enjoyed his views on tempi and how the markings in scores are difficult to interpret and one should feel their way through the music versus being dogmatic in following tempo suggestions so strictly that melody and expression are lost. I loved his views on opera conductors who will do whatever singers want, making unreasonable cuts and changes to service the singers whims. Understandable how he was considered tyrannical as a con Interesting look at Wagner's thoughts about conducting. Understandable how he was considered tyrannical as a conductor, but also why it is necessary. I also found fascinating his comments about there being Mozartean Allegro's, Beethovenian Allegro's, and the Wagnerian Allegro, all of which are about attempting correct interpretation of music and serving the music. Lovers of serious music will treasure the insights it provides not only into Wagner himself but also into the often highly subjective elements that make up musical performance. Product Details. Pages: Product dimensions: 5. Related Searches. Das Rheingold, the first opera in Wagner's celebrated four-part Ring Cycle, blends the powerful imagery Das Rheingold, the first opera in Wagner's celebrated four-part Ring Cycle, blends the powerful imagery of Norse and Teutonic mythology with glorious, robustly inventive music to produce a dramatic allegory of greed and lust for power. Despite its popularity, however, View Product. Die Walkure Vocal Score. It started as a single idea, under the working title of Siegfried's Death, and ended It started as a single idea, under the working title of Siegfried's Death, and ended as an epic four-opera cycle, Der Ring des Nibelungen. Inspired by the great Nordic and Germanic sagas, Richard Wagner created a unique statement of the Gotterdammerung Twilight of the Gods : in Full Score:. Melding literary, philosophical, and political — as well as musical — influences in his works, Melding literary, philosophical, and political — as well as musical — influences in his works, Richard Wagner —83 brought the expressive power of German romantic opera to new heights — indeed, his music was its crowning glory. George Bernard Shaw, Wagner on Conducting - Richard Wagner - Google книги

He frequented concerts, however, taught himself the piano and composition , and read the plays of Shakespeare, Goethe, and Schiller. Wagner, attracted by the glamour of student life, enrolled at Leipzig University , but as an adjunct with inferior privileges, since he had not completed his preparatory schooling. Although he lived wildly, he applied himself earnestly to composition. Because of his impatience with all academic techniques, he spent a mere six months acquiring a groundwork with Theodor Weinlig, cantor of the Thomasschule; but his real schooling was a close personal study of the scores of the masters, notably the quartets and symphonies of Beethoven. He failed to get the opera produced at Leipzig and became conductor to a provincial theatrical troupe from Magdeburg , having fallen in love with one of the actresses of the troupe, Wilhelmine Minna Planer, whom he married in In , fleeing from his creditors, he decided to put into operation his long-cherished plan to win renown in Paris, but his three years in Paris were calamitous. Living with a colony of poor German artists, he staved off starvation by means of musical journalism and hackwork. In , aged 29, he gladly returned to Dresden, where Rienzi was triumphantly performed on October The next year The Flying Dutchman produced at Dresden, January 2, was less successful, since the audience expected a work in the French-Italian tradition similar to Rienzi and was puzzled by the innovative way the new opera integrated the music with the dramatic content. But Wagner was appointed conductor of the court opera, a post that he held until His proposals would have taken control of the opera away from the court and created a national theatre whose productions would be chosen by a union of dramatists and composers. Preoccupied with ideas of social regeneration, he then became embroiled in the German revolution of — Wagner wrote a number of articles advocating revolution and took an active part in the Dresden uprising of To see what your friends thought of this book, please sign up. To ask other readers questions about Wagner on Conducting , please sign up. Lists with This Book. This book is not yet featured on Listopia. Community Reviews. Showing Average rating 3. Rating details. More filters. Sort order. Start your review of Wagner on Conducting. Jul 02, Kevin Cheng rated it really liked it Shelves: music. When reading this book, one must remember to take what Wagner says in context, that the world was very different years ago, as was conducting back then. It should also be noted that the contents were originally written as newspaper articles, and to some degrees, were conversations and arguments with other critics. Nonetheless, the comments Wagner made were enlightening, and the book provides valuable insights into how things we consider to be basics - dynamics, tempo changes, choice of tempo When reading this book, one must remember to take what Wagner says in context, that the world was very different years ago, as was conducting back then. Nonetheless, the comments Wagner made were enlightening, and the book provides valuable insights into how things we consider to be basics - dynamics, tempo changes, choice of tempo etc. His comments on choice of tempo were particularly enlightening - whilst he never gave metronome measures of how fast he tackled a particularly work, he outlined an approach to determine a proper tempo, something any worthy modern conductor should know! View 2 comments. Jun 23, George rated it really liked it. Interesting look at Wagner's thoughts about conducting. I especially enjoyed his views on tempi and how the markings in scores are difficult to interpret and one should feel their way through the music versus being dogmatic in following tempo suggestions so strictly that melody and expression are lost. I loved his views on opera conductors who will do whatever singers want, making unreasonable cuts and changes to service the singers whims. Understandable how he was considered tyrannical as a con Interesting look at Wagner's thoughts about conducting. Understandable how he was considered tyrannical as a conductor, but also why it is necessary. I also found fascinating his comments about there being Mozartean Allegro's, Beethovenian Allegro's, and the Wagnerian Allegro, all of which are about attempting correct interpretation of music and serving the music. Dec 04, Arvind Radhakrishnan rated it really liked it. It is a treat for music lovers when a genius like Wagner shares his insights. Jul 23, Samuel Cho rated it liked it. Wagner's very long essay on how conducting should be executed and why the conductors of his time were largely mediocre happenstances. The essay remains far from irrelevant and can, to the growing musician and conductor alike, illuminate the traditions of conducting over the course of history. Appropriately he spoke of different 'Allegros', a Mozartian one, a Beethovenian one and ultimately his own, Wagnerian one. He speaks of Beethoven the same way we speak of The Beatles a bit too enthusiast Wagner's very long essay on how conducting should be executed and why the conductors of his time were largely mediocre happenstances. He speaks of Beethoven the same way we speak of The Beatles a bit too enthusiastic and he pokes critic at his colleagues Mendelssohn, Schumann, Brahms. For an educated classical music, this should be very interesting to read! Also, although originally written in German, there is so much wit which makes the entire thing on the whole very pleasant to read. Jul 29, Markus rated it it was ok Shelves: music , biography-memoir , translation. In the 20th century, W. Auden once called Wagner "perhaps the greatest genius that ever lived", [] while Thomas Mann [] and Marcel Proust [] were heavily influenced by him and discussed Wagner in their novels. He is also discussed in some of the works of James Joyce. Many of Wagner's concepts, including his speculation about dreams, predated their investigation by Sigmund Freud. Wagner's concept of the use of leitmotifs and the integrated musical expression which they can enable has influenced many 20th and 21st century film scores. The critic Theodor Adorno has noted that the Wagnerian leitmotif "leads directly to cinema music where the sole function of the leitmotif is to announce heroes or situations so as to allow the audience to orient itself more easily". David Cronenberg and Melancholia dir. Lars von Trier. Not all reaction to Wagner was positive. For a time, German musical life divided into two factions, supporters of Wagner and supporters of Johannes Brahms ; the latter, with the support of the powerful critic Eduard Hanslick of whom Beckmesser in Meistersinger is in part a caricature championed traditional forms and led the conservative front against Wagnerian innovations. I do not like all the music of Berlioz while appreciating his marvellous understanding of certain instrumental effects Wagner is not a musician, he is a disease. Even those who, like Debussy, opposed Wagner "this old poisoner" [] could not deny his influence. Indeed, Debussy was one of many composers, including Tchaikovsky, who felt the need to break with Wagner precisely because his influence was so unmistakable and overwhelming. Wagner's followers known as Wagnerians or Wagnerites [] have formed many societies dedicated to Wagner's life and work. Wagner has been the subject of many biographical films. The earliest was a silent film made by Carl Froelich in and featured in the title role the composer Giuseppe Becce , who also wrote the score for the film as Wagner's music, still in copyright, was not available. Jonathan Harvey 's opera Wagner Dream intertwines the events surrounding Wagner's death with the story of Wagner's uncompleted opera outline Die Sieger The Victors. Since Wagner's death, the Bayreuth Festival, which has become an annual event, has been successively directed by his widow, his son Siegfried, the latter's widow Winifred Wagner , their two sons Wieland and Wolfgang Wagner , and, presently, two of the composer's great-granddaughters, Eva Wagner-Pasquier and Katharina Wagner. Wagner's operas, writings, politics, beliefs and unorthodox lifestyle made him a controversial figure during his lifetime. Wagner's hostile writings on Jews, including Jewishness in Music , corresponded to some existing trends of thought in Germany during the 19th century; [] however, despite his very public views on these themes, throughout his life Wagner had Jewish friends, colleagues and supporters. The characters of Alberich and Mime in the Ring , Sixtus Beckmesser in Die Meistersinger, and Klingsor in Parsifal are sometimes claimed as Jewish representations, though they are not identified as such in the librettos of these operas. Some biographers have noted that Wagner in his final years developed interest in the racialist philosophy of Arthur de Gobineau , notably Gobineau's belief that Western society was doomed because of miscegenation between "superior" and "inferior" races. Wagner's ideas are amenable to socialist interpretations; many of his ideas on art were being formulated at the time of his revolutionary inclinations in the s. Left-wing interpretations of Wagner also inform the writings of Theodor Adorno among other Wagner critics. The writer Robert Donington has produced a detailed, if controversial, Jungian interpretation of the Ring cycle, described as "an approach to Wagner by way of his symbols", which, for example, sees the character of the goddess Fricka as part of her husband Wotan's "inner femininity". Adolf Hitler was an admirer of Wagner's music and saw in his operas an embodiment of his own vision of the German nation; in a speech he claimed that Wagner's works glorified "the heroic Teutonic nature Greatness lies in the heroic. While Bayreuth presented a useful front for Nazi culture, and Wagner's music was used at many Nazi events, [] the Nazi hierarchy as a whole did not share Hitler's enthusiasm for Wagner's operas and resented attending these lengthy epics at Hitler's insistence. Guido Fackler has researched evidence that indicates that it is possible that Wagner's music was used at the Dachau concentration camp in —34 to "reeducate" political prisoners by exposure to "national music". Because of the associations of Wagner with antisemitism and Nazism, the performance of his music in the State of Israel has been a source of controversy. From Wikipedia, the free encyclopedia. For others with the surname, see Wagner surname. For other uses, see Wagner disambiguation and Richard Wagner disambiguation. German composer. The opening of Tristan und Isolde , featuring the 'Tristan chord'. See also: List of films using the music of Richard Wagner. Main article: List of films about Richard Wagner. Main article: Bayreuth Festival. Main article: Wagner controversies. Except for Carl Julius becoming a goldsmith, all his siblings developed careers connected with the stage. Wagner also had a younger half-sister, Caecilie, born in to his mother and her second husband Geyer. That shift was so great that it opened up a complete theoretical contrast between his earlier and his later aesthetic beliefs. Biddiss , in the Oxford Dictionary of National Biography , as a "racialist writer". John for a detailed essay on music in the Nazi death camps, which nowhere mentions Wagner. See also Potter "We know from testimonies that concentration camp orchestras played [all sorts of] music However, after the war, unsubstantiated claims that Wagner's music accompanied Jews to their death took on momentum. Retrieved 24 May Family Letters of Richard Wagner. See also Millington , Others agree on the profound importance of this work to Wagner — see Magee —4. Magee —8. Dahlhaus The later essays and articles are reprinted in Wagner e. Weiner 66— Entry of 28 March Letter from Wagner to the King of 19 September Accessed 24 December Letter from Alkan to Hiller 31 January Gutman and Adorno 12— See also Field See also the Music and the Holocaust website. Prose works by Wagner Wagner, Richard ed. Frankfurt am Main. Wagner, Richard ed. Norton and Company. Wagner, Richard tr. Wagner's partly unreliable autobiography, covering his life to , written between and and first published privately in German in a small edition between and The first edited public edition appeared in Gray's translation is the most comprehensive available. Wagner, Richard, Collected Prose Works tr. Ashton Ellis. Wagner, Richard c , vol. Wagner, Richard d , vol. Wagner, Richard a , vol. Wagner, Richard b , vol. Wagner, Richard e , vol. Other sources Adorno, Theodor In Search of Wagner. Translated by Rodney Livingstone. London: Verso Books. Allen, Roger Nicholas Vazsonyi, pp. Applegate, Celia; Potter, Pamela eds. Burbidge, Peter and Sutton, Richard eds. Burk, John N. Coleman, Jeremy Dahlhaus, Carl tr. Daverio, John , " Tristan und Isolde : essence and appearance", in Grey , — Everett, Derrick 18 April Retrieved 10 May Faber Music News , Autumn edition. Fackler, Guido tr. Field, Geoffrey G. The Encyclopedia of Fantasy , Orbit, Grey, Thomas S. Gutman, Robert W. Horton, Paul C. Joe, Jeongwon Tolkien was wrong" in Jeongwon Joe, Sander L. Gilman eds. Pascal Huynh , Paris: Fayard, — Kaes, Anton Cambridge, Massachusetts: Harvard University Press. Also available on Google Books , accessed 27 January Wagner on Conducting

He pointed out numerous examples where he thought a different composer mostly Mendelssohn conducted a piece at the wrong tempo, either too quickly or too slowly. But, as he didn't mention any metronome markings as to what the correct tempi should be, and we don't have any recordings of his own personal interpretations of the pieces, it's h It is interesting to read a famous composer's own words about music. But, as he didn't mention any metronome markings as to what the correct tempi should be, and we don't have any recordings of his own personal interpretations of the pieces, it's hard to know just exactly how he thought they should be played. Meredith rated it really liked it Jul 14, Anselm Kersten rated it it was amazing Aug 19, Christopher rated it it was ok Apr 10, Patrick rated it liked it Jul 10, Gary Sikon rated it really liked it Dec 08, Paul rated it liked it Apr 16, Andrew Higgins rated it it was amazing May 04, Jo Ann Champion rated it liked it Jan 29, Michael rated it it was amazing Jul 05, Amari rated it really liked it Aug 05, Jeffrey Covey rated it liked it May 18, Myriel rated it really liked it Apr 11, Frederico Falcetta rated it it was amazing Feb 07, Sheikh Tajamul rated it really liked it Jan 07, Dave rated it really liked it Jul 05, Richard Martirosian rated it it was amazing Mar 22, Adam rated it it was amazing Feb 19, Karol Onderko rated it really liked it Apr 27, Conor Palliser rated it really liked it Dec 26, Arlo Thompson rated it really liked it May 16, There are no discussion topics on this book yet. Readers also enjoyed. About Richard Wagner. Richard Wagner. Wilhelm Richard Wagner was a German composer, conductor, theatre director and essayist, primarily known for his operas or "music dramas", as they were later called. Unlike most other great opera composers, Wagner wrote both the scenario and libretto for his works. Books by Richard Wagner. Related Articles. Read more Trivia About Wagner on Conducting. No trivia or quizzes yet. Quotes from Wagner on Conducting. Welcome back. Reprint of the William Reeves, London, edition. Principles of Orchestration. The Perfect Wagnerite. Beethoven As I Knew Him. A History of Musical Style. Richard Wagner. Related Searches. Das Rheingold, the first opera in Wagner's celebrated four-part Ring Cycle, blends the powerful imagery Das Rheingold, the first opera in Wagner's celebrated four-part Ring Cycle, blends the powerful imagery of Norse and Teutonic mythology with glorious, robustly inventive music to produce a dramatic allegory of greed and lust for power. Despite its popularity, however, View Product. Die Walkure Vocal Score. It started as a single idea, under the working title of Siegfried's Death, and ended It started as a single idea, under the working title of Siegfried's Death, and ended as an epic four-opera cycle, Der Ring des Nibelungen. Inspired by the great Nordic and Germanic sagas, Richard Wagner created a unique statement of the Gotterdammerung Twilight of the Gods : in Full Score:. Melding literary, philosophical, and political — as well as musical — influences in his works, Melding literary, philosophical, and political — as well as musical — influences in his works, Richard Wagner —83 brought the expressive power of German romantic opera to new heights — indeed, his music was its crowning glory. George Bernard Shaw, Medieval Costume, Armour and Weapons. Over illustrations in this superb pictorial archive trace the evolution of clothing styles, armor, Over illustrations in this superb pictorial archive trace the evolution of clothing styles, armor, and weapons during the medieval period in Central Europe.

On Conducting (Üeber Das Dirigiren) : A Treatise on Style in the Execution of - Free Ebook

A thoroughgoing synthesis of poetry and music is achieved without any notable sacrifice in musical expression. Tristan is often granted a special place in musical history; many see it as the beginning of the move away from conventional harmony and tonality and consider that it lays the groundwork for the direction of classical music in the 20th century. The Ring takes about 15 hours to perform [] and is the only undertaking of such size to be regularly presented on the world's stages. It also carries elements of Buddhist renunciation suggested by Wagner's readings of Schopenhauer. Apart from his operas, Wagner composed relatively few pieces of music. These include a symphony in C major written at the age of 19 , the Faust Overture the only completed part of an intended symphony on the subject , some concert overtures , and choral and piano pieces. After completing Parsifal , Wagner expressed his intention to turn to the writing of symphonies, [] and several sketches dating from the late s and early s have been identified as work towards this end. For most of these, Wagner wrote or rewrote short passages to ensure musical coherence. The " Bridal Chorus " from Lohengrin is frequently played as the bride's processional wedding march in English-speaking countries. Wagner was an extremely prolific writer, authoring numerous books, poems, and articles, as well as voluminous correspondence. His writings covered a wide range of topics, including autobiography, politics, philosophy, and detailed analyses of his own operas. Wagner planned for a collected edition of his publications as early as ; [] he believed that such an edition would help the world understand his intellectual development and artistic aims. The first public edition with many passages suppressed by Cosima appeared in ; the first attempt at a full edition in German appeared in There have been modern complete or partial editions of Wagner's writings, [] including a centennial edition in German edited by Dieter Borchmeyer which, however, omitted the essay "Das Judenthum in der Musik" and Mein Leben. Ashton Ellis —99 are still in print and commonly used, despite their deficiencies. It is anticipated that the project will be completed by As of October , 23 volumes have appeared, covering the period to Wagner's later musical style introduced new ideas in harmony, melodic process leitmotif and operatic structure. Notably from Tristan und Isolde onwards, he explored the limits of the traditional tonal system, which gave keys and chords their identity, pointing the way to atonality in the 20th century. Some music historians date the beginning of modern classical music to the first notes of Tristan , which include the so-called Tristan chord. Wagner inspired great devotion. For a long period, many composers were inclined to align themselves with or against Wagner's music. Wagner made a major contribution to the principles and practice of conducting. His essay "About Conducting" [] advanced Hector Berlioz 's technique of conducting and claimed that conducting was a means by which a musical work could be re-interpreted, rather than simply a mechanism for achieving orchestral unison. He exemplified this approach in his own conducting, which was significantly more flexible than the disciplined approach of Felix Mendelssohn ; in his view this also justified practices that would today be frowned upon, such as the rewriting of scores. Amongst those claiming inspiration from Wagner's music are the German band Rammstein , [] and the electronic composer Klaus Schulze , whose album Timewind consists of two minute tracks, Bayreuth Return and Wahnfried Friedrich Nietzsche was a member of Wagner's inner circle during the early s, and his first published work, The Birth of Tragedy , proposed Wagner's music as the Dionysian "rebirth" of European culture in opposition to Apollonian rationalist "decadence". Nietzsche broke with Wagner following the first Bayreuth Festival, believing that Wagner's final phase represented a pandering to Christian pieties and a surrender to the new German Reich. In the 20th century, W. Auden once called Wagner "perhaps the greatest genius that ever lived", [] while Thomas Mann [] and Marcel Proust [] were heavily influenced by him and discussed Wagner in their novels. He is also discussed in some of the works of James Joyce. Many of Wagner's concepts, including his speculation about dreams, predated their investigation by Sigmund Freud. Wagner's concept of the use of leitmotifs and the integrated musical expression which they can enable has influenced many 20th and 21st century film scores. The critic Theodor Adorno has noted that the Wagnerian leitmotif "leads directly to cinema music where the sole function of the leitmotif is to announce heroes or situations so as to allow the audience to orient itself more easily". David Cronenberg and Melancholia dir. Lars von Trier. Not all reaction to Wagner was positive. For a time, German musical life divided into two factions, supporters of Wagner and supporters of Johannes Brahms ; the latter, with the support of the powerful critic Eduard Hanslick of whom Beckmesser in Meistersinger is in part a caricature championed traditional forms and led the conservative front against Wagnerian innovations. I do not like all the music of Berlioz while appreciating his marvellous understanding of certain instrumental effects Wagner is not a musician, he is a disease. Even those who, like Debussy, opposed Wagner "this old poisoner" [] could not deny his influence. Indeed, Debussy was one of many composers, including Tchaikovsky, who felt the need to break with Wagner precisely because his influence was so unmistakable and overwhelming. Wagner's followers known as Wagnerians or Wagnerites [] have formed many societies dedicated to Wagner's life and work. Wagner has been the subject of many biographical films. The earliest was a silent film made by Carl Froelich in and featured in the title role the composer Giuseppe Becce , who also wrote the score for the film as Wagner's music, still in copyright, was not available. Jonathan Harvey 's opera Wagner Dream intertwines the events surrounding Wagner's death with the story of Wagner's uncompleted opera outline Die Sieger The Victors. Since Wagner's death, the Bayreuth Festival, which has become an annual event, has been successively directed by his widow, his son Siegfried, the latter's widow Winifred Wagner , their two sons Wieland and Wolfgang Wagner , and, presently, two of the composer's great- granddaughters, Eva Wagner-Pasquier and Katharina Wagner. Wagner's operas, writings, politics, beliefs and unorthodox lifestyle made him a controversial figure during his lifetime. Wagner's hostile writings on Jews, including Jewishness in Music , corresponded to some existing trends of thought in Germany during the 19th century; [] however, despite his very public views on these themes, throughout his life Wagner had Jewish friends, colleagues and supporters. The characters of Alberich and Mime in the Ring , Sixtus Beckmesser in Die Meistersinger, and Klingsor in Parsifal are sometimes claimed as Jewish representations, though they are not identified as such in the librettos of these operas. Some biographers have noted that Wagner in his final years developed interest in the racialist philosophy of Arthur de Gobineau , notably Gobineau's belief that Western society was doomed because of miscegenation between "superior" and "inferior" races. Wagner's ideas are amenable to socialist interpretations; many of his ideas on art were being formulated at the time of his revolutionary inclinations in the s. Left-wing interpretations of Wagner also inform the writings of Theodor Adorno among other Wagner critics. The writer Robert Donington has produced a detailed, if controversial, Jungian interpretation of the Ring cycle, described as "an approach to Wagner by way of his symbols", which, for example, sees the character of the goddess Fricka as part of her husband Wotan's "inner femininity". Adolf Hitler was an admirer of Wagner's music and saw in his operas an embodiment of his own vision of the German nation; in a speech he claimed that Wagner's works glorified "the heroic Teutonic nature Greatness lies in the heroic. While Bayreuth presented a useful front for Nazi culture, and Wagner's music was used at many Nazi events, [] the Nazi hierarchy as a whole did not share Hitler's enthusiasm for Wagner's operas and resented attending these lengthy epics at Hitler's insistence. Guido Fackler has researched evidence that indicates that it is possible that Wagner's music was used at the Dachau concentration camp in —34 to "reeducate" political prisoners by exposure to "national music". Because of the associations of Wagner with antisemitism and Nazism, the performance of his music in the State of Israel has been a source of controversy. From Wikipedia, the free encyclopedia. For others with the surname, see Wagner surname. For other uses, see Wagner disambiguation and Richard Wagner disambiguation. German composer. The opening of Tristan und Isolde , featuring the 'Tristan chord'. See also: List of films using the music of Richard Wagner. Main article: List of films about Richard Wagner. Main article: Bayreuth Festival. Main article: Wagner controversies. Except for Carl Julius becoming a goldsmith, all his siblings developed careers connected with the stage. Wagner also had a younger half-sister, Caecilie, born in to his mother and her second husband Geyer. That shift was so great that it opened up a complete theoretical contrast between his earlier and his later aesthetic beliefs. Biddiss , in the Oxford Dictionary of National Biography , as a "racialist writer". John for a detailed essay on music in the Nazi death camps, which nowhere mentions Wagner. See also Potter "We know from testimonies that concentration camp orchestras played [all sorts of] music However, after the war, unsubstantiated claims that Wagner's music accompanied Jews to their death took on momentum. Retrieved 24 May Family Letters of Richard Wagner. See also Millington , Others agree on the profound importance of this work to Wagner — see Magee —4. Magee —8. Dahlhaus The later essays and articles are reprinted in Wagner e. Weiner 66— Entry of 28 March Letter from Wagner to the King of 19 September Accessed 24 December Letter from Alkan to Hiller 31 January Gutman and Adorno 12— See also Field See also the Music and the Holocaust website. Prose works by Wagner Wagner, Richard ed. Frankfurt am Main. Wagner, Richard ed. Norton and Company. Wagner, Richard tr. Wagner's partly unreliable autobiography, covering his life to , written between and and first published privately in German in a small edition between and The first edited public edition appeared in Gray's translation is the most comprehensive available. Wagner, Richard, Collected Prose Works tr. Ashton Ellis. Wagner, Richard c , vol. Wagner, Richard d , vol. Wagner, Richard a , vol. Wagner, Richard b , vol. Wagner, Richard e , vol. Other sources Adorno, Theodor In Search of Wagner. Translated by Rodney Livingstone. London: Verso Books. Allen, Roger Nicholas Vazsonyi, pp. Applegate, Celia; Potter, Pamela eds. Burbidge, Peter and Sutton, Richard eds. Burk, John N. Coleman, Jeremy Dahlhaus, Carl tr. Daverio, John , " Tristan und Isolde : essence and appearance", in Grey , — Everett, Derrick 18 April Retrieved 10 May Faber Music News , Autumn edition. Fackler, Guido tr. Field, Geoffrey G. The Encyclopedia of Fantasy , Orbit, Grey, Thomas S. Gutman, Robert W. Horton, Paul C. Joe, Jeongwon Tolkien was wrong" in Jeongwon Joe, Sander L. Gilman eds. Pascal Huynh , Paris: Fayard, — Kaes, Anton Cambridge, Massachusetts: Harvard University Press. Also available on Google Books , accessed 27 January Archived from the original on 19 July Retrieved 26 February Lee, M. Long, Michael , Beautiful monsters: imagining the classic in musical media , Berkeley: University of California Press. Marek, George R. Martin, T. Michotte, Edmond ed. Millington, Barry ed. Millington, Barry , " Der Ring des Nibelungen : conception and interpretation", in Grey , 74— Oxford Music Online subscription only, accessed 20 July Grove Music Online. Oxford Music Online subscription only, accessed 23 July Nattiez, Jean- Jacques tr. Stewart Spencer Cambridge: Cambridge University Press. The classic biography, superseded in places by newer research but still full of many valuable insights. Nietzsche, Friedrich tr. Nietzsche, Friedrich, tr. Overvold, Liselotte Z. Painter, George D. Picard, T. Potter, Pamela R. Thomas S. Grey , Cambridge University Press. Add to Wishlist. By: Richard Wagner. Just as Richard Wagner's music deeply stirred the musical world and inspired a generation of composers, so his many performances on the podium with Europe's leading orchestras galvanized nineteenth-century audiences and shaped a generation of conductors. Wagner wrote eloquently on his theories of conducting and musical interpretation, and in he published the famous essay reprinted in this volume, a work that abundantly reveals both the wellsprings of his musical genius and the qualities that made him a figure of controversy. Reading this important work, one encounters the man who launched the cult of the conductor as an all-wise and omnipotent dictator, the man considered by many to have been the strongest conducting force of the nineteenth century. A conductor of remarkable power and imagination, highly creative in his interpretations, thoroughly knowledgeable about the orchestra, capable of absorbing a score until it was part of him, Wagner was, perhaps above all, a supremely confident perfectionist. Much of what Wagner thought and felt about the interpretation of music is as exciting and valid today as when he first expressed it. This is a book that composers, conductors, and students of music and musical interpretation should have. Lovers of serious music will treasure the insights it provides not only into Wagner himself but also into the often highly subjective elements that make up musical performance.

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