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Richard Wagner (1813-1883) aimed to be greater than only a composer. He got down to redefine opera as a "total murals" combining the top aspirations of drama, poetry, the symphony, the visible arts, even faith and philosophy. both celebrated and vilified in his personal time, Wagner keeps to impress debate at the present time concerning his political legacy in addition to his tune and aesthetic theories. Wagner and His World examines his works of their highbrow and cultural contexts.

Seven unique essays examine such themes as song drama in mild of rituals of naming within the composer's works and the politics of style; the position of leitmotif in Wagner's reception; the urge for extinction in Tristan und Isolde as psychology and image; Wagner as his personal level director; his conflicted courting with pianist-composer Franz Liszt; the anti-French satire Eine Kapitulation within the context of the Franco-Prussian struggle; and responses of Jewish writers and musicians to Wagner's anti-Semitism. as well as the editor, the members are Karol Berger, Leon Botstein, Lydia Goehr, Kenneth Hamilton, Katherine Syer, and Christian Thorau.

This publication additionally contains translations of essays, reports, and memoirs through champions and detractors of Wagner; glimpses into his household sphere in Tribschen and Bayreuth; and all of Wagner's software notes to his personal works. Introductions and annotations are supplied via the editor and David Breckbill, Mary A. Cicora, James Deaville, Annegret Fauser, Steven Huebner, David Trippett, and Nicholas Vazsonyi.

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He's the author of a satirical tune. The melodies of different operetta composers are pleasantly risk free, whereas Offenbach’s are pointed, and feature a person or whatever as their aim. Offenbach is without doubt one of the leader challengers in a fight opposed to authority and culture; he's the champion of these who could struggle opposed to got opinion. With a cruel hand he has torn away the halo from the top of Greek mythology, exposing its figures to the mockery of the area. 14 in addition to skewering the pious worshipers on the altar of “classical” studying (the tradition of the gym and the college) via his parody of the card heroes of classical mythology, Offenbach set his attractions at the sleek “idols” of royalty and the army in what Nordau calls his Tendenzoperetten (topical operettas) comparable to Barbe-bleu, l. a. grand-duchesse de Gerolstein, l. a. Perichole, or Madame l’archiduc. evidently, the libretti of Henri Meilhac and Ludovic Halévy are a vital component of Offenbach’s musical satires, however the texts on my own wouldn't qualify the operettas for the Aristophanic prize, as Nordau sees it. He reads this “philosophical” point within the cultural-critical personality of Offenbach’s ratings from the vantage element of post-Second Empire Paris. however it turns out that the nice musical “philosopher” of the century, Wagner, already favored anything of this severe efficiency on the outbreak of the French-German warfare. He intimated, it kind of feels, a distinctively city or even political modernity in Offenbach that challenged the anti-modern mythologizing of his personal song dramas and their attempt to struggle the commodification of tradition (an city and Jewish phenomenon, as Wagner observed it) with a classy “truth” he desired to regard as undying and beneficial. II Eine Kapitulation is one of the least spotted of Wagner’s released works—deservedly so, probably. it may be obvious as a better half piece of varieties to the (nowadays) even more usually brought up essay “Judaism in song. ” That formal denunciation of “public enemy no. 1,” the Jews, used to be released pseudonymously in 1850, at a time whilst Wagner was once now not but a lot a reputation to conjure with, yet later reissued lower than Wagner’s identify in 1869, whilst he was once a great deal one. quickly after, the battle of 1870 brought on this much less formal, extra playful, yet equally vicious assault on “public enemy no. 2,” the French. next heritage has given a lot better urgency to the difficulty of Wagner’s outspoken anti-Semitism, and his fulminations opposed to the French have paled in value. this present day Wagner’s anti-French invective turns out scarcely extra proper than his rantings opposed to the Jesuits, or for that topic, the Prussian “Junkers. ” through the later 19th century, even if, the anti-French rhetoric figured extra prominently in Wagner’s debatable prestige than did his denunciation of the Jews. And within the final months of 1870 it was once the besieged Parisians who have been anguish less than the scourge of German “barbarity,” because it used to be styled within the French press, in addition to a few overseas papers sympathetic to the French reason.

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