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Richard Wagner on Record / Various Various Artists - CD 717281894043

Richard Wagner for Violin & Piano Wagner / Schubert / Bartos - CD 9003643990234

Richard Wagner: Lohengrin Wagner / Royal Concertgebouw Orchestra - CD 814337019341

Dentro de la amplísima literatura suscitada por la figura de RICHARD WAGNER, que ha alimentado polémicas interminables y airadas controversias, la documentada y exhaustiva biografía de MARTIN GREGOR-DELLIN consigue su propósito de ofrecer una visión global y equilibrada del genial dramaturgo y músico alemán. Escrita con el

Wagner's Tristan und Isolde occupies a singular position in the history of Western culture. What Nietzsche called the 'sweet and terrible infinity' of its basic nexus of longing and death has fascinated audiences since its first performance in 1865. At the same time, its advanced harmonic language, immediately announced by the opening 'Tristan chord', marks a defining moment in the evolution of modern music. This accessible handbook brings together seven leading international writers to discuss the opera's genesis and the libretto's relationship to late Romantic literary concerns, present an analysis of the Prelude, the music of the drama itself, and Wagner's innovative use of instrumental timbre, and illustrate the production history and reception of the music-drama into the twenty-first century. The book includes the first English translation of Wagner's draft prose of the libretto, a detailed discussion of Wagner's orchestration, and rare pictures from important and influential productions.

Presents an in-depth profile of the controversial German composer Richard Wagner, with a particular focus on his personal life, based on intensive research into the private papers of the Wagner family archives

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Zur problematischen Wagner-Rezeption in Deutschland. Die Geschichte der politisch-ästhetischen Rezeption Richard Wagners ist noch nicht aufgearbeitet. Der Autor geht den sich wandelnden Deutungen von Wagners Denken und Werk seit dem Kaiserreich bis in die Zeit der frühen Bundesrepublik nach und untersucht die Funktionalisierung der Werke zu politischen Zwecken. Als Grundlage dienen u. a. maßgebliche Wagner-Biografien. Die von 1878 bis 1938 erschienenen Bayreuther Blätter werden erstmals umfassend ausgewertet.

Dentro de la amplísima literatura suscitada por la figura de RICHARD WAGNER, que ha alimentado polémicas interminables y airadas controversias, la documentada y exhaustiva biografía de MARTIN GREGOR-DELLIN consigue su propósito de ofrecer una visión global y equilibrada del genial dramaturgo y músico alemán. Escrita con el

When the people of Dresden rose up against their king in May 1849, Richard Wagner went from Royal Kapellmeister to republican revolutionary overnight. He gambled everything, but the rebellion failed, and he lost all. Now a wanted man in Germany, he fled to Zurich. Years later, he wrote that the city was "devoid of any public art form" and full of "simple people who knew nothing of my work as an artist." But he lied: Zurich boasted arguably the world's greatest concentration of radical intellectuals and a vibrant music scene. Wagner was accepted with open arms. This book investigates Wagner's affect on the musical life of the city and the city's impact on him. Mathilde Wesendonck emerges not as Wagner's passive muse but as a self-assured woman who exploited gender expectations to her own benefit. In 1858, Wagner had to flee Zurich after again gambling everything -- this time on Mathilde -- and again losing. But it was in Zurich that Wagner wrote his major theoretical works; composed Das Rheingold, Die Walküre, and parts of Siegfried and Tristan und Isolde; first planned Parsifal; held the first festival of his music; and conceived of a theater to stage his own works. If Wagner had been free in 1849 to choose a city in which to seek heightened intellectual stimulation among the like-minded and the similarly gifted, he could have come to no more perfect place. Chris Walton teaches music history at the Musikhochschule Basel in Switzerland. He is the recipient of the 2010 Max Geilinger Prize honoring exemplary contributions to the literary and cultural relationship between Switzerland and the English-speaking world.

Despite the enormous and accelerating worldwide interest in Wagner leading to the bicentenary of his birth in 2013, his prose writings have received scant scholarly attention. Wagner's book-length essay on Beethoven, written to celebrate the centenary of Beethoven's birth in 1870, is really about Wagner himself rather than Beethoven. It is generally regarded as the principal aesthetic statement of the composer's later years, representing a reassessment of the ideas of the earlier Zurich writings, especially Oper und Drama, in the light of the experience gained through the composition of Tristan und Isolde, Die Meistersinger von Nürnberg and the greater part of Der Ring des Nibelungen. It contains Wagner's most complete exegesis of his understanding of Schopenhauer's philosophy and its perceived influence on the compositional practice of his later works. The essay also influenced the young Nietzsche. It is an essential text in the teaching of not only Wagnerian thought but also late nineteenth-century musical aesthetics in general. Until now the English reader with no access to the German original has been obliged to work from two Victorian translations. This brand new edition gives the German original and the newly translated English text on facing pages. It comes along with a substantial introduction placing the essay not only within the wider historical and intellectual context of Wagner's later thought but also in the political context of the establishment of the German Empire in the 1870s. The translation is annotated throughout with a full bibliography. Richard Wagner's Beethoven will be indispensable reading for historians and musicologists as well as those interested in Wagner's philosophy and the aesthetics of music. ROGER ALLEN is Fellow and Tutor in Music at St Peter's College, Oxford.

Comic-book artist Gil Kane illustrates Richard Wagner's four Ring operas in a graphic style which makes music all its own.

WORK IS IN FRENCHThis book is a reproduction of a work published before 1920 and is part of a collection of books reprinted and edited by Hachette Livre, in the framework of a partnership with the National Library of France, providing the opportunity to access old and often rare books from the BnF's heritage funds. The works in this collection have been digitized by the BnF and are presented on Gallica, its digital library.By reviving these works through a collection of books reprinted on demand, we give everyone the opportunity to participate in the transmission of knowledge which is sometimes difficult to access.We have tried to reconcile the faithful reproduction of an old book from its digitalized version with the concern of an optimal reading comfort. We hope the works of this new collection will bring you complete satisfaction.French National Library Editions are authorized editions through Hachette France for works in the French National Library Catalog. For more information, visit www.hachettebnf.fr

This highly original book draws on narrative and film theory, psychoanalysis, and musicology to explore the relationship between aesthetics and anti-Semitism in two controversial landmarks in German culture. David Levin argues that Richard Wagner's opera cycle Der Ring des Nibelungen and Fritz Lang's 1920s film Die Nibelungen creatively exploit contrasts between good and bad aesthetics to address the question of what is German and what is not. He shows that each work associates a villainous character, portrayed as non-Germanic and Jewish, with the sometimes dramatically awkward act of narration. For both Wagner and Lang, narration--or, in cinematic terms, visual presentation--possesses a typically Jewish potential for manipulation and control. Consistent with this view, Levin shows, the Germanic hero Siegfried is killed in each work by virtue of his unwitting adoption of a narrative role. Levin begins with an explanation of the book's theoretical foundations and then applies these theories to close readings of, in turn, Wagner's cycle and Lang's film. He concludes by tracing how Germans have dealt with the Nibelungen myths in the wake of the Second World War, paying special attention to Michael Verhoeven's 1989 film The Nasty Girl. His fresh and interdisciplinary approach sheds new light not only on Wagner's Ring and Lang's Die Nibelungen, but also on the ways in which aesthetics can be put to the service of aggression and hatred. The book is an important contribution to scholarship in film and music and also to the broader study of German culture and national identity.

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.

Text: English, German (translation)

Despite the enormous and accelerating worldwide interest in Wagner leading to the bicentenary of his birth in 2013, his prose writings have received scant scholarly attention. Wagner's book-length essay on Beethoven, written to celebrate the centenary of Beethoven's birth in 1870, is really about Wagner himself rather than Beethoven. It is generally regarded as the principal aesthetic statement of the composer's later years, representing a reassessment of the ideas of the earlier Zurich writings, especially Oper und Drama, in the light of the experience gained through the composition of Tristan und Isolde, Die Meistersinger von Nürnberg and the greater part of Der Ring des Nibelungen. It contains Wagner's most complete exegesis of his understanding of Schopenhauer's philosophy and its perceived influence on the compositional practice of his later works. The essay also influenced the young Nietzsche. It is an essential text in the teaching of not only Wagnerian thought but also late nineteenth-century musical aesthetics in general. Until now the English reader with no access to the German original has been obliged to work from two Victorian translations. This brand new edition gives the German original and the newly translated English text on facing pages. It comes along with a substantial introduction placing the essay not only within the wider historical and intellectual context of Wagner's later thought but also in the political context of the establishment of the German Empire in the 1870s. The translation is annotated throughout with a full bibliography. Richard Wagner's Beethoven will be indispensable reading for historians and musicologists as well as those interested in Wagner's philosophy and the aesthetics of music. ROGER ALLEN is Fellow and Tutor in Music at St Peter's College, Oxford.

Richard Wagner: The Lighter Side appeals to classical music and opera enthusiasts in general, but particularly the many thousands of members of the 135 Wagner Societies around the world. There are many books about every aspect of Wagner's life and works, but none has focused on the trivia, the interesting facts, anecdotes, and quotations about the man and his operas. For more than twenty years, Terry Quinn has collected information on each of Wagner's 13 completed operas and the difficulties encountered in staging them; famous Wagnerian directors, conductors, and singers; key persons in the composer's life, especially the women, not to mention the dysfunctional Wagner family; Wagner's visits to London; the festival and theater he created in Bavaria; and a great deal more. Also included are interviews with current Wagnerian scholars.Richard Wagner: The Lighter Side contains more than 300 tidbits and features, ranging from a few paragraphs to several pages. The light side of the book is immediately apparent via its lively headings, as well as its fascinating tales of the fanatical enthusiasts who travel the world to see Wagner's operas performed.Illustrations include photographs, dozens of contemporary caricatures, beautiful postage stamps on Wagnerian subjects, and other reproductions of ephemera.

Light wear to dust jacket, page edges tanned. Shipped from the U.K. All orders received before 3pm sent that weekday.