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Brand new Book. Seller Inventory APC This book is printed on demand. This annotated and strictly chronological complete edition of Nietzsche's writings and notes extends and completes the Kritische Studienausgabe. It aims to render obsolete all previous editions of which there have been several, in various degrees incomplete and inaccurate.
Like Robert Gutman , Fischer-Dieskau gives too much credence to the "official" version of the breach between Wagner and Nietzsche. Cosima's Diaries and other evidence provide abundant grounds to doubt the story of the final conversation between Wagner and Nietzsche, which according to the "official" version took place at Sorrento on 2 November Much that has been written about the relationship between Wagner and Nietzsche has been made obsolete by more recent scholarship, which has in large part been concerned with tearing down the edifice constructed by Nietzsche's sister Elisabeth.
An important part in this has been played by the critical editions respectively of Nietzsche's writings and of his letters edited by Giorgio Colli and Mazzino Montinari. These editions have, amongst other corrections, revealed some of the passages concerning Wagner in Nietzsche's later works to have been falsified by Nietzsche's sister. Memoirs of Judith Gautier , a French author member of the the Academie Goncourt and of the Legion d'Honneur with whom Wagner became infatuated during the s. She kept him supplied with fabrics, perfumes and intimate letters which he destroyed during the composition of Parsifal.
Judith translated the libretto into French. See below for a biography of Judith Gautier. These scenes focus on four of the most important people in Wagner's life: Written in a popular style, not scholarly.
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But we have plenty of evidence of Nietzsche's heterosexuality and no evidence at all of same-sex desire or practice. Nietzsche was a misogynist, hostile and contemptuous towards women, also clearly afraid of them, but that doesn't make him homosexual. He also claims that after the Nietzsche- Wagner split Wagner conducted a relentless and vindictive campaign against Nietzsche on the grounds that he was homosexual.
But then, how could he? There was no such campaign. It is clear from Cosima Wagner's Diaries that Wagner's private reaction to the split with Nietzsche was regret, a wish to have the breach healed, and an undoubtedly patronising pity for that poor young man Nietzsche. Wagner's actual attitude to homosexuals is suggested in an earlier letter to a homosexual friend.
Wagner suggests that his friend try to cut down a little, on the pederasty. The attitude is one of amused tolerance, which won't do now, but it was progressive and liberal by the standards of his time.
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Wagner was not a homophobe. This is simply and flagrantly untrue. The post-Wagner Nietzsche attacked anti-Semites, but he also continued to attack and insult Jews. Neumann was a singer, producer and impresario who, while director of the Leipzig opera, obtained permission from Wagner to stage the Ring there. He proposed to establish a Wagner theatre in Berlin, although sufficient funding was never raised for this project. In with Wagner's permission, Neumann produced a staging of the Ring suitable for touring, which he staged all over Europe.
Like many of Wagner's most enthusiastic supporters, remarkably, Neumann was Jewish. This is a quick alphabetical reference guide to places and people in Wagner's life, titles of his prose works keyed to the Ellis' translation , synopses of the operas, and biographies of the operas' characters. This periodical became his life's work; publication ended with Wolzogen's death in He also produced a series of thematic guides to Wagner's operas see section IV and edited three volumes of Wagner's letters see section VI.
Richard Wagner as portrayed in the memoirs and diaries of relatives, friends and fellow musicians. Graves compares the dramatic techniques of Schiller and Wagner, and discusses the influence of Shakespeare and classical Greek drama on both dramatists. The impact of Beethoven's music on Wagner and its importance for his conception of music drama.
Kropfinger charts and scrutinizes Wagner's early responses to the composer and considers his experience as a conductor of Beethoven's music. Among the subjects discussed in the book are Wagner's relationships with Berlioz, Liszt and Nietzsche, and his influence on literature and artistic life in Germany and England respectively.
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The title of this book is deceptive: The first essay deals with the impact of Wagner's music on Baudelaire, who wrote an extraordinary letter to the composer after first hearing excerpts from four of Wagner's operas at a concert in He declared them sublime. It is interesting to note that this initial reaction was to Wagner's music as absolute music and not in the context of the Gesamtkunstwerk , and so not to the Wagnerian program itself.
Lacoue-Labarthe or his translator refers to it as the Letter on Music but it might be better known to the reader as Zukunftmusik or The Music of the Future. The next essay is about Heidegger's views on art. Although Wagner is scarcely mentioned in Heidegger's works -- neither is music -- the author has found one place where he is discussed: It is not always easy to tell when the author is discussing Nietzsche's thought and when he is discussing Heidegger's thoughts inspired by Nietzsche; and to complicate matters further, the discussion is grounded in Hegel's theory of the historical development of art and aesthetics.
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The essay touches on such interesting questions as whether Wagner's post- dramas were an artistic project or an aesthetic one, whether this project was a failure , and whether Nietzsche's break with Wagner was justified on philosophical grounds. Heidegger claimed that it was a historical necessity, and in particular a necessity of German history. The last essay is about Adorno and contains few mentions of Wagner, which is perhaps just as well. It starts out in the direction of a general discussion of the relative importance of words and music in opera the theme of Strauss' Capriccio but soon focuses on a late essay by Adorno, one concerning Schoenberg's Moses and Aaron , and ends up considering this opera in relation to Hegel's concept of the sublime.
Although one can sympathise with a translator who has to render a work filled with philosophical terminology from French, and in addition cope with extensive quotations from works originally published in German, the result could be described as polyglot and must be read with some care.
It would have helped if the translator had taken more care with near- cognates; for example, by writing Affekt rather than as noun affect. As far as I know, there is no such word in English as "historial" which is used throughout the book ; the correct translation of "geschichtliche" is, historical or historic. John's Gospel but also in using words derived from Greek roots such as, eidetic. Those readers who have forgotten their Greek should have a dictionary close to hand. As its sub-title indicates, this book examines and analyses the wide range of ideas that Wagner absorbed, developed and in many cases made his own.
The author presents these ideas largely in Wagner's own words, as expressed in his prose works and letters. Unlike the authors of some of the books listed here, Aberbach provides generous, relevant and revealing quotations, rather than just phrases, from Wagner himself, in the best translations available. The book might be considered a biographical supplement, since it traces the development of Wagner's thoughts from optimistic youth through pessimistic middle-age to irascible old-age. The book contains three sections, entitled respectively: A Marxist viewpoint on Wagner and his works.
As far as the editor has been able to establish, Adorno was the first writer to suggest that Beckmesser and Klingsor might be Jewish caricatures. Adorno's writing on Wagner betrays an ideological obsessiveness to wrap Wagner up into a Marxist framework.
click here He thus searches for both progressive and regressive tendencies in Wagner to fit his dialectical metaphor, relates the atomization of the musical materials to factory production methods and even recasts Wagner's assumed dual roles of poet and composer as a reaction against capitalist division of labour. This translation was last reprinted in Dannreuther was the founder of the London Wagner Society in He assisted Wagner in obtaining a dragon and other properties for the Bayreuth Ring and with his London tour a year later.
This book is an expanded version of his earlier pamphlet; see below. A collection of essays, originally published in the Monthly Musical Review , in which the author discusses Wagner's aesthetic theories.
Dannreuther emphasised the inspiration that Wagner found in Greek tragedy, which he believed that Wagner had tried to revitalise under the guidance of the spirit of music. Discusses Wagner's theories as presented in his most extensive treatise Oper und Drama and examines how his ideas developed subsequently. The majority of writers about Wagner's theory and practise have concluded that his ideas underwent a reversal between and Glass prefers to see this as a change of emphasis.
He argues that Wagner consistently held on to one idea: Glass calls this the fundamental idea of Oper und Drama and finds it still present, although with a different emphasis, in the later theoretical writings. A study of the prose writings of Richard Wagner and their relevance to an understanding of his music and drama, as well as their relation to music criticism and aesthetics in the 19th century in general.
Grey considers Wagner's ambivalence concerning the idea of absolute music and the capacity of music to project meaning or drama; Wagner's appropriation of a Beethoven legacy, the metaphors of musical gender and biology in Opera and Drama , and the critical background to ideas of motive and leitmotif in theory and practice.
According to Hueffer, Schopenhauer's doctrine that music is an immediate and direct copy of the Will led Wagner to believe that only music could express the inner life of mankind. Originally published by Chapman and Hall, London. German version published by F.
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Leuckart, Leipzig, in Essays by a Scottish evangelist for Wagner and Schopenhauer, who appropriated their ideas for his own philosophical and political ends. Shaw, whose Wagnerism was closely related to his Fabianism, Irvine's Wagnerism is metaphysical. There is a clear tendency in much recent writing about Wagner and his works to regard Mann as an authority. Although he was often perceptive, Mann was often wrong on these matters, and many later writers have been unwise to rely on Mann's judgements.
For example, his claim, made in the above-mentioned essay, that in his Dresden years Wagner had seen his whole career carefully mapped out in advance. In fact, many of the projects that were "mapped out" in those years, such as Wieland der Schmied , were never carried out, while the romances of Tristan and Parzival respectively were at most two among many possible subjects that Wagner was considering for operatic treatment.
Professor Stein considers the development of Wagner's ideas about the synthesis of poetry, music, dance and drama from the writings of his Paris years through to the Beethoven essay of and the lecture On the Destiny of Opera in Stein examines how the stage- works from Rienzi to Parsifal reflect the development of Wagner's theoretical ideas. It is not entirely clear why this book was written, except that the author obviously wanted to write it.
He declares at the outset that it was not intended as an interpretation of Wagner, nor as a guide to how Wagner ought to be interpreted.
On page he confides, this is not a book about what Wagner's work means but how it means ; by which he might mean, how those works work. Much of what Treadwell writes and he writes well is insightful. He finds an appropriate balance of discussion between concepts, words and without being too technical music; and care has been taken with translations.