Der Wagner-Clan

Total Page:16

File Type:pdf, Size:1020Kb

Der Wagner-Clan Der Wagner-Clan Geschichte einer deutschen Familie Bearbeitet von Jonathan Carr 1. Auflage 2010. Taschenbuch. 496 S. Paperback ISBN 978 3 596 18504 7 Format (B x L): 12,5 x 19 cm Gewicht: 497 g Weitere Fachgebiete > Geschichte > Geschichtswissenschaft Allgemein > Biographien & Autobiographien: Historisch, Politisch, Militärisch schnell und portofrei erhältlich bei Die Online-Fachbuchhandlung beck-shop.de ist spezialisiert auf Fachbücher, insbesondere Recht, Steuern und Wirtschaft. Im Sortiment finden Sie alle Medien (Bücher, Zeitschriften, CDs, eBooks, etc.) aller Verlage. Ergänzt wird das Programm durch Services wie Neuerscheinungsdienst oder Zusammenstellungen von Büchern zu Sonderpreisen. Der Shop führt mehr als 8 Millionen Produkte. Unverkäufliche Leseprobe des Fischer Taschenbuch Verlages Jonathan Carr Der Wagner-Clan Preis € (D) 12,95 | € (A) 13,40 | SFR 22,50 ISBN: 978-3-596-18504-7 Sachbuch, 496 Seiten, Broschur Fischer Taschenbuch Verlag Alle Rechte vorbehalten. Die Verwendung von Text und Bildern, auch auszugsweise, ist ohne schriftliche Zustimmung des Verlags urheberrechtswidrig und strafbar. Dies gilt insbesondere für die Vervielfältigung, Übersetzung oder die Verwendung in elektronischen Systemen. © S. Fischer Verlag GmbH, Frankfurt am Main 2010 . S , ünchen M , olti S er b ü olti S olti, S g or e G . . S d., b e , Silja ). . (S ück zur , lin r e B , ren a hb reic ner U dem h nac ht c u s n h e S ie D rafie g obio- t u A er r ih in llung e t ars D e s ie d weist Silja ja n A f. . S d., b e zu hier l. g V . . S ., O . a . a , k ac st ho c S e t na Re . – . S , le spie st e F her ut e r - y a B , ngold i he R s a D zu rammbuch og Pr «, ner g a W land ie W » , y a n r a V id str A . . S d., Eb . . S ., O . a . a , ack st ho c S in ung idm W ands l e i W von simile k a F . . S ., O . a . a , ner g a W ang olfg W . f . S d., Eb . f . S , t ar tg ut St , gen n u ner n i r E nd u hten c i s n A . g n a kl h c a N u, a sk -Die her c s i F ich tr e Di . uli J . , hten ic r h c a N he c s i ss e H t mi ands l e i W w ie v r e t In . – . S , le spie st e F her ut e r - y a B , g n u mer m ä ötterd G zu mbuch ram og Pr im « ner g a W land ie W » , s Haa illy W . hält t en « ner? g- a W ür f utz h c mals k en D » ands l e i W ch u a s da dium, en p m o K s ützliche n ein , chen ün M , reuth y a B neue s a d nd u ner g a W rd a h c i R , ner g a W d an l e i W gl. V . . S ., O . a . a , ack st ho c S e t Rena in t itier z , z Mär . vom and l e i W an ds e r inif W ief r B . f . S ., O . a . a , ner g a W ang olfg W . , ote b mat i e H her sc i k n ä r F in e‹« omb B henden e ›s der heimnis e G s a D » , yer Ma I d n r e B und , er ob Okt . , ier r u K her sc i r e y a b ord N in «, ut a b mitge h ut e r - y a B in e t ke a R - V » , t h c e lbr Enge er t e P ; h t u e r y a B um, in nst stian-Er i r Ch s de enlager uß A sium mna Gy am t ei b ar ch a F h«, t u e r y a B in g r enbü ss -Flo KZ s a D » , er nd ia Os in Kar sgl. e D . O . a . a , leit e b e i r Sk g Jör ald, B t h c e Albr . s e b ins . gl V . f . S ., O . a . a , ner g a W ang olfg W . ünchen M , a y n e L e t t o L von t wor r o V , mit einem mit , ater eitthe Z he sc i l a k i s u m s a D . ht c Bre nd u l l i e W , ner g a W d e i r tf ot G . – . S d. b E f. . S , öln K , lt heu olf W em d it m ht c i n er W , ner g a W d e i r tf ot G pitel Ka , r ua br e F . pp, a R e bin a S n a ief Br , ner g a W lind de ie r F . N OR TH . – . S ., O . a . a , ner g a W ang olfg W . z Mär . und ar u n a J . , er emb pt e S . vom ng eitu Z ne gemei l l A r te r u nkf a r F l. g V G N A ANH Ein erhabenes und zugleich trübgrünes Meer Von allen Stationen in Richard Wagners rastlosem Leben war Trib- schen bei Luzern die weitaus lieblichste. Die dreigeschossige Villa mit den von grünen Läden umrahmten Fensterreihen thront auch heute noch hoch oben auf einer bewaldeten Halbinsel und bietet einen atemberaubenden Blick über den Vierwaldstätter See auf fer- ne Alpengipfel. Sie war eleganter als Wahnfried, die mausoleum- ähnliche Residenz, die Wagner später in Bayreuth plante und baute, lichter und luftiger als der Palazzo Vendramin am Canal Grande in Venedig, wo er starb. Die bei weitem beste Saison war der Sommer. Die Räume füllten sich mit dem zarten Duft von Blumen und frisch gemähtem Gras, die Familie pflegte oft auf der Wiese zu picknicken, und wenn die Arbeit gut vonstatten gegangen war oder er sich auch (häufiger) bloß aufspielen wollte, übte Wagner den Handstand oder kletterte auf einen Baum. Die älteren Kinder spielten stundenlang im Gebüsch Räuber und Gendarm oder verhätschelten den jüng- sten Familienspross Siegfried Helferich Richard Wagner, den sie liebevoll Fidi riefen. Am störendsten waren die Schaulustigen, die fernglasbewaffnet über den See schipperten in der Hoffnung, einen Blick auf die be- rühmten Bewohner von Tribschen zu erhaschen. War doch Wagner ein früherer Linksrevolutionär, der sich anschickte, mit Hilfe un- . – . S , er öhl K achim Jo . ers b Ü , ner üb- H - ack No , ren emoi M . s te gehör n U , s te ehör G h, t e b Elisa zkopf, ar w h c S gge, e L er alt W in uckt dr ge b a , st u g u A im le spie st e F her t u e r y a B die er üb l tike Ar . . S ., O . a . a , er alt W . f . S , lin r e B , s r e k i s u M s ne ei en Leb dem s u A h, c Bus itz r F . S ., O . a . a h, t wor y e H . – . S en, j t e i T von em nder a er t un , s t trä r o p - st lb e S von Reihe eine – ünchen M , h ic n bi s a D , .) (Hg dt r Reinha s Hanne f. . S , t oig V chen Jo . ers b Ü , t r u f nk ra F , erer p lem K it m he c ä r p s e G h, t wor y e H er t e P . . S d. b E . f . S , Main am t r u f rank F , ationen i r a V nd u ema , er alt W uno r B . uni J bis z Mär ler äng w t r u F d und d e r inif W en ch is w z l e s ch we ief Br igen läg ch eins den ür f – . S d., b E f. S , l ei T , tition in: tition e P der ut a l t or W II M U A B R KA . . S ., O . a . a Pachl, in t itier z , z Mär . , ng eitu z ater e nd u - k i s u M hen sc i n hei R der in l tike Ar , g er nb hö c S nold r A . d b E . . S , hen ünc M , hatten c S m i ie n e G . ner g a W d e i r f g e i S Pachl, er t e P . – S. , h c i r ü Z / n e h c n ü M , – gen hnun eic z f u A und iefe Br . en Leb weite z s a D . r ne g a W ma i s o C , .) (Hg Mack ich tr Die vgl. und en ch is w z a v E und la anie D ch r du en t r o W s a sim Co n vo t f i r ch ders Nie Zur . i Ma . trag vom trag n Ei , hen ünc M ), – ( d.
Recommended publications
  • Parsifal and Canada: a Documentary Study
    Parsifal and Canada: A Documentary Study The Canadian Opera Company is preparing to stage Parsifal in Toronto for the first time in 115 years; seven performances are planned for the Four Seasons Centre for the Performing Arts from September 25 to October 18, 2020. Restrictions on public gatherings imposed as a result of the Covid-19 pandemic have placed the production in jeopardy. Wagnerians have so far suffered the cancellation of the COC’s Flying Dutchman, Chicago Lyric Opera’s Ring cycle and the entire Bayreuth Festival for 2020. It will be a hard blow if the COC Parsifal follows in the footsteps of a projected performance of Parsifal in Montreal over 100 years ago. Quinlan Opera Company from England, which mounted a series of 20 operas in Montreal in the spring of 1914 (including a complete Ring cycle), announced plans to return in the fall of 1914 for another feast of opera, including Parsifal. But World War One intervened, the Parsifal production was cancelled, and the Quinlan company went out of business. Let us hope that history does not repeat itself.1 While we await news of whether the COC production will be mounted, it is an opportune time to reflect on Parsifal and its various resonances in Canadian music history. This article will consider three aspects of Parsifal and Canada: 1) a performance history, including both excerpts and complete presentations; 2) remarks on some Canadian singers who have sung Parsifal roles; and 3) Canadian scholarship on Parsifal. NB: The indication [DS] refers the reader to sources that are reproduced in the documentation portfolio that accompanies this article.
    [Show full text]
  • IN SUMMER Lucerne Is a Wagner City
    Der Ring des Nibelungen IN SUMMER Lucerne is a Wagner city. For six years – from 1866 to 1872 – the com- poser resided at the Villa Tribschen. This was a decisive period for him artistically as well as personally. It was here that he completed Die Meistersinger von Nürnberg and resumed work on The Ring of the Nibelung, composing both the third act of Siegfried and Götterdäm- merung. Wagner’s Lucerne years also represented a turning point in his personal life. He moved into his new home on Lake Lucerne with Cosima von Bülow, whom he then married on 25 August 1870 in the Protestant parish church. And it was in Tribschen that two of the couple’s three children – their daughter Eva and son Siegfried – were born. To mark the composer’s 200th birthday, LUCERNE FESTIVAL is presenting the first complete performance of theRing cycle in the Wagner city of Lucerne, with the English conductor Jonathan Nott, the Bamberg Symphony Orchestra, and internationally acclaimed Wagner singers, including Albert Dohmen as Wotan, the ruler of the gods, Petra Lang making her role debut as Brünnhilde, Torsten Kerl as Siegfried, Klaus Florian Vogt in the role of Siegmund, and the Russian bass Mikhail Petrenko in a threefold assignment as Fafner, Hunding, and Hagen. This concert presentation of the epoch-making work will enable us to focus on Wagner the musical revolutionary. The highly acclaimed acoustics of the KKL Lucerne’s Salle blanche concert hall will bring out the sonic details and nuances of Wagner’s astounding orchestration with a transparency that has not been heard before.
    [Show full text]
  • Von Zürich Bis Tribschen Mit Dem Richard-Wagner-Verband Leipzig in Die Schweiz
    Von Zürich bis Tribschen Mit dem Richard-Wagner-Verband Leipzig in die Schweiz Zürich Luzern 1. Tag Montag, 02.09.2019 Schloss Hohenschwangau „Tell trifft Wagner“ wurde vor einer idyllischen Bergkulisse auf der Wald - weidli-Wiese am Seelisberg im Sommer 2013 uraufgeführt. Obwohl die – Zwischenübernachtung im Allgäu (A) Begegnung der beiden völlig fiktiv ist, verbindet sie der Ort. Richard Wag - Am Morgen fahren Sie im modernen Komfortreisebus nach Schwangau ner hatte 1855 seine erste Frau Minna hier zur Molkekur untergebracht im Allgäu. Dort besuchen Sie das Schloss Hohenschwangau, welches im und unternahm später mit der zweiten Frau Cosima Ausflüge von Luzern frühen 12. Jahrhundert ehemals als Burg Schwanstein erbaut und rund nach Seelisberg. 700 Jahre später durch den Kronprinz Maximilian von Bayern im neugoti - Nach einem gemeinsamen Mittagessen fahren Sie zurück zum Hotel. schen Stil wieder aufgebaut wurde. Schloss Hohenschwangau diente Anschließend fahren Sie zur Einführung in das Stück „Tristan und Isolde, König Maximilian II. als Sommersitz und war zugleich die Kinderstube von 2. Aufzug“ nach Tribschen (ohne örtlichen Reiseleiter). König Ludwig II. Die prachtvolle Innenausstattung aus der Biedermeierzeit ist unverändert erhalten geblieben. Als besonderes Highlight besuchen Sie am Abend das Sinfonische Konzert „Tristan und Isolde, 2. Aufzug“ in Luzern (Organisation durch den Richard- Auf Sichtweite zu Schloss Hohenschwangau befindet sich am Nachbar - Wagner-Verband Leipzig). hang das Märchenschloss Ludwigs II., Schloss Neuschwanstein. Am späten Nachmittag fahren Sie weiter nach Ohlstadt zu Ihrem Hotel 4. Tag Donnerstag, 05.09.2019 Mariefeld Alpenblick und lassen den Abend bei einem gemeinsamen Abendessen – Zwischenübernachtung in Ludwigsburg (F, M, A) gemütlich ausklingen. Am Morgen fahren Sie nach Mariafeld, dem Wohnsitz der Familie Wille.
    [Show full text]
  • WAGNER and the VOLSUNGS None of Wagner’S Works Is More Closely Linked with Old Norse, and More Especially Old Icelandic, Culture
    WAGNER AND THE VOLSUNGS None of Wagner’s works is more closely linked with Old Norse, and more especially Old Icelandic, culture. It would be carrying coals to Newcastle if I tried to go further into the significance of the incom- parable eddic poems. I will just mention that on my first visit to Iceland I was allowed to gaze on the actual manuscript, even to leaf through it . It is worth noting that Richard Wagner possessed in his library the same Icelandic–German dictionary that is still used today. His copy bears clear signs of use. This also bears witness to his search for the meaning and essence of the genuinely mythical, its very foundation. Wolfgang Wagner Introduction to the program of the production of the Ring in Reykjavik, 1994 Selma Gu›mundsdóttir, president of Richard-Wagner-Félagi› á Íslandi, pre- senting Wolfgang Wagner with a facsimile edition of the Codex Regius of the Poetic Edda on his eightieth birthday in Bayreuth, August 1999. Árni Björnsson Wagner and the Volsungs Icelandic Sources of Der Ring des Nibelungen Viking Society for Northern Research University College London 2003 © Árni Björnsson ISBN 978 0 903521 55 0 The cover illustration is of the eruption of Krafla, January 1981 (Photograph: Ómar Ragnarsson), and Wagner in 1871 (after an oil painting by Franz von Lenbach; cf. p. 51). Cover design by Augl‡singastofa Skaparans, Reykjavík. Printed by Short Run Press Limited, Exeter CONTENTS PREFACE ............................................................................................ 6 INTRODUCTION ............................................................................... 7 BRIEF BIOGRAPHY OF RICHARD WAGNER ............................ 17 CHRONOLOGY ............................................................................... 64 DEVELOPMENT OF GERMAN NATIONAL CONSCIOUSNESS ..68 ICELANDIC STUDIES IN GERMANY .........................................
    [Show full text]
  • SOMMARIO Una Premessa Sul Puro Umano E Wagner Oggi Il Puro
    SOMMARIO L'ONTOLOGIA DELL'UMANO Una premessa sul puro umano e Wagner oggi Il puro umano VII L'intreccio XVII Wagner oggi XX RICHARD WAGNER LA POETICA DEL PURO UMANO A PARIGI: BERLIOZ, LISZT, WAGNER Un intreccio affascinante La malinconia dell'essere: la poetica della Romantik 3 La cultura musicale nella Parigi degli anni Trenta, una fìtta trama di relazioni 16 Berlioz, emancipazione del parametro timbrico 33 Liszt e Chopin, ricerca strumentale e compositiva 45 Wagner, «Un musicista tedesco a Parigi» 71 IN GERMANIA, LA POETICA DEL PURO UMANO Trame di passione Le composizioni strumentali giovanili 101 Mendelssohn e gli Schumann, incomprensioni e polemiche 123 I primi abbozzi teatrali e Le fate 133 II divieto d'amare, «Canto, canto e ancora canto, o tedeschi!» 144 Rienzi, «Armi», «Bandiere», «Onore», «Libertà» 153 L'Olandese volante, «Ah! Superbo oceano!» 170 http://d-nb.info/1024420035 Tannhàuser, «Potete voi tutti scoprirmi la natura dell'amore?» 196 Lohengrin, «Mai non dovrai domandarmi» 222 I Wibelunghi, i moti rivoluzionari, L'arte e la rivoluzione, Gesù di Nazareth 2S3 SCHOPENHAUER E LE «DIVINE PARTITURE» Gli scritti e i capolavori L'arrivo in Svizzera, Wieland il fabbro, Liszt, i brani pianistici, Berlioz 269 L'opera d'arte dell'avvenire, Il giudaismo nella musica, Opera e dramma, Una comunicazione ai miei amici 290 Schopenhauer, «Mi sentii subito profondamente attratto» 314 Wesendonck-Lieder, Parigi, Rossini, Ludwig II 322 Tristan, «Naufragare / affondare / inconsapevolmente / suprema letizia!» 359 Il libro bruno, La mia vita, Il
    [Show full text]
  • SCHOLARLY PROGRAM NOTES of SELECTED WORKS by LUDWIG VAN BEETHOVEN, RICHARD WAGNER, and JAMES STEPHENSON III Jeffrey Y
    Southern Illinois University Carbondale OpenSIUC Research Papers Graduate School 5-2017 SCHOLARLY PROGRAM NOTES OF SELECTED WORKS BY LUDWIG VAN BEETHOVEN, RICHARD WAGNER, AND JAMES STEPHENSON III Jeffrey Y. Chow Southern Illinois University Carbondale, [email protected] Follow this and additional works at: http://opensiuc.lib.siu.edu/gs_rp CLOSING REMARKS In selecting music for this program, the works had instrumentation that fit with our ensemble, the Southern Illinois Sinfonietta, yet covering three major periods of music over just a little more than the past couple of centuries. As composers write more and more for a chamber ensemble like the musicians I have worked with to carry out this performance, it becomes more and more idiomatic for conductors like myself to explore their other compositions for orchestra, both small and large. Having performed my recital with musicians from both the within the Southern Illinois University Carbondale School of Music core and from the outside, this entire community has helped shaped my studies & my work as a graduate student here at Southern Illinois University Carbondale, bringing it all to a glorious end. Recommended Citation Chow, Jeffrey Y. "SCHOLARLY PROGRAM NOTES OF SELECTED WORKS BY LUDWIG VAN BEETHOVEN, RICHARD WAGNER, AND JAMES STEPHENSON III." (May 2017). This Article is brought to you for free and open access by the Graduate School at OpenSIUC. It has been accepted for inclusion in Research Papers by an authorized administrator of OpenSIUC. For more information, please contact [email protected].
    [Show full text]
  • From Page to Stage: Wagner As Regisseur
    Wagner Ia 5/27/09 3:55 PM Page 3 Copyrighted Material From Page to Stage: Wagner as Regisseur KATHERINE SYER Nowadays we tend to think of Richard Wagner as an opera composer whose ambitions and versatility extended beyond those of most musicians. From the beginning of his career he assumed the role of his own librettist, and he gradually expanded his sphere of involvement to include virtually all aspects of bringing an opera to the stage. If we focus our attention on the detailed dramatic scenarios he created as the bases for his stage works, we might well consider Wagner as a librettist whose ambitions extended rather unusually to the area of composition. In this light, Wagner could be considered alongside other theater poets who paid close attention to pro- duction matters, and often musical issues as well.1 The work of one such figure, Eugène Scribe, formed the foundation of grand opera as it flour- ished in Paris in the second quarter of the nineteenth century. Wagner arrived in this operatic epicenter in the fall of 1839 with work on his grand opera Rienzi already under way, but his prospects at the Opéra soon waned. The following spring, Wagner sent Scribe a dramatic scenario for a shorter work hoping that the efforts of this famous librettist would help pave his way to success. Scribe did not oblige. Wagner eventually sold the scenario to the Opéra, but not before transforming it into a markedly imaginative libretto for his own use.2 Wagner’s experience of operatic stage produc- tion in Paris is reflected in many aspects of the libretto of Der fliegende Holländer, the beginning of an artistic vision that would draw him increas- ingly deeper into the world of stage direction and production.
    [Show full text]
  • Was Hitler a Darwinian?
    Was Hitler a Darwinian? Robert J. Richards The University of Chicago The Darwinian underpinnings of Nazi racial ideology are patently obvious. Hitler's chapter on "Nation and Race" in Mein Kampf discusses the racial struggle for existence in clear Darwinian terms. Richard Weikart, Historian, Cal. State, Stanislaus1 Hamlet: Do you see yonder cloud that's almost in shape of a camel? Shakespeare, Hamlet, III, 2. 1. Introduction . 1 2. The Issues regarding a Supposed Conceptually Causal Connection . 4 3. Darwinian Theory and Racial Hierarchy . 10 4. The Racial Ideology of Gobineau and Chamberlain . 16 5. Chamberlain and Hitler . 27 6. Mein Kampf . 29 7. Struggle for Existence . 37 8. The Political Sources of Hitler’s Anti-Semitism . 41 9. Ethics and Social Darwinism . 44 10. Was the Biological Community under Hitler Darwinian? . 46 11. Conclusion . 52 1. Introduction Several scholars and many religiously conservative thinkers have recently charged that Hitler’s ideas about race and racial struggle derived from the theories of Charles Darwin (1809-1882), either directly or through intermediate sources. So, for example, the historian Richard Weikart, in his book From Darwin to Hitler (2004), maintains: “No matter how crooked the road was from Darwin to Hitler, clearly Darwinism and eugenics smoothed the path for Nazi ideology, especially for the Nazi 1 Richard Weikart, “Was It Immoral for "Expelled" to Connect Darwinism and Nazi Racism?” (http://www.discovery.org/a/5069.) 1 stress on expansion, war, racial struggle, and racial extermination.”2 In a subsequent book, Hitler’s Ethic: The Nazi Pursuit of Evolutionary Progress (2009), Weikart argues that Darwin’s “evolutionary ethics drove him [Hitler] to engage in behavior that the rest of us consider abominable.”3 Other critics have also attempted to forge a strong link between Darwin’s theory and Hitler’s biological notions.
    [Show full text]
  • Accidental Tourism in Wagner's Bayreuth
    1 Accidental Tourism in Wagner’s Bayreuth An Analysis of Visitors’ Motivations and Experiences in Wagner’s Bayreuth. Myrto Moraitou Master Thesis Dissertation Accidental Tourism in Wagner’s Bayreuth An analysis of visitors’ motivations and experiences in Wagner’s Bayreuth Master Thesis Name: Myrto Moraitou Student number: 433480 Supervisor: Prof. Dr. S. L. Reijnders Date: June 12th 2018 Erasmus School of History, Culture and Communication Arts, Culture and Society Erasmus University Rotterdam Accidental Tourism in Wagner’s Bayreuth An analysis of visitors’ motivations and experiences in Wagner’s Bayreuth Abstract This research offers an analysis of the motivations and experiences of visitors in Wagner’s Bayreuth. Wagner’s Bayreuth is a great example of music tourism as it is maybe the first site where music lovers from around the world visited in order to listen and experience classical music. Taking as a starting point the theories developed on music tourism studies on sites related to popular music such as the ones of Connell and Gibson (2003), Gibson and Connell (2005, 2007) and Bolderman and Reijnders (2016), this research will try to identify whether these theories apply also on the classical music field, based on the example of Wagner’s Bayreuth. This paper addresses four visitor elements; the motivation, the expectation, the experience and evaluation of the above. The personal ‘identity’ of each visitor plays also an important role on their motives and evaluation procedure of the experience, as it defines the relationship between the visitor and the place and also the way of evaluation through their personal story. Through the analysis of these elements, using a qualitative approach with in depth interviews based on these elements, the findings suggest that there are some similarities in the behavior of the visitors between Wagner’s Bayreuth and previous researches on popular culture sites.
    [Show full text]
  • Avner Dorman Avner Dorman
    Avner Dorman writes music of intricate craftsmanship and rigorous technique, expressed with a soulful and singular voice. A native of Israel now living in the United States, Dorman draws on a vari- ety of cultural and historical influences Avner Dorman in composing, resulting in music that affects an emotional impact while exploring new territories. His works uti- lize an exciting and complex rhythmic vocabulary, as well as unique timbres and colors in orchestral, Wahnfried chamber, and solo settings. The world's finest orchestras, con- ductors, and soloists have performed Dorman's music, and many of his compositions have become contemporary staples in the repertoire. Wahnfried Cover photo by Schubbay learn more at www.musicsalesclassical.com For more information contact Peggy Monastra, [email protected], 212-254-2100 ORDERING INFORMATION Rental orders and fee quotations: Avner Dorman G. Schirmer/AMP Grand Rights online web form: digital.schirmer.com/gr Perusal materials: SchirmerOnDemand digital scores via free download: MusicSalesClassical.com/OnDemand G. Schirmer/AMP Promotion Department paper scores: [email protected] Sales materials: The Hal Leonard Corporation distributes G. Schirmer/AMP music in print. See your music dealer or order online from MusicDispatch.com Publisher and Agency Representation for the Music Sales Group: MusicSalesClassical.com/rental The Music Sales Group of Companies USA: G. Schirmer, Inc. Spain: Unión Musical Ediciones Associated Music Publishers, Inc. E-mail: E-mail: [email protected] [email protected]
    [Show full text]
  • My Fifty Years with Wagner
    MY FIFTY YEARS WITH RICHARD WAGNER I don't for a moment profess to be an expert on the subject of the German composer Wilhelm Richard Wagner and have not made detailed comments on performances, leaving opinions to those far more enlightened than I. However having listened to Wagnerian works on radio and record from the late 1960s, and after a chance experience in 1973, I have been fascinated by the world and works of Wagner ever since. I have been fortunate to enjoy three separate cycles of Der Ring des Nibelungen, in Bayreuth 2008, San Francisco in 2011 and Melbourne in 2013 and will see a fourth, being the world's first fully digitally staged Ring cycle in Brisbane in 2020 under the auspices of Opera Australia. I also completed three years of the degree course in Architecture at the University of Quensland from 1962 and have always been interested in the monumental buildings of Europe, old and new, including the opera houses I have visited for performance of Wagner's works. It all started in earnest on September 29, 1973 when I was 28 yrs old, when, with friend and music mentor Harold King of ABC radio fame, together we attended the inaugural orchestral concert given at the Sydney Opera House, in which the legendary Swedish soprano Birgit Nilsson opened the world renowned building singing an all Wagner programme including the Immolation scene from Götterdämmerung, accompanied by the Sydney Symphony Orchestra conducted by a young Charles Mackerras. This event fully opened my eyes to the Ring Cycle - and I have managed to keep the historic souvenir programme.
    [Show full text]
  • The Nuremberg Party Rallies, Wagner, and the Theatricality of Hitler And
    University of Hawai‘i at Hilo HOHONU 2015 Vol. 13 Cathedral of Light: The his imagery and music by the Nazi Party.7 Hitler was obsessed with Wagnerian operas. It was the only type of Nuremberg Party Rallies, music he listened to with any enthusiasm, and he could Wagner, and The Theatricality be heard whistling it perfectly.8 He was witnessed to be visibly calmed by the music of Wagner when agitated. of Hitler and the Nazi Party According to Goebbels, Hitler had a “strong inner need Stacey Reed for art,” and was known to, in the middle of important History 395 political negotiations or tactical battles to go by himself Fall 2012 or with a few comrades, to sit in a theater and listen to “the heroically elevated measures of a Wagnerian music The National Socialist, or Nazi, Party was drama in artistic unison with his political being.”10 This keenly aware of the power of the arts, the elements of was a tendency that began long before his appointment the theatre, and the power of spectacle on the minds and as Chancellor. Already a passionate follower of Wagner's attitudes of the German people. This was especially true works, Hitler was further directed on his path towards of music, and they found fertile ground in the minds of Führer when, upon meeting Wagner's son-in-law at the people through the imagination of Richard Wagner his Villa Wahnfried in Bayreuth in September, 1923, and his great, nationalistic Operas. The Nazi Party the master of the house told him that he saw in Hitler, engaged with the political philosophy of the composer Germany's savior.11 Hitler would go on to make Wagner and elevated the enjoyment of his art to a key ritual of a central part of his Nazi Mythos, incorporating his works the cult of Nazism.
    [Show full text]