A Companion to Wagner's Parsifal
Professor of Musicology William Kinderman, William Kinderman, Katherine Rae Syer
Boydell & Brewer, 2005 - Всего страниц: 364
Richard Wagner's Parsifal remains an inexhaustible yet highly controversial work. This "stage consecration festival play," as the composer described it, represents the culmination of his efforts to bring medieval myth and modern music together in a dynamic relationship. Wagner's engagement with religion--Buddhist as well as Christian--reaches a climax here, as he seeks through artistic means "to rescue the essence of religion by perceiving its mythical symbols . . . according to their figurative value, enabling us to see their profound, hidden truth through idealized representation." The contributors to this collection break fresh ground in exploring the text, the music, and the reception history of Parsifal. Wagner's borrowings-and departures-from the medieval sources of the Grail legend, Wolfram's Parzival and Chrétien's Perceval, are considered in detail, and the tensional relation of the work to Christianity is probed. New perspectives emerge that bear on the long genesis of the text and music, its affinities to Wagner's earlier works, particularly Tristan und Isolde, and the precise way in which the music was composed. Essays address the work's bold, modernistic musical language and its unprecedented soundscape involving hidden choruses and other unseen sources of sound. The turbulent, astonishing, and sometimes disturbing history of Parsifal performances from 1882 until 2004 is traced in vivid detail for the first time, demonstrating the abiding fascination exerted by this uniquely challenging work of art. Contributors: Mary A. Cicora, James M. McGlathery, Ulrike Kienzle, Warren Darcy, Roger Allen. William Kinderman and Katherine Syer teach at the University of Illinois at Urbana-Champaign, and often lead study seminars during the Wagner Festival in Bayreuth, Germany.
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The Challenge of Wagners Parsifal
Medievalism and Metaphysics The Literary Background of Parsifal
Erotic Love in Chretiens Perceval Wolframs Parzival and Wagners Parsifal
Parsifal and Religion A Christian Music Drama?
The Genesis of the Music
Unseen Voices Wagners MusicalDramatic Shaping of the Grail Scene of Act 1
Die Zeit ist da Rotational Form and Hexatonic Magic in Act 2 Scene 1 of Parsifal
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Amfortas Amfortas’s Amfortasklage artistic associated Bayreuth beautiful beginning cadence Chamberlain character chorus Christ Christian Communion theme compassion complete composition draft Condwiramurs Cosima Wagner Cosima’s diary death designs entries Eschenbach Example Festival Flowermaidens Friday Friedrich Gahmuret Gawan German gesture Grail castle Grail King Grail Knights Grail Realm Grail scene Grail service Grail temple Grail theme Gurnemanz Hans von Wolzogen harmonic Heilandsklage hexatonic Hitler Houston Stewart Chamberlain ideas interpretation Klingsor Kundry Kundry’s later Liszt Lohengrin magic major Mathilde Wesendonk medieval minor motive Munich octatonic offstage onstage orchestral draft Orgeluse Parsifal’s Parzival Parzival’s passage performances prelude premiere production of Parsifal redeemer redemption religion Richard Wagner role Rotation Schopenhauer Schopenhauer’s seduction semitone sketch sonority spear stage suffering symbolic Tannhäuser tion Titurel tonal tonic Torenspruch Transformation music triad Tristan und Isolde trombones Wagner’s Parsifal Wagnerian Wapnewski Wehelaute Wieland Wieland Wagner Winifred Wagner Wolfram von Eschenbach Wolfram’s Parzival wound