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Wagner on music and drama; a compendium of Richard Wagner's prose works. Selected and arranged, and with an introd. by Albert Goldman and Evert Sprinchorn.

Autore: Richard Wagner; Albert Goldman; Evert Sprinchorn
Editore: New York, E.P. Dutton, 1964.
Edizione/Formato:   Libro : English : [1st ed.]Vedi tutte le edizioni e i formati
Banca dati:WorldCat
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Informazioni aggiuntive sul formato: Online version:
Wagner, Richard, 1813-1883.
Wagner on music and drama.
New York, E.P. Dutton, 1964
(OCoLC)593094989
Tipo documento: Book
Tutti gli autori / Collaboratori: Richard Wagner; Albert Goldman; Evert Sprinchorn
Numero OCLC: 593711
Note: "List of sources": p. 445-447.
Descrizione: 447 pages illustrations, portrait, music 19 cm
Contenuti: Part I. Cultural decadence of the Nineteenth Century : Mercury, god of merchants, reigns over modern culture --
The Rabble and the Philistines set artistic standards --
Criticism of the Vienna Opera House --
Italian opera : an excuse for conversation and social gatherings --
Paris demanded a ballet in Tannh. Part II. The Greek ideal --
Greek art and drama --
A Fellowship of players : communion of players and audience --
The Fellowship and the community : the priest as actor --
The Folk creates art --
Definition of the folk --
Myth as it relates to the folk and to art --
The Value of myth is its eternal truth --
Feeling is the basis of understanding. Part III. The Origins of modern opera, drama, and music --
Development of the aria : Gluck's contribution --
Mozart and Rossini : the death of opera --
Weber's contribution --
Nadir of opera : music by Meyerbeer, libretto by Scribe --
Opera affirms the separation of the arts --
Origin of modern drama : the Romance and Greek drama --
Essence of the Romance --
Myth diluted by Christianity --
The Romance versus the drama : Romance turns into politics eventually --
The State versus the individual : understanding versus feeling --
Poetry impossible in modern speech. While language declines, music, a new language of feeling, develops, until poetry becomes either philosophy or blends with music --
Haydn and Mozart develop dance music into the modern symphony and make use of folk song and speaking melody --
Yet they fail to achieve dramatic pathos or continuity of action : their works are characterized by a "lofty glee." --
Beethoven makes music express storm and stress. But absolute music can express only mirth or endless yearning ; it lacks the deed, the moral will. The Ninth Symphony is the redemption of music into drama --
Three descriptive and analytic programs : the importance of identifying the poetic subjects of Beethoven's works : a. The "Eroica" Symphony. B. The "Coriolan" Overture. C. The Ninth Symphony (with parallel passages from the poems of Goethe). Part IV : The Artwork of the future --
Music and reality : Shopenhauer's theory extended by Wagner --
Beethoven's symphonies reveal another world : whose logic is the logic of feeling --
Poetry will combine with music in drama which also obeys the logic of feeling --
Essence of drama is knowing through feeling --
Myth represents a concentration of motives : summary of relations of myth, drama, feeling, and motives --
Word speech must be strengthened to suit mythic drama --
From ordinary speech a new art speech must be created, a concise and vigorous style --
Rhythm determined not by artificial metrics but by the natural liftings and lowerings of the speaking accent. Alliteration unifies expression : Stabreim defined and illustrated --
Poetic value of Stabrein --
Use of rhyme : passing over word speech into tone speech --
Different functions of the word poet and tone poet --
Melody and feeling --
Tonality and expression ; setting Stabreim --
Modulation and action --
Harmony imparts feeling tone to melody --
Poet and musician unite in the orchestra --
Orchestra's power of speech : analogy with gesture --
Foreboding and rememberance --
Example from Lohengrin --
The New musicodramatic unity --
Relation of the poet to the musician --
One artist or two? --
Conclusion. Part V : Wagner's development --
Autobiographial sketch --
Rienzi --
The Flying Dutchman : use of myth --
Tannh. Part VI. The Art of performance --
Conducting : relation of melody to tempo ; establishing the correct tempo ; the principle of modifying tempo ; performing Beethoven's Ninth Symphony --
Acting : performing The Flying Dutchman --
Singing : Ludwig Schnorr von Carolsfeld, Wagner's ideal Heldentenor. Part VII. Bayreuth --
The Founding of the Festspielhaus ; Wagner's speech on the occasion ; the design of the theatre ; hidden orchestra, perspective arrangement, state space --
"Parsifal at Bayreuth," final festival in 1882 ; acting technique, scenery, rehearsals --
The Staging of Tristan and Isolde by Appia. Part VIII. Politics --
On state and religion : state guarantees stability ; basic Wahn of political life is patriotism ; public opinion ; the king and religion ; dogma and allegory ; the function of art --
German art and German policy ; German and French civilizations contrasted ; development of the German nation ; the Romantic movement ; the decline of German art ; need for the German princes to support German art ; German union.
Responsabilità: Translated by H. Ashton Ellis.

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schema:description"While language declines, music, a new language of feeling, develops, until poetry becomes either philosophy or blends with music -- Haydn and Mozart develop dance music into the modern symphony and make use of folk song and speaking melody -- Yet they fail to achieve dramatic pathos or continuity of action : their works are characterized by a "lofty glee." -- Beethoven makes music express storm and stress. But absolute music can express only mirth or endless yearning ; it lacks the deed, the moral will. The Ninth Symphony is the redemption of music into drama -- Three descriptive and analytic programs : the importance of identifying the poetic subjects of Beethoven's works : a. The "Eroica" Symphony. B. The "Coriolan" Overture. C. The Ninth Symphony (with parallel passages from the poems of Goethe)."@en
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schema:description"Alliteration unifies expression : Stabreim defined and illustrated -- Poetic value of Stabrein -- Use of rhyme : passing over word speech into tone speech -- Different functions of the word poet and tone poet -- Melody and feeling -- Tonality and expression ; setting Stabreim -- Modulation and action -- Harmony imparts feeling tone to melody -- Poet and musician unite in the orchestra -- Orchestra's power of speech : analogy with gesture -- Foreboding and rememberance -- Example from Lohengrin -- The New musicodramatic unity -- Relation of the poet to the musician -- One artist or two? -- Conclusion."@en
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