![Richard Wagner](https://img.perlego.com/book-covers/1691669/9781135839529_300_450.webp)
eBook - ePub
Richard Wagner
A Research and Information Guide
Michael Saffle
This is a test
- 464 pages
- English
- ePUB (adapté aux mobiles)
- Disponible sur iOS et Android
eBook - ePub
Richard Wagner
A Research and Information Guide
Michael Saffle
DĂ©tails du livre
Aperçu du livre
Table des matiĂšres
Citations
Ă propos de ce livre
Richard Wagner: A Research and Information Guide is an annotated bibliography concerning both the nature of primary sources related to the composer and the scope and significance of the secondary sources which deal with him, his compositions, and his influence as a composer and performer.
Foire aux questions
Comment puis-je résilier mon abonnement ?
Il vous suffit de vous rendre dans la section compte dans paramĂštres et de cliquer sur « RĂ©silier lâabonnement ». Câest aussi simple que cela ! Une fois que vous aurez rĂ©siliĂ© votre abonnement, il restera actif pour le reste de la pĂ©riode pour laquelle vous avez payĂ©. DĂ©couvrez-en plus ici.
Puis-je / comment puis-je télécharger des livres ?
Pour le moment, tous nos livres en format ePub adaptĂ©s aux mobiles peuvent ĂȘtre tĂ©lĂ©chargĂ©s via lâapplication. La plupart de nos PDF sont Ă©galement disponibles en tĂ©lĂ©chargement et les autres seront tĂ©lĂ©chargeables trĂšs prochainement. DĂ©couvrez-en plus ici.
Quelle est la différence entre les formules tarifaires ?
Les deux abonnements vous donnent un accĂšs complet Ă la bibliothĂšque et Ă toutes les fonctionnalitĂ©s de Perlego. Les seules diffĂ©rences sont les tarifs ainsi que la pĂ©riode dâabonnement : avec lâabonnement annuel, vous Ă©conomiserez environ 30 % par rapport Ă 12 mois dâabonnement mensuel.
Quâest-ce que Perlego ?
Nous sommes un service dâabonnement Ă des ouvrages universitaires en ligne, oĂč vous pouvez accĂ©der Ă toute une bibliothĂšque pour un prix infĂ©rieur Ă celui dâun seul livre par mois. Avec plus dâun million de livres sur plus de 1 000 sujets, nous avons ce quâil vous faut ! DĂ©couvrez-en plus ici.
Prenez-vous en charge la synthÚse vocale ?
Recherchez le symbole Ăcouter sur votre prochain livre pour voir si vous pouvez lâĂ©couter. Lâoutil Ăcouter lit le texte Ă haute voix pour vous, en surlignant le passage qui est en cours de lecture. Vous pouvez le mettre sur pause, lâaccĂ©lĂ©rer ou le ralentir. DĂ©couvrez-en plus ici.
Est-ce que Richard Wagner est un PDF/ePUB en ligne ?
Oui, vous pouvez accĂ©der Ă Richard Wagner par Michael Saffle en format PDF et/ou ePUB ainsi quâĂ dâautres livres populaires dans MĂ©dias et arts de la scĂšne et Musique. Nous disposons de plus dâun million dâouvrages Ă dĂ©couvrir dans notre catalogue.
Informations
1
Introducing Wagner
WAGNER IN 1,000 WORDS
Born in Leipzig on 22 May 1813, the son of Carl Friedrich Wagner (or Ludwig Geyer) and Johanna Rosine Wagner, Wilhelm Richard Wagner grew up in a Leipzig household filled with enthusiasm for the theater; later Richard developed enthusiasms of his own for music, antiquity, and the opera. Lessons in piano, violin, and the elements of composition anticipated his career as a music dramatist, by 1833, when he left Leipzig and university studies in law to settle in WĂŒrzburg, Wagner had written a symphony and several sonatas and arranged for piano the Ninth Symphony of his musical idol Beethoven; the following year he began work on Das Liebesverbot, based on Measure for Measure by his dramatic idol Shakespeare.
Wagnerâs early career was tumultuous; during the later 1830s and most of the 1840s he held musical-theatrical positions in Magdeburg, Königsberg, Riga, and Dresden; his attempt to break into Parisâs musical establishment failed dismally, however. By May 1849, when he participated in the Dresden revolution, he had completed Rienzi, Der fliegende HollĂ€nder, TannhĂ€user, and Lohengrin, published pamphlets, articles, and reviews, and made public his anti-royalist, aesthetically radical sympathies. Condemned to death in absentia by Saxon officials, Wagner fled to Switzerland with the help of his loyal colleague, sometime friend, and (later) father-in-law Franz Liszt; there he spent the 1850s writing books and articlesâOpera and Drama, Art and Revolution, and the dreadful Jewishness in Music among themâand hoping for a pardon; visits to London and Paris added to his growing reputation as a brilliant innovator and a difficult human being. By 1853, he had completed the poem for what eventually became Der Ring des Nibelungen; by 1856, he had written Das Rheingold and Die WalkĂŒre, two of its four parts, and begun work on a third, Siegfried; Tristan und Isolde, conceived during his love affair with Mathilde Wesendonk (one of several liaisons he conducted during his insatiably self-aggrandizing life), was finished in 1859. In 1862, he received a full amnesty from German officials; the previous year, however, TannhĂ€user failed spectacularly in Paris and there seemed little hope of a Tristan production.
In 1864, rescued from enormous debts and mounting disillusionment by Ludwig II, King of Bavaria, Wagner settled briefly in Munich; there Tristan received its premiere the following year, but Wagnerâs demands upon the Bavarian treasury and disapproval over his liaison with Cosima Liszt von BĂŒlow, then wife of Hans von BĂŒlow (who, in 1868, conducted the premiere of Die Meistersinger in Munich), led to Wagnerâs âdismissalâ from that city in December 1865. The following year his long-suffering wife Minna finally died (they had wed in 1836), and Wagner settled with Cosima at Tribschen on Lake Lucerne; they were married in 1870, although their first daughter, Isolde, had been born the year before, and their other childrenâEva and Siegfriedâ had appeared in 1867 and 1869. The Franco-Prussian War and complex shifts in Wagnerâs political enthusiasms occurred almost simultaneously with renewed work on Siegfried, which he completed in 1871; the fourth and final Ring music drama, Die GötterdĂ€mmerung, dates from 1873â1874. Meanwhile the Wagners met and befriended the remarkable, mentally unstable philologistturned-philosopher Friedrich Nietzsche, whose âpro and contraâ Wagner pronouncements rank among the most controversial in music history.
In the Bavarian town of Bayreuth, Wagner built his own home (Haus Wahnfried, completed in 1874); there, in 1872, he laid the cornerstone for his own theater. Tremendous effort and last-minute financial assistance from Ludwig II enabled the Festspielhaus to open in 1876 for the first complete Ring production; a second Festival, presented in 1882, witnessed the premiere of the âstage-consecration playâ Parsifal, Wagnerâs last music drama. In 1880, at the urging of his physician, the composer moved with his family to Italy; it was in Venice, apparently after a row with Cosima over his amorous interest in a pretty English singer named Carrie Pringle, that he suffered a heart attack and died on 13 February 1883. Ludwig II followed Wagner to the grave in 1886; so did Liszt, but not before finishing several remarkable piano pieces âaboutâ Venice and his son-in-lawâs death. Cosima and son Siegfried succeeded Wagner as directors of the Bayreuth Festival, which continues to this day; Cosima died only in 1930, after welcoming Adolf Hitler to the Festspielhaus. Bayreuthâs âNazi legacyâ still haunts Wagnerâs descendants and Germanyâs international reputation; for decades it was forbidden to perform any of the composerâs works in Israel.
Wagner gave the world more than Bayreuth, however; more even than great music and an intoxicating vision of Germany Triumphant. His compositions, which look backward in certain respects to the works of Beethoven, Marschner, Meyerbeer, Spohr, and Carl Maria von Weber, influenced many of his contemporaries and successors, including Berg, Bruckner, Debussy, Elgar, Franck, Edward MacDowell, Mahler, Massenet, Schoenberg, Sibelius, Richard Strauss, and Hugo Wolf. (Wagnerâs musical interactions with Berlioz, Brahms, and Liszt were more complex; each influenced and was influenced by the other.) âWagnerismâ was perhaps even more influential; movements sprang up in America and almost every part of late nineteenth- and early twentieth-century Europe, including Catalonia, Hungary, and Russia; the individuals affected included French poets, painters, and novelists Baudelaire, Fantin-Latour, Monet, Proust, Renoir, and ValĂ©ry; English authors and illustrators Beardsley, Eliot, Joyce, Lawrence, Bernard Shaw, and Oscar Wilde; and German cultural icons Heinrich and Thomas Mann among a host of others, including Hitler. Wagner helped shape our understanding of the Middle Ages, of the German stage, and of art as business and politics; his impact on Adorno, on Thomas Mann, on Nietzsche, on film music (think of John Williams and the Star Wars movies), on conducting, staging, and operatic singing, on musical instruments (the Wagner tuba), and on musicologists and aestheticians from Dahlhaus to Hanslick to Ernest Newmanâshould not be underestimated. Even Wagnerâs prose polemics, often dismissed (except by German scholars), seem today both more sensible and more outrageous than they once did; postmodernist critics are turning increasingly to Wagner, and an entire industry has grown up around Wagnerâs anti-Semitic attitudes.
WAGNER RESEARCH, PAST AND PRESENT
Those familiar with Richard Wagnerâs career, compositions, and influence know that a great deal has been written about him. And them. The number of books and articles devoted exclusively to Wagnerâs life and music dramas, for example, may have been exaggerated in the past, but it is safe to say there are thousands of them. If one also takes into account the editions of his compositions, correspondence, and prose works, the total probably reaches the tens of thousands. Add to this figure the reviews of Wagner productions, performances, and recordings published during the past 165 years in hundreds of newspapers and magazines around the world, and the total probably reaches the hundreds of thousands.
These estimates are by no means inflated. In his survey of German Wagner criticism prior to the end of 1855, Helmut Kirchmeyer identifies and reprints the texts of some 3,257 periodical publications of the 1840s and 1850s. Many of these were overlooked or ignored by Nicholas Oesterlein, whose âcomprehensiveâ Wagner bibliography appeared in 1873 and mentions some 10,200 artifacts. The National Union Catalogâs âPre-1956â series of volumes identifies at least 2,000 editions of individual music-drama texts and scores, and that source is far from complete.1
Years ago, when editors at Garland Publishingâtoday, Routledgeâasked me to prepare a Wagner research guide, they also asked me to confine myself to 400 printed pages of text, including front matter, a brief survey of the composerâs life and works, and an index of authors and editors. To meet those goals, or try to, I set out initially to identify and describe no more than 1,000 publications in some 350 pages of print. The first edition of this guide contained 1,175 numbered citations; the present contains 1,290. In no sense, therefore, do I consider even the revised edition of my work âcomplete.â It isnât, nor was it ever intended to be. Anyone who wishes can easily locate studies I overlooked, or chose to ignore, or mention only in passing. And new Wagner publications appear in print virtually every day.2
The questions remain, however: what to include and what to leave out? In a review-article devoted to Tom Sutcliffeâs Believing in Opera (London, 1998), James Treadwell indirectly identifies one of the problems associated with the Wagner literature in general and especially with performance and production studies:
[The a]rguments ⊠have the same kind of wearisome predictability as family squabbles. One enters the debate with resignation rather than trepidation, the much-rehearsed script already known to all parties. Appeals to the historical inevitability of reinterpretation will be countered by citations of the composerâs and/or librettistâs instructions. What to one person looks like theatrical inventiveness is absurd self-indulgence to another. Directors are brilliant interpreters or arrogant and patronizing buffoons. Tradition and innovation square off against each other, as if the former never had anything to do with the latter. Weâve heard it all before.3
This does not mean, however, that conflicting claims of âtradition and innovationâ are of little interest to Wagner researchers. Quite the contrary: reception is an acknowledged musicological specialty. On the other hand, Sutcliffe has a point; reviews are legion and many of them cover the same ground. With the exception of those incorporated or examined in secondary sources, then, reviews of production and performance have been excluded from the present research guide.
Quantity is one issue, quality another. Some experts, John Deathridge among them, have argued that there is very little worthwhile Wagner secondary literature. The late Carl Dahlhaus would have agreed. Dahlhaus, in fact, opened the Introduction to Richard Wagnerâs Music Dramas with the following statement:
For decades writing on Wagner was compounded of wide-ranging, historico-philosophical speculation, insatiable delight in the minutiae of his life, however far-fetched or trivial, and a curious complacency when it came to the study of the music, which hardly aspired to anything beyond labeling the leitmotive. Views were stated in one of two tones of voice: emphatic or outraged. And even today, a hundred years after the founding of the theater in Bayreuth, people who write about Wagner veer to one pole or the other: to polemics or apologetics.
(item 606, p. 1)
Unfortunately, Dahlhausâs argument is in large part indefensible. There is and has long been far more to Wagner scholarship than âspeculation,â âminutiae,â and âcurious complacency.â True, many outstanding studiesâ including the New Grove Wagner volume, itself a collaboration by Deathridge and Dahlhaus, as well as the SĂ€mtliche Werke edition of Wagnerâs compositions co-edited by Dahlhaus and the Wagner-Werk-Verzeichnis (or âWWVâ) co-written by Deathridgeâpostdate Dahlhausâs statement above, which appeared in print for the first time in 1971. On the other hand, Dahlhaus had his own âemphaticâ agendaâone that, for better or worse, has itself become part of an all-too-often âoutragedâ Wagner literature.4 Finally, Dahlhaus was especially interested in defending the aesthetic significance of Wagnerâs music dramas against critics of certain social-critical persuasions. But the issues those critics have sought to explore, anti-Semitism among them, are part and parcel of Wagnerâs cultural legacy. They cannot and should not be ignored.
To attempt to deal with all this in my first editionâwhich is to say, to attempt to meet or at least approach my original goals involving numbers of pages and annotationsâI adopted six fundamental strategies. The first five of these involved selecting for annotation those books, monographs, anthologies, editions, and articles that were of outstanding quality or importance; reflected the results of recent researches; were written in English or had appeared in English-language editions; reported on as many Wagnerian topics as possible; and contained the word(s) âWagner,â âWagnerian,â âWagnerism(s),â or the name of one of Wagnerâs works in their titles or subtitles. The sixth involved selecting studies that represented as many phases and aspects of Wagner scholarship as possible.
Sooner or later I had to break every one of my own rules. Depending on whom one speaks with, there may be no studies âof outstanding quality or importanceâ devoted, say, to âWagner and homosexuality.â The ones I do citeâ Hanns Fuchsâs Richard Wagner und die HomosexualitĂ€t; and Isolde Vetterâs superb âWagner in the History of Psychologyââare intriguing and valuable for researchers, although perhaps not quite complete.5 Another lacklustre publication is Hermann Barthâs Internationale Wagner-Bibliographie, which I place near the beginning of the subsection on âBibliographiesâ solely because it is the closest thing to a comprehensive modern reference work. Like many other Wagner studies, it is in German. So are several of the finest studies dealing with Wagner and Medieval legends and literatures, and these were published decades or even a century ago; among themâat least according to Elizabeth Magee, whose Richard Wagner and the Nibelungs has been proclaimed the finest recent work in the fieldâare several works I have never been able to consult.
I also had to refer to a very few important works of criticism âaboutâ Wagner that do not mention him or any of his music dramas on their title pages. Joseph Kermanâs âOpera as Symphonic Poemâ is a case in point, although every Wagnerian understands that the title of Kermanâs volume, Opera as Drama, is a pun on Wagnerâs own treatise Opera and Drama. Another exception is Carolyn Abbateâs Unsung Voices: Opera and Musical Narrative in the Nineteenth Century, which deals mostly but by no means exclusively with the Ring. On the other hand, I omitted publications as important as Nineteenth-Century Music by Dahlhaus primarily because it isnât âWagner-specific.â For the same reason I omitted such important volumes as the Oxford History of Music, Paul Henry Langâs Music in Western Civilization, and Rey M. Longyearâs Nineteenth-Century Romanticism in Music as well as works written in other languages.
This is not to say that I always broke my own rules. Sometimes I merely bent them. I strove, for instance, to include studies by a variety of researchers rather than limit my choices to âreputableâ scholars. I didnât even try to include all of Dahlhausâs Wagner publications; there simply wasnât room. Nor did Dahlhaus concern himself with a great many Wagnerian topics, especially non-German ones. It seems to be true that there are more books and articles about Wagner in German than other continental European languages. To argue, however, that Karel Wautersâs Wagner en Vlaanderen, 1844â1914 (âWagner in Flanders, 1844â...
Table des matiĂšres
- ROUTLEDGE MUSIC BIBLIOGRAPHIES
- Contents
- Using this Book
- Acknowledgments
- 1 Introducing Wagner
- 2 Surveying Wagner: Compendia and Other Survey Studies
- 3 Researching Wagner: Reference Works of Various Kinds
- 4 The Documentary Legacy
- 5 Wagnerâs Life and Character
- 6 Wagner as Composer: Studies in Techniques, Styles, and Influences
- 7 Wagner as Music Dramatist 1: Surveys Studies
- 8 Wagner as Music Dramatist 2: The Earlier (and Unfinished) Operas and Music Dramas
- 9 Wagner as Music Dramatist 3: HollÀnder, Lohengrin, and TannhÀuser
- 10 Wagner as Music Dramatist 4: Meistersinger, Parsifal, Tristan, and the Ring
- 11 Wagner as Instrumental and Vocal Composer and Arranger
- 12 Performing Wagner: Studies of Performance Practices, Productions, and Media Issues
- 13 Wagner as Poet, Prose Writer, Philosopher, and Revolutionary
- 14 Criticizing Wagner: Wagnerâs Critics and the Wagner Reception
- 15 Wagner and Culture, Past and Present: Literature, Psychology, and the Visual Arts
- 16 Wagner and Anti-Semitism
- 17 After Wagner: Bayreuth, the Festivals, and Wagnerâs Descendants
- Notes
- Index of Authors, Editors, and Translators
Normes de citation pour Richard Wagner
APA 6 Citation
Saffle, M. (2010). Richard Wagner (2nd ed.). Taylor and Francis. Retrieved from https://www.perlego.com/book/1691669/richard-wagner-a-research-and-information-guide-pdf (Original work published 2010)
Chicago Citation
Saffle, Michael. (2010) 2010. Richard Wagner. 2nd ed. Taylor and Francis. https://www.perlego.com/book/1691669/richard-wagner-a-research-and-information-guide-pdf.
Harvard Citation
Saffle, M. (2010) Richard Wagner. 2nd edn. Taylor and Francis. Available at: https://www.perlego.com/book/1691669/richard-wagner-a-research-and-information-guide-pdf (Accessed: 14 October 2022).
MLA 7 Citation
Saffle, Michael. Richard Wagner. 2nd ed. Taylor and Francis, 2010. Web. 14 Oct. 2022.