Wagnerism Research Papers - Academia.edu (original) (raw)

Top Papers
Most Cited Papers
Most Downloaded Papers
Newest Papers
People
- by
- •
- Music History, Opera, Wagner Studies, German Literature and Culture
- by Domenico Scarpa
- •
- Critical Theory, Cultural History, Cultural Studies, Historical Geography
- by Lourdes Jiménez
- •
- Wagner Studies, Wagnerism, Tristan and Isolde
- by Rachel Orzech
- •
- Reception Studies, French History, Music and Politics, 20th century France
- by Arman Schwartz
- •
- Radio, Sound studies, Spiritualism, Wagnerism

"This article examines the reactions of late-nineteenth- and early-twentieth-century European Jewish musicians to Richard Wagner’s classic antisemitic essay, “Judaism in Music.” The voluminous debates about Wagner’s antisemitism have overshadowed the
question of his essay’s impact on Jewish musicians and Jewish musical identity. Strikingly, two of the key intellectual architects of the concept of modern Jewish music, Lazare Saminsky and Abraham Tzvi Idelsohn, embraced selective aspects of Wagner’s myth even as they called for a new kind of Jewish musical nationalism. Recovering their responses to Wagner helps explain the role of antisemitism in the formation of modern Jewish musical aesthetics and cultural nationalism in the Russian Empire and Ottoman Palestine. The article concludes with a discussion of the lingering questions of Wagner’s appeal and controversy among contemporary American and Israeli Jews."

- by James Loeffler
- •
- History, Cultural History, Music, Music History

Wagnerian iconography in Spain, Catalonia and Europe. Adrià Gual, Associació Wagneriana de Barcelona, Rogelio de Egusquiza, Julio Antonio, Festivales de Bayreuth

- by Lourdes Jiménez
- •
- Wagnerism

Long considered to lie ‘light years’ apart, Ravel and Wagner actually have multiple
points of contact. Several appear in the comments Ravel made about the German composer in his articles, interviews and correspondence. Another is a previously unrecognised allusion to Parsifal in the Passacaille of Ravel’s Trio (1914), which he composed shortly after writing a review of the opera’s premiere in Paris. Additional Wagnerisms can be located in Daphnis et Chloe´ (1909–12) and L’Enfant et les sortile`ges (1920–5). More broadly, Wagner plays a central role in the ‘decadent dialectics’ of Ravel’s style.

- by Michael J Puri
- •
- Musicology, Opera, Wagner Studies, Music Criticism

The present publication means to disclose for the first time the Wagnerian section of the library of Max Koch (1855-1931), kept at the Istituto Italiano di Studi Germanici since the institution's birth in 1932. The now forgotten figure of the Germanist from Breslau provides the opportunity to present a perfect example of Wagnerianer, personally involved in the creation of an ideal symbol of the Deutschtum, especially useful for the cause of the völkisch ideological movement. The six hundred volumes of the Wagnerian section, which will be examined in a separate publication, are a collection of well-organized sources by a learned Wagnerianer in direct contact with Villa Wahnfried and many scholars orbiting in Bayreuhter-Kreis. The main aim of the essay is to demonstrate how the material collected and reorganized by Koch is not an ordinary and progressive collection of titles but a set of organized knowledges starting from a comparative, multifocal and ultimately multimedia point of view.

- by Andrea Camparsi
- •
- German Studies, Comparative Literature, Multimedia, Nationalism

In diesem Artikel geht es vorrangig um zwei Lohengrin-Neuinszenierungen – und zwar um eine Inszenierung im Jahre 1923 in Moskau und eine im Jahre 1958 in Ost-Berlin –, die beide einen breiteren kulturpolitischen Disput um die Oper Wagners... more

Η όπερα του Διονυσίου Ροδοθεάτου Oitona παρουσιάστηκε στη μονόπρακτη εκδοχή της στην Κέρκυρα τον Ιανουάριο του 1876 ενθουσιάζοντας το κοινό. Η υπόθεσή της βασιζόταν στο ομότιτλο έργο που αποδίδεται στον «Όμηρο του Βορρά», τον εξίσου μυθικό ποιητή Ossian. Το όνομα του Κέλτη ποιητή είχε καταστεί εμβληματικό κατά τη λεγόμενη «προ-Ρομαντική» και «πρωτό-Ρομαντική» περίοδο, και στα επόμενα χρόνια έφτασε να θεωρείται, όπως αναφέρει ο Carl Dahlhaus, «ο προστάτης άγιος της ρομαντικής μουσικής». Ωστόσο, φτάνουν τα δεδομένα αυτά για να αιτιολογηθεί πλήρως η επιλογή του Ροδοθεάτου το 1876; To κείμενο επιχειρεί να προσεγγίσει τη χρήση της κελτικής μυθολογικής πλοκής στην Ελλάδα υπό το φως της διάδοσης των βαγκνερικών έργων στην Ιταλία του 1870, των μελοδραματικών συνηθειών της εποχής, του αιτήματος για δημιουργία «ελληνικού μελοδράματος», της τεκτονικής δραστηριότητας του συνθέτη και διαφόρων νέων στοιχείων που αφορούν στη ζωή του Ροδοθεάτου και στη μετέπειτα πορεία του μελοδράματός του.

- by Konstantinos Kardamis
- •
- Music, Musicology, Greek Literature, Greek History
- by Kourmpana Stella
- •
- Modern Greek literature, Wagnerism, Richard Wagner, Giorgos Seferis

As a result of his assertion that he composed the magnificent horn and tuba passage in the coda of the Adagio upon learning of Wagner’s passing, in the eyes of today’s musical world, no work encapsulates Anton Bruckner’s devotion to his “Master of all Masters” more than the Seventh Symphony. For the public of Bruckner’s time, the symphony’s connection to Wagner, or more accurately, Wagnerites and Wagnerian world, extended far beyond the Adagio. The immediate and, for Bruckner, unprecedented public success of the Seventh Symphony was engineered entirely by people on the Wagnerian side of the nineteenth-century’s great musical divide, and almost all the early critical response was infused with pro- and/or anti-Wagnerian rhetoric. While the Wagnerian faction played a crucial role in the early dissemination and reception of Bruckner’s Seventh, some Wagnerites also had a profound impact on the readings in the scores of the symphony that have come down to us. This article explores evidence for the musical influence of Wagnerites in the primary sources for the symphony up to and including the publication of the first edition. The article begins with a summary of what is known about the genesis of the Seventh Symphony, including a re-examination of the story about the Adagio coda and Wagner’s death. As with many well-known musical anecdotes, this one is at least partly apocryphal. The article continues with an analysis of changes in Bruckner’s autograph score and their demonstrable connections with his Wagnerian supporters. It concludes with some thoughts on why the composer allowed their influence to permeate his work.

- by Paul Hawkshaw
- •
- Wagner Studies, Wagnerism, Music editing, Fin de siècle Vienna

Wagner y el paisaje sonoro

- by Miguel Salmerón Infante
- •
- Sound studies, Wagner Studies, Wagnerism, Richard Wagner

Daft Punk's "Interstella 5555: The 5tory of the 5ecret 5tar 5ystem" is a house-anime-opera of epic proportions. But it is more than just a sum of its parts. This paper explores the relationships between house music, anime, and opera, revealing how each piece works together to create something greater, what Wagner called the "Gesamtkunstwerk," or total-art-work.

- by Spencer Rudnick
- •
- Opera, Manga and Anime Studies, Wagnerism, House Music

Wagnerian iconography, Jose Maria Sert

- by Lourdes Jiménez
- •
- Wagnerism, Bayreuther Festspiele, 19th Century Spanish Art, José María Sert
- by Gabriela Cruz
- •
- European History, French Literature, Music, Music History

La maldición es un tema recurrente en la literatura romántica. Su presencia es especialmente intensa en la escritura teatral en la que funge de recurso dramático. Su introducción se hace aún más frecuente en la ópera, donde actúa como un gesto inequívoco, claramente detectable por un espectador disperso por otros aspectos artísticos como la música y la escenografía.
Por lo apta que es como recurso, la maldición corre el peligro de convertirse en un deus ex machina. Después de ver cómo aparece en obras dramáticas utilizadas para libretos de Verdi, abordamos el uso que Wagner hace de la maldición. Así intentamos demostrar cómo en Wagner hay un uso mucho más pulido de ésta entre otras razones porque Wagner hacía drama musical y no ópera y porque él era el autor de sus libretos.

- by Miguel Salmerón Infante
- •
- Romanticism, Giuseppe Verdi, Wagnerism, Richard Wagner
- by Paul Smith
- •
- Literary Symbolism, Wagnerism, Color, Georges-Pierre Seurat

Cet article contemple la manière multifacette et innovatrice du traitement des chœurs dans Der Fliegende Holländer (Le Vaisseau Fantôme) de Richard Wagner, démontrant l'habilité de Wagner à caractériser les différents aspects de l'univers... more

- by William Osmond
- •
- Wagnerism, Richard Wagner, Choirs, Vaisseau Fantome

Une étude sur les Compositions scéniques de Kandinsky et ses conceptions théâtrales.

- by Didier Plassard
- •
- Performing Arts, Theatre Studies, Theatre History, Performance Studies
- by João Pedro Cachopo
- •
- Theodor Adorno, Ideology, Totalitarianism, Music and Politics
- by Vera Kastrel
- •
- World Literatures, Comparative Literature, English Literature, Wagner Studies

The most significant term of Adorno´s aesthetical thinking is form as a social content. A text of him that is especially helpful as a touchstone for form as a social content is the Essay on Wagner. It leads to that purpose, because Wagner was an artist
with a political consciousness, and because Wagner believed firmly that the social transformation that art could promote depends on the changes produced in the artistic form. Our text discusses four aspects: first, the development of the concept of form as a social content; secondly, the formal changes that Wagner brought consciously onto music to promote a socio-political change; then, Adorno´s criticism on Wagner and, so
as to finish with the discussion, a possible criticism on this criticism.
Key words: A theory of reflection, A theory of refraction, Form as a Social Content, the Total Work of Art, Absolute Music, Program Music.

ACT: Zeitschrift für Musik und Performance, 3 (May 2012)

- by Marie-Hélène Benoit-Otis
- •
- Wagnerism, Richard Wagner, French Opera, Louis de Fourcaud
- by Pedro Luengo Gutierrez (龙彼得)
- •
- Opera, Wagner Studies, Philippine Studies, Wagnerism

This article consists of three sections. The first deals with Wagner’s overview of the philosophy that was contemporary to him. The second assesses Wagner’s bold aesthetic bet as a philosophy of transformation. The third, following the libretto of The Ring of the Nibelung, and focusing on the figure of Wotan, builds on the concept of total art work.
Keywords: Apollonian-Dionysian, total work of art, musical drama, Götterdämmerung, redemption through love.

- by Miguel Salmerón Infante
- •
- Friedrich Nietzsche, Schopenhauer, Ludwig Feuerbach, Wagnerism
- by Hannu Salmi
- •
- Music, Music History, Opera, Wagner Studies
- by Marco Brighenti
- •
- Friedrich Nietzsche, Schopenhauer, Wagner Studies, Arthur Schopenhauer

Статья посвящена проблеме интерпретации Шарлем Бодлером музыкальной драмы Рихарда Вагнера «Тангейзер». В эссе «Рихард Вагнер и “Тангейзер” в Париже» (1861) поэт предлагает рассматривать драму Вагнера в контексте мифоцентрического движения эпохи. Отношения главных героев драмы (Венеры и Тангейзера) разбираются Бодлером через сюжет священного брака (любовь Великой богини к умирающему-воскресающему богу, его жертвоприношение, смерть и воскресение). Этот архетипический сюжет поэт переносит и на героев своего «Парижского сплина» – «Маленьких стихотворений в прозе» (1869).
This article is devoted to the problem of interpretation of Charles Baudelaire music drama Tannhäuser by Richard Wagner. The poet recommends regarding the Wagner’s musical drama in a context of the myth-centric motion of that epoch in his essay Richard Wagner et Tannhäuser à Paris (1861). The relationship between the main characters (Tannhäuser and Venus) are regarded like the subject of the holy marriage of the dying and reviving god with the Great goddess. Baudelaire transfers this archetypical subject to characters of Paris Spleen or Petits Poèmes en prose (1869).

- by Наталья Бартош
- •
- Wagner Studies, Wagnerism, Richard Wagner, Charles Baudelaire

La participación de un grupo de inmigrantes y exiliados catalanes en el
movimiento wagneriano porteño, otorgó características singulares a este último, y al mismo tiempo, creemos que fue una dimensión del activismo cultural propiamente catalanista. Estos grupos de intelectuales y artistas wagnerianos se atribuyeron la misión de comenzar una ―revolución‖ en la música (se llamaban a sí mismos ―Soviet de la música‖), centrando
la misma en la pedagogía y difusión de la ―cultura wagneriana‖. En el presente trabajo nos proponemos iniciar el estudio de los espacios de sociabilidad y la producción gráfica y periodística que los catalanes wagnerianos (y el grupo porteño en general) desarrollaron, para comenzar a pensar sobre la incidencia de estas prácticas en la conformación de idearios culturales nacionalistas.

- by Forma. Revista d'estudis comparatius. Art, literatura, pensament and +1
- •
- Wagnerism, Buenos Aires, Inmigracion, Nacionalismo

This article focuses on a meeting of generations that takes the form of an interview film : Hans Jürgen Syberberg’s Winifred Wagner oder die Geschichte des Hauses Wahnfried (1975). The only ‘ac¬tress’ of the five-hour film is Winifred Wagner, Richard Wagner’s daughter-in-law, who was the head of the Bayreuth Festival in 1933-1945. A historical narrative, Syberberg’s film is simultane¬ously also a document and an oral history based on an individual’s memory. Although the film is extraordinary in many ways, it gives the spectators an opportunity to reflect on the ways of nar¬rating history that are common in audiovisual historical narration. Syberberg presents us with a witness who has experienced the past, but simultaneously also comments on the problem of remembering. Despite its controversies and ambivalence, Hans Jürgen Syberberg’s memory-historical film comes very close to the post-positivist thoughts that researchers like Luisa Pas¬serini and Alessandro Portelli were sketching while pondering the possibilities of oral history.

- by Hannu Salmi
- •
- History, Cultural History, Cultural Studies, German Studies
- by Olga Fedunina and +1
- •
- World Literatures, Comparative Literature, Russian Literature, English Literature

This article attempts a study of Richard Wagner´s position about nobility. On the
one hand the article examines his relation with the royal courts for them he worked. On
the other hand we try to find the keys of his ideal notion of honesty: the areté one. For
Wagner this honesty is an alternative notion for the real nobility. In our tour we´lldiscuss
about the opposition between opera seria and opera buffa, the anti-aristocratic ideology
of contemporary musicians of Wagner´s age (Meyerbeer, Verdi), the real experience of
Wagner in the courts of Dresden and Munich and the librettos of Rienzi and The Ring of
the Nibelung.

- by Miguel Salmerón Infante
- •
- Wagner Studies, Nobility, Wagnerism, Richard Wagner

colloque : L’art social en France. De la Révolution à la Grande Guerre

- by Willy Gianinazzi
- •
- Music Theory, Henri Bergson, Art and Science, Sociology of Arts
- by Paolo Melandri
- •
- Thomas Mann, Friedrich Nietzsche, Ancient Greek Religion, Ancient Greek History

Far too loud, for far too long. By Euan Grant The recent flurry-or rather flood-of multiple source allegations of Russia's Wagner Group's complicity in atrocities against civilians in the Central African Republic should surely mean that it is well time to compose a Western response to its presence in conflict ravaged countries which, not so coincidentally, contain large deposits of old and new economy natural resources.

Emilia Pardo Bazán viajó constantemente a lo largo de su vida, destacándose como cultivadora del subgénero de literatura de viajes en sus más variadas manifestaciones. La escritora recomendaba “viajar al menos una vez al año” como medio para educarse, pues era consciente de la función formativa del viaje en el individuo. En 1872, con apenas 22 años, Pardo Bazán viajó a Viena y escuchó por primera vez la música de un compositor alemán que le marcaría hasta el final de su vida: Richard Wagner. A partir de entonces, la autora gallega se convertiría en apasionada wagneriana y activa difusora de la obra del compositor en España hasta el final de sus días pues, como defensora del Krausismo, defendía con fervor la idea de que el wagnerismo podía contribuir a la regeneración cultural de los ciudadanos españoles. Con el presente artículo pretendo arrojar luz sobre este aspecto tan poco estudiado hasta la fecha, pero de vital relevancia en la recepción de la cultura germana en España, para lo que me documentaré en los propios escritos de la autora entre 1873 y 1921.

- by Paloma Ortiz-de-Urbina
- •
- Musicology, Reception Studies, Women's Studies, Wagner Studies
- by Sergio Sánchez
- •
- German Studies, Comparative Literature, German Literature, Philosophy

Los estudios de traducción musical forman parte de un campo investigación casi inexplorado en nuestro país. Los problemas traductológicos resultantes de la fusión música-literatura no se limitan a dificultades formales y estructurales, sino que se derivan de las posibilidades significativas de la música y requieren ayuda no sólo semiótica sino también hermenéutica. El análisis de las traducciones de la obra del compositor Richard Wagner (1813-1883) constituye un claro ejemplo en este sentido. Wagner dota al drama operístico de una nueva dimensión totalizadora, definiéndola como Gesamtkunstwerk, en la que música y palabra aparecen, dentro de la nueva estética romántica, como una unidad indisoluble. Wagner aplica esta nueva amalgama palabra-música a su concepción dramática hasta el punto de sentir la necesidad de escribir él mismo sus propios libretos de ópera. Así, la comprensión del libreto y el subsiguiente conocimiento de la simbología literaria en la obra wagneriana se presenta como un aspecto primordial en el proceso de recepción de su obra operística. Es preciso comprender el texto para comprender el conjunto de la obra musical. Tanto sus libretos como su voluminoso corpus de escritos teóricos, suscitaron un profundo interés en el mundo intelectual europeo desde finales del siglo XIX, hecho que se demuestra a través de las numerosísimas traducciones del alemán al francés, al inglés o al italiano. Tras una extensa búsqueda realizada en bibliotecas nacionales y, sobre todo, en bibliotecas particulares, he podido constatar que las traducciones al castellano de la obra wagneriana han sido más nutridas de lo que se venía suponiendo hasta ahora, pues la bibliografía al uso y los escasos estudios realizados sobre recepción wagneriana en España, hacían pensar que el proceso traductor había sido realizado casi exclusivamente en el área catalana. Dentro del período comprendido entre 1875 y 1914 se documentan 39 traducciones castellanas de los libretos de Wagner, que comprenden la práctica totalidad de su repertorio operístico (desde Rienzi hasta Parsifal), además de varios volúmenes que contienen un total de 58 traducciones de escritos del compositor.

- by Paloma Ortiz-de-Urbina
- •
- Reception Studies, Translation Studies, Wagner Studies, Wagnerism