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| the librettist for wagner's music dramas was: Opera and Drama Richard Wagner, 1995-01-01 With Richard Wagner, opera reached the apex of German Romanticism. Originally published in 1851, when Wagner was in political exile, Opera and Drama outlines a new, revolutionary type of musical stage work, which would finally materialize as The Ring of the Nibelung. Wagner's music drama, as he called it, aimed at a union of poetry, drama, music, and stagecraft. ø In a rare book-length study, the composer discusses the enhancement of dramas by operatic treatment and the subjects that make the best dramas. The expected Wagnerian voltage is here: in his thinking about myths such as Oedipus, his theories about operatic goals and musical possibilities, his contempt for musical politics, his exaltation of feeling and fantasy, his reflections about genius, and his recasting of Schopenhauer. ø This edition includes the full text of volume 2 of William Ashton Ellis's 1893 translation commissioned by the London Wagner Society. |
| the librettist for wagner's music dramas was: Drama and the World of Richard Wagner Dieter Borchmeyer, 2003-11-30 Richard Wagner continues to be the most controversial artist in history, a perpetually troubling figure in our cultural consciousness. The unceasing debate over his works and their impact--for and against--is one reason why there has been no genuinely comprehensive modern account of his musical dramas until now. Dieter Borchmeyer's book is the first to present an overall picture of these musical dramas from the standpoint of literary and theatrical history. It extends from the composer's early works--still largely ignored--to the Ring Cycle and Parsifal, and includes Wagner's unfinished works and operas he never set to music. Through lively prose, we come to see Wagner as a librettist--and as a man of letters--rather than primarily as musical composer. Borchmeyer uncovers a vast field of cultural and historical cross-references in Wagner's works. In the first part of the book, he sets out in search of the various archetypal scenes, opening up the composer's dramatic workshop to the reader. He covers all of Wagner's operas, from early juvenilia to the canonical later works. The second part examines Wagner in relation to political figures including King Ludwig II and Bismarck, and, importantly, in light of critical reactions by literary giants--Thomas Mann, whom Borchmeyer calls a guiding light in this exploration of the fields that Wagner tilled, and Nietzsche, whose appeal to philology is a key source of inspiration in attempts to grapple with Wagner's works. For more than twenty years, Borchmeyer has placed his scholarship at the service of the famed Bayreuth Festival. With this volume, he gives us a summation of decades of engagement with the phenomenon of Wagner and, at the same time, the result of an abiding critical passion for his works. |
| the librettist for wagner's music dramas was: Vaughan Williams on Music Ralph Vaughan Williams, 2008 Concert audiences have an enduring affection for the music of Ralph Vaughan Williams; a composer of dance, symphony, opera, song, hymnody, and film music, serious scholarship on his music is currently enjoying a revival. 2008 marks the 50th anniversary of Vaughan Williams passing. This collection brings together a host of lively writings, some for the first time, and many for the first time since their initial publication by one of the most articulate, beloved and engaging English composers. Making available essays, articles, broadcasts, and speech transcripts from 1901-1958, Vaughan Williams on Music exemplifies the multi-faceted nature of his contributions: active supporter of amateur music and English music, a leader in the folksong revival, educator, performer, and polemicist. Vaughan Williams was one of the cultural giants of his day, a figure of iconic stature whose influence stretched far beyond musical circles; his friendships with Bertrand Russell and G. M. Trevelyan, and his tireless work on behalf of a variety of organizations and causes, from Jewish refugees to the Third Programme, gave him a unique place in British national life. He also had a powerful influence in the United States, at a time when the international relationship was approaching its zenith. Through all these perspectives, the words are unmistakably those of a practicing composer; a young composer at the turn of the last century, trying to find his own musical voice amid widely diverse stylistic influences of the dominant and successful figures of Brahms, Strauss, and Tchaikovsky, and a mature composer in the mid-century, having found that glorious voice which continues to resound across the globe. The volume will be an important contribution to the literature not only on British music, but also on nineteenth- and twentieth-century British cultural and intellectual life as a whole, placing Vaughan Williams' political and aesthetic thought in a broader cultural perspective. |
| the librettist for wagner's music dramas was: Masques, Mayings and Music-dramas Roger Savage, 2014 Masques, Mayings and Music-Dramas comprises a sequence of in-depth case-studies of significant aspects of early twentieth-century English music-theatre. Vaughan Williams forms a central thread in this discussion, and Stratford-upon-Avon serves as a geographical focus-point for mediating conflicting visions of an English musical tradition. But the reach of the book is much wider, shedding new light on English Wagnerism (at Glastonbury especially) and on the reception of Wagner's ideas as a point of emulation and resistance. No less significant is the discussion of Purcell and the seventeenth-century masque - one of the primary sources for re-imagining an English dramatic tradition - and the more familiar images of the May festival, the Mummers' play and the pageant play, which are tellingly re-contextualised. The book also looks at the associations between Vaughan Williams, the theatre artist Edward Gordon Craig and the impresario Serge Diaghilev. The sequence is framed by the image of the pilgrim-vagabond Vaughan Williams's setting of the poetry of Matthew Arnold and Robert Louis Stevenson as a metaphor and paradigm for his creative career and personal progress. The book not only sheds light on the activities and ambitions of principal agents but also illuminates a particularly dynamic moment in the re-emergence of a distinctively English music-theatrical practice: one especially concerned with calling on aspects of the past to help to secure a worthwhile future. Notions of Englishness turn out to be less insular than sometimes thought and the idea of a 'musical renaissance' more complex when the case-studies are understood in their proper historical context. Scholars and students of twentieth-century English music, theatre and opera will find this volume indispensable. Roger Savage is Honorary Fellow in English Literature at the University of Edinburgh. He has published widely on theatre and its interface with music from the baroque to the twentieth century in leading journals and books. |
| the librettist for wagner's music dramas was: Wagner On Music And Drama Albert Goldman, Evert Sprinchorn, 1988-03-22 |
| the librettist for wagner's music dramas was: The Wagner Compendium: A Guide To Wagner's Life and Music Barry Millington, 2001-07-17 The unrivaled single-volume survey of Wagner's life and work Edited by one of the leading Wagner scholars of modern times, and with contributions from seventeen experts from around the world, The Wagner Compendium is the key to a complete understanding of the composer— the most comprehensive, informative and well-organized guide to his life and times. Features include: calendar of Wagner's life, works and related events who's who of Wagner's contemporaries details of historical, intellectual and musical background exploration of Wagner's character and opinions full list of Wagner's prose writings comprehensive listing and discussion of the works |
| the librettist for wagner's music dramas was: Richard Wagner Martin Geck, 2013-09-18 “[An] intriguing exploration of the composer’s life and thought as exemplified by his music. An excellent biography.” —Library Journal Best known for the four-opera cycle The Ring of the Nibelung, Richard Wagner (1813–83) was a conductor, librettist, theater director, and essayist, in addition to being the composer of some of the most enduring operatic works in history. Though his influence on the development of European music is indisputable, Wagner was also quite outspoken on the politics and culture of his time. His ideas traveled beyond musical circles into philosophy, literature, theater staging, and the visual arts. To befit such a dynamic figure, acclaimed biographer Martin Geck offers here a Wagner biography unlike any other, one that strikes a unique balance between the technical musical aspects of Wagner’s compositions and his overarching understanding of aesthetics. A landmark study of one of music’s most important figures “People who would like to know more about Wagner, and people who have loved his music for years . . . will find a great deal in this book to enjoy and to admire.” —Tablet “Geck describes a Wagner who is grounded, focused and even cautious, a savvy realist and ironist rather than a flamboyant, flailing ideologue . . . Suffused with his readings of contemporary productions of the operas, Geck’s musical analyses are succinct and superb” —New York Times “As an editor of Wagner’s Complete Works, Geck brings a deep familiarity with the composer to his task.” —Weekly Standard “A thoroughly approachable yet consistently provocative study.” —Thomas S. Grey, editor of The Cambridge Companion to Wagner |
| the librettist for wagner's music dramas was: The Collected Writings of Franz Liszt , 2013-12-19 In Dramaturgical Leaves: Essays about Musical Works for the Stage and Queries about the Stage, Its Composers and Performers, the third volume in Janita R. Hall-Swadley’s The Collected Writings of Franz Liszt, Liszt heralds his admiration for early nineteenth-century opera and musical stage works. Included are essays on Gluck’s Orpheus, Beethoven’s Fidelio, Weber’s Euryanthe, Mendelssohn’s Midsummer’s Night Dream, Scribe and Meyerbeer’s Robert the Devil, Schubert’s Alfonso and Estrella, Auber’s Mute from Portici, Bellini’s Montague and Capulet, Boieldieu’s White Lady, and Donizetti’s Favorite as well as essays on soprano Pauline Viardot-Garcia and Liszt’s critique of entr’acte music. This volume includes a detailed discussion of Liszt’s impact as a musical patron, a historical review of entr’acte music, the role of gender in opera, and Liszt’s concepts of Gestalt theory, the Archetype, and his musical Weltanschauung (his musical world view), all revealing his contribution to 19th-century music philosophy as it relates to opera. |
| the librettist for wagner's music dramas was: Irony's Edge Linda Hutcheon, 2003-09-02 The edge of irony, says Linda Hutcheon, is always a social and political edge. Irony depends upon interpretation; it happens in the tricky, unpredictable space between expression and understanding. Irony's Edge is a fascinating, compulsively readable study of the myriad forms and the effects of irony. It sets out, for the first time, a sustained, clear analysis of the theory and the political contexts of irony, using a wide range of references from contemporary culture. Examples extend from Madonna to Wagner, from a clever quip in conversation to a contentious exhibition in a museum. Irony's Edge outlines and then challenges all the major existing theories of irony, providing the most comprehensive and critically challengin theory of irony to date. |
| the librettist for wagner's music dramas was: The Nation , 1913 |
| the librettist for wagner's music dramas was: Richard Wagner His Life and His Dramas: A Biographical Study of the Man and an Explanation of His Work William James Henderson, 2020-09-28 The purpose of this book is to supply Wagner lovers with a single work which shall meet all their needs. The author has told the story of Wagner's life, explained his artistic aims, given the history of each of his great works, examined its literary sources, shown how Wagner utilised them, surveyed the musical plan of each drama, and set forth the meaning and purpose of its principal ideas. The work is not intended to be critical, but is designed to be expository. It aims to help the Wagner lover to a thorough knowledge and understanding of the man and his works. The author has consulted all the leading biographies, and for guidance in the direction of absolute trustworthiness he is directly indebted to Mme. Cosima Wagner, whose suggestions have been carefully observed. He is also under a large, but not heavy, burden of obligation to Mr. Henry Edward Krehbiel, musical critic of The New York Tribune, who carefully read the manuscript of this work and pointed out its errors. The value of Mr. Krehbiel's revision and his hints cannot be over-estimated. Thanks are also due to Mr. Emil Paur, conductor of the Philharmonic Society, of New York, for certain inquiries made in Europe. The records of first performances have been prepared with great care and with no little labour. For the dates of those at most of the European cities the author is indebted to an elaborate article by E. Kastner, published in the Allgemeine Musik. Zeitung, of Berlin, for July and August, 1896. The original casts have been secured, as far as possible, from the programmes. For that of the Flying Dutchman at Dresden—incorrectly given in many books on Wagner—the author is indebted to Hofkapellmeister Ernst von Schuch, who obtained it from the records of the Hoftheater. The name of the singer of the Herald in the first cast of Lohengrin, missing in all the published histories, was supplied by Hermann Wolff, of Berlin, from the records of Weimar. The casts of first performances in this country are not quite complete, simply because the journalists of twenty-five years ago did not realise their obligations to posterity. The casts were not published in full. The records have disappeared. The theatres in some cases—as in that of the Stadt—have long ago gone out of existence and nothing can be done. As far as given the casts are, the author believes, perfectly correct. |
| the librettist for wagner's music dramas was: The Quest for the Gesamtkunstwerk and Richard Wagner Hilda Meldrum Brown, 2016-04-15 The Gesamtkunstwerk ('total work of art'), once a key concept in Wagner studies, has become problematic. This book sheds light on this conundrum by first tracing the development of the concept in the 19th century through selected examples, some of which include combinations of different art forms. It then focuses on the culmination of the Gesamtkunstwerk in Wagner's theories and in the practice of his late music dramas, of which Der Ring des Nibelungen is the most complete representation. Finally, the book contrasts the view of the Ring as a fusion of dramatic text and music with the 20th century trend towards Deconstruction in Wagnerian productions and the importance of Régie. Against this trend a case is made here for a fresh critical approach and a reconsideration of the nature and basis for the fundamental unity which has hitherto been widely perceived in Wagner's Ring. Approaches through Leitmotiv alone are no longer acceptable. However, in conjunction with another principle, Moment, which Wagner insisted on combining with Motive, these can be ingeniously 'staged' and steered to dramatic ends by means of musical dynamics and expressive devices such as accumulation. Analysis of the two Erda scenes demonstrates how this complex combination of resources acts as a powerful means of fusion of the musical and dramatic elements in the Ring and confirms its status as a Gesamtkunstwerk. |
| the librettist for wagner's music dramas was: The Academy , 1891 |
| the librettist for wagner's music dramas was: The Academy and Literature , 1909 |
| the librettist for wagner's music dramas was: Atalanta , 1894 |
| the librettist for wagner's music dramas was: Carl Nielsen Studies David J. Fanning, Niels Krabbe, Daniel M. Grimley, Michael Fjeldsoe, 2010 These volumes provide a forum for the spectrum of historical, analytical and aesthetic approaches to the study of Nielsen's music from an international line-up of contributors. In addition, each volume features reviews and reports on current Nielsen projects and an updated Nielsen bibliography... |
| the librettist for wagner's music dramas was: Richard Wagner: Tristan und Isolde Arthur Groos, 2011-03-31 Seven leading international writers discuss the genesis, libretto and music, and performance and reception history of Wagner's Tristan. |
| the librettist for wagner's music dramas was: New International Encyclopedia , 1916 |
| the librettist for wagner's music dramas was: The New International Encyclopaedia , 1929 |
| the librettist for wagner's music dramas was: The New International Encyclopædia Frank Moore Colby, Talcott Williams, 1917 |
| the librettist for wagner's music dramas was: Richard Wagner Nicholas Vazsonyi, 2010-03-31 All modern artists have had to market themselves in some way. Richard Wagner may just have done it better than anyone else. In a self-promotional effort that began around 1840 in Paris, and lasted for the remainder of his career, Wagner claimed convincingly that he was the most German composer ever and the true successor of Beethoven. More significantly, he was an opera composer who declared that he was not composing operas. Instead, during the 1850s, he mapped out a new direction, conceiving of works that would break with tradition and be literally 'brand new'. This is the first study to examine the innovative ways in which Wagner made himself a celebrity, promoting himself using every means available: autobiography, journal articles, short stories, newspaper announcements, letters, even his operas themselves. Vazsonyi reveals how Wagner created a niche for his works in the crowded opera market that continues to be unique. |
| the librettist for wagner's music dramas was: Scores of Being H.A.E. Hub Zwart, 2023-08-28 This monograph studies opera as music drama, guided by four ideas: opera as an ambiance (setting an acoustic stage where dramatic action becomes possible), as a Gesamtkunstwerk (incorporating other arts forms into a coherent whole), as archaeology (revivifying lost worlds of experience) and as a dialectical syllogism (resulting in the negation of a paralysing negation via a dramatic act). We focus on Richard Wagner, as composer and author, but also address other music dramas (by Giacomo Puccini and John Adams), adopting a Hegelian dialectical perspective, but involving other dialectical thinkers (e.g., Marx and Engels) as well. |
| the librettist for wagner's music dramas was: Themes in Drama: Volume 3, Drama, Dance and Music James Redmond, 1981 This collection surveys madness in drama. It includes articles on The Duchess of Malfi; virginity and hysteria in The Changeling; the confined spectacle of madness in Beys's The Illustrious Madmen; The male gaze in Woyzeck - representing Marie and madness; and other drama examples. |
| the librettist for wagner's music dramas was: Recognition Philip F. Kennedy, Marilyn Lawrence, 2009 This interdisciplinary collection of essays advances the study of anagnorisis («recognition»), a quintessential concept in Aristotelian poetics. This book explores narrative structure and epistemology by examining how anagnorisis works in narrative fiction, music, and film. Contributors hail from the fields of cinema; opera; religion; medieval and modern English, German, and French literatures; comparative literature; and Indian (Sanskrit) and Islamic (Arabic) literatures, both classical and modern. |
| the librettist for wagner's music dramas was: Musical Standard , 1913 |
| the librettist for wagner's music dramas was: Historical Dictionary of Romantic Music John Michael Cooper, 2024-02-12 Historical Dictionary of Romantic Music, Second Edition contains a chronology, an introduction, and an extensive bibliography. The dictionary section has more than 600 cross-referenced entries on traditions, famous pieces, persons, places, technical terms, and institutions of Romantic music. |
| the librettist for wagner's music dramas was: Derrick Puffett on Music KathrynBailey Puffett, 2017-07-05 'I listen to a piece and ask myself what has made the greatest impression on me. What has moved me the most about it, what has excited me the most, what it is I want to write about, what sets my mind working, what sets off my imagination.' Derrick Puffett's description to a group of Cambridge graduate students of his approach to listening and writing about music is clearly evident in the articles reprinted in this collection. For the first time, the book makes available in one place writings previously widely dispersed amongst many journals and symposia. Resonances emerge that cross from essay to essay, with the result that a larger, coherent project is revealed. Insistent on the need of music analysis to be accompanied by a wider historical knowledge, Puffett believed strongly that the methods to be adopted on each occasion must be dictated by the music at hand. His work on Bruckner, Strauss, Webern, Zemlinsky, Delius and Debussy is of enduring importance to the study of music. With a prose style distinguished for its elegance and clarity, Puffett's writings will enhance the understanding and enjoyment of the music that he discusses amongst students and teachers alike. |
| the librettist for wagner's music dramas was: War Letters of a Public-School Boy Henry Paul Mainwaring Jones, 2022-09-04 DigiCat Publishing presents to you this special edition of War Letters of a Public-School Boy by Henry Paul Mainwaring Jones. DigiCat Publishing considers every written word to be a legacy of humankind. Every DigiCat book has been carefully reproduced for republishing in a new modern format. The books are available in print, as well as ebooks. DigiCat hopes you will treat this work with the acknowledgment and passion it deserves as a classic of world literature. |
| the librettist for wagner's music dramas was: Current Literature , 1910 |
| the librettist for wagner's music dramas was: Current Opinion Edward Jewitt Wheeler, 1910 |
| the librettist for wagner's music dramas was: The Oxford Handbook of Opera Helen M. Greenwald, 2014-10-03 What IS opera? Contributors to The Oxford Handbook of Opera respond to this deceptively simple question with a rich and compelling exploration of opera's adaption to changing artistic and political currents. Fifty of the world's most respected scholars cast opera as a fluid entity that continuously reinvents itself in a reflection of its patrons, audience, and creators. The synergy of power, performance, and identity recurs thematically throughout the volume's major topics: Words, Music, and Meaning; Performance and Production; Opera and Society; and Transmission and Reception. Individual essays engage with repertoire from Monteverdi, Mozart, and Meyerbeer to Strauss, Henze, and Adams in studies of composition, national identity, transmission, reception, sources, media, iconography, humanism, the art of collecting, theory, analysis, commerce, singers, directors, criticism, editions, politics, staging, race, and gender. The title of the penultimate section, Opera on the Edge, suggests the uncertainty of opera's future: is opera headed toward catastrophe or have social and musical developments of the last hundred years stimulated something new and exciting, and, well, operatic? In an epilogue to the volume, a contemporary opera composer speaks candidly about opera composition today. The Oxford Handbook of Opera is an essential companion to scholars, educators, advanced students, performers, and knowledgeable listeners: those who simply love opera. |
| the librettist for wagner's music dramas was: Otello , 2000-04 |
| the librettist for wagner's music dramas was: Musical Courier and Review of Recorded Music , 1913 |
| the librettist for wagner's music dramas was: The Musician , 1901 |
| the librettist for wagner's music dramas was: Musical America , 1921 |
| the librettist for wagner's music dramas was: Richard Wagner Michael Saffle, 2010-06-10 Richard Wagner: A Research and Information Guide is an annotated bibliography concerning both the nature of primary sources related to the composer and the scope and significance of the secondary sources which deal with him, his compositions, and his influence as a composer and performer. |
| the librettist for wagner's music dramas was: A History of Western Musical Aesthetics Edward A. Lippman, 1994-01-01 Among the fine arts music has always held a paramount position. Musical training is a more potent instrument than any other, because rhythm and harmony find their way into the inward places of the soul, wrote Plato. From the music of the spheres of Pythagoras to the Future Music of Wagner, from churches, courts, cathedrals, and concert halls to amateur recitals, military marches, and electronic records, music has commanded the perpetual attention of every civilization in history. This book follows through the centuries the debates about the place and function of music, the perceived role of music as a good or bad influence on the development of character, as a magical art or a domestic entertainment, and as a gateway to transcendental truths. Edward Lippman describes the beginnings of musical tradition in the myths and philosophies of antiquity. He shows how music theory began to take on new dimensions and intensity in the seventeenth century, how musical aesthetics was specifically defined and elaborated in the eighteenth century, and how, by the nineteenth century, music became the standard by which other arts were judged. The twentieth century added problems, pressure, and theories as music continued to diversify and as cultures viewed each other with more respect. |
| the librettist for wagner's music dramas was: The Oxford Companion to Theatre and Performance Dennis Kennedy, 2010-08-26 An authoritative reference covering primarily actors, playwrights, directors, styles and movements, companies and organizations. |
| the librettist for wagner's music dramas was: The Art of Music Daniel Gregory Mason, 1917 |
Libretto - Wikipedia
In the context of a modern English-language musical theatre piece, the libretto is considered to encompass both the book of the work (i.e., the …
What does a librettist do? - CareerExplorer
What is a Librettist? A librettist is a skilled writer who specializes in creating the libretto, which is the text or script for an opera, musical, or other …
LIBRETTIST Definition & Meaning - Merriam-Webster
The meaning of LIBRETTIST is the writer of a libretto.
Librettist | Berklee
Librettists are writers and storytellers who are fascinated by the relationship between text, music, and theater. Collaborative skills are key to this …
LIBRETTIST | English meaning - Cambridge Dictionary
LIBRETTIST definition: 1. a person who writes the words for a musical work for the theatre 2. a person who writes …
Libretto - Wikipedia
In the context of a modern English-language musical theatre piece, the libretto is considered to encompass both the book of the work (i.e., the spoken dialogue) and the sung lyrics. Libretti …
What does a librettist do? - CareerExplorer
What is a Librettist? A librettist is a skilled writer who specializes in creating the libretto, which is the text or script for an opera, musical, or other dramatic vocal works. The role of the librettist …
LIBRETTIST Definition & Meaning - Merriam-Webster
The meaning of LIBRETTIST is the writer of a libretto.
Librettist | Berklee
Librettists are writers and storytellers who are fascinated by the relationship between text, music, and theater. Collaborative skills are key to this profession, which requires responding to and …
LIBRETTIST | English meaning - Cambridge Dictionary
LIBRETTIST definition: 1. a person who writes the words for a musical work for the theatre 2. a person who writes the…. Learn more.
What does a Librettist do? Career Overview, Roles, Jobs | KAPLAN
A librettist is a unique and vital figure in the world of opera, musical theater, and other forms of dramatic musical productions. They are the creative architects of the text or "book"—the …
LIBRETTIST definition in American English | Collins English …
A librettist is a person who writes the words that are used in an opera or musical play.
What is a Librettist? - Spiegato
A librettist is a writer who creates libretti, or musical texts, to accompany musical performances. The text that goes with an opera is the most famous example of a libretto, but librettists can …
Librettist Definition & Meaning - YourDictionary
Librettist definition: The author of a libretto.
Librettists & Librettos For Musical Theater
Apr 4, 2020 · A librettist writes the words for the musical theater, whether it's a musical play, opera, ballet or even liturgy. Everything you hear actors speak (or sing) is written by one of …
