By William Kinderman, Katherine R. Syer
Richard Wagner's Parsifal is still an inexhaustible but hugely arguable paintings. This "stage consecration competition play," because the composer defined it, represents the fruits of his efforts to deliver medieval fable and sleek tune jointly in a dynamic courting. Wagner's engagement with religion--Buddhist in addition to Christian--reaches a climax the following, as he seeks via creative capability "to rescue the essence of faith via perceiving its legendary symbols . . . based on their figurative price, allowing us to determine their profound, hidden fact via idealized representation." The individuals to this assortment holiday clean flooring in exploring the textual content, the song, and the reception background of Parsifal. Wagner's borrowings-and departures-from the medieval assets of the Grail legend, Wolfram's Parzival and Chr?©tien's Perceval, are thought of intimately, and the tensional relation of the paintings to Christianity is probed. New views emerge that endure at the lengthy genesis of the textual content and tune, its affinities to Wagner's prior works, really Tristan und Isolde, and the suitable approach within which the song used to be composed. Essays deal with the work's daring, modernistic musical language and its unparalleled soundscape related to hidden choruses and different unseen assets of sound. The turbulent, remarkable, and infrequently tense background of Parsifal performances from 1882 until eventually 2004 is traced in bright element for the 1st time, demonstrating the abiding fascination exerted via this uniquely tough murals. participants: Mary A. Cicora, James M. McGlathery, Ulrike Kienzle, Warren Darcy, Roger Allen. William Kinderman and Katherine Syer train on the collage of Illinois at Urbana-Champaign, and sometimes lead examine seminars in the course of the Wagner pageant in Bayreuth, Germany.
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Additional info for A Companion to Wagner's Parsifal (Studies in German Literature Linguistics and Culture)
Peter Wapnewski resolves the factual discrepancy of the dates concerned by interpreting Wagner’s explanations in a metaphorical sense, as stating an analogy rather than a fact. Wapnewski theorizes that Wagner concocted a stylized pose, a myth, and “staged” the inspiration, which is based on a merely psychological reality. It was, he hypothesizes, a manipulation, a legend. In other words, Wagner’s statements can be taken as merely descriptive, that is, it was as though it were Good Friday. An entry in Cosima’s diaries substantiates this theory.
Kern Holoman (New York: Schirmer, 1997), 86. 20 WILLIAM KINDERMAN intervallic shape, emphasizing a stepwise descent of a fourth. These two motives are often heard in conjunction with one another, and together with the opening Last Supper or Communion theme and its composite motives they form the most important body of music associated with the Grail in Parsifal. The Communion theme heard at the very beginning of the work displays considerable complexity in its structural and expressive components, consisting as it does of a synthesis of several motives, each of which is capable of detachment and independent development.
This was the beginning of his lifelong fascination with medieval literature that resulted in its use as raw material for his own works. In 1843, Wagner had been appointed Hofkapellmeister in Dresden, and the reading that he did in the ensuing years proved decisive for his later dramatic production. In his autobiographical Mein Leben, Wagner recounts that when vacationing in Marienbad during the summer of 1845, he took with him works of Wolfram and the medieval fragment about Lohengrin as reading material.
A Companion to Wagner's Parsifal (Studies in German Literature Linguistics and Culture) by William Kinderman, Katherine R. Syer