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The Sources and Text of Richard Wagner's Opera Die Meistersinger Von Nürnberg


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This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.




Wagnerism: Art and Politics in the Shadow of Music


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’An absolutely masterly work’ Stephen Fry Alex Ross, renowned author of the international bestseller The Rest Is Noise, reveals how Richard Wagner became the proving ground for modern art and politics—an aesthetic war zone where the Western world wrestled with its capacity for beauty and violence.







Paperbound Books in Print 1995


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The Sources and Text of Richard Wagner's Opera Die Meistersinger Von Nürnberg


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This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1897 edition. Excerpt: ... alle jar auf sanct thomas tag oder die nechst schuel darfor sol man die Festlider verhoren und die fest singer verornern (verordnen) wie solen singen." This was evidently to prepare for a festival on St. John Evangelist's Day (December 27). According to Schnorr von Carolsf eld 4) there was a festal gathering of the Mastersingers at Wohrd, a suburb of Nuremberg, on the Feast of Trinity. Now Wagner has either mistaken the festival of St. John Evangelist for that of St. John Baptist (June 24) or has arbitrarily changed the festival of Trinity to that of St. John. His reasons for choosing this spring-day, so beautifully celebrated in southern Germany, are obvious. 1) Wagenseil, 546. 2) Uhland: Schriften," II, 297.; 3) Genee, 4i2. 4) Mey, 44, Ranisch, 28, says that the Nuremberg Mastersingers had a festival a week after Pentecostal Sunday at Wohrd--but this was because the expenses of meeting in the church were too great. Wagner has also arbitrarily assumed that there were two Critic's Seats (Gemerke), a smaller and a larger, the first to be used at the Open Singing, the second in the Singing-school (VII, 164). This is a gratuitous invention of his, as is also the marking of the song by Beckmesser as the only critic, instead of the customary three or four. This latter device was however necessary, since only Walther's rival would have criticized his song so severely. Poor Walther is marked, too, according to rules that he has never heard, for from the Leges Tabulaturas have been read to him only the introductory part, and David's glib enumeration of errors contains no real information. There is a curious slip in Hans Sachs' speech immediately after his reception by the apprentices and people in the third act. Sachs informs...




Wagner's Meistersinger


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Richard Wagner's Die Meistersinger von Nurnberg has been one of the most performed operas ever since its premiere in 1868. It was adopted as Germany's national opera ["Nationaloper"], not least because of its historical coincidence with the unification of Germany under Bismarck in 1871. The first section of this volume, "Performing Meistersinger," contains three commissioned articles from internationally respected artists - a conductor [Peter Schneider], a stage director [Harry Kupfer] and a singer [Dietrich Fischer-Dieskau], all experienced in the performance of this unusually demanding 5-hour work. The second section, "Meistersinger and History," examines both the representation of German history in the opera and the way the opera has functioned in history through political appropriation and staging practice. The third section, "Representations," is the most eclectic, exploring in the first place the problematic question of genre from the perspective of a theatrical historian. The chronic issue of Wagner's chief opponent, Eduard Hanslick, and his musical and dramatic representation in the opera as Beckmesser, is then addressed, as are gender issues, and Wagner's own utterances concerning the opera. Contributors: Nicholas Vazsonyi, Peter Schneider, Harry Kupfer, Dietrich Fischer-Dieskau, Hans Rudolf Vaget, Lutz Koepnick, David B. Dennis, Klaus Van Den Berg, Thomas S. Grey, Lydia Goehr, Eva Rieger, Peter Höyng. Nicholas Vazsonyi is Associate Professor of German and Comparative Literature, University of South Carolina.




Richard Wagner


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“[An] intriguing exploration of the composer’s life and thought as exemplified by his music. An excellent biography.” —Library Journal Best known for the four-opera cycle The Ring of the Nibelung, Richard Wagner (1813–83) was a conductor, librettist, theater director, and essayist, in addition to being the composer of some of the most enduring operatic works in history. Though his influence on the development of European music is indisputable, Wagner was also quite outspoken on the politics and culture of his time. His ideas traveled beyond musical circles into philosophy, literature, theater staging, and the visual arts. To befit such a dynamic figure, acclaimed biographer Martin Geck offers here a Wagner biography unlike any other, one that strikes a unique balance between the technical musical aspects of Wagner’s compositions and his overarching understanding of aesthetics. A landmark study of one of music’s most important figures “People who would like to know more about Wagner, and people who have loved his music for years . . . will find a great deal in this book to enjoy and to admire.” —Tablet “Geck describes a Wagner who is grounded, focused and even cautious, a savvy realist and ironist rather than a flamboyant, flailing ideologue . . . Suffused with his readings of contemporary productions of the operas, Geck’s musical analyses are succinct and superb” —New York Times “As an editor of Wagner’s Complete Works, Geck brings a deep familiarity with the composer to his task.” —Weekly Standard “A thoroughly approachable yet consistently provocative study.” —Thomas S. Grey, editor of The Cambridge Companion to Wagner