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Wagner on Music and Drama : A Compendium of Richard Wagner's Prose Works

저자: Richard Wagner; Albert Goldman; Evert Sprinchorn; William Ashton Ellis
출판사: New York : E.P. Dutton & Co., Inc., [1964] ©1964
판/형식:   Print book : 영어 : First edition모든 판과 형식 보기

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추가적인 물리적 형식: Online version:
Wagner, Richard, 1813-1883.
Wagner on music and drama.
New York, E.P. Dutton, 1964
문서 형식:
모든 저자 / 참여자: Richard Wagner; Albert Goldman; Evert Sprinchorn; William Ashton Ellis
OCLC 번호: 593711
메모: "List of sources": p. 445-447.
설명: 447 pages : illustrations, music, portrait ; 19 cm
내용: 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 Tannhäuser --
Jews in music --
Christian hypocrisy --
Contrast between the present-day theatre and the Greek --
The dissolution of the drama --
The necessity of revolution --
What is utopia? --
The revolution. 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 --
When 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 : The "Eroica" symphony, the "Coriolan" overture, 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. Autobiographical sketch --
Rienzi --
The flying Dutchman : use of myth --
Tannhäuser : the conception of higher love --
Lohengrin : its novelty ; Elsa and Lohengrin as antithesis, representing the unconcious and the conscious --
Siegfried : turning point in Wagner's artistic development, abandons history for myth --
Breaks with operatic conventions --
Growing inwardness of his art, concluding with Tristan, when only "inner movements of the soul" are depicted --
Spiritual crisis : Schopenhauer ; The longing for death --
Prelude to Tristan und Isolde --
Negation of the will ; Dante ; Buddhism --
Overthrown of humanistic values ; Changes in The ring --
Relation of Tristan to The ring --
Nibelungen myth considered as a "sketch for a drama" --
Commentary on The ring --
Parsifal : letter to Mathilde Wesendonck, May 30, 1959. 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.
다른 제목 Literary works.
책임: Selected and Arranged, and with an Introduction, by Albert Goldman and Evert Spinchorn ; Translated by H. Ashton Ellis.


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