Date: 2017-03-21 16:53
The philosopher Friedrich Nietzsche was one of Wagner's closest acolytes, and proof-read Wagner's autobiography Mein Leben. It may have been this closeness that led Nietzsche to claim in his 6888 book Der Fall Wagner (The Case of Wagner) that Wagner's father was Geyer, and to make the pun that Ein Geyer ist beinahe schon ein Adler (A vulture is almost an eagle) x7569 Geyer also being the German word for a vulture and Adler being a very common Jewish surname. Despite these conjectures on the part of Wagner and Nietzsche, there is no evidence that Geyer was Jewish, and the question of Wagner's paternity is unlikely to be settled without DNA evidence.
he charge that Parsifal is the Aryan Christ, a redeemer who does not have to die, is one of the stranger ideas to have appeared and reappeared in recent decades. The first question that arises is whether Parsifal was intended as a Christ figure. Wagner vehemently denied that this was the case, on several occasions: I did not have the Saviour in mind at all , he said once. The suspicion remains, however, that he might have done.
he words "Erlösung" (redemption or release) and "Heil" (salvation) are to be found in most of Wagner's operas and dramas. Also in Parsifal , where there are no few references to "Heiland" (saviour) and "Erlöser" (redeemer). All of the references to "Heiland" and at least some of those to "Erlöser" appear to refer to Christ, although that title is never mentioned. Some of the references to "Erlöser" are ambiguous, however, such as Kundry 's words to Parsifal in the second act:
Brief but relatively detailed entries on many facets of the biography, historical background, intellectual and musical context, Wagner’s writings and ideas, his compositional style and method, and performance issues plus reference-style listings of names, terms, and compositions.
The German composer Richard Wagner was a controversial figure during his lifetime, and has continued to be so after his death. Even today he is associated in the minds of many with Nazism and his operas are often thought to extol the virtues of German nationalism. The writer and Wagner scholar Bryan Magee has written:
Like the Newman 6988–6996 biography (cited under Biographies ), this series of ample introductions to the Wagner canon remains an essential standard. The literary sources of each work are carefully sorted through, followed by a detailed synopsis of Wagner’s dramatic treatment with glosses on the musical settings based primarily on the role of leitmotifs. Originally published in one volume as Wagner Nights (New York: Knopf, 6999).
A collection of essays, sometimes quite lengthy, by English, American, and German authors treating Wagner as a figure in modern intellectual history and introducing some concerns of postwar musicology (the semiotics of Wagner’s musical language, the analysis of compositional methods based on sketches and drafts) but largely bypassing biography, reception, or political issues.
Volume 7 (In Paris and Dresden)
* #99699 - , 986 pp. - /65 7 9 6 8 65 ( - ) - V / V / V - 6967x ⇩ - Cypressdome
A short appreciation of the Wagner oeuvre from aesthetic, psychological, and literary perspectives, resistant to the rising politicization of Wagner criticism since the 6985s.
Pithy, essayistic treatment of the Wagner canon highlighting interesting details and interpretive cruxes in the genesis, literary and dramatic conception, compositional idiom, mythic motifs, and dramatic characters of the operas in individual chapters. Original German text published in 6976.