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Journal articles on the topic 'Wagner, Tristan und Isolde, Alba'

Author: Grafiati

Published: 4 June 2021

Last updated: 6 February 2022

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1

Hamilton, David. "Tristan und Isolde. Richard Wagner." Opera Quarterly 9, no. 3 (1993): 162–67. http://dx.doi.org/10.1093/oq/9.3.162.

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2

Ashbrook, W. "Tristan und Isolde. Richard Wagner." Opera Quarterly 20, no. 2 (April 1, 2004): 331–32. http://dx.doi.org/10.1093/oq/kbh047.

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3

Prag, R. "Tristan und Isolde. Richard Wagner." Opera Quarterly 12, no. 4 (January 1, 1996): 114–17. http://dx.doi.org/10.1093/oq/12.4.114.

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4

Lee, M. O. "Tristan und Isolde. Richard Wagner." Opera Quarterly 13, no. 1 (January 1, 1996): 130–33. http://dx.doi.org/10.1093/oq/13.1.130.

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5

Downes, Edward. "Tristan und Isolde. Richard Wagner." Opera Quarterly 3, no. 1 (1985): 153–57. http://dx.doi.org/10.1093/oq/3.1.153.

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6

Pines, Roger. "Tristan und Isolde. Richard Wagner." Opera Quarterly 7, no. 4 (1990): 198–200. http://dx.doi.org/10.1093/oq/7.4.198.

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7

Kleis, John Christopher. "Tristan und Isolde by Richard Wagner." Arthuriana 10, no. 2 (2000): 116–18. http://dx.doi.org/10.1353/art.2000.0024.

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8

McKee, David. "Two Recordings of Tristan und Isolde. Richard Wagner." Opera Quarterly 8, no. 4 (1991): 151–55. http://dx.doi.org/10.1093/oq/8.4.151.

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9

Magee, Bryan. "The Secret of Tristan and Isolde." Philosophy 82, no. 2 (April 2007): 339–46. http://dx.doi.org/10.1017/s0031819107320068.

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In his autobiography, Mein Leben, Wagner tells us that it was partly his reading of Schopenhauer's The World as Will and Representation (Die Welt als Wille und Vorstellung), and the need to give ‘rapturous expression’ to the ‘frame of mind produced’ by that reading, that gave him the initial conception of Tristan and Isolde.

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10

Berry, M. "Richard Wagner: Tristan und Isolde. Ed. by Arthur Groos." Music and Letters 93, no. 2 (May 1, 2012): 247–50. http://dx.doi.org/10.1093/ml/gcs024.

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11

Hutcheon, Linda, and Michael Hutcheon. "Death drive: Eros and Thanatos in Wagner's Tristan und Isolde." Cambridge Opera Journal 11, no. 3 (November 1999): 267–93. http://dx.doi.org/10.1017/s0954586700005073.

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In their different ways, a series of Germanic artists and thinkers – the poet Novalis, the philosophers Arthur Schopenhauer and Friedrich Nietzsche, the father of psychoanalysis Sigmund Freud, and, most powerfully, composer Richard Wagner – all espoused at one point in their lives the view that death should not only be welcomed but ardently desired, even sought after as the final rest after a life of striving and suffering.

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12

Eger, Manfred. "Mär vom gestohlenen Tristan-Akkord." Die Musikforschung 52, no. 4 (September 22, 2021): 436–53. http://dx.doi.org/10.52412/mf.1999.h4.909.

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Das Liebestrank-Motiv, das mit dem Tristan-Akkord beginnt und die Keimzelle von Richard Wagners epochemachendem Werk ist, kommt auch in Franz Liszts Lied <Ich möchte hingeh'n> vor, das 1845 konzipiert wurde, 15 Jahre vor <Tristan und Isolde>. Generationen von Musikwissenschaftlern und Publizisten rühmten Liszt deshalb als den eigentlichen Bahnbrecher der neuen Musik. Das Lied wurde jedoch zum ersten Mal 1859 veröffentlicht, nachdem Liszt sich bei Wagner für den Druck des ersten <Tristan>-Aufzugs bedankt und im Druckmanuskript des Liedes einige Korrekturen vorgenommen hatte. Dabei fügte er auch das Liebestrank-Motiv als freundschaftliche Anspielung ein, veränderte jedoch offenbar versehentlich den Tristan-Akkord.

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13

Schäfer, Thomas. "Wortmusik - Tonmusik." Die Musikforschung 47, no. 3 (September 22, 2021): 252–73. http://dx.doi.org/10.52412/mf.1994.h3.1120.

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Der Beitrag versucht, sowohl Arnold Schönbergs als auch Stefan Georges Verhältnis zu Richard Wagner zu beleuchten. Dabei werden anhand von Schönergs <George-Liedern> op. 15 zweifacher Hinsicht produktive Rezeptionshaltungen beschrieben. Georges <buch der hängenden gärten> und Schönbergs Liederzyklus werden in diesem Kontext als Allusionen auf Wagners Musikdrama <Tristan und Isolde> gelesen. (Schäfer, Thomas)

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14

Manitt, Russ. "Exploration morphologique et sémantique des leitmotive communs à Tristan und Isolde et aux Wesendonck-Lieder de Richard Wagner." Articles 27, no. 1 (September 13, 2012): 16–53. http://dx.doi.org/10.7202/1013159ar.

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L’article tente de démontrer les relations souvent citées, mais rarement explicitées, entre Tristan und Isolde et les Wesendonck-Lieder de Wagner. Faisant appel au modèle sémiologique de Molino et Nattiez, l’auteur illustre la correspondance entre les œuvres en s’appuyant (1) sur une étude des origines de leur composition, (2) sur l’analyse littéraire des textes mis en musique, ainsi que (3) sur une analyse d’inspiration paradigmatique des motifs communs aux deux œuvres. Les liens entre les textes de Wagner et Mathilde Wesendonck, la musique du compositeur et la philosophie de Schopenhauer sont notamment explorés dans cet exercice de sémiotique appliquée.

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15

Cohen, Mitchell. "Wagner as a Problem." German Politics and Society 16, no. 2 (June 1, 1998): 94–130. http://dx.doi.org/10.3167/104503098782173886.

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Der Fliegende Holländer by Richard Wagner, at the Teatro delle Opera di Roma (April 1997).Der Ring des Nibelungen by Richard Wagner, at the Metropolitan Opera (New York, April-May 1997).Der Ring des Nibelungen by Richard Wagner, at the Festspielhaus (Bayreuth, July-August 1995).Tristan und Isolde by Richard Wagner, at the Festspielhaus (Bayreuth, July 1995).Barry Millington, “Nuremberg Trial: Is there Anti-Semitism in DieMeistersinger?” Cambridge Opera Journal 3 (3 November 1991), pp. 247-260.Cecelia Hopkins Porter, The Rhine as a Musical Metaphor: Cultural Identity in German Romantic Music (Boston: Northeastern University Press, 1996).Frederic Spotts, Bayreuth: A History of the Wagner Festival (New Haven and London: Yale University Press, 1994).Michael Tanner, Wagner (Princeton: Princeton University Press, 1996). Marc A. Weiner, Richard Wagner and the Anti-Semitic Imagination (Lincoln and London: University of Nebraska Press, 1995).

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16

Simonson, Mary. "Dancing the Future, Performing the Past: Isadora Duncan and Wagnerism in the American Imagination." Journal of the American Musicological Society 65, no. 2 (2012): 511–55. http://dx.doi.org/10.1525/jams.2012.65.2.511.

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Abstract During the first two decades of the twentieth century, dancer Isadora Duncan (1877–1927) regularly appeared on concert hall and opera house stages in New York and other American cities. Audiences were taken with her striking persona and nontraditional conception of dance, and impressed by her success in Europe. Duncan's artistic, intellectual, and personal self-association with Richard Wagner—a mythological being in the contemporary American imagination—also captured the attention of many audience members. Duncan danced to excerpts from Tristan und Isolde, Parsifal, and other works while rejecting Wagner's conception of dance; she borrowed language and ideological formulations from his writings while dismissing his aesthetic theories. The American Wagner cult has long been associated with the Gilded Age and conductor Anton Seidl (1850–1898). Isadora Duncan's American performances demonstrate that American Wagnerism persisted well into the twentieth century, albeit in a different form. Conjuring herself as a rebellious disciple of Wagner, Duncan modeled a second generation of American Wagnerism that combined contemporary cultural debates and early modernist aesthetics with strains of Wagner's art and ideologies.

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17

GREY, THOMAS. "Wagner and the ‘Makart Style’." Cambridge Opera Journal 25, no. 3 (November 2013): 225–60. http://dx.doi.org/10.1017/s0954586713000116.

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AbstractThe visual artist most commonly linked with the name of Richard Wagner from the 1870s to the early twentieth century was the now relatively little-known Viennese painter Hans Makart (1844–84). Makart's Viennese atelier – no less than his sumptuous history paintings, ‘bacchanals’, society portraits and multi-media design-projects (notably a lavish 1879 historical pageant celebrating the Hapsburg monarchy) – defined an influential visual and stylistic idiom for the early fin-de-siècle. The style is recognisable in the salon at villa Wahnfried, in Paul Joukowsky's set designs for the first Parsifal, and arguably, in aspects of Wagner's music itself. Like most artists of the era, Makart occasionally depicted Wagnerian motifs, but his affinity with the composer was recognised as a matter of style and technique. Two breakthrough works from around 1868 in triptych form, Moderne Amoretten (Modern Cupids) and Der Pest in Florenz (The Plague in Florence), suggest thematic and conceptual parallels with Tannhäuser and Tristan und Isolde, respectively. Makart's Renaissance history paintings and the 1879 Vienna Festzug stage national history as a collective aesthetic experience in the manner of Die Meistersinger. A ubiquitous theme in comparisons of artist and composer is the role of colour (visual, harmonic and timbral), raised to a quasi-autonomous force that dominates composition and ‘idea’. Makart's resistance to conventions of visual narrative, as read by contemporary critics, recalls Wagner's resistance to conventional melodic periodicity.This article investigates the cultural and technical sources of Makart's appeal in the later nineteenth century and traces the comparison of Makart's and Wagner's styles as a critical topos. The disappearance of Makart and his ‘style’ from modern critical consciousness, I argue, mirrors a cultural Amnesia regarding features central to Wagner's irresistible fascination for his contemporaries.

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18

Rudolph, Pascal, and Mats B. Küssner. "Visual figures of musical form between musicological examination and auditory perception based on Morgan’s analysis of the “Tristan” Prelude." Music & Science 1 (January 1, 2018): 205920431879436. http://dx.doi.org/10.1177/2059204318794364.

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While Wagner and his music have been studied extensively from musicological and music-theoretical perspectives, recent scientific approaches shed light on perceptual processes implicated in the experience of Wagner’s music, yielding important insights into the (re)cognition of musical form. Since findings from such studies are mainly discussed within the realm of music psychology and rarely find their way (back) into musicological discourses, the starting point of the present study is a specific interpretation of form in the “Tristan” Prelude (Prelude to Tristan und Isolde) with a view to engaging in an exchange between music-theoretical and cognitive approaches (such as the theory of conceptual metaphor and image schema theory) to Wagner’s music. In his article “Circular form in the ‘Tristan’ Prelude”, Robert P. Morgan developed a new music-analytical approach to studying form in Wagner’s music, proposing that the musical form of the Prelude can be understood as a circle. Morgan provides an empirically-tractable hypothesis which was tested in a listening study with 45 participants to investigate the extent to which Morgan’s analytical shape is audibly perceived. Contrary to Morgan’s circular interpretation of form in the “Tristan” Prelude, the findings of our study suggest the primacy of a different visual figure, the spiral. However, recourse to the analytic discourse suggests that the spiral can be understood as a further development of Morgan’s figure of thought, synthesizing representations of the Prelude's repetition and development by capturing its unique coincidence of both linearity and circularity. This approach to understanding the “Tristan” Prelude demonstrates how applying music-theoretical and cognitive science approaches gives rise to a fruitful dialogue for both disciplines.

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19

Haney, Joel. "Slaying the Wagnerian Monster: Hindemith, Das Nusch-Nuschi, and Musical Germanness after the Great War." Journal of Musicology 25, no. 4 (2008): 339–93. http://dx.doi.org/10.1525/jm.2008.25.4.339.

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Abstract With the devastation of the First World War, Germany experienced a traumatic loss of identification with values that had been central to its prewar culture, and these emphatically included musical values. In postwar German art music, this resulted in heavy irony toward the lofty philosophical claims and musical expressiveness that the later nineteenth century had bequeathed to prewar modernism. But it also occasioned bitter attempts to reassert those values, as exemplified by the polemics of Hans Pfitzner. Prominent on both sides of this debate, which found a medium in musical composition as well as musical discourse, were issues of national identity, nationalism, and the legacy of Richard Wagner. One musical statement that attracted much notice early on was Paul Hindemith's burlesque opera Das Nusch-Nuschi, which premiered in Stuttgart in 1921. Hindemith, then beginning his rapid ascent in the postwar music scene, had based his opera on a Burmese marionette play that scandalously satirized Tristan und Isolde. There is considerable evidence of Hindemith's ironic engagement with Wagner throughout the war, and his opera——the postwar culmination of this trend——abounds with ironic evocations of Tristan. Training a critical lens on Wagner's legacy, Das Nusch-Nuschi also resonates strongly with a position then being voiced by Paul Bekker, who spoke out against Pfitzner's Wagnerian hypernationalism and called for a decisive internationalist turn in postwar German composition. Specifically, Hindemith's opera sharpens its ironic, anti-Wagnerian tone by reaching beyond German modernism to embrace the Russian ““neonationalism”” of Igor Stravinsky.

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20

Knapp, Raymond. ""Selbst dann bin ich die Welt": On the Subjective-Musical Basis of Wagner's Gesamtkunstwelt." 19th-Century Music 29, no. 2 (2005): 142–60. http://dx.doi.org/10.1525/ncm.2005.29.2.142.

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In Wagner's Tristan und Isolde, the title characters conceive their union as a direct linkage between self and world, a linkage that involves a crucial short circuit, bypassing societal conventions and institutions, and echoing the nineteenth-century Germanic disdain for "Civilization" as opposed to "Culture." Facilitating this Wagnerian short circuit is a fluid musical discourse that can seem, alternately and even simultaneously, either to simulate a single consciousness, in which impressions and memory freely commingle, or to provide a deep sense of the world, bypassing surfaces to evoke a kind of world-sublime (or "world-breath," as Isolde would have it). Generally absent from Wagner's music are the correlatives of "Civilization": well-articulated forms and other markers of conventional musical types, which would disrupt the sense of musical flow essential to WagnerÕs "Gesamtkunstwelt."In this article, I trace the roots of Wagner's practice both in German Idealist thought and in Beethoven, especially as received through a totalizing mode of Beethoven reception fostered by Wagner, in which Beethoven's "voice" seems fully coextensive with his music while resonating on a deep level with the Germanic Welt. I then sketch two separately developed modes of post-Wagnerian dramatic music. I first describe how Mahler's novelistic musical discourse sometimes imposes a sense of continuity on the broken surfaces of a world through an overpowering musical "flow," a process that derives from the ways that Leitmotivs emerge from the fluid orchestral fabric of Wagner's music, but reverses the latter's sense of intrinsic embeddedness by beginning with the sounding surface of the experienced world. I then briefly lay out how and why WagnerÕs technique has proven so useful for film music and consider the ways that the overtly Wagnerian scoring of Excalibur (John Boorman, 1981) supports a particularly Wagnerian retelling of the Arthurian legends.

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21

Bribitzer-Stull, Matthew. "Richard Wagner - Tristan und Isolde Stephen Gould (Tristan, ten), Nina Stemme (Isolde, sop), Kwangchul Youn (Marke, bass), Johan Reuter (Kurwenal, bar), Michelle Breedt (Brangäne, mezzo) Rundfunkchor Berlin Eberhard Friedrich, dir Rundfunk-Sinfonieorchester Berlin Marek Janowski, cond Pentatone Classics 5186404, 2012 (3 CDs: 225 minutes)." Nineteenth-Century Music Review 12, no. 2 (July 6, 2015): 405–7. http://dx.doi.org/10.1017/s1479409815000233.

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22

Kramer, Gerhard. "Wagner „Tristan und Isolde“ in der Staatsoper." Österreichische Musikzeitschrift 58, no. 7 (January 2003). http://dx.doi.org/10.7767/omz.2003.58.7.55.

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