Analyzing Wagner's Operas: Alfred Lorenz and German by Stephen McClatchie

February 23, 2017 | Gothic Romance | By admin | 0 Comments

By Stephen McClatchie

The paintings of the Wagnerian theorist and analyst Alfred Lorenz (1869-1939) has had a profound effect upon either Wagnerian scholarship and song research within the 20th century, and but it hasn't ever been correctly evaluated. reading Wagner's Operas outlines the origins and improvement of the expressive aesthetic in writings through Wagner and others, in addition to in early-twentieth-century theories of musical shape, and it considers Lorenz's paintings and contributions during this gentle. The publication additionally hopes to teach, to the level attainable, the place Lorenz's paintings acted as a type of "musical metaphor" for German nationalist ideology through the Nazi period.

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Analyzing Wagner's Operas: Alfred Lorenz and German Nationalist Ideology (Eastman Studies in Music)

The paintings of the Wagnerian theorist and analyst Alfred Lorenz (1869-1939) has had a profound effect upon either Wagnerian scholarship and song research within the 20th century, and but it hasn't ever been correctly evaluated. examining Wagner's Operas outlines the origins and improvement of the expressive aesthetic in writings via Wagner and others, in addition to in early-twentieth-century theories of musical shape, and it considers Lorenz's paintings and contributions during this mild.

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GS IX: 105106. 17. Friedrich Nietzsche, The Birth of Tragedy, in Basic Writings of Nietzsche, ed. and trans. Walter Kaufmann (New York: Modern Library, 1968), 82. 18. , 119. 19. , 129. 20. , 12627. , Music in European Thought 18511912 (Cambridge: Cambridge University Press, 1988), 99. 21. Carl Dahlhaus, The Idea of Absolute Music, trans. Roger Lustig (Chicago: University of Chicago Press, 1989), 33. < previous page page_32 next page > < previous page page_33 next page > Page 33 terms as Schopenhauer and Wagner: as an absolute, as "essence" itself (whether this be called Ding an sich, will, or the Dionysian).

Nietzsche's book, which contains a "Preface to Richard Wagner," posits an eternal opposition between what he terms the Apollinian and the Dionysian, and argues that the power of Greek tragedy lay in its cultivation of the latter principle. The Dionysian, which Nietzsche describes in terms of intoxication and rapture, is equated with Schopenhauer's will. It is irrational, extralinguistic, and emotional; in short, musical. "19 In making this point, he appeals to those who, immediately related to music, have in it, as it were, their motherly womb, and are related to things almost exclusively through unconscious musical relations.

22 Nietzsche was heavily under the influence of Wagner during the time in which he wrote Die Geburt der Tragödie, and indeed discussed many of the central concepts of the book with him. Unquestionably, he was familiar with Wagner's prose writings in general, and with Beethoven in particular, as this latter work transmits Wagner's aesthetic attitudes during the period of his initial acquaintance with Nietzsche. " In many ways, it is quite reactionary: an 22. Nietzsche, Birth of Tragedy, 128 (also Bujić, 100).

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