- published: 04 Jul 2011
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- author: Fledermaus1990
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Bavaria
Bavaria, formally the Free State of Bavaria (German: Freistaat Bayern, pronounced [ˈfʁaɪʃtaːt ˈbaɪ.ɐn] (
listen)), is a state of Germany, located in the southeast of Germany. With an area of 70,548 square kilometres (27,200 sq mi), it is the largest state by area, forming almost 20% of the total land area of Germany. Bavaria is Germany's second most populous state (after North Rhine-Westphalia), with 12.5 million inhabitants, more than any of the three sovereign states on its borders. Bavaria's capital is Munich.
One of the oldest states of Europe, it was established as a duchy in the mid first millennium. In the 17th century, the Duke of Bavaria became a Prince-elector of the Holy Roman Empire. The Kingdom of Bavaria existed from 1806 to 1918, and Bavaria has since been a free state (republic). Modern Bavaria also includes parts of the historical regions of Franconia and Swabia.
The Bavarians emerged in a region north of the Alps, originally inhabited by the Gauls, which had been part of the Roman provinces of Raetia and Noricum. The Bavarians spoke Old High German but, unlike other Germanic groups, probably did not migrate from elsewhere. Rather, they seem to have coalesced out of other groups left behind by Roman withdrawal late in the 5th century. These peoples may have included the Celtic Boii, some remaining Romans, Marcomanni, Allemanni, Quadi, Thuringians, Goths, Scirians, Rugians, Heruli. The name "Bavarian" ("Baiuvarii") means "Men of Baia" which may indicate Bohemia, the homeland of the Celtic Boii and later of the Marcomanni. They first appear in written sources c. 520. Saint Boniface completed the people's conversion to Christianity in the early-8th century. Bavaria was, for the most part, unaffected by the Protestant Reformation.
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Bayreuth Festival
The Bayreuth Festival (German: Bayreuther Festspiele) is a music festival held annually in Bayreuth, Germany, at which performances of operas by the 19th century German composer Richard Wagner are presented. Wagner himself conceived of and promoted the idea of a special festival to showcase his own works, in particular his monumental cycle Der Ring des Nibelungen and Parsifal.
Performances take place in a specially designed theatre, the Bayreuth Festspielhaus. Wagner personally supervised the design and construction of the theatre, which contained many architectural innovations to accommodate the huge orchestras for which Wagner wrote as well as the composer's particular vision about the staging of his works. The Festival has become a pilgrimage destination for Wagner enthusiasts, who often must wait years to obtain tickets.
The origins of the Festival itself lie rooted in Richard Wagner's interest in establishing his financial independence. A souring of the relationship with his patron, Ludwig II of Bavaria, led to his expulsion from Munich, where he had originally intended to launch the festival. Wagner next considered Nuremberg, which would have reinforced the thematic significance of works such as Die Meistersinger. On the advice of Hans Richter, however, the focus fell upon Bayreuth which enjoyed three distinct advantages.
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Brühl (Leipzig)
The
Brühl (help·info) is a street in Leipzig, Germany, just within the limits of the former city wall.
On the corner of the Brühl and Katharinestrasse stands the Romanus house, built for the mayor of Leipzig between 1701 and 1704, and one of the finest baroque buildings remaining in the town.
In the late 18th century and early 19th century, the Brühl was part of the Jewish quarter of the city.
The Brühl retained Jewish connections into the 20th century. The street was the centre of the World fur trade. Chaim Eitingon, the Russian-born 'king of the fur trade', opened a branch there in 1893, and in the 1920s the street represented one-third of the world trade in furs.
Only 4.2% of Leipzigers as a whole worked in the fur industry, but 8.7% of Jewish Leipzigers did. The Brühl was an emblem of Jewish economic activity in Leipzig, and of the city as a whole
In 1938, under the Nazi government, 'the entire Brühl district changed hands, as fur firms — the pinnacle of Jewish commerce in the city, along with the department stores — were stolen from their owners.
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German Confederation
The German Confederation (German: Deutscher Bund) was the loose association of Central European states created by the Congress of Vienna in 1815 to coordinate the economies of separate German-speaking countries. It acted as a buffer between the powerful states of Austria and Prussia. Britain approved of it because London felt that there was need for a stable, peaceful power in central Europe that could discourage aggressive moves by France or Russia. According to Lee (1985), most historians have judged the Confederation to be weak and ineffective, as well as an obstacle to German nationalist aspirations. It collapsed due to the rivalry between Prussia and Austria (known as German dualism), warfare, the 1848 revolution, and the inability of the multiple members to compromise.
In 1848, revolutions by liberals and nationalists were a failed attempt to establish a unified German state. Talks between the German states failed in 1848, and the confederation briefly dissolved but was re-established in 1850.
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German Empire
The German Empire (German: Deutsches Kaiserreich) is the common name given to the state officially named the Deutsches Reich (literally: "German Realm"), designating Germany from the unification of Germany and proclamation of Wilhelm I as German Emperor on 18 January 1871, to 1918, when it became a federal republic after defeat in World War I and the abdication of the Emperor, Wilhelm II.
The German Empire consisted of 27 constituent territories (most of them ruled by royal families). While the Kingdom of Prussia contained most of the population and most of the territory of the Reich; the Prussian leadership became supplanted by German leaders and Prussia itself played a lesser role. As Dwyer (2005) points out, Prussia's "political and cultural influence had diminished considerably" by the 1890s. Its three largest neighbors were rivals Imperial Russia to the east and France to the west and ally Austria-Hungary to the south.
After 1850, Germany industrialized rapidly, with a foundation in coal, iron (and later steel), chemicals and railways. From a population of 41 million people in 1871, it grew to 68 million in 1913. From a heavily rural nation in 1815, it was now predominantly urban. During its 47 years of existence, the German Empire operated as an industrial, technological and scientific giant, receiving more Nobel Prizes in science than Britain, France, Russia and the United States combined.
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Gewandhaus
Gewandhaus is a concert hall in Leipzig, Germany, the home of the Leipzig Gewandhaus Orchestra. Today's hall is the third to bear this name; like the second, it is noted for its fine acoustics.
First Gewandhaus (1781).
Second Gewandhaus (1884).
Third Gewandhaus (1981).
Coordinates: 51°20′16″N 12°22′50″E / 51.33778°N 12.38056°E / 51.33778; 12.38056
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Kingdom of Saxony
The Kingdom of Saxony (German: Königreich Sachsen), lasting between 1806 and 1918, was an independent member of a number of historical confederacies in Napoleonic through post-Napoleonic Germany. From 1871 it was part of the German Empire. It became a Free state in the era of Weimar Republic in 1918 after the end of World War I and the abdication of King Frederick Augustus III of Saxony. Its capital was the city of Dresden, and its modern successor state is the Free State of Saxony.
Before 1806 Saxony was part of the Holy Roman Empire, a thousand-year-old entity which had once aspired to be a single state, but had become highly decentralised over the centuries. The rulers of Electorate of Saxony had held the title of elector for several centuries. When the Holy Roman Empire was dissolved following the defeat of Emperor Francis II by Napoleon at the Battle of Austerlitz, the electorate was raised to the status of an independent kingdom with the support of France, then the dominant power in Central Europe. The last elector of Saxony became King Frederick Augustus I.
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Königsberg
Königsberg was the capital of East Prussia from the Late Middle Ages until 1945, and the easternmost large German city until it was conquered by the Soviet Union near the end of World War II. In 1946 the city was renamed Kaliningrad.
Historically, the official name was Königsberg in Preußen (abbreviated Königsberg i. Pr. (until 1936) and later Königsberg (Pr) (1936–1946)), Königsberg in Prussia, German pronunciation [ˈkʰøˑnɪçsbɛɐk], pronunciation (help·info)). Königsberg's literal meaning is 'King's Mountain'. Historically, several regional names were used for Königsberg. Its Latinised form was Regimontium Prussorum. In Modern Saxon or "Low German", a Germanic language spoken by many of its German inhabitants, the name was Königsbarg (local pronunciation: /ˈkʰeˑnɪçsbɒɐç/), mixing German König (nds. köning) with Low German barg (hill, mountain). Further names include Lithuanian: Karaliaučius; Polish: Królewiec and the modern Russian and current official name Калинингра́д, Kaliningrad).
Königsberg was founded in 1255 on the site of the ancient Old Prussian settlement Twangste by the Teutonic Knights during the Northern Crusades, and was named in honour of King Ottokar II of Bohemia. The city successively became the capital of their monastic state, the Duchy of Prussia, and East Prussia. The Baltic port developed into a German cultural center, being the residence of, among others, Simon Dach, Immanuel Kant, Käthe Kollwitz, E. T. A. Hoffmann, and David Hilbert, Agnes Miegel and Michael Wieck.
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London
London
i/ˈlʌndən/ is the capital city of England and the United Kingdom, the largest metropolitan area in the United Kingdom, and the largest urban zone in the European Union by most measures. Located on the River Thames, London has been a major settlement for two millennia, its history going back to its founding by the Romans, who named it Londinium. London's ancient core, the City of London, largely retains its square-mile mediaeval boundaries. Since at least the 19th century, the name London has also referred to the metropolis developed around this core. The bulk of this conurbation forms the London region and the Greater London administrative area, governed by the elected Mayor of London and the London Assembly.
London is a leading global city, with strengths in the arts, commerce, education, entertainment, fashion, finance, healthcare, media, professional services, research and development, tourism and transport all contributing to its prominence. It is the world's leading financial centre alongside New York City and has the fifth-largest city GDP in the world (and the largest in Europe). London has been described as a world cultural capital. It was the world's most visited city during 2011 and London Heathrow is the world's busiest airport by number of international passengers. London's 43 universities form the largest concentration of higher education in Europe. In 2012 London will become the first city to host the modern Summer Olympic Games three times.
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Opera
Opera (English plural: operas; Italian plural: opere) is an art form in which singers and musicians perform a dramatic work combining text (called a libretto) and musical score, usually in a theatrical setting. Opera incorporates many of the elements of spoken theatre, such as acting, scenery, and costumes and sometimes includes dance. The performance is typically given in an opera house, accompanied by an orchestra or smaller musical ensemble.
Opera is part of the Western classical music tradition. It started in Italy at the end of the 16th century (with Jacopo Peri's lost Dafne, produced in Florence around 1597) and soon spread through the rest of Europe: Schütz in Germany, Lully in France, and Purcell in England all helped to establish their national traditions in the 17th century. In the 18th century, Italian opera continued to dominate most of Europe, except France, attracting foreign composers such as Handel. Opera seria was the most prestigious form of Italian opera, until Gluck reacted against its artificiality with his "reform" operas in the 1760s. Today the most renowned figure of late 18th century opera is Mozart, who began with opera seria but is most famous for his Italian comic operas, especially The Marriage of Figaro, Don Giovanni, and Così fan tutte, as well as The Magic Flute, a landmark in the German tradition.
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Philadelphia
Philadelphia ( /ˌfɪləˈdɛlfiə/) is the largest city in the Commonwealth of Pennsylvania and the county seat of Philadelphia County, with which it is coterminous. The city is located in the Northeastern United States along the Delaware and Schuylkill rivers. It is the fifth-most-populous city in the United States, with a population of 1,526,006 as of the 2010 U.S. Census. Philadelphia is also the commercial, cultural, and educational center of the Delaware Valley, home to 6 million people and the country's fifth-largest metropolitan area. The Philadelphia metropolitan division consists of five counties in Pennsylvania and has a population of 4,008,994. Popular nicknames for Philadelphia are Philly and The City of Brotherly Love, the latter of which comes from the literal meaning of the city's name in Greek (Greek: Φιλαδέλφεια ([pʰilaˈdelpʰeːa], Modern Greek: [filaˈðelfia]) "brotherly love", compounded from philos (φίλος) "loving", and adelphos (ἀδελφός) "brother").
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Riga
Riga (Latvian: Rīga, pronounced [riːɡa] ( listen)) is the capital and largest city of Latvia. With 657,424 inhabitants ( 2011) Riga is the largest city of the Baltic states, one of the largest cities in Northern Europe and home to more than one third of Latvia's population. The city is an important seaport and a major industrial, commercial, cultural and financial centre of the Baltic Sea region.[citation needed] The city lies on the Gulf of Riga, at the mouth of the river Daugava. Riga's territory covers 307.17 km2 (118.60 sq mi) and lies between 1 and 10 metres (3.3 and 33 ft) above sea level, on a flat and sandy plain.
Riga was founded in 1201 and is a former Hanseatic League member. Riga's historical centre is a UNESCO World Heritage Site, noted for its Art Nouveau/Jugendstil architecture and 19th century wooden architecture. The city will be the European Capital of Culture in 2014, along with Umeå in Sweden. The city hosted the 2006 NATO Summit, the Eurovision Song Contest 2003 and the 2006 IIHF Men's World Ice Hockey Championships. It is home to the European Union's office of European Regulators for Electronic Communications (BEREC). Riga is served by Riga International Airport, the largest airport in the Baltic states.
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Slovenia
Slovenia (i/sloʊˈviːniə/ sloh-VEE-nee-ə, Slovene: Slovenija), officially the Republic of Slovenia (Republika Slovenija, [reˈpublika sloˈveːnija]) is a Slavic nation state, situated in South-Central Europe, at the crossroad of main European cultural and trade routes. It borders Italy to the west, Austria to the north, Croatia to the south and southeast, and Hungary to the northeast. It covers 20,273 square kilometres (7,827 sq mi) and has a population of 2.05 million. It is a parliamentary republic, member of the European Union and NATO. Relative to its geography, history, economy, culture, and language, it is a very diverse country distinguished by a transitional character. It is characterised by a high economic and social level. Its capital and largest city is Ljubljana.
The territory of Slovenia is mainly hilly or mountainous and has an exceptionally high landscape and biological diversity and a mosaic structure, which are a result of natural attributes and the long-lasting presence of humans. Four major European geographic units interweave here: the Alps, the Dinaric Alps, the Mediterranean, with a small portion of coastline along the Adriatic Sea, and the Pannonian Plain. The climate is temperate and significantly influenced by the variety of territory, with a strong interaction of the continental climate, the sub-Mediterranean climate and Alpine climate across most of the country. The country is one of the water-richest in Europe, with a dense river network, a rich aquifer system, and significant karstic underground watercourses. Over half of the territory is covered by forest.
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Tribschen
Tribschen (also seen as Triebschen) is a district of the city of Lucerne, in the Canton of Lucerne in central Switzerland.
Tribschen is best known today as the home of the German composer Richard Wagner from 30 March 1866 to 22 April 1872. When Wagner was obliged to leave Munich in March 1866, he moved to a spacious villa in Tribschen on a headland projecting into Lake Lucerne. It was while he was living here that Wagner completed the score of Die Meistersinger von Nürnberg, composed his "Emperor March" and the third act of Siegfried, and began Götterdämmerung.
It was also at Tribschen that he composed his Siegfried Idyll as a birthday gift to his second wife, Cosima, who had recently given birth to the couple's first legitimate child, a son Siegfried. The couple had had two children while Cosima was married to conductor Hans von Bülow. The Siegfried Idyll was performed for the first time on Christmas Eve, 24 December 1870 (Cosima's thirty-third birthday) by an ensemble of fifteen players (among them Richter, Ruhoff, Rauchenecker and Kahl) on the stairs of the villa. Today Wagner's villa at Tribschen is a museum.
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Venice
Venice (Italian: Venezia [veˈnɛttsja] (
listen), Venetian: Venexia [veˈnɛsja]; (Latin: Venetia) is a city in northeast Italy sited on a group of 118 small islands separated by canals and linked by bridges. It is located in the marshy Venetian Lagoon which stretches along the shoreline between the mouths of the Po and the Piave Rivers. Venice is renowned for the beauty of its setting, its architecture and its artworks. The city in its entirety is listed as World Heritage Site, along with its lagoon.
Venice is the capital of the Veneto region. In 2009, there were 270,098 people residing in Venice's comune (the population estimate of 272,000 inhabitants includes the population of the whole Comune of Venezia; around 60,000 in the historic city of Venice (Centro storico); 176,000 in Terraferma (the Mainland), mostly in the large frazioni of Mestre and Marghera; 31,000 live on other islands in the lagoon). Together with Padua and Treviso, the city is included in the Padua-Treviso-Venice Metropolitan Area (PATREVE) (population 1,600,000).
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Vienna
Vienna ( /viːˈɛnə/; German: Wien (help·info) [viːn]) is the capital and largest city of Austria and one of the nine states of Austria. Vienna is Austria's primary city, with a population of about 1.723 million (2.4 million within the metropolitan area, more than 25% of Austria's population), and is by far the largest city in Austria, as well as its cultural, economic, and political centre. It is the 9th-largest city by population in the European Union. Until the beginning of the 20th century it was the largest German speaking city in the world, and before the first world war and the splitting of the Austro-Hungarian empire the city had 2 million inhabitants. Vienna is host to many major international organizations, including the United Nations and OPEC. The city lies in the east of Austria and is close to the borders of the Czech Republic, Slovakia, and Hungary. These regions work together in a European Centrope border region. Along with nearby Bratislava, Vienna forms a metropolitan region with 3 million inhabitants. In 2001, the city centre was designated a UNESCO World Heritage Site.
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Wahnfried
Wahnfried was the name given by Richard Wagner to his villa in Bayreuth. The name is a German compound of Wahn (delusion, madness) and Fried(e), (peace, freedom).
The house was constructed from 1872 to 1874 after plans from Berlin architect Wilhelm Neumann. The front of the house shows Wagner's motto "Hier wo mein Wähnen Frieden fand – Wahnfried – sei dieses Haus von mir benannt." ("Here where my delusions have found peace, let this place be named Wahnfried.")
The grave of Richard Wagner and his wife Cosima lies on the grounds of Wahnfried. The house has been a museum since 1976. Visitors can take a walk in the remote Hofgarten, the baroque park of Bayreuth's New Castle, to where a path directly leads.
A stylized version of Villa Wahnfried was used for the sets of Stefan Herheim's new production of Parsifal at the Bayreuth Festival in 2008.
Coordinates: 49°56′28″N 11°34′56″E / 49.941111°N 11.582222°E / 49.941111; 11.582222
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Adam Müller
Adam Heinrich Müller (30 June 1779 – 17 January 1829) was a German publicist, literary critic, political economist, theorist of the state and forerunner of economic romanticism.
Müller was born in Berlin. It was intended that he should study Protestant theology, but from 1798 he devoted himself in Göttingen to the study of law, philosophy, and natural science. He was a student of Gustav Hugo. Returning to Berlin, he was persuaded by his friend Friedrich Gentz to take up political science. He had early formed a close intimacy with Gentz, his elder by 15 years; and this connection exercised an important influence both on his material circumstances and his mental development in after life. The two men differed widely in character and in their fundamental principles, but agreed, at least in their later period, in their practical political aims, and the friendship was only terminated by death.
Müller worked for some time as referendary in the Kurmärkische Kammer in Berlin. Müller's relations with the Junker party and his co-operation with them in their opposition to Hardenberg's reforms made any public employment in Prussia impossible for him. He travelled in Sweden and Denmark, spent about two years in Poland, and then went to Vienna, where he was converted to the Catholic faith on 30 April 1805. Through Gentz he became acquainted with Metternich, to whom he was useful in the preparation of state papers.
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Adam Oehlenschläger
Adam Gottlob Oehlenschläger (14 November 1779 – 20 January 1850) was a Danish poet and playwright. He introduced romanticism into Danish literature.
He was born in Vesterbro, then a suburb of Copenhagen, on November 14,1779. His father, a Schleswiger by birth, was at that time organist, and later became keeper, of the royal palace of Frederiksberg; he was a very brisk and cheerful man. The poet's mother, on the other hand, who was partly German by extraction, suffered from depression, which afterwards deepened into melancholy madness.
Oehlenschläger and his sister Sofia were allowed their own way throughout their childhood, and were taught nothing, except to read and write, until their twelfth year. At the age of nine, Oehlenschläger began to make fluent verses. Three years later, while walking in Frederiksberg Gardens, he attracted the notice of the poet Edvard Storm, and the result of the conversation was that he received a nomination to the college called Posterity's High School, an important institution of which Storm was the principal. Storm himself taught the class of Scandinavian mythology, and thus Oehlenschläger received his earliest bias towards the poetical religion of his ancestors.
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Adolf Hitler
Adolf Hitler (German: [ˈadɔlf ˈhɪtlɐ] ( listen); 20 April 1889 – 30 April 1945) was an Austrian-born German politician and the leader of the National Socialist German Workers Party (German: Nationalsozialistische Deutsche Arbeiterpartei (NSDAP), commonly referred to as the Nazi Party). He was chancellor of Germany from 1933 to 1945 and dictator of Nazi Germany (as Führer und Reichskanzler) from 1934 to 1945. Hitler is commonly associated with the rise of fascism in Europe, World War II, and the Holocaust.
A decorated veteran of World War I, Hitler joined the German Workers' Party, precursor of the Nazi Party, in 1919, and became leader of the NSDAP in 1921. In 1923, he attempted a coup d'état, known as the Beer Hall Putsch, in Munich. The failed coup resulted in Hitler's imprisonment, during which time he wrote his memoir, Mein Kampf (My Struggle). After his release in 1924, Hitler gained popular support by attacking the Treaty of Versailles and promoting Pan-Germanism, antisemitism, and anticommunism with charismatic oratory and Nazi propaganda. After his appointment as chancellor in 1933, he transformed the Weimar Republic into the Third Reich, a single-party dictatorship based on the totalitarian and autocratic ideology of Nazism. His aim was to establish a New Order of absolute Nazi German hegemony in continental Europe.
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Adolphe Adam
Adolphe Charles Adam (24 July 1803 – 3 May 1856) was a French composer and music critic. A prolific composer of operas and ballets, he is best known today for his ballets Giselle (1844) and Le corsaire (1856, his last work), his operas Le postillon de Lonjumeau (1836), Le toréador (1849) and Si j'étais roi (1852, often regarded as his finest work), and his Christmas carol "Minuit, chrétiens!" ("O Holy Night") (1847). Adam was also a noted teacher. Léo Delibes was among his pupils.
Adolphe Adam was born in Paris to Louis Adam (1758–1848), who was also a composer, as well a professor at the Paris Conservatoire. His mother was the daughter of a physician. As a child, Adolphe Adam preferred to improvise music on his own rather than study music seriously. He entered the Paris Conservatoire in 1821, where he studied organ and harmonium under the celebrated opera composer François-Adrien Boieldieu. Adam also played the triangle in the orchestra of the Conservatoire; however, he did not win the Prix de Rome and his father did not encourage him to pursue a music career.
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Alessandro Manzoni
Alessandro Francesco Tommaso Manzoni (7 March 1785 – 22 May 1873) was an Italian poet and novelist. He is famous for the novel The Betrothed (orig. Italian: I Promessi Sposi) (1827), generally ranked among the masterpieces of world literature. The novel is also a symbol of the Italian Risorgimento, both for its patriotic message and because it was a fundamental milestone in the development of the modern, unified Italian language.
Manzoni was born in Milan, Italy, on 7 March 1785. Pietro, his father, aged about fifty, belonged to an old family of Lecco, originally feudal lords of Barzio, in the Valsassina. The poet's maternal grandfather, Cesare Beccaria, was a well-known author, and his mother Giulia had literary talent as well. The young Alessandro spent his first two years of life in cascina Costa in Galbiate and he was wet-nursed by Caterina Panzeri, as attested by a memorial plate affixed in the place. In 1792 his parents broke their marriage and his mother began a relationship with the highbrow Carlo Imbonati, moving to England and later to Paris. For this reason, their son was brought up in several religious institutes. Alessandro Manzoni was a slow developer, and at the various colleges he attended he was considered a dunce. At fifteen, however, he developed a passion for poetry, and wrote two sonnets of considerable merit. Upon the death of his father in 1805, he joined the freethinking household of his mother at Auteuil, and spent two years mixing with the literary set of the so-called "ideologues", philosophers of the 18th-century school, among whom he made many friends, notably Claude Charles Fauriel. There too he imbibed the anti-Catholic creed of Voltairianism.
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Alex Ross
Nelson Alexander "Alex" Ross is an American comic book writer/artist known primarily for his painted interiors, covers and design work. He first rose to fame with the 1994 miniseries Marvels, on which he collaborated with writer Kurt Busiek for Marvel Comics. He has since done a variety of projects for both Marvel and DC Comics, such as the 1996 miniseries Kingdom Come, which Ross also co-wrote. Since then he has also done covers and character designs for Kurt Busiek's series, Astro City, and various projects for Dynamite Entertainment. His feature film work includes concept and narrative art for Spider-Man and Spider-Man 2, and DVD packaging art for the M. Night Shyamalan film, Unbreakable. He has also done covers for TV Guide, promotional artwork for the Academy Awards, packaging design for comic book tie-in video games, and his renditions of superheroes have been merchandised as action figures.
Ross' style has been said to exhibit "a Norman-Rockwell-meets-George-Pérez vibe", and has been praised for its realistic, human depictions of classic comic book characters. His rendering style, his attention to detail, and the perceived tendency of his characters to be depicted staring off into the distance in cover images has been satirized in Mad magazine. Because of the time it takes Ross to produce his art, he primarily serves as a plotter and/or cover artist. Comics Buyer's Guide Senior Editor Maggie Thompson, commenting on that publication's retirement of the Favorite Painter award from their CBG Fan Awards due to Ross' domination of that category, stated in 2010, "Ross may simply be the field's Favorite Painter, period. That's despite the fact that many outstanding painters are at work in today's comic books."
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Alexander Pushkin
Alexander Sergeyevich Pushkin (Russian: Алекса́ндр Серге́евич Пу́шкин, tr. Aleksandr Sergeyevich Pushkin; IPA: [ɐlʲɪˈksandr sʲɪˈrɡʲejɪvʲɪtɕ ˈpuʂkʲɪn] ( listen); 6 June [O.S. 26 May] 1799 – 10 February [O.S. 29 January] 1837) was a Russian author of the Romantic era who is considered by many to be the greatest Russian poet and the founder of modern Russian literature.
Born into the Russian nobility in Moscow, Pushkin published his first poem at the age of fifteen, and was widely recognized by the literary establishment by the time of his graduation from the Imperial Lyceum in Tsarskoye Selo.
While under the strict surveillance of the Tsar's political police and unable to publish, Pushkin wrote his most famous play, the drama Boris Godunov. His novel in verse, Eugene Onegin, was serialized between 1825 and 1832.
Notoriously touchy about his honour, Pushkin fought a total of twenty-nine duels, and was fatally wounded in such an encounter with Georges-Charles de Heeckeren d'Anthès. D'Anthès, a French officer serving with the Chevalier Guard Regiment, had been attempting to seduce the poet's wife, Natalya Pushkina. Pushkin's early death at the age of 37 is still regarded as a catastrophe for Russian literature.
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Alexandre Herculano
Alexandre Herculano de Carvalho e Araújo (born March 28, 1810 in Lisbon – died September 13, 1877 in Santarém), was a Portuguese novelist and historian.
Herculano's family had humble origins. One of his grandfathers was a foreman stonemason in the royal employ. Herculano received his early education, comprising Latin, logic and rhetoric, at the Necessidades Monastery, and spent a year at the Royal Marine Academy studying mathematics with the intention of entering on a commercial career. In 1828 Portugal fell under the absolute rule of D. Miguel, and Herculano, becoming involved in the unsuccessful military pronunciamento of August 1831, had to leave Portugal clandestinely and take refuge in England and France. In 1832 he accompanied the Liberal expedition to Terceira Island as a volunteer, and was one of D. Pedro's famous army of 7500 men who landed at the Mindelo and occupied Oporto. He took part in all the actions of the great siege, and at the same time served as a librarian in the city archives. He published his first volume of verses, A Voz de Propheta, in 1832, and two years later another entitled A Harpa do Crente.
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Almeida Garrett
João Baptista da Silva Leitão de Almeida Garrett, Viscount of Almeida Garrett (February 4, 1799 – December 9, 1854) was a Portuguese poet, playwright, novelist and politician. He is considered to be the introducer of the Romanticism in Portugal. He is regarded as one of history's greatest romantics and a true revolutionary and humanist.
Garrett was born João Leitão da Silva in Porto, the son of António Bernardo da Silva Garrett (1740–1834), a Fidalgo of the Royal Household and Knight of the Order of Christ whose mother was the daughter of an Irish father born in exile in France and an Italian mother born in Spain, and his wife (m. 1796) Ana Augusta de Almeida Leitão (b. Porto, c. 1770). At an early age, around 4 or 5 years old, Garrett changed his name to João Baptista da Silva Leitão, adding a name from his godfather and altering the order of his surnames.
In 1809, his family fled the second French invasion carried out by Soult's troops, seeking refuge in Angra do Heroísmo, Terceira Island, Azores. While in the Azores, he was taught by his uncle, Dom Frei Alexandre da Sagrada Família (Faial, Horta, May 22, 1737 – Terceira, Angra do Heroísmo, April 22, 1818), also a freemason, then the 25th Bishop of Angra (1816–1818) and former Bishop of Malaca and Timor; his two other uncles were Manuel Inácio da Silva Garrett, Archdeacon of Angra, and Inácio da Silva Garrett, also a clergyman of Angra. In childhood, his mulatto Brazilian nanny Rosa de Lima taught him some traditional stories that later influenced his work.
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Aloysius Bertrand
Louis-Jacques-Napoléon “Aloysius” Bertrand (20 April 1807 – 29 April 1841) was a French poet instrumental in the introduction of the prose poem into French literature and is credited with inspiring later Symbolist poets . He wrote a collection of poems entitled Gaspard de la nuit, after which composer Maurice Ravel wrote a suite of the same name, based on the poems "Scarbo", "Ondine", and "Le Gibet".
Bertrand was born in Ceva, Piedmont, Italy (then a part of Napoleonic France) and his family settled in Dijon in 1814. There he developed an interest in the Burgundian capital. His contributions to a local paper lead to recognition by Victor Hugo and Sainte-Beuve. He lived in Paris shortly with little success. He returned to Dijon and continued writing for local newspapers. Gaspard was sold in 1836 but it wasn't published until 1842 after his death of tuberculosis. The book was rediscovered by Charles Baudelaire and Stéphane Mallarmé. It is now considered a classic of poetic and fantastic literature. He died in Paris.
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André Gill
André Gill (17 October 1840—1 May 1885) was a French caricaturist. Born Louis-Alexandre Gosset de Guînes at Paris, the son of the Comte de Guînes and Sylvie-Adeline Gosset, he studied at this city's Academy of Fine Arts. He adopted the pseudonym André Gill in homage to his hero, James Gillray.[1] Gill began illustrating for Le Journal Amusant. Gill, however, became known for his work for the weekly four-sheet newspaper La Lune, edited by Francis Polo, in which he drew portraits for a series entitled The Man of the Day. He worked for La Lune from 1865 to 1868. When La Lune was banned, he worked for the periodical L'Éclipse from 1868 to 1876. Gill also drew for famous periodical Le Charivari.
Gill's style, subsequently much imitated, was noted for the enlargement of his subjects' heads, which sat upon undersized bodies. His caricatures, in the form of large hand-colored, lithographic portraits, were considered very accurate and not very cruel. Thus, many of Gill's famous contemporaries wished to be drawn by him. Gill drew portrait caricatures of Sarah Bernhardt, Otto von Bismarck, Émile Zola, Victor Hugo, Nadar, Giuseppe Garibaldi, Adelina Patti, Charles Dickens, and Richard Wagner.
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Antoine Wiertz
Antoine Joseph Wiertz (22 February 1806 – 18 June 1865) was a Belgian romantic painter and sculptor.
Born in Dinant from a relatively poor family, he entered the Antwerp art academy in 1820. Thanks to his protector Pierre-Joseph de Paul de Maibe, a member of the Second Chamber of the States-General, king William I of the Netherlands awarded an annual stipend to Wiertz from 1821 onwards. Between November 1829 and May 1832, he stayed in Paris, where he studied the old masters at the Louvre.
In 1828, Wiertz took part in the Grand Concours, also known as Concours de Rome, but came out only second. He landed the prestigious Prix de Rome only at his second attempt in 1832, which enabled him to go to Rome, where he resided from May 1834 until February 1837. Upon his return, he established himself in Liège with his mother.
During his stay in Rome, Wiertz worked on his first great work, Les Grecs et les Troyens se disputant le corps de Patrocle ("Greeks and Trojans fighting for the body of Patrocles", finished in 1836), on a subject borrowed from canto XVII of Homer's Iliad. It was exhibited in Antwerp in 1837, where it met with some success. Wiertz submitted the work for the Paris Salon of 1838, but it arrived too late and was refused.
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Anton Bruckner
Anton Bruckner (help·info) ((1824-09-04)4 September 1824 – 11 October 1896(1896-10-11)) was an Austrian composer known for his symphonies, masses, and motets. The first are considered emblematic of the final stage of Austro-German Romanticism because of their rich harmonic language, strongly polyphonic character, and considerable length. Bruckner's compositions helped to define contemporary musical radicalism, owing to their dissonances, unprepared modulations, and roving harmonies.
Unlike other musical radicals, such as Richard Wagner or Hugo Wolf who fit the enfant terrible mould, Bruckner showed extreme humility before other musicians, Wagner in particular. This apparent dichotomy between Bruckner the man and Bruckner the composer hampers efforts to describe his life in a way that gives a straightforward context for his music.
His works, the symphonies in particular, had detractors, most notably the influential Austrian critic Eduard Hanslick, and other supporters of Johannes Brahms, who pointed to their large size, use of repetition, and Bruckner's propensity to revise many of his works, often with the assistance of colleagues, and his apparent indecision about which versions he preferred. On the other hand, Bruckner was greatly admired by subsequent composers, including his friend Gustav Mahler, who described him as "half simpleton, half God".
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Anton Reicha
Anton (Antonín, Antoine) Reicha (Rejcha) (26 February 1770 – 28 May 1836) was a Bohemia-born, later naturalized French composer. A contemporary and lifelong friend of Beethoven, Reicha is now best remembered for his substantial early contribution to the wind quintet literature and his role as a teacher – his pupils included Franz Liszt and Hector Berlioz. Reicha was also an accomplished theorist and wrote several treatises on various aspects of composition. Some of his theoretical work dealt with experimental methods of composition, which he applied in a variety of works such as fugues and études for piano and string quartets.
Reicha was born in Prague into a family of a town piper. His father died when Reicha was just 10 months old, and his mother was uninterested in the boy's education. At the age of 10 the young composer ran away from home, and was subsequently raised and educated in music by his uncle Josef Reicha. When the family moved to Bonn, Josef secured for his nephew a place at the Hofkapelle, but for Reicha this was not enough. He studied composition secretly, against his uncle's wishes, and entered the University of Bonn in 1789. When Bonn was captured by the French in 1794, Reicha had to flee to Hamburg, where he made his living by teaching harmony and composition, and studied mathematics and philosophy. Between 1799 and 1801 he lived in Paris, trying to achieve recognition as an opera composer, without success. In 1801 he moved to Vienna, where he studied with Salieri and Albrechtsberger and produced his first important works. His life was once again affected by war in 1808, when he had to leave Vienna. Reicha settled in Paris, where he spent the rest of his life teaching composition; in 1818 he was appointed professor at the Conservatoire.
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Antoni Malczewski
Antoni Malczewski (3 June 1793 – 2 May 1826) was an influential Polish romantic poet, known for his only work, "a narrative poem of dire pessimism", Maria (1825).
At the times, prominent and scandalizing was his autodestructive romance with married woman, Zofia Rucińska, who suffered from mental illness.
Malczewski was born to a wealthy family in either Volhynia or Warsaw, and attended school in Krzemieniec (modern-day Kremenets, Ukraine), but did not graduate. He joined the army of the short-lived Duchy of Warsaw during the Napoleonic Wars in 1811, and remained in the army of Congress Poland under Emperor Alexander from 1815. He was wounded in the foot in a duel in 1816 and so had to leave the army.
After leaving the army, he spent several years traveling through western Europe, staying some time in Paris, climbing Mont Blanc in 1818, and spending a good portion of his inherited fortune. He returned to his estate in Volhynia in 1821, where he began an ill-fated affair with a married woman and began writing. He moved to Warsaw in 1824, where he published the poetic novel Maria at his own expense in 1825, and died in poverty the next year in unclear circumstances.
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Arno Breker
Arno Breker (July 19, 1900 – February 13, 1991) was a German sculptor, best known for his public works in Nazi Germany, which were endorsed by the authorities as the antithesis of degenerate art.
He was born in Elberfeld, now a part of Wuppertal and died in Düsseldorf.
Breker was born in Elberfeld, in the west of Germany, the son of stonemason Arnold Breker. He began to study architecture, along with stone-carving and anatomy. At age 20 he entered the Düsseldorf Academy of Arts where he concentrated on sculpture, studying under Hubert Netzer and Wilhelm Kreis. He first visited Paris in 1924, shortly before finishing his studies. There he met with Jean Cocteau, Jean Renoir, Pablo Picasso, Daniel-Henry Kahnweiler, and Alfred Flechtheim. In 1927 he moved to Paris, which he thereafter considered to be his home. He was quickly accepted by the art dealer Alfred Flechtheim. He also established close relationships with important figures in the art world, including Charles Despiau, Isamu Noguchi, Maurice de Vlaminck and André Dunoyer de Segonzac, all of whom he later portrayed. He travelled to North Africa, producing lithographs which he published under the title "Tunisian Journey". He also visited Aristide Maillol, who was later to describe Breker as "Germany's Michelangelo".
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Arnold Schoenberg
Arnold Schoenberg (help·info) (pronounced [ˈaːɐ̯nɔlt ˈʃøːnbɛɐ̯k]; 13 September 1874 – 13 July 1951) was an Austrian composer and painter, associated with the expressionist movement in German poetry and art, and leader of the Second Viennese School. He used the spelling Schönberg until after his move to the United States in 1934 (Steinberg 1995, 463), whereupon he altered it to Schoenberg "in deference to American practice" (Foss 1951, 401), though one writer claims he made the change a year earlier (Ross 2007, 45).
Schoenberg's approach, both in terms of harmony and development, is among the major landmarks of 20th-century musical thought; at least three generations of composers in the European and American traditions have consciously extended his thinking or, in some cases, passionately reacted against it. During the rise of the Nazi Party in Austria, his music was labeled, alongside jazz, as degenerate art[citation needed].
Schoenberg was widely known early in his career for his success in simultaneously extending the traditionally opposed German Romantic styles of Brahms and Wagner. Later, his name would come to personify pioneering innovations in atonality (although Schoenberg himself detested the term "atonality" as inaccurate in describing his intentions) that would become the most polemical feature of 20th-century art music. In the 1920s, Schoenberg developed the twelve-tone technique, a widely influential compositional method of manipulating an ordered series of all twelve notes in the chromatic scale. He also coined the term developing variation, and was the first modern composer to embrace ways of developing motifs without resorting to the dominance of a centralized melodic idea.
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Arthur de Gobineau
Joseph Arthur Comte de Gobineau (14 July 1816, Ville-d'Avray, Hauts-de-Seine – 13 October 1882, Turin) was a French aristocrat, novelist and man of letters who became famous for developing the theory of the Aryan master race in his book An Essay on the Inequality of the Human Races (1853–1855). De Gobineau is credited as being the father of modern racial demography.
Gobineau's father was a government official and staunch royalist, and his mother, Anne-Louise Magdeleine de Gercy, was the daughter of a royal tax official. He was not, however, a nobleman, having added the 'count' to his name himself .
In the later years of the July Monarchy, Gobineau made his living writing serialized fiction (romans-feuilletons) and contributing to reactionary periodicals. He struck up a friendship and had voluminous correspondence with Alexis de Tocqueville, who brought him into the foreign ministry while he was foreign minister during the Second Republic.
Gobineau was a successful diplomat for the Second French Empire. Initially he was posted to Persia, before working in Brazil and other countries.
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Arthur Rackham
Arthur Rackham (19 September 1867 – 6 September 1939) was an English book illustrator.
Rackham was born in London as one of 12 children. At the age of 18, he worked as a clerk at the Westminster Fire Office and began studying part-time at the Lambeth School of Art.
In 1892 he left his job and started working for The Westminster Budget as a reporter and illustrator. His first book illustrations were published in 1893 in To the Other Side by Thomas Rhodes, but his first serious commission was in 1894 for The Dolly Dialogues, the collected sketches of Anthony Hope, who later went on to write The Prisoner of Zenda. Book illustrating then became Rackham's career for the rest of his life.
In 1903 he married Edyth Starkie, with whom he had one daughter, Barbara, in 1908. Rackham won a gold medal at the Milan International Exhibition in 1906 and another one at the Barcelona International Exposition in 1912. His works were included in numerous exhibitions, including one at the Louvre in Paris in 1914. Arthur Rackham died in 1939 of cancer in his home in Limpsfield, Surrey.
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Arthur Schopenhauer
Arthur Schopenhauer (22 February 1788 – 21 September 1860) was a German philosopher known for his pessimism and philosophical clarity. At age 25, he published his doctoral dissertation, On the Fourfold Root of the Principle of Sufficient Reason, which examined the four separate manifestations of reason in the phenomenal world.
Schopenhauer's most influential work, The World as Will and Representation, claimed that the world is fundamentally what humans recognize in themselves as their will. His analysis of will led him to the conclusion that emotional, physical, and sexual desires can never be fully satisfied. The corollary of this is an ultimately painful human condition. Consequently, he considered that a lifestyle of negating desires, similar to the ascetic teachings of Vedanta, Buddhism and the Church Fathers of early Christianity, was the only way to attain liberation.
Schopenhauer's metaphysical analysis of will, his views on human motivation and desire, and his aphoristic writing style influenced many well-known thinkers, including Friedrich Nietzsche,Richard Wagner, Ludwig Wittgenstein, Erwin Schrödinger, Albert Einstein,Sigmund Freud, Otto Rank, Carl Jung, Joseph Campbell, Leo Tolstoy, Thomas Mann, and Jorge Luis Borges.
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Arthurian
King Arthur is a legendary British leader of the late 5th and early 6th centuries, who, according to medieval histories and romances, led the defence of Britain against Saxon invaders in the early 6th century. The details of Arthur's story are mainly composed of folklore and literary invention, and his historical existence is debated and disputed by modern historians. The sparse historical background of Arthur is gleaned from various sources, including the Annales Cambriae, the Historia Brittonum, and the writings of Gildas. Arthur's name also occurs in early poetic sources such as Y Gododdin.
The legendary Arthur developed as a figure of international interest largely through the popularity of Geoffrey of Monmouth's fanciful and imaginative 12th-century Historia Regum Britanniae (History of the Kings of Britain). Some Welsh and Breton tales and poems relating the story of Arthur date from earlier than this work; in these works, Arthur appears either as a great warrior defending Britain from human and supernatural enemies or as a magical figure of folklore, sometimes associated with the Welsh Otherworld, Annwn. How much of Geoffrey's Historia (completed in 1138) was adapted from such earlier sources, rather than invented by Geoffrey himself, is unknown.
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Aubrey Beardsley
Aubrey Vincent Beardsley (21 August 1872 – 16 March 1898) was an English illustrator and author. His drawings in black ink, and influenced by the style of Japanese woodcuts, emphasized the grotesque, the decadent, and the erotic. He was a leading figure in the Aesthetic movement which also included Oscar Wilde and James A. McNeill Whistler. Beardsley's contribution to the development of the Art Nouveau and poster styles was significant, despite the brevity of his career before his early death from tuberculosis.
Beardsley was born in Brighton, England, on 21 August 1872, and christened on 24 Oct 1872. His father, Vincent Paul Beardsley (1839–1909), was the son of a tradesman; Vincent had no trade himself, however, and instead relied on a private income from an inheritance that he received from his maternal grandfather when he was twenty-one years of age. Vincent's wife, Ellen Agnus Pitt (1846–1932), was the daughter of Surgeon-Major William Pitt of the Indian Army. The Pitts were a well-established and respected family in Brighton, and Beardsley's mother married a man of lesser social status than might have been expected. Soon after their wedding, Vincent was obliged to sell some of his property in order to settle a claim for his "breach of promise" from another woman who claimed that he had promised to marry her. At the time of his birth, Beardsley's family, which included his sister Mabel who was one year older, were living in Ellen's familial home at 12 Buckingham Road.
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Bedřich Smetana
Bedřich Smetana (Czech pronunciation: [ˈbɛdr̝ɪx ˈsmɛtana] ( listen); 2 March 1824 – 12 May 1884) was a Czech composer who pioneered the development of a musical style which became closely identified with his country's aspirations to independent statehood. He is thus widely regarded in his homeland as the father of Czech music. Internationally he is best known for his opera The Bartered Bride, for the symphonic cycle Má vlast ("My Fatherland") which portrays the history, legends and landscape of the composer's native land, and for his First String Quartet From My Life.
Smetana was naturally gifted as a pianist, and gave his first public performance at the age of six. After his conventional schooling, he studied music under Josef Proksch in Prague. His first nationalistic music was written during the 1848 Prague uprising, in which he briefly participated. After failing to establish his career in Prague, he left for Sweden, where he set up as a teacher and choirmaster in Gothenburg, and began to write large-scale orchestral works. During this period of his life Smetana was twice married; of six daughters, three died in infancy.
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Bettina von Arnim
Bettina von Arnim (the Countess of Arnim) (4 April 1785, Frankfurt am Main – 20 January 1859, Berlin), born Elisabeth Catharina Ludovica Magdalena Brentano, was a German writer and novelist.
Bettina (as well: Bettine) Brentano was a writer, publisher, composer, singer, visual artist, an illustrator, patron of young talent, and a social activist. She was the archetype of the Romantic era’s zeitgeist and the crux of many creative relationships of canonical artistic figures. Best known for the company she kept, she numbered among her closest friends Goethe, Beethoven, and Pückler and tried to foster artistic agreement among them. Many leading composers of the time, including Robert Schumann, Franz Liszt, Johanna Kinkel, and Johannes Brahms, admired her spirit and talents. As a composer, von Arnim's style was unconventional, molding and melding favorite folk melodies and historical themes with innovative harmonies, phrase lengths, and improvisations that became synonymous with the music of the era.
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Brothers Grimm
The Brothers Grimm (German: Brüder Grimm or Die Gebrüder Grimm), Jakob Grimm (January 4, 1785 – September 20, 1863) and Wilhelm Grimm (February 24, 1786 – December 16, 1859), were German academics, linguists, cultural researchers, and authors who together collected folklore. They are among the most well-known storytellers of European folk tales, and their work popularized such stories as "Cinderella", "The Frog Prince" (Der Froschkönig), "Hansel and Gretel" (Hänsel und Gretel), "Rapunzel", "Rumpelstiltskin" (Rumpelstilzchen), and "Snow White" (Schneewittchen). Their first collection of folk tales, Children's and Household Tales (Kinder- und Hausmärchen), was published in 1812.
The brothers spent their formative years first in the German town of Hanau and then in Steinau. Their father's death in 1796, about a decade into their lives, caused great poverty for the family and affected the brothers for many years. They attended the University of Marburg where historian and jurist Friedrich von Savigny spurred their interest in philology and Germanic studies—a field in which they are now considered pioneers—and at the same time developed a curiosity for folklore, which grew into a life-long dedication to collecting German folk tales.
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Bryan Magee
Bryan Edgar Magee (born 12 April 1930) is a noted British broadcaster, politician, poet, and author, best known as a popularizer of philosophy.
Born of working class parents in Hoxton, Magee was close to his father, but had a difficult relationship with his abusive and overbearing mother. An evacuee during World War II, he was educated at Christ's Hospital school on a London County Council scholarship. During this formative period, he developed a keen interest in socialist politics, while during the school holidays he enjoyed listening to political orators at Speakers' Corner, Hyde Park, London as well as regular visits to the theatre and concerts. During his National Service he served in the Army and in the Intelligence Corps seeking possible spies among the refugees crossing the border between Yugoslavia and Austria. After demobilisation he won a scholarship to Keble College, Oxford where he read History as an undergraduate and then Philosophy, Politics and Economics in one year. Friends at Oxford included Robin Day, William Rees-Mogg, Jeremy Thorpe and Michael Heseltine. While at university, Magee was elected president of the Oxford Union. He spent a year studying philosophy at Yale University on a post-graduate fellowship. He is an honorary fellow at Keble College, Oxford.
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Buddhist
Buddhism is a religion and philosophy indigenous to the Indian subcontinent and encompasses a variety of traditions, beliefs, and practices largely based on teachings attributed to Siddhartha Gautama, who is commonly known as the Buddha (meaning "the awakened one" in Sanskrit and Pāli). The Buddha lived and taught in the eastern part of Indian subcontinent some time between the 6th and 4th centuries BCE. He is recognized by Buddhists as an awakened or enlightened teacher who shared his insights to help sentient beings end ignorance (avidyā), craving (taṇhā), and suffering (dukkha), by recognizing dependent origination and sunyata, and attain Nirvana.
Two major branches of Buddhism are recognized: Theravada ("The School of the Elders") and Mahayana ("The Great Vehicle"). Theravada has a widespread following in Sri Lanka and Southeast Asia. Mahayana is found throughout East Asia and includes the traditions of Pure Land, Zen, Nichiren Buddhism, Tibetan Buddhism, Shingon, Tiantai (Tendai) and Shinnyo-en. In some classifications, Vajrayana—practiced mainly in Tibet and Mongolia, and adjacent parts of China and Russia—is recognized as a third branch, while others classify it as a part of Mahayana. There are other categorisations of these three Vehicles or Yanas.
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Carl Dahlhaus
Carl Dahlhaus (June 10, 1928–March 13, 1989), a musicologist from (West) Berlin, was one of the major contributors to the development of musicology as a scholarly discipline during the post-war era.
Dahlhaus was born in Hanover. His education was interrupted by the Second World War where he served on the front and as an anti-aircraft auxiliary. He completed school exams through a special program designed for those engaged in combat. He showed an interest in banned literature and was exceptionally well read. After the war, he first studied law, later musicology at the University of Göttingen and Freiburg_im_Breisgau. His thesis at Göttingen in 1953 concerned the masses of Josquin. In the 1950s he was a co-founder of the Darmstadt new music festival. After a period as a dramaturg at the German Theater in Göttingen from 1950 to 1958, a job obtained on the recommendation of Berthold Brecht, he became musical editor of the Stuttgarter Zeitung, a newspaper, from 1960-1962. From 1962 to 1966 he served as a research assistant at the state musical research center at the University of Kiel. He earned a professorial grade from that university where he investigated the origins of harmonic tonality. In 1967 was hired as professor in music history at the Berlin Institute of Technology.
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Carl Maria von Weber
Carl Maria Friedrich Ernst von Weber (18 or 19 November 1786 – 4–5 June 1826) was a German composer, conductor, pianist, guitarist and critic, one of the first significant composers of the Romantic school.
Weber's operas Der Freischütz, Euryanthe and Oberon greatly influenced the development of the Romantic opera in Germany. Der Freischütz came to be regarded as the first German "nationalist" opera, Euryanthe developed the Leitmotiv technique to a hitherto-unprecedented degree, while Oberon anticipated Mendelssohn's music for A Midsummer Night's Dream and, at the same time, revealed Weber's lifelong interest in the music of non-Western cultures. This interest was first manifested in Weber's incidental music for Schiller's translation of Gozzi's Turandot, for which he used a Chinese melody, making him the first Western composer to use an Asian tune that was not of the pseudo-Turkish kind popularized by Mozart and others.
A brilliant pianist himself, Weber composed four sonatas, two concertos and the Konzertstück (Concert Piece) in F minor, which influenced composers such as Chopin, Liszt and Mendelssohn. The Konzertstück provided a new model for the one-movement concerto in several contrasting sections (such as Liszt's, who often played the work), and was acknowledged by Stravinsky as the model for his Capriccio for Piano and Orchestra. Weber's shorter piano pieces, such as the Invitation to the Dance, was later orchestrated by Berlioz, while his Polacca Brillante was later orchestrated by Liszt.
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Charles Baudelaire
Charles Pierre Baudelaire (French: [ʃaʁl bodlɛʁ]; April 9, 1821 – August 31, 1867) was a French poet who produced notable work as an essayist, art critic, and pioneering translator of Edgar Allan Poe. His most famous work, Les Fleurs du mal (The Flowers of Evil), expresses the changing nature of beauty in modern, industrializing Paris during the 19th century. Baudelaire's highly original style of prose-poetry influenced a whole generation of poets including Paul Verlaine, Arthur Rimbaud and Stéphane Mallarmé among many others. He is credited with coining the term "modernity" (modernité) to designate the fleeting, ephemeral experience of life in an urban metropolis, and the responsibility art has to capture that experience.
Baudelaire is one of the major innovators in French literature. His poetry is influenced by the French romantic poets of the earlier 19th century, although its attention to the formal features of verse connect it more closely to the work of the contemporary 'Parnassians'. As for theme and tone, in his works we see the rejection of the belief in the supremacy of nature and the fundamental goodness of man as typically espoused by the romantics and expressed by them in rhetorical, effusive and public voice in favor of a new urban sensibility, an awareness of individual moral complexity, an interest in vice (linked with decadence) and refined sensual and aesthetical pleasures, and the use of urban subject matter, such as the city, the crowd, individual passers-by, all expressed in highly ordered verse, sometimes through a cynical and ironic voice. Formally, the use of sound to create atmosphere, and of 'symbols', (images which take on an expanded function within the poem), betray a move towards considering the poem as a self-referential object, an idea further developed by the Symbolists Verlaine and Mallarmé, who acknowledge Baudelaire as a pioneer in this regard.
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Clara Schumann
Clara Schumann (née Clara Josephine Wieck; 13 September 1819 – 20 May 1896) was a German musician and composer, considered one of the most distinguished pianists of the Romantic era. She exerted her influence over a 61-year concert career, changing the format and repertoire of the piano recital and the tastes of the listening public. Her husband was the composer Robert Schumann. She and her husband encouraged Johannes Brahms, and she was the first pianist to give public performances of some of Brahms' works, notably the Variations and Fugue on a Theme by Handel.
Clara Josephine Wieck was born in Leipzig on 13 September 1819 to Friedrich and Marianne Wieck (née Tromlitz). Her parents divorced when she was four years old; Clara was raised by her father. One of her father's students would scare Clara and dress up as ghosts but when she was older, she married him. In March 1828, at the age of eight, the young Clara Wieck performed at the Leipzig home of Dr. Ernst Carus, director of a mental hospital at Colditz Castle, and met another gifted young pianist invited to the musical evening named Robert Schumann, nine years older than her. Schumann admired Clara's playing so much that he asked permission from his mother to discontinue his studies of the law, which had never interested him much, and take music lessons with Clara's father, Friedrich Wieck. While taking lessons, he took rooms in the Wieck household, staying about a year.
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Claude Debussy
Claude-Achille Debussy (French pronunciation: [klod aʃil dəbysi]) (22 August 1862 – 25 March 1918) was a French composer. Along with Maurice Ravel, he was one of the most prominent figures working within the field of impressionist music, though he himself intensely disliked the term when applied to his compositions. In France, he was made Chevalier of the Legion of Honour in 1903. A crucial figure in the transition to the modern era in Western music, he remains one of the most famous and influential of all composers.
His music is noted for its sensory component and for not often forming around one key or pitch. Often Debussy's work reflected the activities or turbulence in his own life. In French literary circles, the style of this period was known as symbolism, a movement that directly inspired Debussy both as a composer and as an active cultural participant.
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Clemens Brentano
Clemens Brentano, or Klemens Brentano (September 9, 1778 – July 28, 1842) was a German poet and novelist.
He was born in Ehrenbreitstein, near Koblenz, Germany. His sister was Bettina von Arnim, Goethe's correspondent. His father's family was of Italian descent. He studied in Halle and Jena, afterwards residing at Heidelberg, Vienna and Berlin. He was close to Wieland, Herder, Goethe, Friedrich Schlegel, Fichte and Tieck.
From 1798 to 1800 Brentano lived in Jena, the first center of the romantic movement. In 1801, he moved to Göttingen, and became a friend of Achim von Arnim. He married writer Sophie Mereau on 29 October 1803. In 1804, he moved to Heidelberg and worked with Arnim on Zeitungen für Einsiedler and Des Knaben Wunderhorn. After his wife Sophie died in 1806 he married a second time in 1807 to Auguste Busmann. In the years between 1808 and 1818, he lived mostly in Berlin, and from 1819 to 1824 in Dülmen, Westphalia.
In 1818, weary of his somewhat restless and unsettled life, he returned to the practice of the Catholic faith and withdrew to the monastery of Dülmen, where he lived for some years in strict seclusion. He took on there the position of secretary to the Catholic visionary nun, the Blessed Anne Catherine Emmerich, of whom it was said that, during the last twelve years of her life, she could eat no food except Holy Communion, nor take any drink except water, subsisting entirely on the Holy Eucharist.
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César Franck
César-Auguste-Jean-Guillaume-Hubert Franck (10 December 1822 – 8 November 1890) was a composer, pianist, organist, and music teacher who worked in Paris during his adult life.
He was born at Liège, in what is now Belgium (though at the time of his birth it was under the Netherlands' control). In that city he gave his first concerts in 1834. He studied privately in Paris from 1835, where his teachers included Anton Reicha. After a brief return to Belgium, and a disastrous reception to an early oratorio Ruth, he moved to Paris, where he married and embarked on a career as teacher and organist. He gained a reputation as a formidable improviser, and travelled widely in France to demonstrate new instruments built by Aristide Cavaillé-Coll.
In 1858 he became organist at Sainte-Clotilde, a position he retained for the rest of his life. He became professor at the Paris Conservatoire in 1872; he took French nationality, a requirement of the appointment. His pupils included Vincent d'Indy, Ernest Chausson, Louis Vierne, Charles Tournemire, Guillaume Lekeu, and Henri Duparc. After acquiring the professorship Franck wrote several pieces that have entered the standard classical repertoire, including symphonic, chamber, and keyboard works.
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D. H. Lawrence
David Herbert Richards Lawrence (11 September 1885 – 2 March 1930) was an English novelist, poet, playwright, essayist, literary critic and painter who published as D. H. Lawrence. His collected works represent an extended reflection upon the dehumanising effects of modernity and industrialisation. In them, Lawrence confronts issues relating to emotional health and vitality, spontaneity, and instinct.
Lawrence's opinions earned him many enemies and he endured official persecution, censorship, and misrepresentation of his creative work throughout the second half of his life, much of which he spent in a voluntary exile which he called his "savage pilgrimage." At the time of his death, his public reputation was that of a pornographer who had wasted his considerable talents. E. M. Forster, in an obituary notice, challenged this widely held view, describing him as, "The greatest imaginative novelist of our generation." Later, the influential Cambridge critic F. R. Leavis championed both his artistic integrity and his moral seriousness, placing much of Lawrence's fiction within the canonical "great tradition" of the English novel. Lawrence is now valued by many as a visionary thinker and significant representative of modernism in English literature.
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Daniel Auber
Daniel François Esprit Auber (French pronunciation: [daɲɛl fʁɑ̃swa ɛspʁi obɛːʁ]) (29 January 1782 – 12/13 May 1871) was a French composer.
The son of a Paris print-seller, Auber was born in Caen in Normandy. Though his father expected him to continue in the print-selling business, he also allowed his son to learn how to play several musical instruments. His first teacher was the Tirolean composer, Josef Alois Ladurner (1769–1851). At the age of 20 Auber was sent to London for business training, but he was obliged to leave England in 1804 when the Treaty of Amiens was breached.
Auber had already attempted musical composition, and at this period produced several concertos pour basse, modeled after violoncellist Lamarre, in whose name they were published. The praise given to his concerto for the violin, which was played at the Paris Conservatoire by Mazas, encouraged him to undertake a resetting of an old comic opera, Julie (1811). He also began to study with the renowned Luigi Cherubini.
In 1813 the unfavourable reception of his one-act debut opera Le Séjour militaire put an end for some years to his attempts as composer. But his failure in business, and the death of his father in 1819, compelled him once more to turn to music. He produced another opera, Le Testament et les billets-doux (1819), which was no better received than the former. But he persevered, and the next year was rewarded by the complete success of La Bergère châtelaine, an opera in three acts.
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David Cronenberg
David Paul Cronenberg, OC, FRSC (born March 15, 1943) is a Canadian filmmaker, screenwriter and actor. He is one of the principal originators of what is commonly known as the body horror or venereal horror genre. This style of filmmaking explores people's fears of bodily transformation and infection. In his films, the psychological is typically intertwined with the physical. In the first half of his career, he explored these themes mostly through horror and science fiction, although his work has since expanded beyond these genres. He has been called "the most audacious and challenging narrative director in the English-speaking world."
Born in Toronto, Canada, Cronenberg was the son of Esther (born Sumberg), a musician, and Milton Cronenberg, a writer and editor. His family has been described as "a nurturing middle class family." He began writing as a child and wrote constantly. He attended high school at Harbord Collegiate Institute. A keen interest in science, especially botany and lepidopterology, led him to enter the Honours Science program the University of Toronto in 1963, but he switched to Honors English Language and Literature later in his first year. Cronenberg's fascination with the film Winter Kept Us Warm (1966) by classmate David Secter sparked his interest in film. He began frequenting film camera rental houses, learning art of filmmaking and made two 16mm films (Transfer and From the Drain). Inspired by the New York underground film scene, he founded the Toronto Film Co-op with Iain Ewing and Ivan Reitman. After taking a year off to travel in Europe, he returned to Canada in 1967, graduating from University College at the top of his class.
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Dieter Borchmeyer
Dieter Borchmeyer (born 3 May 1941 in Essen) is a German literary critic.
Borchmeyer is Professor Emeritus of Modern German Literature (Neuere Deutsche Literatur) and Dramatic Theory (Theaterwissenschaft) at the University of Heidelberg, where he is currently Seniorprofessor. Borchmeyer is President of the Bavarian Academy of Fine Arts. His principal fields are German literature from the 18th to the 20th century and music theatre. He has published on Goethe, Schiller, Mozart and Richard Wagner.
Borchmeyer began his study of German studies and Catholic Theology in 1961 at the University of Munich. After gaining his doctorate in 1970 he taught from 1972 until 1979 at a Munich Gymnasium and simultaneously carried out teaching duties at the German Department of the University. After his Habilitation in 1979 he taught at the Universities of Erlangen and Würzburg. In 1982 he was called to the Professorship of Dramatic Theory at the University of Munich. Since 1988 he is Professor of Modern German Literature (Neuere Deutsche Literatur) and Dramatic Theory (Theaterwissenschaft) at the University of Heidelberg.
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E. T. A. Hoffmann
Ernst Theodor Wilhelm Hoffmann (24 January 1776 – 25 June 1822), better known by his pen name E. T. A. Hoffmann (Ernst Theodor Amadeus Hoffmann), was a German Romantic author of fantasy and horror, a jurist, composer, music critic, draftsman and caricaturist. He is the subject and hero of Jacques Offenbach's famous but fictitious opera The Tales of Hoffmann, and the author of the novelette The Nutcracker and the Mouse King, on which the famous ballet The Nutcracker is based. The ballet Coppélia is based on two other stories that Hoffmann wrote. Also Schumann's Kreisleriana is based on one of Hoffmann's characters.
Hoffmann's stories were very influential during the 19th century, and he is one of the major authors of the Romantic movement.
Hoffmann's ancestors, both maternal and paternal, were jurists. His father, Christoph Ludwig Hoffmann (1736–97) was a barrister in Königsberg, Prussia, and also a poet and amateur musician who played the viola da gamba. During 1767 he married his cousin Lovisa Albertina Doerffer (1748–96). Ernst Theodor Wilhelm, born on 24 January 1776, was the youngest of three children, of whom the second died in infancy.
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Edgar Allan Poe
Edgar Allan Poe (born Edgar Poe; January 19, 1809 – October 7, 1849) was an American author, poet, editor and literary critic, considered part of the American Romantic Movement. Best known for his tales of mystery and the macabre, Poe was one of the earliest American practitioners of the short story and is considered the inventor of the detective fiction genre. He is further credited with contributing to the emerging genre of science fiction. He was the first well-known American writer to try to earn a living through writing alone, resulting in a financially difficult life and career.
He was born as Edgar Poe in Boston, Massachusetts; he was orphaned young when his mother died shortly after his father abandoned the family. Poe was taken in by John and Frances Allan, of Richmond, Virginia, but they never formally adopted him. He attended the University of Virginia for one semester but left due to lack of money. After enlisting in the Army and later failing as an officer's cadet at West Point, Poe parted ways with the Allans. His publishing career began humbly, with an anonymous collection of poems, Tamerlane and Other Poems (1827), credited only to "a Bostonian".
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Edouard Dujardin
Édouard Dujardin (10 November 1861 – 31 October 1949) was a French writer, one of the early users of the stream of consciousness literary technique, exemplified by his 1888 novel Les Lauriers sont coupés.
Édouard Émile Louis Dujardin was born in Saint-Gervais-la-Forêt, Loir-et-Cher, and was the only child of Alphonse Dujardin, a sea captain. He was educated at the Lycée Pierre Corneille in Rouen.
Dujardin became editor of the journal Revue Indépendente in 1886, and it was in this journal that his first works were published. His association with this journal resulted in it being termed an "important voice for the symbolists" (Harry Ransom Humanities Research Center 2004).
When his parents died, Dujardin was the sole heir to their fortune, and he used some of this money to finance the plays Antonia in 1891 and Le Chevalier Du Passé in 1882.
His literary works are extensive and include numerous plays, poems and novels. Dujardin also produced works of literary and social criticism and reminiscence. James Joyce claimed his style of interior monologue owed its influence to works by Dujardin. He continued his involvement with journalism throughout his life and this resulted in numerous disputes with authorities, including charges of treason, though he was never convicted.
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Eduard Hanslick
Eduard Hanslick (11 September 1825 – 6 August 1904) was a Bohemian-Austrian music critic.
Hanslick was born in Prague, the son of Joseph Adolph Hanslick, a bibliographer and music teacher from a German-speaking family, and one of his piano pupils, the daughter of a Jewish merchant from Vienna. At the age of 18 Hanslick went to study music with Václav Tomášek, one of Prague's renowned musicians. He also studied law at Prague University and obtained a degree in that field, but his amateur study of music eventually led to writing music reviews for small town newspapers, then the Wiener Musik-Zeitung and eventually the Neue Freie Presse, where he was music critic until retirement. Whilst still a student, in 1845, he met with Richard Wagner in Marienbad; the composer, noting the young man's enthusiasm, invited him to Dresden to hear his opera Tannhäuser; here Hanslick also met with Robert Schumann.
In 1854 he published his influential book On the Beautiful in Music. By this time his interest in Wagner had begun to cool; he had written a disparaging review of the first Vienna production of Lohengrin. From this point on, Hanslick found his sympathies moving away from the so-called 'music of the Future' associated with Wagner and Liszt, and more towards music he conceived as directly descending from the traditions of Mozart, Beethoven and Schumann — in particular the music of Johannes Brahms (who dedicated to him his set of waltzes opus 39 for piano duet). In 1869, in a revised edition of his essay Jewishness in Music, Wagner attacked Hanslick as 'of gracefully concealed Jewish origin', and asserted that his Jewish style of criticism was anti-German. It is sometimes claimed that Wagner caricatured Hanslick in his opera Die Meistersinger von Nürnberg as the carping critic Beckmesser.
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Emanuel Leutze
Emanuel Gottlieb Leutze (May 24, 1816, Schwäbisch Gmünd – July 18, 1868) was a German American history painter best known for his painting Washington Crossing the Delaware. He is associated with the Düsseldorf school of painting.
Leutze was born in Schwäbisch Gmünd, Württemberg (Germany), and was brought to America as a child. His parents settled first in Philadelphia, Pennsylvania, then at Fredericksburg, Va. His early education was good, though not especially in the direction of art. The first development of his artistic talent occurred while he was attending the sickbed of his father, when he attempted drawing to occupy the long hours of waiting. His father died in 1831. At 14, he was painting portraits for $5 apiece. Through such work, he supported himself after the death of his father. In 1834, he received his first instruction in art in classes of John Rubens Smith, a portrait painter in Philadelphia. He soon became skilled, and promoted a plan for publishing, in Washington, portraits of eminent American statesmen; however, he met with but slight encouragement.
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Ernest Chausson
Amédée-Ernest Chausson (20 January 1855 – 10 June 1899) was a French romantic composer who died just as his career was beginning to flourish.
Ernest Chausson was born in Paris into a prosperous bourgeois family. His father made his fortune assisting Baron Haussmann in the redevelopment of Paris in the 1850s.
To please his father, Chausson studied law and was appointed a barrister for the Court of Appeals; but in truth, he had little or no interest in the law. He frequented the Paris salons, where he met celebrities such as Henri Fantin-Latour, Odilon Redon, and Vincent d'Indy. Before definitively deciding on his career, he dabbled in writing and drawing.
In October 1879, at the age of 25, he began attending the composition classes of the opera composer Jules Massenet at the Paris Conservatoire. Chausson had already composed some piano pieces and songs. Nevertheless, the earliest manuscripts that have been preserved are those corrected by Massenet.
During 1882 and 1883, Chausson, who enjoyed travel, visited Bayreuth to hear the operas of Wagner. On the first of these journeys, Chausson went with d'Indy for the premiere of Wagner's Parsifal, and on the second trip he went with his new spouse Jeanne Escudier, whose sister Madeleine was married to art collector Henry Lerolle.
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Felix Mendelssohn
Jakob Ludwig Felix Mendelssohn Bartholdy (German pronunciation: [ˈjaːkɔp ˈluːtvɪç ˈfeːlɪks ˈmɛndl̩szoːn baʁˈtɔldi]), born, and generally known in English-speaking countries, as Felix Mendelssohn (3 February 1809 – 4 November 1847) was a German composer, pianist, organist and conductor of the early Romantic period.
The grandson of the philosopher Moses Mendelssohn, Felix Mendelssohn was born into a prominent Jewish family, although initially he was raised without religion and was later baptised as a Lutheran Christian. Mendelssohn was recognised early as a musical prodigy, but his parents were cautious and did not seek to capitalise on his talent.
Early success in Germany, where he also revived interest in the music of Johann Sebastian Bach, was followed by travel throughout Europe. Mendelssohn was particularly well received in Britain as a composer, conductor and soloist, and his ten visits there – during which many of his major works were premiered – form an important part of his adult career. His essentially conservative musical tastes, however, set him apart from many of his more adventurous musical contemporaries such as Franz Liszt, Richard Wagner and Hector Berlioz. The Leipzig Conservatoire (now the University of Music and Theatre Leipzig), which he founded, became a bastion of this anti-radical outlook.
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Ferdinand Hiller
Ferdinand (von) Hiller (24 October 1811 – 11 May 1885) was a German composer, conductor, writer and music-director.
Ferdinand Hiller was born to a wealthy Jewish family in Frankfurt am Main, where his father Justus (originally Isaac Hildesheim) was a merchant in English textiles – a business eventually continued by Ferdinand’s brother Joseph. Hiller’s talent was discovered early and he was taught piano by the leading Frankfurt musician Alois Schmitt, violin by Hofmann, and harmony and counterpoint by Vollweiler; at 10 he performed a Mozart concerto in public; and two years later, he produced his first composition.
In 1822 the 13-year old Felix Mendelssohn entered his life. The Mendelssohn family was at that time staying briefly in Frankfurt and the young Hiller visited them where he was immensely impressed by the playing of Felix (and even more so by that of his sister Fanny Mendelssohn). When their acquaintance was renewed in 1825 the two boys found an immediate close friendship, which was to last until 1843. Hiller tactfully describes their falling out as arising from "social, and not from personal susceptibilities." But in fact it seems to have been more to do with Hiller’s succession to Mendelssohn as director of the Leipzig Gewandhaus Orchestra in 1843.
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France Prešeren
France Prešeren ( pronunciation (help·info)) (3 December 1800 – 8 February 1849) was a Slovene Romantic poet. He is considered the Slovene national poet.[clarification needed] Although he was not a particularly prolific author, he inspired virtually all Slovene literature thereafter.
He was born 3 December 1800 (Saturday) in the Upper Carniolan village of Vrba, then part of the Habsburg Monarchy (today in Slovenia), to a relatively well-to-do peasant family. Already as a child, he showed considerable talent, and so his parents decided to provide him with a good education. At the age of eight, he was sent to elementary schools in Grosuplje and Ribnica, run by the local Roman Catholic clergy. In 1812, he moved to the Carniolan provincial capital of Ljubljana, where he attended the State Gymnasium. Already at a very young age, he learned Latin, Ancient Greek, and German, which was then the language of education, administration, and high culture in most areas inhabited by Slovenes. In Ljubljana, Prešeren's talent was spotted by the poet Valentin Vodnik, who encouraged him to develop his literary skills in Slovene. As a high school student, he became friends with the future philologist Matija Čop, who would have an extremely important influence on the development of Prešeren's poetry. In 1821, Prešeren enrolled at the University of Vienna, where he studied law, against the wishes of his mother, who wanted him to become a priest. In Vienna, he became acquainted with the western canon from Homer to Goethe, but he was most fascinated by Dante and the Italian trecentists, especially Petrarch and Boccaccio. He also read contemporary Romantic poets, and he was even fired from a teaching post at Klinkowström's Jesuit institute for having loaned a booklet of banned poetry to his friend Anastasius Grün.
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Francesco Hayez
Francesco Hayez (February 10, 1791 – December 21, 1881) was an Italian painter, the leading artist of Romanticism in mid-19th-century Milan, renowned for his grand historical paintings, political allegories and exceptionally fine portraits.
Hayez came from a relatively poor family from Venice. His father was of French origin while his mother, Chiara Torcella, was from Murano. The child Francesco, youngest of five sons, was brought up by his mother's sister, who had married Giovanni Binasco, a well-off shipowner and collector of art. From childhood he showed a predisposition for drawing, so his uncle apprenticed him to an art restorer. Later he became a student of the painter Francesco Maggiotto with whom he continued his studies for three years. He was admitted to the painting course of the New Academy of Fine Arts in 1806, where he studied under Teodoro Matteini. In 1809 he won a competition from the Academy of Venice for one year of study at the Accademia di San Luca in Rome. He remained in Rome until 1814, then moved to Naples where he was commissioned by Joachim Murat to paint a major work depicting Ulysses at the court of Alcinous. In the mid 1830s he attended the "Salotto Maffei" salon in Milan, hosted by Clara Maffei (whose portrait Hayez painted for her husband), and he was still in Milan in 1850 when he was appointed director of the Academy of Brera there.
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Francis Ford Coppola
Francis Ford Coppola ( /ˈkoʊpələ/ KOH-pə-lə; born April 7, 1939) is an American film director, producer and screenwriter. He is widely acclaimed as one of Hollywood's most innovative and influential film directors. He epitomized the group of filmmakers known as the New Hollywood, that includes Martin Scorsese, Terrence Malick, Robert Altman, Woody Allen, William Friedkin, Philip Kaufman, and George Lucas who emerged in the early 1970s with unconventional ideas that challenged contemporary film-making.
He co-wrote the script for Patton (1970), which won an Academy Award for Best Writing (Original Screenplay). His directorial fame escalated with the release of The Godfather (1972), a film which revolutionized movie-making in the gangster genre, earning praise from critics and public alike. It won three Academy Awards, including his second, for Academy Award for Best Writing (Adapted Screenplay), and was instrumental in cementing his position as a prominent American film director.
Coppola followed it with a critically successful sequel, The Godfather Part II (1974), which became the first sequel to win the Academy Award for Best Picture. The film was highly praised and won him three Academy Awards—for Best Adapted Screenplay, Best Director and Best Picture. The Conversation, which Coppola directed, produced and wrote, was released that same year, winning the Palme d'Or at the 1974 Cannes Film Festival. He next directed Apocalypse Now (1979); notorious for its overlong and strenuous production, but critically acclaimed for its vivid and stark depiction of the Vietnam War, winning the Palme d'Or at the 1979 Cannes Film Festival. To this day, Coppola is one of only seven filmmakers to win two Palme d'Or awards, and is the only filmmaker to win both in the same decade.
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Francisco Goya
Francisco José de Goya y Lucientes (Spanish pronunciation: [fɾanˈθisko xoˈse ðe ˈɣoʝa i luˈθjentes]; 30 March 1746–16 April 1828) was a Spanish romantic painter and printmaker regarded both as the last of the Old Masters and the first of the moderns. Goya was a court painter to the Spanish Crown, and through his works was both a commentator on and chronicler of his era. The subversive and imaginative element in his art, as well as his bold handling of paint, provided a model for the work of later generations of artists, notably Manet, Picasso and Francis Bacon.. In his honour, Spain's main national film awards are called the Goya Awards.
Goya was born in Fuendetodos, Aragón, Spain, in 1746 to José Benito de Goya y Franque and Gracia de Lucientes y Salvador. He spent his childhood in Fuendetodos, where his family lived in a house bearing the family crest of his mother. His father earned his living as a gilder. About 1749, the family bought a house in the city of Zaragoza and some years later moved into it. Goya may have attended school at Escuelas Pias. He formed a close friendship with Martin Zapater at this time, and their correspondence from the 1770s to the 1790s is a valuable source for understanding Goya's early career at the court of Madrid. At age 14, Goya studied under the painter José Luzán. He moved to Madrid where he studied with Anton Raphael Mengs, a painter who was popular with Spanish royalty. He clashed with his master, and his examinations were unsatisfactory. Goya submitted entries for the Royal Academy of Fine Art in 1763 and 1766, but was denied entrance.
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Franz Berwald
Franz Adolf Berwald (July 23, 1796, Stockholm – April 3, 1868) was a Swedish Romantic composer who was generally ignored during his lifetime. He made his living as an orthopedic surgeon and later as the manager of a saw mill and glass factory.
Berwald came from a family with four generations of musicians; his father, a violinist in the Royal Opera Orchestra, taught Franz the violin from an early age; he soon appeared in concerts. In 1811, Karl XIII came to power and reinstated the Royal Chapel; the following year Berwald started working there, as well as playing the violin in the court orchestra and the opera, receiving lessons from Edouard du Puy, and also started composing. The summers were off-season for the orchestra, and Berwald travelled around Scandinavia, Finland and Russia. Of his works from that time, a septet and a serenade he still considered worthwhile music in his later years.
In 1818 Berwald started publishing the Musikalisk journal, later renamed Journal de musique, a periodical with easy piano pieces and songs by various composers as well as some of his own original work. In 1821, his Violin Concerto was premiered by his brother August. It was not well received; some people in the audience burst out laughing during the slow movement.
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Franz Liszt
Franz Liszt (German: [fʁant͡s lɪst]); Hungarian: Liszt Ferencz, in modern use Liszt Ferenc) (October 22, 1811 – July 31, 1886) was a 19th-century Hungarian composer, pianist, conductor, and teacher.
Liszt became renowned in Europe during the nineteenth century for his virtuosic skill as a pianist. He was said by his contemporaries to have been the most technically advanced pianist of his age. In the 1840s he was considered by some to be perhaps the greatest pianist of all time. He was also a well-known composer, piano teacher, and conductor. He was a benefactor to other composers, including Richard Wagner, Hector Berlioz, Camille Saint-Saëns, Edvard Grieg and Alexander Borodin.
As a composer, Liszt was one of the most prominent representatives of the "Neudeutsche Schule" ("New German School"). He left behind an extensive and diverse body of work in which he influenced his forward-looking contemporaries and anticipated some 20th-century ideas and trends. Some of his most notable contributions were the invention of the symphonic poem, developing the concept of thematic transformation as part of his experiments in musical form and making radical departures in harmony. He also played an important role in popularizing a wide array of music by transcribing it for piano.
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Franz Schubert
Franz Peter Schubert (German pronunciation: [ˈfʁants ˈʃuːbɛɐ̯t]; 31 January 1797 – 19 November 1828) was an Austrian composer.
Although he died at the age of 31, Schubert was a prolific composer, having written some 600 Lieder, nine symphonies (including the famous "Unfinished Symphony"), liturgical music, operas, some incidental music, and a large body of chamber and solo piano music. Appreciation of Schubert's music during his lifetime was limited, but interest in his work increased significantly in the decades following his death. Franz Liszt, Robert Schumann, Johannes Brahms and Felix Mendelssohn, among others, discovered and championed his works in the 19th century. Today, Schubert is seen as one of the leading exponents of the early Romantic era in music and he remains one of the most frequently performed composers.
Schubert was born in Himmelpfortgrund (now a part of Alsergrund), Vienna, on 31 January 1797. His father, Franz Theodor Schubert, the son of a Moravian peasant, was a parish schoolmaster; his mother, Elisabeth Vietz, was the daughter of a Silesian master locksmith, and had also been a housemaid for a Viennese family prior to her marriage. Of Franz Theodor's fourteen children (one illegitimate child was born in 1783), nine died in infancy; five survived. Their father was a well-known teacher, and his school in Lichtental, a part of Vienna's 9th district, was well attended. He was not a musician of fame or with formal training, but he taught his son some elements of music.
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Friedrich Engels
Friedrich Engels (German pronunciation: [ˈfʁiːdʁɪç ˈɛŋəls]; 28 November 1820 – 5 August 1895) was a German-English industrialist, social scientist, author, political theorist, philosopher, and father of Marxist theory, alongside Karl Marx. In 1845 he published The Condition of the Working Class in England, based on personal observations and research. In 1848 he co-authored The Communist Manifesto with Karl Marx, and later he supported Marx financially to do research and write Das Kapital. After Marx's death Engels edited the second and third volumes. Additionally, Engels organized Marx's notes on the "Theories of Surplus Value" and this was later published as the "fourth volume" of Capital.
Friedrich (Frederick) Engels was born on November 28, 1820 in Barmen, Prussia (now Wuppertal, Germany). At the time, Barmen was an expanding industrial metropole and Frederick was the eldest son of a wealthy German cotton manufacturer. As his father, Friederich Sr., was a Methodist. Accordingly, Fredrick was raised Christian Pietist. As he grew up, his relationship with his parents became strained because of his atheist beliefs. Parental disapproval of his revolutionary activities is recorded in an October, 1848 letter from his mother, Elizabeth Engels. In this letter his mother berates him for having "really gone too far" and "begged" him "to proceed no further.". "You have paid more heed to other people, to strangers, and have taken no account of your mother's pleas. God alone knows what I have felt and suffered of late. I was trembling when I picked up the newspaper and saw therein that a warrant was out for my son's arrest." At the point this letter was written Frederick Engels was in hiding in Brussels, Belgium and was soon to make his way to Switzerland and then in 1849 make his way back into Germany to participate in the revolutionary uprising in Baden and Palatinate.
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Friedrich Nietzsche
Friedrich Wilhelm Nietzsche ( /ˈniːtʃə/;German pronunciation: [ˈfʁiːdʁɪç ˈvɪlhɛlm ˈniːtsʃə]; October 15, 1844 – August 25, 1900) was a German philosopher, poet, cultural critic and classical philologist. He wrote critical texts on religion, morality, contemporary culture, philosophy and science, displaying a fondness for metaphor, irony and aphorism.
Nietzsche's influence remains substantial within and beyond philosophy, notably in existentialism, nihilism and postmodernism. His style and radical questioning of the value and objectivity of truth have resulted in much commentary and interpretation, mostly in the continental tradition. His key ideas include the death of God, the Übermensch, the eternal recurrence, the Apollonian and Dionysian dichotomy, perspectivism and the will to power. Central to his philosophy is the idea of "life-affirmation", which involves an honest questioning of all doctrines that drain life's expansive energies, however socially prevalent and radical those views might be.
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Friedrich Schiller
Johann Christoph Friedrich von Schiller [ˈjoːhan ˈkʁɪstɔf ˈfʁiːdʁɪç fɔn ˈʃɪlɐ] (10 November 1759 – 9 May 1805) was a German poet, philosopher, historian, and playwright. During the last seventeen years of his life (1788–1805), Schiller struck up a productive, if complicated, friendship with already famous and influential Johann Wolfgang von Goethe. They frequently discussed issues concerning aesthetics, and Schiller encouraged Goethe to finish works he left as sketches. This relationship and these discussions led to a period now referred to as Weimar Classicism. They also worked together on Xenien, a collection of short satirical poems in which both Schiller and Goethe challenge opponents to their philosophical vision.
Friedrich Schiller was born on 10 November 1759, in Marbach, Württemberg as the only son of military doctor Johann Kaspar Schiller (1733–96), and Elisabeth Dorothea Kodweiß (1732–1802). They also had five daughters. His father was away in the Seven Years' War when Friedrich was born. He was named after king Frederick the Great, but he was called Fritz by nearly everyone. Kaspar Schiller was rarely home during the war, but he did manage to visit the family once in a while. His wife and children also visited him occasionally wherever he happened to be stationed. When the war ended in 1763, Schiller's father became a recruiting officer and was stationed in Schwäbisch Gmünd. The family moved with him. Due to the high cost of living—especially the rent—the family moved to nearby Lorch.
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Fromental Halévy
Jacques-François-Fromental-Élie Halévy, usually known as Fromental Halévy (pronounced [fʁɔmɑ̃tal alevi]) (27 May 1799 – 17 March 1862), was a French composer. He is known today largely for his opera La Juive.
Halévy was born in Paris, the son of a cantor, Élie Halfon Halévy, who was the secretary of the Jewish community of Paris, a writer and a teacher of Hebrew, and a French Jewish mother. The name Fromental, by which he was generally known, reflects that he was born on the feast-day of that name in the French Revolutionary calendar, which was still operative at that time. He entered the Conservatoire de Paris at the age of nine or ten (accounts differ), in 1809, becoming a pupil and later protégé of Cherubini. After two second-place attempts, he won the Prix de Rome in 1819: his cantata subject was Herminie.
As he had to delay his departure to Rome because of the death of his mother, he was able to accept the first commission that brought him to public attention - a Marche Funèbre et De Profundis en Hébreu for three part choir, tenor and orchestra, which was commissioned by the Consistoire Israélite du Département de la Seine, for a public service in memory of the assassinated duc de Berry, performed on 24 March 1820. Later, his brother Léon recalled that the De Profundis, "infused with religious fervor, created a sensation, and attracted interest to the young laureate of the institute."
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Frédéric Chopin
Frédéric François Chopin ( /ˈʃoʊpæn/; French pronunciation: [fʁe.de.ʁik ʃɔ.pɛ̃]; Polish: Fryderyk Franciszek Chopin, also phonetically Szopen; 22 February or 1 March 1810 – 17 October 1849) was a Polish composer and virtuoso pianist of French-Polish parentage. He is considered one of the great masters of Romantic music. Chopin was born in Żelazowa Wola, a village in the Duchy of Warsaw. A renowned child-prodigy pianist and composer, Chopin grew up in Warsaw and completed his music education there; he composed many mature works in Warsaw before leaving Poland in 1830 at age 20, shortly before the November 1830 Uprising.
Following the Russian suppression of the Uprising, he settled in Paris as part of Poland's Great Emigration. During the remaining 19 years of his life, Chopin gave only some 30 public performances, preferring the more intimate atmosphere of the salon; he supported himself by sales of his compositions and as a piano teacher. After some romantic dalliances with Polish women, including an abortive engagement, from 1837 to 1847 he carried on a relationship with the French writer Amantine Dupin (pen name "George Sand"). For most of his life, Chopin suffered from poor health; he died in Paris in 1849 at age 39.
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Gaetano Donizetti
Domenico Gaetano Maria Donizetti (Italian pronunciation: [doˈmeːniko ɡaeˈtaːno maˈɾia doniˈdzetti]; 29 November 1797 – 8 April 1848) was an Italian composer from Bergamo, Lombardy. His best-known works are the operas L'elisir d'amore (1832), Lucia di Lammermoor (1835), and Don Pasquale (1843), all in Italian, and the French operas La favorite and La fille du régiment (both from 1840). Along with Vincenzo Bellini and Gioachino Rossini, he was a leading composer of bel canto opera.
The youngest of three sons, Donizetti was born in 1797 in Bergamo's Borgo Canale quarter located just outside the city walls. His family was very poor with no tradition of music, his father being the caretaker of the town pawnshop. Nevertheless, Donizetti received some musical instruction from Simon Mayr, a German composer of internationally successful operas who had become maestro di cappella at Bergamo's principal church in 1802.
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Gaspare Spontini
Gaspare Luigi Pacifico Spontini (14 November 1774 – 24 January 1851) was an Italian opera composer and conductor, extremely celebrated in his time, though largely forgotten after his death.
Born in Maiolati in the province of Ancona, now Maiolati Spontini, he spent most of his career in Paris and Berlin, but returned to his place of birth at the end of his life. During the first two decades of the 19th century, Spontini was an important figure in French opera. In his more than twenty operas, Spontini strove to adapt Gluck's classical tragédie lyrique to the contemporary taste for melodrama, for grander spectacle (in Fernand Cortez for example), for enriched orchestral timbre, and for melodic invention allied to idiomatic expressiveness of words. His single great masterpiece and success was La vestale.
As a youth, Spontini studied at the Conservatorio della Pietà de' Turchini in Naples. In 1803, he went to Paris, where he was appointed court composer in 1805.
In 1807, Spontini wrote La vestale, his best known work. Written with the encouragement of Empress Joséphine, its premiere at the Opéra in Paris established Spontini as one of the greatest Italian composers of his age. His contemporaries Cherubini and Meyerbeer considered it a masterpiece, and later composers like Berlioz and Wagner admired it.
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Georg Herwegh
Georg Friedrich Rudolph Theodor Herwegh (31 May 1817 - 7 April 1875) was a German revolutionary poet.
He was born in Stuttgart on 31 May 1817, the son of an innkeeper. He was educated at the Gymnasium Illustre of Stuttgart, and in 1835 proceeded to the University of Tübingen as a theological student, where, with a view to entering the ministry, he entered the Protestant theological seminary. But the strict discipline was distasteful; he broke the rules and was expelled in 1836. He studied law for a short time, but decided to return to Stuttgart, and became editor of August Lewald's periodical Europa. Called out for military service, he had hardly joined his regiment when he became embroiled with a military officer with a flagrant act of insubordination, and had to flee to Emmishofen, Switzerland in 1839.
His Gedichte eines Lebendigen ("Poems of a living man") were published in Zurich between 1841–43 and immediately banned in Prussia. The lyrics combined revolutionary sentiment with a popular style and soon placed him at the forefront of the Vormärz revolutionary movement. The fervent effusions of his poems became immensely popular, so that when, after a short trip to Paris, Herwegh journeyed through Germany in 1842, he was greeted with enthusiasm everywhere.
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George Bernard Shaw
George Bernard Shaw (26 July 1856 – 2 November 1950) was an Irish playwright and a co-founder of the London School of Economics. Although his first profitable writing was music and literary criticism, in which capacity he wrote many highly articulate pieces of journalism, his main talent was for drama, and he wrote more than 60 plays. Nearly all his writings address prevailing social problems, but have a vein of comedy which makes their stark themes more palatable. Shaw examined education, marriage, religion, government, health care, and class privilege.
He was most angered by what he perceived as the exploitation of the working class. An ardent socialist, Shaw wrote many brochures and speeches for the Fabian Society. He became an accomplished orator in the furtherance of its causes, which included gaining equal rights for men and women, alleviating abuses of the working class, rescinding private ownership of productive land, and promoting healthy lifestyles. For a short time he was active in local politics, serving on the London County Council.
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George Groddeck
Georg Groddeck (13 October 1866 Bad Kösen – 10 June 1934 Knonau, near Zurich) was a physician and writer regarded as a pioneer of psychosomatic medicine.
"He who draws the conclusion that I mentally medicate a human who has broken his leg is very true – but I adjust the fracture and dress the wound. And then – I give him a massage, make exercises with him, give a daily bath to the leg with water at 45°C for half an hour and I take care that he does neither gorge nor booze, and every now and then I ask him: Why did you break your leg, you yourself ?"
With such and other methods the German physician Georg Groddeck, who practised in Baden-Baden and was the pathfinder of psychosomatic medicine, astonished his numerous listeners and readers. His therapy connects naturopathic treatment with psychoanalytic, suggestive and hypnotic elements. His foot and arm bath, massages and dietary cuisine are still practised today, although the bold doctrine of salvation, where he mauled his patients, is necessarily quite authoritarian, and a more reserved approach would be judged appropriate today. He said “To provide obedience [is the] foundation of medical art”.
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Germaine de Staël
Anne Louise Germaine de Staël-Holstein (French pronunciation: [stal]; 22 April 1766 – 14 July 1817), commonly known as Madame de Staël, was a French-speaking Swiss author living in Paris and abroad. She influenced literary tastes in Europe at the turn of the 19th century.
Anne Louise Germaine Necker was born in Paris, France. Her father was the prominent Swiss banker and statesman Jacques Necker, who was the Director of Finance under King Louis XVI of France. Her mother was Suzanne Curchod, almost equally famous for being the early love of Edward Gibbon, being the wife of Necker herself, and being the mistress of one of the most popular salons of Paris. Mother and daughter had little sympathy for each other. Mme Necker, despite her talents, her beauty and her fondness for philosophic society, was strictly decorous, somewhat reserved, and wanted to bring up her daughter with the discipline of her own childhood. Anne Louise was from her earliest years energetic and boisterous. She began very early to write, though not to publish. She was said to have injured her health by excessive study and intellectual excitement. But in reading all the accounts of Mme de Staël's life which come from herself or her intimate friends, it must be carefully remembered that she was the most distinguished and characteristic product of the period of sensibility — the singular fashion of ultra-sentimentalism — which required that both men and women, but especially women, should be always palpitating with excitement, steeped in melancholy, or dissolved in tears. Still, her father's dismissal from the ministry and the consequent removal of the family from the busy life of Paris were probably beneficial to her.
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German people
The Germans (Deutsche) are a Germanic ethnic group native to Central Europe. The English term Germans has referred to the German-speaking population of the Holy Roman Empire since the Late Middle Ages. Legally, Germans are citizens of the Federal Republic of Germany.
Of approximately 100 million native speakers of German in the world, about 66–75 million consider themselves Germans. There are an additional 80 million people of German ancestry mainly in the United States, Brazil, Canada, Argentina, France, Russia, Chile, Poland, Australia and Romania who most likely are not native speakers of German. Thus, the total number of Germans worldwide lies between 66 and 160 million, depending on the criteria applied (native speakers, single-ancestry ethnic Germans, partial German ancestry, etc.).
Today, peoples from countries with a German-speaking majority or significant German-speaking population groups other than Germany, such as Austria, Switzerland, Liechtenstein and Luxembourg, have developed their own national identity and usually do not refer to themselves as "Germans" in a modern context.
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Germans
The Germans (Deutsche) are a Germanic ethnic group native to Central Europe. The English term Germans has referred to the German-speaking population of the Holy Roman Empire since the Late Middle Ages. Legally, Germans are citizens of the Federal Republic of Germany.
Of approximately 100 million native speakers of German in the world, about 66–75 million consider themselves Germans. There are an additional 80 million people of German ancestry mainly in the United States, Brazil, Canada, Argentina, France, Russia, Chile, Poland, Australia and Romania who most likely are not native speakers of German. Thus, the total number of Germans worldwide lies between 66 and 160 million, depending on the criteria applied (native speakers, single-ancestry ethnic Germans, partial German ancestry, etc.).
Today, peoples from countries with a German-speaking majority or significant German-speaking population groups other than Germany, such as Austria, Switzerland, Liechtenstein and Luxembourg, have developed their own national identity and usually do not refer to themselves as "Germans" in a modern context.
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Giacomo Leopardi
Giacomo Taldegardo Francesco di Sales Saverio Pietro Leopardi (Italian pronunciation: [ˈdʒakomo leoˈpardi]; June 29, 1798 – June 14, 1837) was an Italian poet, essayist, philosopher, and philologist. Although he lived in a secluded town in the ultra-conservative Papal States, he came in touch with the main thoughts of the Enlightenment, and, by his own literary evolution, created a remarkable and renowned poetic work, related to the Romantic era.
Giacomo Leopardi was born of a local noble family in Recanati, in the Marche, at the time ruled by the papacy. His father, the count Monaldo Leopardi, was a good-hearted man, fond of literature but weak and reactionary, who remained bound to antiquated ideas and prejudices; his mother, the marquise Adelaide Antici Mattei, was a cold and authoritarian woman, obsessed over rebuilding the family's financial fortunes, which had been destroyed by Monaldo's gambling addiction. At home, a rigorous discipline of religion and savings reigned. However, Giacomo's happy childhood, which he spent with his younger brother Carlo Orazio and his sister Paolina, left its mark on the poet, who recorded his experiences in the poem Le Ricordanze.
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Giacomo Meyerbeer
Giacomo Meyerbeer (5 September 1791 – 2 May 1864) was a noted German opera composer, and the first great exponent of "grand opera." At his peak in the 1830s and 1840s, he was the most famous and successful composer of opera in Europe, yet he is rarely performed today.
He was born to a Jewish family in Tasdorf (now a part of Rüdersdorf), near Berlin with the name Jacob Liebmann Beer. His father was the enormously wealthy financier Jacob Judah Herz Beer (1769-1825) and his much-beloved mother, Amalia Liebmann Meyer Wulff (1767-1854) also came from the wealthy elite. Their other children included the astronomer Wilhelm Beer and the poet Michael Beer.
Beer's first keyboard instructor was Franz Lauska, a pupil of Johann Georg Albrechtsberger and a favoured teacher at the Berlin court. Beer also became one of Muzio Clementi's pupils while Clementi was in Berlin, and old Clementi himself, although he had long given up teaching, was so much struck, during a visit to Berlin, with the promise displayed in the boy's performance as to consent to give Beer lessons. Beer made his public debut in 1801 playing Mozart's D minor Piano Concerto in Berlin. The Allgemeine musikalische Zeitung reported: 'The amazing keyboard playing of young Bär (a Jewish lad of 9), who carried off the difficult passages and other solo parts with aplomb, and has fine powers of rendition even more rarely found in one of his age, made the concert even more interesting'.
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Gioachino Rossini
Gioachino Antonio Rossini (Italian pronunciation: [dʒoaˈkiːno anˈtɔːnjo rosˈsiːni] (Giovacchino Antonio Rossini in the baptismal certificate) (29 February 1792 – 13 November 1868) was an Italian composer who wrote 39 operas as well as sacred music, chamber music, songs, and some instrumental and piano pieces. His best-known operas include the Italian comedies Il barbiere di Siviglia (The Barber of Seville) and La Cenerentola and the French-language epics Moïse et Pharaon and Guillaume Tell (William Tell). A tendency for inspired, song-like melodies is evident throughout his scores, which led to the nickname "The Italian Mozart". Until his retirement in 1829, Rossini had been the most popular opera composer in history.
Gioachino Antonio Rossini was born into a family of musicians in Pesaro, a town on the Adriatic coast of Italy which was then part of the Papal States. His father, Giuseppe, was a horn player and inspector of slaughterhouses. His mother, Anna, was a singer and a baker's daughter. Rossini's parents began his musical training early, and by the age of six he was playing the triangle in his father's musical group.
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Giuseppe Verdi
Giuseppe Fortunino Francesco Verdi (Italian pronunciation: [dʒuˈzɛppe ˈverdi]; 10 October 1813 – 27 January 1901) was an Italian Romantic composer, mainly of opera. He was one of the most influential composers of the 19th century. His works are frequently performed in opera houses throughout the world and, transcending the boundaries of the genre, some of his themes have long since taken root in popular culture – such as "La donna è mobile" from Rigoletto, "Va, pensiero" (The Chorus of the Hebrew Slaves) from Nabucco, "Libiamo ne' lieti calici" (The Drinking Song) from La traviata and the "Grand March" from Aida.
Verdi’s masterworks dominate the standard opera repertoire a century and a half after their composition.
Verdi was born the son of Carlo Giuseppe Verdi and Luigia Uttini in Le Roncole, a village near Busseto, then in the Département Taro which was a part of the First French Empire after the annexation of the Duchy of Parma and Piacenza. The baptismal register, on 11 October lists him as being "born yesterday", but since days were often considered to begin at sunset, this could have meant either 9 or 10 October. The next day, he was baptized in the Roman Catholic Church in Latin as Joseph Fortuninus Franciscus. The day after that (Tuesday), Verdi's father took his newborn the three miles to Busseto, where the baby was recorded as Joseph Fortunin François; the clerk wrote in French. "So it happened that for the civil and temporal world Verdi was born a Frenchman."
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Gonçalves Dias
Antônio Gonçalves Dias (Portuguese pronunciation: [ɡõˈsawvis ˈdʒiɐs]; August 10, 1823 — November 3, 1864) was a Brazilian Romantic poet, playwright and linguist. A major exponent of the Brazilian Romanticism and of the literary tradition known as "Indianism", he is famous for writing the poem "Canção do exílio", arguably the most well-known poem of the Brazilian literature, the short epic poem I-Juca-Pirama, and many other nationalist and patriotic poems that would later give him the title of national poet of Brazil. He was also an avid researcher of the Brazilian indigenous languages and folklore.
He is the patron of the 15th chair of the Brazilian Academy of Letters.
Antônio Gonçalves Dias was born in Caxias on August 10, 1823, to Portuguese João Manuel Gonçalves Dias and cafuza Vicência Ferreira. After completing his studies in Latin, French and Philosophy, he went in 1838 to Portugal to earn a degree in Law at the University of Coimbra. There, he got in contact with the Romantic ideals and wrote his critically acclaimed poem "Canção do exílio". He graduated in 1845 and returned to Brazil in the same year. He goes to Rio de Janeiro, living there until 1854. There, he wrote the drama Leonor de Mendonça in 1846 and his first poetry book, Primeiros Cantos, in 1847.
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Gottfried Semper
Gottfried Semper (November 29, 1803 - May 15, 1879) was a German architect, art critic, and professor of architecture, who designed and built the Semper Opera House in Dresden between 1838 and 1841. In 1849 he took part in the May Uprising in Dresden and was put on the government's wanted list. Semper fled first to Zürich and later to London. Later he returned to Germany after the 1862 amnesty granted to the revolutionaries.
Semper wrote extensively about the origins of architecture, especially in his book The Four Elements of Architecture from 1851, and he was one of the major figures in the controversy surrounding the polychrome architectural style of ancient Greece. Semper designed works at all scales, from a baton for Richard Wagner to major urban interventions like the re-design of the Ringstraße in Vienna.
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Gustav Mahler
Gustav Mahler (German pronunciation: [ˈɡʊstaf ˈmaːlɐ]; 7 July 1860 – 18 May 1911) was a late-Romantic Austrian composer and one of the leading conductors of his generation. He was born in the village of Kalischt, Bohemia, in what was then the Austrian Empire, now Kaliště in the Czech Republic. Then his family moved to nearby Iglau (now Jihlava) where Mahler grew up.
As a composer, he acted as a bridge between the 19th century Austro-German tradition and the modernism of the early 20th century. While in his lifetime his status as a conductor was established beyond question, his own music gained wide popularity only after periods of relative neglect which included a ban on its performance in much of Europe during the Nazi era. After 1945 the music was discovered and championed by a new generation of listeners; Mahler then became one of the most frequently performed and recorded of all composers, a position he has sustained into the 21st century.
Born in humble circumstances, Mahler displayed his musical gifts at an early age. After graduating from the Vienna Conservatory in 1878, he held a succession of conducting posts of rising importance in the opera houses of Europe, culminating in his appointment in 1897 as director of the Vienna Court Opera (Hofoper). During his ten years in Vienna, Mahler—who had converted to Catholicism from Judaism to secure the post—experienced regular opposition and hostility from the anti-Semitic press. Nevertheless, his innovative productions and insistence on the highest performance standards ensured his reputation as one of the greatest of opera conductors, particularly as an interpreter of the stage works of Wagner and Mozart. Late in his life he was briefly director of New York's Metropolitan Opera and the New York Philharmonic.
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Hans Eisler
Hanns Eisler (6 July 1898 – 6 September 1962) was an Austrian/German composer.
Eisler was born in Leipzig, the son of Marie (née Fischer) and Rudolf Eisler, a professor of philosophy at Leipzig. His father was Jewish and his mother was Lutheran. In 1901, the family moved to Vienna.
His brother was the journalist and Communist Gerhart Eisler, who was believed to be a major Comintern agent. His sister was Ruth Fischer (Elfriede Eisler), a leader of the German Communist Party (KPD) during the 1920s, author of several books, and from 2010, confirmed to have been a CIA spy.[dead link]
During World War I Hanns Eisler served as a front-line soldier in the Austro-Hungarian army and was wounded several times in combat. Returning to Vienna after Austria's defeat, he studied from 1919 to 1923 under Arnold Schoenberg. Eisler was the first of Schoenberg's disciples to compose in the twelve-tone or serial technique. He married Charlotte Demant in 1920; they separated in 1934.
In 1925 Eisler moved to Berlin—then a hothouse of experimentation in music, theater, film, art and politics. There he became a member of the Communist Party of Germany and became involved with the November Group. In 1928, he taught at the Marxist Worker's School in Berlin and his son Georg Eisler, who would grow up to become an important painter, was born.
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Hans Gude
Hans Fredrik Gude (March 13, 1825 – August 17, 1903) was a Norwegian romanticist painter and is considered along with Johan Christian Dahl to be one of Norway's foremost landscape painters. He has been called a mainstay of Norwegian National Romanticism. He is associated with the Düsseldorf school of painting.
Gude's artistic career was not one marked with drastic change and revolution, but was instead a steady progression that slowly reacted to general trends in the artistic world. Gude's early works are of idyllic, sun-drenched Norwegian landscapes which present a romantic, yet still realistic view of his country. Around 1860 Gude began painting seascapes and other coastal subjects. Gude had difficulty with figure drawing initially and so collaborated with Adolph Tidemand in some of his painting, drawing the landscape himself and allowing Tidemand to paint the figures. Later Gude would work specifically on his figures while at Karlsruhe, and so began populating his paintings with them. Gude initially painted primarily with oils in a studio, basing his works on studies he'd done earlier in the field. However, as Gude matured as a painter he began to paint en plein air and espoused the merits of doing so to his students. Gude would go on to work with watercolors later in life as well as gouache in an effort to keep his art constantly fresh and evolving, and although these were never as well received by the public as his oil paintings, his fellow artists greatly admired them.
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Hans Pfitzner
Hans Erich Pfitzner (5 May 1869 – 22 May 1949) was a German composer and self-described anti-modernist. His best known work is the post-Romantic opera Palestrina, loosely based on the life of the great sixteenth-century composer Giovanni Pierluigi da Palestrina.
Pfitzner was born in Moscow, Russia, where his father played violin in a theater orchestra. The family returned to his father's native Frankfurt in 1872 when Pfitzner was two years old, and he always considered Frankfurt his home town. He received early instruction in violin from his father, and his earliest compositions were composed at age 11. In 1884 he wrote his first songs. From 1886 to 1890 he studied composition with Iwan Knorr and piano with James Kwast at the Hoch Conservatory in Frankfurt. (He later married Kwast's daughter Mimi Kwast, a grand-daughter of Ferdinand Hiller, after she had rejected the advances of Percy Grainger.) He taught piano and theory at the Koblenz Conservatory from 1892 to 1893. In 1894 he was appointed conductor at the Stadttheater in Mainz where he worked for a few months. These were all low-paying jobs, and Pfitzner was working as Erster (First) Kapellmeister with the Berlin Theater des Westens when he was appointed to a modestly prestigious post of opera director and head of the conservatory in Straßburg (Strasbourg) in 1908, when Pfitzner was almost forty.
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Hans Sachs
Hans Sachs (5 November 1494 – 19 January 1576) was a German meistersinger ("mastersinger"), poet, playwright and shoemaker.
Hans Sachs was born in Nuremberg (German: Nürnberg).As a child he attended a singing school that was held in the church of Nuremberg. This helped to awaken in him a taste for poetry and music. His father was a tailor. He attended Latin school (German: Lateinschule) in Nuremberg. When he was 14 he took up an apprenticeship as a shoemaker.
After the apprenticeship, at age 17, he was a journeyman and set out on his Wanderjahre (or Walz), that is, wandering about and working here and there, travelling with companions, and students, for five years. He worked at his craft in many towns, including Regensburg, Passau, Salzburg, Munich, Osnabrück, Lübeck, and Leipzig.
1513 he ended in a small town of Wels in Austria, where he lived in retirement, devoting himself to the cultivation of the fine arts. The Emperor Maximilian I chanced to pass through this town with a brilliant retinue, and the young poet allowed himself to be carried away by the splendor of the court. The prince placed him in the halls of the palace of Insbruck. Later Hans Sachs quit the court and went to Schatz and Munich.
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Hans von Bülow
Hans Guido Freiherr von Bülow (January 8, 1830 – February 12, 1894) was a German conductor, virtuoso pianist, and composer of the Romantic era. He was one of the most famous conductors of the 19th century, and his activity was critical for establishing the successes of several major composers of the time, including Richard Wagner.
Bülow was born in Dresden, and from the age of nine he was a student of Friedrich Wieck (the father of Clara Schumann). However, his parents insisted that he study law instead of music, and sent him to Leipzig. There he met Franz Liszt, and on hearing some music of Richard Wagner—specifically, the premiere of Lohengrin in 1850—he decided to ignore the dictates of his parents and make himself a career in music instead. He studied the piano in Leipzig with the famous pedagogue Louis Plaidy. He obtained his first conducting job in Zurich, on Wagner's recommendation, in 1850.
Notoriously tactless, Bülow alienated many musicians with whom he worked. He was dismissed from his Zurich job for this reason, but at the same time he was beginning to win renown for his ability to conduct new and complex works without a score. In 1851 he became a student of Liszt, marrying Liszt's daughter Cosima in 1857. They had two daughters: Daniela, born in 1860 and Blandine, born in 1863. During the 1850s and early 1860s he was active as a pianist, conductor, and writer, and became well-known throughout Germany as well as Russia. In 1857 he premiered Liszt's great Piano Sonata in B minor in Berlin.
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Hans von Wolzogen
Baron Hans Paul von Wolzogen (13 November 1848 in Potsdam – 2 June 1938 in Bayreuth), was a German man of letters, editor and publisher. He is best known for his connection with Richard Wagner.
Wolzogen's father, Alfred von Wolzogen, was a court theatrical director in Schwerin; his mother (a daughter of the famous architect Karl Friedrich Schinkel) died when her son was two years old. As a schoolboy, Wolzogen was already interested in music and the theatre.
It was while on his honeymoon in 1872 that he first visited Bayreuth, where shortly before, on 22 May (Wagner's birthday), the foundation-stone had been laid for the Bayreuth Festspielhaus.
It was Wagner who invited Wolzogen to Bayreuth in 1877 in order that he would edit the Wagnerian publication Bayreuther Blätter; Wolzogen stayed in that post until his death.
From 1878 he lived in the Schillerstrasse, not far from Wagner's house Wahnfried.
After Wagner's death Wolzogen became a central figure of the so-called 'Wahnfried circle', which tried to load the dead master's work with pseudo-religious meaning.
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Hector Berlioz
Hector Berlioz (pronounced: [ɛktɔʁ bɛʁˈljoːz]; 11 December 1803 – 8 March 1869) was a French Romantic composer, best known for his compositions Symphonie fantastique and Grande messe des morts (Requiem). Berlioz made significant contributions to the modern orchestra with his Treatise on Instrumentation. He specified huge orchestral forces for some of his works; as a conductor, he performed several concerts with more than 1,000 musicians. He also composed around 50 songs. His influence was critical for the further development of Romanticism, especially in composers like Richard Wagner, Nikolai Rimsky-Korsakov, Franz Liszt, Richard Strauss, Gustav Mahler and many others.
Hector Berlioz was born in France at La Côte-Saint-André in the département of Isère, near Grenoble. His father, a respected provincial physician and scholar, was responsible for much of the young Berlioz's education. His father, Louis-Joseph Berlioz, was an atheist, with a liberal outlook; his mother, Marie-Antoinette, was an orthodox Roman Catholic. He had five siblings in all, three of whom did not survive to adulthood. The other two, Nanci and Adèle, remained close to Berlioz throughout his life.
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Heinrich Heine
Christian Johann Heinrich Heine (13 December 1797 – 17 February 1856) was one of the most significant German poets of the 19th century. He was also a journalist, essayist, and literary critic. He is best known outside Germany for his early lyric poetry, which was set to music in the form of Lieder (art songs) by composers such as Robert Schumann and Franz Schubert. Heine's later verse and prose is distinguished by its satirical wit and irony. His radical political views led to many of his works being banned by German authorities. Heine spent the last 25 years of his life as an expatriate in Paris.
Heine was born in Düsseldorf, Rhineland, into a Jewish family. He was called "Harry" as a child, but became "Heinrich" after his conversion to Christianity in 1825. Heine's father, Samson Heine (1764–1828), was a textile merchant. His mother Peira (known as "Betty"), née van Geldern (1771–1859), was the daughter of a physician. Heinrich was the eldest of the four children; his siblings were Charlotte, Gustav - who later became Baron Heine-Geldern and publisher of the Viennese newspaper Das Fremdenblatt - and Maximilian, later a physician in Saint Petersburg.
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Heinrich Marschner
Heinrich August Marschner (Zittau, 16 August 1795 – Hanover, 16 December 1861), was the most important composer of German Romantic opera between Carl Maria von Weber and Richard Wagner, and is remembered principally for his operas Hans Heiling (1833), Der Vampyr (1828), and Der Templer und die Jüdin (1829). Marschner’s ability to depict supernatural horror by musical means is especially evident in the first two operas as well as in some of his ballads, such as "Die Monduhr" (c. 1839). Next to his operas, his most significant musical contribution is to the Lied, the best of which are comparable with those by Carl Loewe. Marschner also wrote a considerable amount of chamber music, including seven piano trios, as well as unaccompanied male choruses that were very popular in the nineteenth century. While Marschner’s operas strongly influenced Wagner, his chamber music, songs, and his cantata Klänge aus Osten (1842) were admired by Robert Schumann, whose cantata Paradise and the Peri (1843) shows the older composer’s influence. Marschner’s Bagatelles for guitar (1814) have been revived by guitarists, and so have been some of his piano trios. Among his operas, Hans Heiling and especially Der Vampyr have been adapted and revived in recent years with considerable success.
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Heinrich von Kleist
Bernd Heinrich Wilhelm von Kleist (18 October 1777 – 21 November 1811) was a poet, dramatist, novelist and short story writer. The Kleist Prize, a prestigious prize for German literature, is named after him.
Kleist was born into the von Kleist family in Frankfurt an der Oder in the Margraviate of Brandenburg. After a scanty education, he entered the Prussian Army in 1792, served in the Rhine campaign of 1796, and retired from the service in 1799 with the rank of lieutenant. He studied law and philosophy at the Viadrina University and in 1800 received a subordinate post in the Ministry of Finance at Berlin.
In the following year, Kleist's roving, restless spirit got the better of him, and procuring a lengthened leave of absence he visited Paris and then settled in Switzerland. Here he found congenial friends in Heinrich Zschokke and Ludwig Friedrich August Wieland (d. 1819), son of the poet Christoph Martin Wieland; and to them he read his first drama, a gloomy tragedy, The Schroffenstein Family (1803, originally entitled The Ghonorez Family).
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Henry Fuseli
Henry Fuseli (German: Johann Heinrich Füssli) (February 7, 1741 – April 17, 1825) was a British painter, draughtsman, and writer on art, of Swiss origin.
Fuseli was born in Zürich, Switzerland, the second of eighteen children. His father was Johann Caspar Füssli, a painter of portraits and landscapes, and author of Lives of the Helvetic Painters. He intended Henry for the church, and sent him to the Caroline college of Zurich, where he received an excellent classical education. One of his schoolmates there was Johann Kaspar Lavater, with whom he became close friends.
After taking orders in 1761 Fuseli was forced to leave the country as a result of having helped Lavater to expose an unjust magistrate, whose powerful family sought revenge. He first travelled through Germany, and then, in 1765, visited England, where he supported himself for some time by miscellaneous writing. Eventually, he became acquainted with Sir Joshua Reynolds, to whom he showed his drawings. Following Sir Joshua's advice he devoted himself wholly to art. In 1770 he made an art-pilgrimage to Italy, where he remained till 1778, changing his name from Füssli to Fuseli, because it was more Italian-sounding.
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Hermann Levi
Hermann Levi (November 7, 1839 – May 13, 1900) was a German Jewish orchestral conductor.
Levi was born in Gießen, Germany, the son of a rabbi. He was educated at Gießen and Mannheim, and came to Vinzenz Lachner's notice. From 1855 to 1858 Levi studied at the Leipzig conservatorium, and after a series of travels which took him to Paris, he obtained his first post as music director at Saarbrücken, which post he exchanged for that at Mannheim in 1861. From 1862 to 1864 he was chief conductor of the German opera in Rotterdam, then till 1872 at Karlsruhe, when he went to Munich, a post he held until 1896, when ill-health compelled him to resign. Levi also taught at the Leipzig Conservatory where one of his pupils was conductor Emil Steinbach.
Levi's name is indissolubly connected with the increased public appreciation of Wagner's music. A longtime friend of Wagner, he conducted the first performance of Parsifal at Bayreuth in 1882, and was connected with the musical life of that place during the remainder of his career. He visited London in 1895, and died in Munich in 1900 and was interred in a Mausoleum in the grounds of his villa later that year in Garmisch-Partenkirchen.
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Hugo Wolf
Hugo Wolf (13 March 1860 – 22 February 1903) was an Austrian composer of Slovene origin, particularly noted for his art songs, or lieder. He brought to this form a concentrated expressive intensity which was unique in late Romantic music, somewhat related to that of the Second Viennese School in concision but utterly unrelated in technique.
Though he had several bursts of extraordinary productivity, particularly in 1888 and 1889, depression frequently interrupted his creative periods, and his last composition was written in 1898, before he suffered a mental collapse caused by syphilis.
Hugo Wolf was born in Windischgrätz (now Slovenj Gradec, Slovenia), then a part of the Austrian Empire. From his maternal side, he was related to Herbert von Karajan. He spent most of his life in Vienna, becoming a representative of "New German" trend in lieder, a trend which followed from the expressive, chromatic, and dramatic musical innovations of Richard Wagner.
A child prodigy, Wolf was taught piano and violin by his father beginning at the age of four, and once in primary school studied piano and music theory with Sebastian Weixler. However, subjects other than music failed to hold his interest; he was dismissed from the first secondary school he attended as being "wholly inadequate", left another over his difficulties in the compulsory Latin studies, and after a falling-out with a professor who commented on his "damned music", quit the last. From there, he went to the Vienna Conservatory to the disappointment of his father, who had hoped Wolf would not try to make his living from music; again, however, he was dismissed for "breach of discipline", though the often-rebellious Wolf would claim he quit in frustration over the school's conservatism.
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Ian Kershaw
Sir Ian Kershaw, FBA (born 29 April 1943) is a British historian of 20th-century Germany whose work has chiefly focused on the period of the Third Reich. He is regarded by many as one of the world's leading experts on Adolf Hitler and Nazi Germany, and is particularly noted for his monumental biography of Hitler, which has been called "soberly objective."
He was the leading disciple of the late West German historian Martin Broszat, and (until his retirement) professor at the University of Sheffield. Kershaw has called Broszat an "inspirational mentor" who did much to shape his understanding of National Socialist Germany. Kershaw served as historical adviser on numerous BBC documentaries, notably The Nazis: A Warning From History and War of the Century. He taught a module entitled 'Germans against Hitler'.
His wife Dame Betty Kershaw was a Dean at Sheffield.
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Ignaz Moscheles
(Isaac) Ignaz Moscheles (23 May 1794 – 10 March 1870) was a Bohemian composer and piano virtuoso, whose career after his early years was based initially in London, and later at Leipzig, where he succeeded his friend and sometime pupil Felix Mendelssohn as head of the Conservatoire.
Much of what we know about Moscheles's life is derived from the edition of his diaries prepared by his wife, Charlotte, after his death, and published in 1874. This edition also gives lively portraits of his era and of his musical contemporaries. Unfortunately however the diaries themselves have since gone missing, although they may perhaps rematerialise. Another important source is the correspondence between Moscheles and Mendelssohn, preserved at the Brotherton Collection at the University of Leeds, and published in 1888 by Ignaz's son (and Felix Mendelssohn's god-son), Felix Moscheles.
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J. K. Huysmans
Charles-Marie-Georges Huysmans (pronounced [ʃaʁl maʁi ʒɔʁʒ ɥismɑ̃s]) (February 5, 1848 – May 12, 1907) was a French novelist who published his works as Joris-Karl Huysmans ([ʒoʁis kaʁl]). He is most famous for the novel À rebours (Against the Grain or Against Nature). His work is remarkable for its idiosyncratic use of the French language, extensive vocabulary, detailed and sensuous descriptions, and biting, satirical wit. It also displays an encyclopaedic erudition, ranging from the catalogue of decadent Latin authors in À rebours to the discussion of the iconography of Christian architecture in La cathédrale. Huysmans expresses a disgust with modern life and a deep pessimism, which led him first to the philosophy of Arthur Schopenhauer, then back to the Catholicism in which he had been raised.
He was born in Paris to a Dutch father, Godfried Huysmans, who was a lithographer by trade. His mother, Malvina Badin, had been a schoolmistress. He published his works as "Joris-Karl Huysmans", using an approximation of the Dutch equivalent of his forenames, to emphasize his roots. Huysmans' father died when he was eight years old and his mother quickly remarried, leading Huysmans to feel resentful against his stepfather, Jules Og, a Protestant who was part-owner of a Parisian book-bindery.
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J. M. W. Turner
Joseph Mallord William Turner RA (23 April 1775 – 19 December 1851) was an English Romantic landscape painter, watercolourist and printmaker. Turner was considered a controversial figure in his day, but is now regarded as the artist who elevated landscape painting to an eminence rivaling history painting. Although renowned for his oil paintings, Turner is also one of the greatest masters of British watercolour landscape painting. He is commonly known as "the painter of light" and his work is regarded as a Romantic preface to Impressionism.
Joseph Mallord William Turner was born on or around the 23 April 1775 in Maiden Lane, Covent Garden, London, England. His father, William Turner (1738–7 August 1829), was a barber and wig maker, His mother, Mary Marshall, came from a family of butchers. A younger sister, Mary Ann Turner, was born in September 1778 but died aged four in August 1783.
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Jacob Katz
Jacob Katz (Hebrew: יעקב כ"ץ) (born 15 November 1904 in Magyargencs, Hungary, died 20 May 1998 in Israel) was a Jewish historian and educator. He established the history curriculum used in Israel's High Schools.
Katz described "traditional society" and deployed sociological methods in his study of Jewish communities, with special attention to changes in halakhah (Jewish law) and Orthodoxy. He pioneered the modern study of Orthodoxy and its formation in reaction to Reform Judaism.
In the year 1945 Jacob Katz presented to a conference of historians his article “Marriage and Sexual Relations at the close of the Middle Ages” which was published that year in the periodical "Zion." Katz, who lived at that time in Tel Aviv and worked as a lecturer in a College of Education, had already been credited with a few articles in the fields of education, psychology and pedagogy, and their publication had given him a good reputation in the field. However, this reputation alone did not make him happy—he even suspected that it might distance him from the thing that he craved most of all, to get back to engagement in history research. It was Ben-Zion Dinur who encouraged Katz not to give up on his research even in the absence of an academic post. Indeed, despite the difficulty of setting aside time for research, Katz succeeded in completing the article mentioned. Its publication in the pages of Zion gave rise to favourable responses, and even won for Katz an invitation to participate in the first International Congress of Jewish studies which took place in Jerusalem in 1947. With hindsight it is possible to claim, that the article on “Marriage and Sexual Relations” in Zion paved the way for the integration of Katz into the Hebrew University. At the approach of the academic year 1949-1950, the University invited Katz to serve as an external teacher, offering him 25% of a full time post.
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James Joyce
James Augustine Aloysius Joyce (2 February 1882 – 13 January 1941) was an Irish novelist and poet, considered to be one of the most influential writers in the modernist avant-garde of the early 20th century. Joyce is best known for Ulysses (1922), a landmark work in which the episodes of Homer's Odyssey are paralleled in an array of contrasting literary styles, perhaps most prominently the stream of consciousness technique he perfected. Other major works are the short-story collection Dubliners (1914), and the novels A Portrait of the Artist as a Young Man (1916) and Finnegans Wake (1939). His complete oeuvre includes three books of poetry, a play, occasional journalism, and his published letters.
Joyce was born to a middle class family in Dublin, where he excelled as a student at the Jesuit schools Clongowes and Belvedere, then at University College Dublin. In his early twenties he emigrated permanently to continental Europe, living in Trieste, Paris and Zurich. Though most of his adult life was spent abroad, Joyce's fictional universe does not extend beyond Dublin, and is populated largely by characters who closely resemble family members, enemies and friends from his time there; Ulysses in particular is set with precision in the streets and alleyways of the city. Shortly after the publication of Ulysses he elucidated this preoccupation somewhat, saying, "For myself, I always write about Dublin, because if I can get to the heart of Dublin I can get to the heart of all the cities of the world. In the particular is contained the universal."
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Jan Václav Voříšek
Jan Václav Hugo Voříšek (Czech pronunciation: [jan ˈvaːt͡slaf ˈɦuɡo ˈvor̝iːʃɛk]; Johann Hugo Worzischek, 11 May 1791, Vamberk, Bohemia - 19 November 1825, Vienna, Austria), was a Czech composer of classical music, pianist, and organist.
Voříšek was born in the town of Vamberk where his father was the schoolmaster, choirmaster and organist. A child prodigy, he started to perform publicly in Bohemian towns at the age of nine. His father taught him music, encouraged his playing the piano, helped him get a scholarship to attend the University of Prague where he studied philosophy. He also had lessons in piano and composition from Tomášek. He found it impossible to obtain sufficient work as a musician in Prague, so in 1813 at the age of 22 Voříšek moved to Vienna to study law and, he hoped, to meet Beethoven. In Vienna he was able to greatly improve his piano technique under the guidance of Hummel, but once more failed to gain full time employment as a musician.
Although Voříšek was enthralled by the classical music of Mozart, he was more intrigued by the romanticism of Ludwig van Beethoven.
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Jean Paul
Jean Paul (21 March 1763 – 14 November 1825), born Johann Paul Friedrich Richter, was a German Romantic writer, best known for his humorous novels and stories.
Jean Paul was born at Wunsiedel, in the Fichtelgebirge mountains (Bavaria). His father was an organist at Wunsiedel. In 1765 his father became a pastor at Joditz near Hof, and in 1767 at Schwarzenbach, but he died on 25 April 1779, leaving the family in great poverty. After attending the Gymnasium at Hof, Jean Paul went in 1781 to the University of Leipzig. His original intention was to enter his father's profession, but theology did not interest him, and he soon devoted himself wholly to the study of literature. Unable to maintain himself at Leipzig he returned in 1784 to Hof, where he lived with his mother. From 1787 to 1789 he served as a tutor at Töpen, a village near Hof; and from 1790 to 1794 he taught the children of several families in a school he had founded in nearby Schwarzenbach.
Jean Paul began his career as a man of letters with Grönländische Prozesse ("Greenland Lawsuits", published anonymously in Berlin) and Auswahl aus des Teufels Papieren ("Selections from the Devil's Papers", signed J. P. F. Hasus), the former of which was issued in 1783-84, the latter in 1789. These works were not received with much favour, and in later life Richter himself had little sympathy for their satirical tone. A spiritual crisis he suffered on 15 November 1790, in which he had a vision of his own death, altered his outlook profoundly. His next book, Die unsichtbare Loge ("The Invisible Lodge"), a romance published in 1793 under the pen-name Jean Paul (in honour of Jean Jacques Rousseau), had all the qualities that were soon to make him famous, and its power was immediately recognized by some of the best critics of the day.
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Jew
The Jews (Hebrew: יְהוּדִים ISO 259-3 Yhudim Israeli pronunciation [jehuˈdim]), also known as the Jewish people, are a nation and an ethnoreligious group, originating in the Israelites or Hebrews of the Ancient Near East. The Jewish ethnicity, nationality, and religion are strongly interrelated, as Judaism is the traditional faith of the Jewish nation.Converts to Judaism, whose status as Jews within the Jewish ethnos is equal to those born into it, have been absorbed into the Jewish people throughout the millennia.
In Jewish tradition, Jewish ancestry is traced to the Biblical patriarchs Abraham, Isaac and Jacob in the second millennium BCE. The modern State of Israel defines itself as a Jewish state in its Basic Laws, and Israel's Law of Return states: "Every Jew has the right to come to this country as an oleh." Israel is the only country where Jews are a majority of the population. Jews achieved political autonomy twice before in ancient history. The first of these periods lasted from 1350 to 586 BCE, and encompassed the periods of the Judges, the United Monarchy, and the Divided Monarchy of the Kingdoms of Israel and Judah, ending with the destruction of the First Temple. The second was the period of the Hasmonean Kingdom spanning from 140 to 37 BCE. Since the destruction of the First Temple, most Jews have lived in diaspora. A minority in every country in which they live (except Israel), they have frequently experienced persecution throughout history, resulting in a population that has fluctuated both in numbers and distribution over the centuries.
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Jim Steinman
James Richard "Jim" Steinman (born November 1, 1947) is an American composer, lyricist, and Grammy Award-winning record producer responsible for several hit songs. He has also worked as an arranger, pianist, and singer. His work has included songs in the adult contemporary, rock and roll, dance, pop, musical theater, and film score genres. Beginning his career in musical theater, Steinman's most notable work in the area includes lyrics for Whistle Down the Wind and music for Tanz der Vampire.
His work includes such albums as Meat Loaf's Bat out of Hell and Bat Out of Hell II: Back Into Hell, and producing albums for Bonnie Tyler. His most successful chart singles include Bonnie Tyler's "Total Eclipse of the Heart", Air Supply's "Making Love Out of Nothing at All", Meat Loaf's "I'd Do Anything for Love (But I Won't Do That)", The Sisters of Mercy's "This Corrosion" and "More", Barry Manilow's "Read 'Em and Weep" (originally released by Meat Loaf), Celine Dion's cover of "It's All Coming Back to Me Now" (originally released by Steinman's project Pandora's Box) and Boyzone's "No Matter What". The album Bad for Good was released in his own name in 1981.
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Joachim Witt
Joachim Witt (born 22 February 1949 in Hamburg, Germany) is a German musician and actor.
Joachim Witt became a major star of the German pop scene during the eighties with huge hits such as "Der Goldene Reiter". He was one of the biggest names of the "Neue Deutsche Welle" (New German Wave), of which performers like Nena and Falco were also a part.
He made a big comeback at the end of the nineties, when he scored a major hit with "Die Flut", a duet with Peter Heppner, the singer of popular German synth pop group Wolfsheim. Witt's album "Bayreuth 1" (1998) scored platinum in Germany and Austria. "Bayreuth 2" followed two years later. He has collaborated with such artists as Apocalyptica, Oomph!, Angelzoom, Tilo Wolff of Lacrimosa and just recently, German Electropop group Purwien as well.
Joachim Witt was the guitarist/singer in the Seventies Krautrock band Duesenberg. He released three albums with them, "Duesenberg" (1977), "Duesenberg 2" (1978) and "Strangers" (1979), before embarking on a solo career as a singer and actor.
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Johan Christian Dahl
Johan Christian Claussen Dahl (February 24, 1788 – October 14, 1857), often known as J. C. Dahl, was a Norwegian artist who is considered the first great romantic painter in Norway, the founder of the "golden age" of Norwegian painting, and one of the great European artists of all time. He is often described as "the father of Norwegian landscape painting" and is regarded as the first Norwegian Painter ever to reach a level of artistic accomplishment comparable to that attained by the greatest European artists of his day. He was also the first acquire genuine fame and cultural renown abroad. As one critic has put it, "J.C. Dahl occupies a central position in Norwegian artistic life of the first half of the 19th century.
Although Dahl spent much of his life outside of Norway, his love for his country is clear in the motifs he chose for his paintings and in his extraordinary efforts on behalf of Norwegian culture generally. Indeed, if one sets aside his own monumental artistic creations, his other activities on behalf of art, history, and culture would still have guaranteed him a place at the very heart of the artistic and cultural history of Norway. He was, for example, a key figure in the founding of the Norwegian National Gallery and of several other major art institutions in Norway, as well as in the preservation of Norwegian stave churches and the restoration of the Nidaros Cathedral in Trondheim and Håkonshallen in Bergen.
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Johannes Brahms
Johannes Brahms (pronounced [joːˈhanəs ˈbʁaːms]; 7 May 1833 – 3 April 1897) was a German composer and pianist, and one of the leading musicians of the Romantic period. Born in Hamburg, Brahms spent much of his professional life in Vienna, Austria, where he was a leader of the musical scene. In his lifetime, Brahms's popularity and influence were considerable; following a comment by the nineteenth-century conductor Hans von Bülow, he is sometimes grouped with Johann Sebastian Bach and Ludwig van Beethoven as one of the Three Bs.
Brahms composed for piano, chamber ensembles, symphony orchestra, and for voice and chorus. A virtuoso pianist, he premiered many of his own works; he also worked with some of the leading performers of his time, including the pianist Clara Schumann and the violinist Joseph Joachim. Many of his works have become staples of the modern concert repertoire. Brahms, an uncompromising perfectionist, destroyed many of his works and left some of them unpublished.
Brahms is often considered both a traditionalist and an innovator. His music is firmly rooted in the structures and compositional techniques of the Baroque and Classical masters. He was a master of counterpoint, the complex and highly disciplined art for which Johann Sebastian Bach is famous, and also of development, a compositional ethos pioneered by Joseph Haydn, Wolfgang Amadeus Mozart and Ludwig van Beethoven. Brahms aimed to honour the "purity" of these venerable "German" structures and advance them into a Romantic idiom, in the process creating bold new approaches to harmony and melody. While many contemporaries found his music too academic, his contribution and craftsmanship have been admired by subsequent figures as diverse as Arnold Schoenberg and Edward Elgar. The diligent, highly constructed nature of Brahms's works was a starting point and an inspiration for a generation of composers.
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John Boorman
John Boorman (born 18 January 1933) is a British filmmaker who is a long time resident of Ireland and is best known for his feature films such as Point Blank, Deliverance, Zardoz, Excalibur, The Emerald Forest, Hope and Glory, The General and The Tailor of Panama.
Boorman was born in Shepperton, Surrey, England, the son of Ivy (née Chapman) and George Boorman. He was educated at the Salesian School in Chertsey, Surrey, even though his family was not Roman Catholic. He has directed a total of 22 movies.
Boorman first began by working as a drycleaner and journalist in the late 1950s. He ran the newsrooms at Southern Television in Southampton and Dover before moving into TV documentary filmmaking, eventually becoming the head of the BBC's Bristol-based Documentary Unit in 1962.
Capturing the interest of producer David Deutsch, he was offered the chance to direct a film aimed at repeating the success of A Hard Day's Night (directed by Richard Lester in 1964): Catch Us If You Can (1965) is about competing pop group Dave Clark Five. While not as successful commercially as Lester's film, it drew good reviews from distinguished critics such as Pauline Kael and Dilys Powell and smoothed Boorman's way into the film industry. Boorman was drawn to Hollywood for the opportunity to make larger-scale cinema and in Point Blank (1967), a powerful interpretation of a Richard Stark novel, brought a stranger's vision to the decaying fortress of Alcatraz and the proto-hippy world of San Francisco. Lee Marvin gave the then-unknown director his full support, telling MGM he deferred all his approvals on the project to Boorman.
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John Clare
John Clare (13 July 1793 – 20 May 1864) was an English poet, the son of a farm labourer, who came to be known for his celebratory representations of the English countryside and his lamentation of its disruption. His poetry underwent a major re-evaluation in the late 20th century and he is often now considered to be among the most important 19th-century poets. His biographer Jonathan Bate states that Clare was "the greatest labouring-class poet that England has ever produced. No one has ever written more powerfully of nature, of a rural childhood, and of the alienated and unstable self".
Clare was born in Helpston, six miles to the north of the city of Peterborough. In his life time, the village was in the Soke of Peterborough in Northamptonshire and his memorial calls him "The Northamptonshire Peasant Poet". Helpston now lies in the Peterborough unitary authority of Cambridgeshire.
He became an agricultural labourer while still a child; however, he attended school in Glinton church until he was twelve. In his early adult years, Clare became a pot-boy in the Blue Bell public house and fell in love with Mary Joyce; but her father, a prosperous farmer, forbade her to meet him. Subsequently he was a gardener at Burghley House. He enlisted in the militia, tried camp life with Gypsies, and worked in Pickworth as a lime burner in 1817. In the following year he was obliged to accept parish relief. Malnutrition stemming from childhood may be the main culprit behind his 5-foot stature and may have contributed to his poor physical health in later life.[citation needed]
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John Clute
John Frederick Clute (born 1940) is a Canadian born author and critic who has lived in Britain since 1969. He has been described as "an integral part of science fiction's history."
Clute's articles on speculative fiction have appeared in various publications since the 1960s. He is a co-editor of The Encyclopedia of Science Fiction (with Peter Nicholls) and of The Encyclopedia of Fantasy (with John Grant), as well as writing The Illustrated Encyclopedia Of Science Fiction, all of which won Hugo Awards for Best Non-Fiction. Clute is also author of the collections of reviews and essays Strokes, Look at the Evidence, Scores, Canary Fever and Pardon This Intrusion. His 2001 novel Appleseed, a space opera, was noted for its "combination of ideational fecundity and combustible language" and was selected as a New York Times Notable Book for 2002. In 2006, Clute published the essay collection The Darkening Garden: A Short Lexicon of Horror. The third edition of The Encyclopedia of Science Fiction (with David Langford and Peter Nicholls) was released online as a beta text in October 2011.
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John Constable
John Constable (11 June 1776 – 31 March 1837) was an English Romantic painter. Born in Suffolk, he is known principally for his landscape paintings of Dedham Vale, the area surrounding his home—now known as "Constable Country"—which he invested with an intensity of affection. "I should paint my own places best", he wrote to his friend John Fisher in 1821, "painting is but another word for feeling".
His most famous paintings include Dedham Vale of 1802 and The Hay Wain of 1821. Although his paintings are now among the most popular and valuable in British art, he was never financially successful and did not become a member of the establishment until he was elected to the Royal Academy at the age of 52. He sold more paintings in France than in his native England.
John Constable was born in East Bergholt, a village on the River Stour in Suffolk, to Golding and Ann (Watts) Constable. His father was a wealthy corn merchant, owner of Flatford Mill in East Bergholt and, later, Dedham Mill in Essex. Golding Constable also owned his own small ship, The Telegraph, which he moored at Mistley on the Stour estuary and used to transport corn to London. He was a cousin of the London tea merchant, Abram Newman. Although Constable was his parents' second son, his older brother was mentally handicapped and so John was expected to succeed his father in the business, and after a brief period at a boarding school in Lavenham, he was enrolled in a day school in Dedham. Constable worked in the corn business after leaving school, but his younger brother Abram eventually took over the running of the mills.
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John Deathridge
John Deathridge (born in Birmingham, 21 October 1944) is a British musicologist. He was educated at King Edward's School, Birmingham, and at Lincoln College, Oxford (MA, DPhil) culminating with a dissertation on Wagner's sketches for Rienzi, and is currently Professor of Music at King's College London. Deathridge currently lives in Cambridge.
After graduation he worked as full-time director of music at St Wolfgang, Munich, where he continued his research on Wagner and acted as a conductor and broadcaster. Deathridge has also taught at Princeton University and the University of Chicago and worked as an editor of the Wagner complete edition. Also, he was fellow and director of studies in music at King's College, Cambridge.
Deathridge is regarded as one of the world's foremost Wagner experts and a noted authority on Beethoven. Now King Edward VII Professor of Music at King's College London, as well as a former Head of the prestigious Department of Music at that institution, he has been active as a conductor, organ recitalist and piano accompanist. His career includes being a radio and television broadcaster and a reviewer for scholarly music journals in Germany and Britain.
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John Grant (author)
John Grant (born 1949) is a Scottish writer and editor of science fiction, fantasy, and non-fiction. Born as Paul le Page Barnett, Grant has sometimes written under his own name "Paul Barnett" or as "Eve Devereux". The author of some 70 books in all, he has published numerous original novels, as well as one novel in the Judge Dredd series and 11 novels and a novella collection in the Legends of Lone Wolf series; edited several anthologies, beginning with Aries 1 (1979) and most recently the major anthology New Writings in the Fantastic (2007); and has written or collaborated on dozens of non-fiction works, including several relating to fantasy and science fiction. His collaborators have included David Langford and, as illustrator, Bob Eggleton. With John Clute, he co-edited The Encyclopedia of Fantasy (1997) for which he also wrote all the cinema entries. At present, Barnett lives in New Jersey with his wife, Pamela Scoville, a noted animation art expert and co-founder with her late husband Michael of the Animation Art Guild.
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John Keats
John Keats ( /ˈkiːts/; 31 October 1795 – 23 February 1821) was an English Romantic poet. He was one of the main figures of the second generation of romantic poets along with Lord Byron and Percy Bysshe Shelley, despite his work only having been in publication for four years before his death.
Although his poems were not generally well received by critics during his life, his reputation grew after his death, so that by the end of the 19th century he had become one of the most beloved of all English poets. He had a significant influence on a diverse range of later poets and writers. Jorge Luis Borges stated that his first encounter with Keats was the most significant literary experience of his life.
The poetry of Keats is characterized by sensual imagery, most notably in the series of odes. Today his poems and letters are some of the most popular and most analyzed in English literature.
John Keats was born on 31 October 1795 to Thomas and Frances Jennings Keats. Keats and his family seemed to have marked his birthday on 29 October, however baptism records give the birth date as the 31st. He was the eldest of four surviving children; George (1797–1841), Thomas (1799–1818) and Frances Mary "Fanny" (1803–1889). Another son was lost in infancy. John was born in central London although there is no clear evidence of the exact location. His father first worked as a hostler at the stables attached to the Swan and Hoop inn, an establishment he later managed and where the growing family lived for some years. Keats believed that he was born at the inn, a birthplace of humble origins, but there is no evidence to support this. The Keats at the Globe pub now occupies the site, a few yards from modern day Moorgate station. He was baptised at St Botolph-without-Bishopsgate and sent to a local dame school as a child.
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José de Espronceda
José Ignacio Javier Oriol Encarnación de Espronceda y Delgado (25 March 1808 — 23 May 1842) was a famous Romantic Spanish poet.
Espronceda was born in Almendralejo, at the Province of Badajoz. As a youth, he studied at the Colegio San Mateo at Madrid, having Alberto Lista as a teacher. When he was 15 years old, he formed a secret society named "Los Numantinos" alongside his friends Ventura de la Vega and Patricio de la Escosura, conspiring against Ferdinand VII and intending to avenge the death of Rafael del Riego. For this, he was imprisoned in a monastery and exiled. Afterward, he left Spain and lived in Lisbon, Belgium, France, England and Holland. On his return to Spain in 1833, he became active in the extreme left-wing of Spanish political culture. Espronceda is also known for his affair with Teresa Mancha, for whom he wrote "Canto a Teresa" (from El diablo mundo). He later went to the Malay Peninsula and helped build the Dutch colonies there. He died of diphtheria in 1842.
Having been inspired to a literary career by his teacher Alberto Lista, Espronceda began to write the historical poem El Pelayo during his stay in the monastery. The poem was never completed. Later he wrote the novel Sancho Saldaña. His other important works include El estudiante de Salamanca and El Diablo Mundo, long lyric poems, the latter remained unfinished. Also important were A Jarifa en una orgía, El verdugo, El canto del cosaco, La canción del pirata and Himno al sol. Many of his works display the tendencies of Romanticism, and along with José Zorilla he is considered Spain's most important Romantic poet, as well as the most rebellious.
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José Zorrilla
José Zorrilla y Moral (Spanish pronunciation: [xoˈse θoˈriʎa]; 21 February 1817 – 23 January 1893), was a Spanish Romantic poet and dramatist.
He was born in Valladolid to a magistrate in whom Ferdinand VII placed special confidence,. He was educated by the Jesuits at the Real Seminario de Nobles in Madrid, wrote verses when he was twelve, became an enthusiastic admirer of Walter Scott and Chateaubriand, and took part in the school performances of plays by Lope de Vega and Calderón de la Barca.
In 1833 he was sent to study law at the University of Toledo, but after a year of idleness, he fled to Madrid, where he horrified the friends of his absolutist father by making violent speeches and by founding a newspaper which was promptly suppressed by the government. He narrowly escaped transportation to the Philippines, and passed the next few years in poverty.
The death of the satirist Mariano José de Larra brought Zorrilla into notice. His elegiac poem, read at Larra's funeral in February 1837, introduced him to the leading men of letters. In 1837 he published a book of verses, mostly imitations of Alphonse de Lamartine and Victor Hugo, which was so favourably received that he printed six more volumes within three years.
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Jules Massenet
Jules Émile Frédéric Massenet (French pronunciation: [ʒyl emil fʁedeʁik masnɛ]) (May 12, 1842 – August 13, 1912) was a French composer best known for his operas. His compositions were very popular in the late 19th and early 20th centuries, and he ranks as one of the greatest melodists of his era. Soon after his death, Massenet's style went out of fashion, and many of his operas fell into almost total oblivion. Apart from Manon and Werther, his works were rarely performed. However, since the mid-1970s, many operas of his such as Thaïs and Esclarmonde have undergone periodic revivals.
Massenet was born in Montaud, then an outlying hamlet and now a part of the city of Saint-Étienne, in the Loire. When he was six, his family moved to Paris due to his father's ill-health. There his mother (Adélaïde Massenet, née Royer; her husband's second wife) started taking piano pupils. She also taught Jules so well that at the age of 11 he was able to enter the Paris Conservatoire. He was still a student when his family moved from Paris to Chambéry, but Jules returned to Paris after a few months, living with a married member of his father's family by his first wife. To support himself during his studies, he worked as timpanist for six years at the Théâtre Lyrique, playing also other percussion instruments in other theatres, and working as a pianist in the Café de Belleville.
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Juliusz Słowacki
Juliusz Słowacki (Polish pronunciation: [ˈjuljuʂ swɔˈvat͡ski]; 4 September 1809 – 3 April 1849) was a Polish Romantic poet. He is considered one of the "Three Bards" of Polish literature — a major figure in the Polish Romantic period, and the father of modern Polish drama. His works often feature elements of Slavic pagan traditions, Polish history, mysticism and orientalism. His style includes the employment of neologisms and irony. His primary genre was the drama, and secondly, lyric poetry. His most popular works include the dramas Kordian and Balladyna and the poem Beniowski.
Słowacki spent his youth in Stolen Lands, in Kremenets (Polish: Krzemieniec) (now Ukraine) and Vilnius (Polish: Wilno) (now Lithuania). He briefly worked for the government of the Kingdom of Poland. During the November 1830 Uprising, he was a courier for the Polish revolutionary government. When the uprising ended in defeat, he found himself abroad and thereafter, like many compatriots, lived the life of an émigré. He settled briefly in Paris, France, and later in Geneva, Switzerland. He also traveled through Italy, Greece and the Middle East. Eventually he returned to Paris, where he spent the last decade of his life. He briefly returned to Poland when another uprising broke out during the Spring of Nations (1848).
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Karel Hynek Mácha
Karel Hynek Mácha (Czech pronunciation: [ˈkarɛl ˈɦɪnɛk ˈmaːxa]) (16 November 1810 – 6 November 1836) was a Czech romantic poet.
Mácha grew up in Prague, the son of a foreman at a mill. He learned Latin and German in school. He went on to study law at Prague University; during that time he also became involved in theatre (as an actor he first appeared in Jan Nepomuk Štěpánek's drama Czech and German in July 1832 in Benešov), where he met Eleonora Šomková, with whom he had a son out of wedlock. He was fond of travel, enjoying trips into the mountains, and was an avid walker. Eventually he moved to Litoměřice, a quiet town some 60 km from Prague, to prepare for law school exams and to write poetry. Three days before he was to be married to Šomková, just a few weeks after he had begun working as a legal assistant, Mácha, in helping put out a fire, overstrained himself, and died after a short period of illness, due to pneumonia. The day after his death he was expected in Prague to marry his mistress.
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Karl Bryullov
Karl Pavlovich Bryullov (Russian: Карл Па́влович Брюлло́в12 December 1799 - 11 June 1852), also transliterated Briullov or Briuloff and referred to by his friends as "The Great Karl", was a Russian painter. He is regarded as a key figure in transition from the Russian neoclassicism to romanticism.
Karl Bryullov was born on December, 12th (23), 1799 in St.-Petersburg, in a family of the academician, the woodcarver and engraver Pavel Ivanovich Briullo (Brulleau, 1760—1833). He felt drawn to Italy from his early years. Despite his education at the Imperial Academy of Arts (1809–1821), Bryullov never fully embraced the classical style taught by his mentors and promoted by his brother, Alexander Bryullov. After distinguishing himself as a promising and imaginative student and finishing his education, he left Russia for Rome where he worked until 1835 as a portraitist and genre painter, though his fame as an artist came when he began doing historical painting.
His best-known work, The Last Day of Pompeii (1830–1833), is a vast composition compared by Pushkin and Gogol to the best works of Rubens and Van Dyck. It created a sensation in Italy and established Briullov as one of the finest European painters of his day. After completing this work, he triumphantly returned to the Russian capital, where he made many friends among the aristocracy and intellectual elite and obtained a high post in the Imperial Academy of Arts.
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Karl Ferdinand Sohn
Karl Ferdinand Sohn (December 10, 1805 in Berlin – November 25, 1867 in Cologne) was a German painter of the Düsseldorf school of painting.
He was born in Berlin and studied there under Wilhelm von Schadow, whom he followed to Düsseldorf. He treated principally mythical and poetic subjects of a highly romantic character, and painted in the mechanically idealistic manner of the Düsseldorf school. He visited Italy (1830–1831) and adopted ideas from the works of the Venetians: Titian, Paolo Veronese, and Palma il Vecchio. In 1832, he was made professor in the Düsseldorf Academy, where he exercised an important influence. Among his best-known works are:
He had two sons (Richard Sohn, born in 1834, and Karl Sohn, born in 1845) who grew up to also be painters. His nephew and pupil, Wilhelm Sohn, (1830–1899), born in Berlin, painted at first biblical subjects, and then devoted himself to genre scenes, good in characterization and drawing and of great coloristic charm. Among these are:
This article incorporates text from a publication now in the public domain: New International Encyclopedia. New York: Dodd, Mead. 1905.
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Klaus Schulze
Klaus Schulze (born 4 August 1947) is a German electronic music composer and musician. He also used the alias Richard Wahnfried. He was briefly a member of the electronic bands Tangerine Dream and Ash Ra Tempel before launching a solo career consisting of more than 60 albums released across five decades.
In 1969, Klaus Schulze was the drummer of one of the early incarnations of Tangerine Dream for their debut album Electronic Meditation. Before 1969 he was a drummer in a band called Psy Free. He met Edgar Froese from Tangerine Dream in the Zodiac Club in Berlin in that time West-Germany. In 1970 he left this group to form Ash Ra Tempel with Manuel Göttsching and Hartmut Enke. In 1971, he chose again to leave a newly-formed group after only one album, this time to mount a solo career. In 1972, Schulze released his debut album Irrlicht with organ and a recording of an orchestra filtered almost beyond recognition. Despite the lack of synthesizers, this proto-ambient work is regarded as a milestone in electronic music. The follow-up, Cyborg, was similar but added the EMS Synthi A synthesiser.
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Lars von Trier
Lars von Trier (Danish pronunciation: [ˈlɑːs fʌn ˈtʁiːˀɐ]; born Lars Trier; 30 April 1956) is a Danish film director and screenwriter. He is closely associated with the Dogme 95 collective – an avant-garde filmmaking movement – although his own films have taken a variety of approaches. His work has frequently divided the critics.
Von Trier began making films at the age of eleven. Raised by a communist mother and a socialist father in an austere environment, he converted at the age of 30 to the Catholic Church. Von Trier suffers periodically from depression, as well as various fears and phobias, including an intense fear of flying. As he himself said in an interview, "Basically, I'm afraid of everything in life, except filmmaking".. His first publicly released film was an experimental short called The Orchid Gardener (1977) and his first feature film came seven years later with The Element of Crime (1984). Among many other prizes, awards and nominations, he is the recipient of the Palme d'Or, the Grand Prix, and the Prix du Jury at the Cannes Film Festival.
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Lord Byron
George Gordon Byron, 6th Baron Byron, later George Gordon Noel, 6th Baron Byron, FRS (22 January 1788 – 19 April 1824), commonly known simply as Lord Byron, was a British poet and a leading figure in the Romantic movement. Among Byron's best-known works are the brief poems She Walks in Beauty, When We Two Parted, and So, we'll go no more a roving, in addition to the narrative poems Childe Harold's Pilgrimage and Don Juan. He is regarded as one of the greatest British poets and remains widely read and influential.
He travelled to fight against the Ottoman Empire in the Greek War of Independence, for which Greeks revere him as a national hero. He died at 36 years old from a fever contracted while in Missolonghi in Greece.
Byron was celebrated in life for aristocratic excesses including huge debts, numerous love affairs, rumours of a scandalous incestuous liaison with his half-sister, and self-imposed exile. It has been speculated that he suffered from bipolar I disorder, or manic depression.
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Louis Niedermeyer
Abraham Louis Niedermeyer (27 April 1802 – 14 March 1861) was a composer chiefly of church music but also of a few operas, and a teacher who took over the Ecole Choron, duly renamed École Niedermeyer, a school for the study and practice of church music, where several eminent French musicians studied including Gabriel Fauré and André Messager.
Born in Nyon, Switzerland, Niedermeyer studied piano in Vienna with Ignaz Moscheles and composition with Emanuel Aloys Förster. He studied further in Rome with Vincenzo Fioravanti (1819) and in Naples with Niccolò Antonio Zingarelli. While in Rome, he had the luck to meet Gioachino Rossini, who befriended him and urged the production of some of Niedermeyer's operas. His first opera, Il reo per amore, was put on in Naples in 1820 with some success.
Like Rossini, Niedermeyer settled in Paris (at the age of 21, in 1823); and there, in later years, four more of his operas were staged, though with little success:
Niedermeyer also collaborated with his friend Rossini on the assembly of Robert Bruce, Rossini's third and last pastiche; Niedermeyer provided the all-important French texts with their characteristic tone color and harmonies.
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Louise Bertin
Louise-Angélique Bertin (Les Roches, Essonne, 15 January 1805 – Paris, 26 April 1877) was a French composer and poet.
Louise Bertin lived her entire life in France. Her father, Louis-François Bertin, and also her brother later on, were the editors of Journal des débats, an influential newspaper. As encouraged by her family, Bertin pursued music. She received lessons from François-Joseph Fétis, who directed a private family performance of Guy Mannering, the first opera that Bertin ever composed, in 1825. This opera, never formally produced, took its story line from the book of the same name, written by Sir Walter Scott. Two years later, Bertin's second opera, Le Loup-garou, was produced at the Opéra-Comique.
At the age of 21, Bertin began working on an opera semiseria, based on Goethe's Faust. A performance of the completed opera was scheduled for 1830. However, due to many unforeseen complications, Fausto did not actually reach the stage until a full year later. It was not well received and only saw three performances.
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Ludwig Geyer
Ludwig Geyer (21 January 1779 – 30 September 1821) was a German actor, playwright and painter.
Born in Eisleben, he was the stepfather of composer Richard Wagner, whose biological father had died some six months after his birth. According to Wagner's biographer Glasenapp, Geyer married Wagner's mother Johanna Rosine (née Pätz) after Wagner's birth; for his first few years Richard went under the surname Geyer. However it is possible that Geyer and Johanna did not marry legally, as no record of the marriage has been found.
In his 'Autobiographic Sketch' Wagner describes him as 'a comedian and a painter; he was also the author of a few stage plays, of which one, [...] The Slaughter of the Innocents, had a certain success'. On his deathbed, according to Wagner, Geyer asked his mother 'has he perchance a talent for music?'.
Geyer grew up in Artern and attended gymnasium in Eisleben. He started studying jurisprudence at the University of Leipzig but had to quit in 1799 when his father died after an accident. Geyer made his hobby to his profession and earned the living expenses for his family by selling small portrait paintings.
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Ludwig II of Bavaria
Ludwig II (Ludwig Otto Friedrich Wilhelm; sometimes rendered as Louis II in English) (25 August 1845 – 13 June 1886) was King of Bavaria from 1864 until shortly before his death. He is sometimes called the Swan King (English) and der Märchenkönig, the Fairy tale King (German). Additional titles were Count Palatine of the Rhine, Duke of Bavaria, Franconia and in Swabia.
Ludwig is sometimes also called "Mad King Ludwig", though the accuracy of that label has been disputed. His younger brother, Otto, was certifiably insane, thus the claim of hereditary madness was convenient. Because Ludwig was deposed on grounds of mental incapacity without any medical examination, questions about the medical "diagnosis" remain controversial. Adding to the controversy are the mysterious circumstances under which he died. King Ludwig and the doctor assigned to him in captivity at Castle Berg on Lake Starnberg were both found dead in the lake in waist-high water (Ludwig was well-known to be a strong swimmer), the doctor with unexplained injuries to the head and shoulders on the morning of June 13, 1886. One of his most quoted sayings was "I wish to remain an eternal enigma to myself and to others."
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Ludwig Uhland
Johann Ludwig Uhland (26 April 1787 – 13 November 1862), was a German poet, philologist and literary historian.
He was born in Tübingen, then Duchy of Württemberg, and studied jurisprudence at the university there, but also took an interest in medieval literature, especially old German and French poetry. Having graduated as a doctor of laws in 1810, he went to Paris for eight months to continue his studies of poetry; and from 1812 to 1814 he worked as a lawyer in Stuttgart, in the bureau of the minister of justice.
He had begun his career as a poet in 1807 and 1808 by contributing ballads and lyrics to Seckendorff's Musenalmanach; and in 1812 and 1813 he wrote poems for Kerner's Poetischer Almanach and Deutscher Dichterwald. In 1815 he collected his poems in a volume entitled Vaterländische Gedichte, which almost immediately secured a wide circle of readers. To almost every new edition he added some fresh poems. His two dramatic works Ernst, Herzog von Schwaben (1818) and Ludwig der Baier (1819) are unimportant in comparison with his Gedichte.
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Ludwig van Beethoven
Ludwig van Beethoven (i/ˈlʊdvɪɡ væn ˈbeɪt.hoʊvən/; German pronunciation: [ˈluːtvɪç fan ˈbeːt.hoːfən] ( listen); baptized 17 December 1770 – 26 March 1827) was a German composer and pianist. A crucial figure in the transition between the Classical and Romantic eras in Western art music, he remains one of the most famous and influential of all composers.
Born in Bonn, then the capital of the Electorate of Cologne and part of the Holy Roman Empire, Beethoven moved to Vienna in his early 20s, studying with Joseph Haydn and quickly gaining a reputation as a virtuoso pianist. His hearing began to deteriorate in his late twenties, yet he continued to compose, conduct, and perform, even after becoming completely deaf.
Beethoven was the grandson of a musician of Flemish origin named Lodewijk van Beethoven (1712–73) who moved at the age of twenty to Bonn. Lodewijk (Ludwig is the German cognate of Dutch Lodewijk) was employed as a bass singer at the court of the Elector of Cologne, eventually rising to become Kapellmeister (music director). Lodewijk had one son, Johann (1740–1792), who worked as a tenor in the same musical establishment, and gave lessons on piano and violin to supplement his income. Johann married Maria Magdalena Keverich in 1767; she was the daughter of Johann Heinrich Keverich, who had been the head chef at the court of the Archbishopric of Trier.
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Lyndon Brook
Lyndon Brook (10 April 1926 - 9 January 2004) was a British actor, on film and television.
Born in York, Brook came from an established acting family. His father, Clive Brook, had been a star of the silent movies and had moved to Hollywood to play quintessential Englishmen in a host of films. Brook’s parents sent their son back to England to be educated at Stowe and then he gained stage experience at Cambridge. His elder sister, Faith, is also an actress.
In 1949, he got a minor part in the film Train of Events, which starred Valerie Hobson (the future Mrs John Profumo) and John Clements.
In 1951, Brook was asked by Laurence Olivier to join his company at the St James’s Theatre in Shakespeare’s Anthony and Cleopatra and George Bernard Shaw’s Caesar and Cleopatra. The double production was set up to celebrate the Festival of Britain. It was whilst appearing in these productions that he met his future wife, the actress Elizabeth Kentish.
In 1954 Brook played an impressionable navigator opposite Gregory Peck in The Purple Plain. The film was set during the Burma campaign and involved a lengthy trek through the jungle. It enjoyed a huge success at the box office. Two years later, Brook co-starred with Kenneth More in one of the most popular of all Second World War dramas, Reach for the Sky.
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M. Owen Lee
M. Owen Lee, also known as Father Owen Lee (b. 1930, Detroit), is an American classics and music scholar.
Father Lee has been a member of the Basilian Fathers (C.S.B.) since 1947. He is a professor emeritus of classics at the University of Toronto, holder of four honorary degrees, and the author of 18 books on various subjects.
Lee has also been active as a commentator on musical topics. He is especially well-known for his insightful contributions as intermission commentator, pianist, and quiz panelist on the Metropolitan Opera radio broadcasts.
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Marcel Proust
Valentin Louis Georges Eugène Marcel Proust (French pronunciation: [maʁsɛl pʁust]; 10 July 1871 – 18 November 1922) was a French novelist, critic, and essayist best known for his monumental À la recherche du temps perdu (In Search of Lost Time; earlier translated as Remembrance of Things Past). It was published in seven parts between 1913 and 1927.
Proust was born in Auteuil (the southern sector of Paris' then-rustic 16th arrondissement) at the home of his great-uncle, two months after the Treaty of Frankfurt formally ended the Franco-Prussian War. His birth took place during the violence that surrounded the suppression of the Paris Commune, and his childhood corresponds with the consolidation of the French Third Republic. Much of In Search of Lost Time concerns the vast changes, most particularly the decline of the aristocracy and the rise of the middle classes that occurred in France during the Third Republic and the fin de siècle.
Proust's father, Achille Adrien Proust, was a prominent pathologist and epidemiologist, responsible for studying and attempting to remedy the causes and movements of cholera through Europe and Asia; he was the author of many articles and books on medicine and hygiene. Proust's mother, Jeanne Clémence Weil, was the daughter of a rich and cultured Jewish family from Alsace. She was literate and well-read; her letters demonstrate a well-developed sense of humour, and her command of English was sufficient for her to provide the necessary assistance to her son's later attempts to translate John Ruskin. Proust was raised in his father's Catholic faith. He was baptized (on August 5, 1871, at the church of Saint-Louis d'Antin) and later confirmed as a Catholic, but he never formally practiced that faith.
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Mathilde Wesendonck
Mathilde Wesendonck (23 December 1828 – 31 August 1902) was a German poet and author. She is best known as the friend and possibly mistress of Richard Wagner, who set five songs to her words, called the Wesendonck Lieder.
Agnes Mathilde Luckemeyer was born in Elberfeld (now Wuppertal) in the Rhineland of Germany in 1828. She married the silk merchant Otto Wesendonck (sometimes erroneously seen as von Wesendonck). Otto was a great admirer of Wagner's music, and after he and Mathilde met the composer in Zurich in 1852, he placed a cottage on his estate at Wagner's disposal. By 1857, Wagner had become infatuated with Mathilde. It is not known whether she returned his affections to the same degree, or if the affair - if there was one - was ever consummated. Nevertheless, the episode inspired Wagner to put aside his work on Der Ring des Nibelungen (which would not be resumed for the next twelve years) and begin work on Tristan und Isolde.
In 1858, Wagner’s wife Minna intercepted a romantic letter from Wagner to Mathilde. After the resulting confrontation, Wagner left Zürich alone, for Venice. Minna went to Dresden to stay with her family. She wrote to Mathilde before departing for Dresden:
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Maurice Schlesinger
Moritz Adolf Schlesinger (1798 in Berlin - 1871 in Baden-Baden), generally known during his French career as Maurice Schlesinger, was a German music editor. He is perhaps best remembered for inspiring the character of M. Arnoux in Gustave Flaubert's novel Sentimental Education.
He was the son of Adolf Martin Schlesinger, founder of the music journal Berliner allgemeine musikalische Zeitung. Maurice moved to Paris permanently in the 1820s where he founded a music publishing house closely linked to that of his father. In 1834 he founded a society with the stated object of publishing both classical and contemporary music at reasonable prices. He published works by Mozart, Haydn, Weber, Beethoven, Johann Nepomuk Hummel, Giacomo Meyerbeer and Hector Berlioz. He employed Richard Wagner, as an arranger and journalist, during the latter's first visit to Paris in 1840-41, and made the first introduction of Wagner to Franz Liszt.
Schlesinger created the journal Gazette musicale, which he later combined with the Revue musicale of François-Joseph Fétis. He eventually sold his portion of the journal in 1846 to a former employee named Louis Brandus.
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Meyerbeer
Giacomo Meyerbeer (5 September 1791 – 2 May 1864) was a noted German opera composer, and the first great exponent of "grand opera." At his peak in the 1830s and 1840s, he was the most famous and successful composer of opera in Europe, yet he is rarely performed today.
He was born to a Jewish family in Tasdorf (now a part of Rüdersdorf), near Berlin with the name Jacob Liebmann Beer. His father was the enormously wealthy financier Jacob Judah Herz Beer (1769-1825) and his much-beloved mother, Amalia Liebmann Meyer Wulff (1767-1854) also came from the wealthy elite. Their other children included the astronomer Wilhelm Beer and the poet Michael Beer.
Beer's first keyboard instructor was Franz Lauska, a pupil of Johann Georg Albrechtsberger and a favoured teacher at the Berlin court. Beer also became one of Muzio Clementi's pupils while Clementi was in Berlin, and old Clementi himself, although he had long given up teaching, was so much struck, during a visit to Berlin, with the promise displayed in the boy's performance as to consent to give Beer lessons. Beer made his public debut in 1801 playing Mozart's D minor Piano Concerto in Berlin. The Allgemeine musikalische Zeitung reported: 'The amazing keyboard playing of young Bär (a Jewish lad of 9), who carried off the difficult passages and other solo parts with aplomb, and has fine powers of rendition even more rarely found in one of his age, made the concert even more interesting'.
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Mikhail Bakunin
Mikhail Alexandrovich Bakunin (Russian: Михаи́л Алекса́ндрович Баку́нин; IPA: [mʲɪxɐˈil ˌbaˈkunʲin]; 30 May [O.S. 18 May] 1814 – 1 July 1876) was a well-known Russian revolutionary and philosopher, theorist of collectivist anarchism. He has also often been called the father of anarchist theory in general. Bakunin grew up in Premukhino, a family estate near Moscow, where he moved to study philosophy and began to read the French Encyclopedists, leading to enthusiasm for the philosophy of Fichte. From Fichte, Bakunin went on to immerse himself in the works of Hegel, the most influential thinker among German intellectuals at the time. That led to his wholehearted embrace of Hegelianism, as he became bedazzled by Hegel's famous maxim; "Everything that exists is rational". In 1840 Bakunin traveled to St. Petersburg and Berlin, preparing himself for a professorship in philosophy or history at the University of Moscow.
Bakunin moved from Berlin, in 1842, to Dresden. Eventually he arrived in Paris, where he met George Sand, Pierre-Joseph Proudhon and Karl Marx. He was eventually deported from France for speaking against Russia's oppression of Poland. In 1849 he was apprehended in Dresden for his participation in the Czech rebellion of 1848. He was turned over to Russia where he was imprisoned in Peter-Paul Fortress in Saint Petersburg. He remained there until 1857, when he was exiled to a work camp in Siberia. Escaping to Japan, the USA and finally ending up in London for a short time, he worked with Herzen on the journal Kolokol ("The Bell"). In 1863, he left to join the insurrection in Poland, but he failed to reach his destination and spent some time in Switzerland and Italy. Despite his criminal status, Bakunin gained great influence with the youth in Russia, and all of Europe. In 1870, he was involved in the insurrection in Lyon, which foreshadowed the Paris Commune.
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Mikhail Glinka
Mikhail Ivanovich Glinka (Russian: Михаи́л Ива́нович Гли́нка) (June 1 [O.S. May 20] 1804 – February 15 [O.S. February 3] 1857), was the first Russian composer to gain wide recognition within his own country, and is often regarded as the father of Russian classical music. Glinka's compositions were an important influence on future Russian composers, notably the members of The Five, who took Glinka's lead and produced a distinctive Russian style of music.
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Mikhail Lermontov
Mikhail Yuryevich Lermontov (Russian: Михаи́л Ю́рьевич Ле́рмонтов; IPA: [mʲɪxɐˈil ˈjurʲjɪvʲɪtɕ ˈlʲɛrməntəf]; October 15 [O.S. October 3] 1814 – July 27 [O.S. July 15] 1841), a Russian Romantic writer, poet and painter, sometimes called "the poet of the Caucasus", became the most important Russian poet after Alexander Pushkin's death in 1837. Lermontov is considered the supreme poet of Russian literature alongside Pushkin and the greatest figure in Russian Romanticism. His influence on later Russian literature is still felt in modern times, not only through his poetry, but also through his prose, which founded the tradition of the Russian psychological novel.
Lermontov was born in Moscow into a respectable noble family of the Tula Oblast, and grew up on the Tarkhany estate in the village of Tarkhany (now Lermontovo) in Penza Oblast. According to legend, his paternal family is descended from the Scottish Earls of Learmont, one of whom settled in Russia in the early 17th century, during the reign of Mikhail Fedorovich Romanov. The legendary Scottish poet Thomas the Rhymer (Thomas Learmonth) is thus claimed as a relative of Lermontov. The only ascertainable genealogical information states that the poet was descended from Yuri (George) Learmont, a Scottish officer in the Polish service who settled in Russia in the middle of 17th century
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Nathaniel Hawthorne
Nathaniel Hawthorne (born Nathaniel Hathorne; July 4, 1804 – May 19, 1864) was an American novelist and short story writer.
Nathaniel Hawthorne was born in 1804 in the city of Salem, Massachusetts to Nathaniel Hathorne and the former Elizabeth Clarke Manning. His ancestors include John Hathorne, the only judge involved in the Salem witch trials who never repented of his actions. Nathaniel later added a "w" to make his name "Hawthorne" in order to hide this relation. He entered Bowdoin College in 1821, was elected to Phi Beta Kappa in 1824, and graduated in 1825. Hawthorne anonymously published his first work, a novel titled Fanshawe, in 1828. He published several short stories in various periodicals which he collected in 1837 as Twice-Told Tales. The next year, he became engaged to Sophia Peabody. He worked at a Custom House and joined Brook Farm, a transcendentalist community, before marrying Peabody in 1842. The couple moved to The Old Manse in Concord, Massachusetts, later moving to Salem, the Berkshires, then to The Wayside in Concord. The Scarlet Letter was published in 1850, followed by a succession of other novels. A political appointment took Hawthorne and family to Europe before their return to The Wayside in 1860. Hawthorne died on May 19, 1864, and was survived by his wife and their three children.
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Nibelungenlied
The Nibelungenlied, translated as The Song of the Nibelungs, is an epic poem in Middle High German. The story tells of dragon-slayer Siegfried at the court of the Burgundians, how he was murdered, and of his wife Kriemhild's revenge.
The Nibelungenlied is based on pre-Christian Germanic heroic motifs (the "Nibelungensaga"), which include oral traditions and reports based on historic events and individuals of the 5th and 6th centuries. Old Norse parallels of the legend survive in the Völsunga saga, the Prose Edda, the Poetic Edda, the Legend of Norna-Gest, and the Þiðrekssaga.
In 2009, the three main manuscripts of the Nibelungenlied were inscribed in UNESCO's Memory of the World Register in recognition of their historical significance.
The poem in its various written forms was lost by the end of the 16th century, but manuscripts from as early as the 13th century were re-discovered during the 18th century. There are thirty-five known manuscripts of the Nibelungenlied and its variant versions. Eleven of these manuscripts are essentially complete. The oldest version however seems to be the one preserved in manuscript "B". Twenty-four manuscripts are in various fragmentary states of completion, including one version in Dutch (manuscript 'T'). The text contains approximately 2,400 stanzas in 39 Aventiuren. The title under which the poem has been known since its discovery is derived from the final line of one of the three main versions, "hie hât daz mære ein ende: daz ist der Nibelunge liet" ("here the story takes an end: this is the lay of the Nibelungs"). Liet here means lay, tale or epic rather than simply song, as it would in Modern German.
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Niccolò Paganini
Niccolò (or Nicolò) Paganini (27 October 1782 – 27 May 1840) was an Italian violinist, violist, guitarist, and composer. He was one of the most celebrated violin virtuosi of his time, and left his mark as one of the pillars of modern violin technique. His Caprice No. 24 in A minor, Op. 1, is among the best known of his compositions, and has served as an inspiration for many prominent composers.
Niccolò Paganini was born in Genoa, Italy, the third of the six children of Antonio and Teresa (née Bocciardo) Paganini. Paganini's father was an unsuccessful trader, but he managed to supplement his income through playing music on the mandolin. At the age of five, Paganini started learning the mandolin from his father, and moved to the violin by the age of seven. His musical talents were quickly recognized, earning him numerous scholarships for violin lessons. The young Paganini studied under various local violinists, including Giovanni Servetto and Giacomo Costa, but his progress quickly outpaced their abilities. Paganini and his father then traveled to Parma to seek further guidance from Alessandro Rolla. But upon listening to Paganini's playing, Rolla immediately referred him to his own teacher, Ferdinando Paer and, later, Paer's own teacher, Gasparo Ghiretti. Though Paganini did not stay long with Paer or Ghiretti, the two had considerable influence on his composition style.
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Nikolay Karamzin
Nikolay Mikhailovich Karamzin (Russian: Никола́й Миха́йлович Карамзи́н) (12 December [O.S. 1 December] 1766 – 3 June [O.S. 22 May] 1826) was a Russian writer, poet, historian, and critic. He is best remembered for his History of the Russian State, a 12-volume national history.
Karamzin was born in the village of Mikhailovka, in the government of Orenburg on 1 December (old style) 1766. His father was an officer in the Russian army. He was sent to Moscow to study under Swiss-German teacher Johann Matthias Schaden; he later moved to St Petersburg, where he made the acquaintance of Ivan Dmitriev, a Russian poet of some merit, and occupied himself with translating essays by foreign writers into his native language. After residing for some time in St Petersburg he went to Simbirsk, where he lived in retirement until induced to revisit Moscow. There, finding himself in the midst of the society of learned men, he again took to literary work.
In 1789 he resolved to travel, and visited Germany, France, Switzerland and England. On his return he published his Letters of a Russian Traveller, which met with great success. These letters, modelled after Irish-born Poet, Laurence Sterne´s Sentimental Journey, were first printed in the Moscow Journal, which he edited, but were later collected and issued in six volumes (1797–1801).
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Novalis
Novalis (German pronunciation: [noˈvaːlɪs]) was the pseudonym of Georg Philipp Friedrich Freiherr von Hardenberg (May 2, 1772 – March 25, 1801), an author and philosopher of early German Romanticism.
Georg Philipp Friedrich von Hardenberg was born in 1772 at Oberwiederstedt manor (now part of Arnstein, Saxony-Anhalt), in the Harz mountains. The family seat was a manorial estate, not simply a stately home. Novalis descended from ancient, Low German nobility. Different lines of the family include such important, influential magistrates and ministry officials as the Prussian chancellor Karl August von Hardenberg (1750–1822). An oil painting and a christening cap commonly assigned to Novalis are his only possessions now extant. In the church in Wiederstedt, he was christened Georg Philipp Friedrich. He spent his childhood on the family estate and used it as the starting point for his travels into the Harz mountains.
Novalis’s father, the estate owner and salt-mine manager Heinrich Ulrich Erasmus Freiherr von Hardenberg (1738–1814), was a strictly pietistic man who had become a member of the Moravian (Herrnhuter) Church. His second marriage was to Auguste Bernhardine von Hardenberg, née Bölzig (1749–1818), who gave birth to eleven children: their second child was Georg Philipp Friedrich, who later named himself Novalis.
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Paul Hindemith
Paul Hindemith (16 November 1895 – 28 December 1963) was a German composer, violist, violinist, teacher, music theorist and conductor.
Born in Hanau, near Frankfurt am Main, Hindemith was taught the violin as a child. He entered Frankfurt's Hoch’sche Konservatorium, where he studied violin with Adolf Rebner, as well as conducting and composition with Arnold Mendelssohn and Bernhard Sekles. At first he supported himself by playing in dance bands and musical-comedy groups. He became deputy leader of the Frankfurt Opera Orchestra in 1914, and was promoted to leader in 1917. He played second violin in the Rebner String Quartet from 1914. In 1921 he founded the Amar Quartet, playing viola, and extensively toured Europe.
In 1922, some of his pieces were played in the International Society for Contemporary Music festival at Salzburg, which first brought him to the attention of an international audience. The following year, he began to work as an organizer of the Donaueschingen Festival, where he programmed works by several avant garde composers, including Anton Webern and Arnold Schoenberg. From 1927 he taught composition at the Berliner Hochschule für Musik in Berlin. Hindemith wrote the music for Hans Richter's 1928 avant-garde film Ghosts Before Breakfast (Vormittagsspuk), although the score was subsequently lost, and he also acted in the film.
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Paul Lawrence Rose
Paul Lawrence Rose is the Professor of European History and Mitrani Professor of Jewish Studies at Pennsylvania State University. Rose specializes in the study of anti-Semitism, Germany history, European intellectual history, and Jewish history.
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Paul Nicholas
Paul Nicholas (born 3 December 1945) is an English actor and singer. He started out with a pop career, but soon changed to musical theatre. Later, in the 1970s, he began a screen career. He returned to the pop charts, starring in the 1983 BBC TV sitcom Just Good Friends, for which he is best known. After the show ended, he returned to musical theatre and various other entertainment roles.
Nicholas was born as Paul Oscar Beuselinck in Peterborough, England. His grandfather — who originated from Belgium — had been a chef in the merchant navy during World War II, before becoming Head Chef on The Union-Castle Line ships between England and South Africa. His maternal grandfather was a London docker.
Nicholas' father Oscar Beuselinck, a former MI6 agent, became a highly esteemed entertainment solicitor, whose clients included: MGM, Jack Hylton, John Osborne, The Rolling Stones, Tony Richardson, Richard Harris, Sean Connery, Yes, Robert Stigwood, and The Who.
The family spent holidays at his maternal grandparents' home on the Isle of Sheppey, until Nicholas was 10. After his parents divorced when he was 12, his father's family home was at Letchmore Heath, Watford opposite the Bhaktivedanta Manor. Nicholas' paternal grandparents, Winnie and Oscar, lived in a small cottage on the grounds.
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Paul Verlaine
Paul-Marie Verlaine (French pronunciation: [vɛʁˈlɛn]; 30 March 1844 – 8 January 1896) was a French poet associated with the Symbolist movement. He is considered one of the greatest representatives of the fin de siècle in international and French poetry.
Born in Metz, he was educated at the Lycée impérial Bonaparte (now the Lycée Condorcet) in Paris and then took up a post in the civil service. He began writing poetry at an early age, and was initially influenced by the Parnassien movement and its leader, Leconte de Lisle. Verlaine's first published poem was published in 1863 in La Revue du progrès, a publication founded by poet Louis-Xavier de Ricard. Verlaine was a frequenter of the salon of the Marquise de Ricard (Louis-Xavier de Ricard's mother) at 10 Boulevard des Batignolles and other social venues, where he rubbed shoulders with prominent artistic figures of the day: Anatole France; Emmanuel Chabrier; inventor-poet and humorist Charles Cros; the cynical anti-bourgeois idealist Villiers de l'Isle-Adam; Theodore de Banville; François Coppée; Jose-Maria de Heredia; Leconte de Lisle; Catulle Mendes, and others. Verlaine's first published collection, Poèmes saturniens (1866), though adversely commented upon by Sainte-Beuve, established him as a poet of promise and originality.
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Philipp Otto Runge
Philipp Otto Runge (23 July 1777 – 2 December 1810) was a Romantic German painter and draughtsman. He made a late start to his career and died young, nonetheless he is considered among the best German Romantic painters.
Runge was born as the 9th of 11 children of a family of shipbuilders in Wolgast, in Western Pomerania, then under Swedish rule. As a sickly child he often missed school and at an early age learned the art of scissor-cut silhouettes from his mother, practised by him throughout his life. In 1795 he began a commercial apprenticeship at his older brother Daniel's firm in Hamburg. In 1799 Daniel supported Runge financially to begin study of painting under Jens Juel at the Copenhagen Academy. In 1801 he moved to Dresden to continue his studies, where he met Caspar David Friedrich, Ludwig Tieck, and his future wife Pauline Bassenge. He also began extensive study of the writings of the 17th century mystic Jakob Boehme. In 1803, on a visit to Weimar, Runge unexpectedly met Johann Wolfgang von Goethe and the two formed a friendship based on their common interests in color and art.
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Piotr Michałowski
Piotr Michałowski (July 2, 1800 – June 9, 1855) was a Polish painter of the Romantic period, especially known for his many portraits.
His talent was long underestimated, but he was re-discovered by Pablo Picasso in 1948. When the painter visited Poland, he saw Michałowski's work in the Warsaw National Museum and shouted, "Here, painter!"
The Sukiennice Museum, a division of the National Museum in Kraków, contains a room devoted to Michałowski's work.
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Rainer Maria Rilke
René Karl Wilhelm Johann Josef Maria Rilke (German pronunciation: [ˈʁaɪnɐ maˈʁiːa ˈʁɪlkə]; 4 December 1875 – 29 December 1926), better known as Rainer Maria Rilke, was a Bohemian-Austrian poet. He is considered one of the most significant poets in the German language. His haunting images focus on the difficulty of communion with the ineffable in an age of disbelief, solitude, and profound anxiety: themes that tend to position him as a transitional figure between the traditional and the modernist poets.
He wrote in both verse and a highly lyrical prose. Among English-language readers, his best-known work is the Duino Elegies; his two most famous prose works are the Letters to a Young Poet and the semi-autobiographical Notebooks of Malte Laurids Brigge. He also wrote more than 400 poems in French, dedicated to his homeland of choice, the canton of Valais in Switzerland.
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Ralph Waldo Emerson
Ralph Waldo Emerson (May 25, 1803 – April 27, 1882) was an American essayist, lecturer, and poet, who led the Transcendentalist movement of the mid-19th century. He was seen as a champion of individualism and a prescient critic of the countervailing pressures of society, and he disseminated his thoughts through dozens of published essays and more than 1,500 public lectures across the United States.
Emerson gradually moved away from the religious and social beliefs of his contemporaries, formulating and expressing the philosophy of Transcendentalism in his 1836 essay, Nature. Following this ground-breaking work, he gave a speech entitled The American Scholar in 1837, which Oliver Wendell Holmes, Sr. considered to be America's "Intellectual Declaration of Independence".
Emerson wrote most of his important essays as lectures first, then revised them for print. His first two collections of essays – Essays: First Series and Essays: Second Series, published respectively in 1841 and 1844 – represent the core of his thinking, and include such well-known essays as Self-Reliance, The Over-Soul, Circles, The Poet and Experience. Together with Nature, these essays made the decade from the mid-1830s to the mid-1840s Emerson's most fertile period.
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Richard Burton
Richard Burton, CBE (10 November 1925 – 5 August 1984) was a Welsh actor. He was nominated seven times for an Academy Award, six of which were for Best Actor in a Leading Role (without ever winning), and was a recipient of BAFTA, Golden Globe and Tony Awards for Best Actor. Although never trained as an actor, Burton was, at one time, the highest-paid actor in Hollywood. He remains closely associated in the public consciousness with his second wife, actress Elizabeth Taylor; the couple's turbulent relationship was rarely out of the news.
Richard Burton was born Richard Walter Jenkins in the village of Pontrhydyfen, Neath Port Talbot, Wales. He grew up in a working class, Welsh-speaking household, the twelfth of thirteen children. His father, Richard Walter Jenkins, was a short, robust coal miner, a "twelve-pints-a-day man" who sometimes went off on drinking and gambling sprees for weeks. Burton later claimed, by family telling, that "He looked very much like me...That is, he was pockmarked, devious, and smiled a great deal when he was in trouble. He was, also, a man of extraordinary eloquence, tremendous passion, great violence."
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Richard Wagner
Wilhelm Richard Wagner ( /ˈvɑːɡnər/; German pronunciation: [ˈʁiçaʁt ˈvaːɡnɐ]; 22 May 1813 – 13 February 1883) was a German composer, conductor, theatre director and polemicist primarily known for his operas (or "music dramas", as he later called them). Wagner's compositions, particularly those of his later period, are notable for their complex texture, rich harmonies and orchestration, and the elaborate use of leitmotifs: musical themes associated with individual characters, places, ideas or plot elements. Unlike most other opera composers, Wagner wrote both the music and libretto for every one of his stage works. Perhaps the two best-known extracts from his works are the Ride of the Valkyries from the opera Die Walküre, and the Wedding March (Bridal Chorus) from the opera Lohengrin.
Initially establishing his reputation as a composer of works such as The Flying Dutchman and Tannhäuser which were broadly in the romantic vein of Weber and Meyerbeer, Wagner transformed operatic thought through his concept of the Gesamtkunstwerk ("total work of art"). This would achieve the synthesis of all the poetic, visual, musical and dramatic arts and was announced in a series of essays between 1849 and 1852. Wagner realized this concept most fully in the first half of the monumental four-opera cycle Der Ring des Nibelungen. However, his thoughts on the relative importance of music and drama were to change again, and he reintroduced some traditional operatic forms into his last few stage works, including Die Meistersinger von Nürnberg.
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Robert Schumann
Robert Schumann, sometimes known as Robert Alexander Schumann, (8 June 1810 – 29 July 1856) was a German composer, aesthete and influential music critic. He is regarded as one of the greatest and most representative composers of the Romantic era. Schumann left the study of law to return to music, intending to pursue a career as a virtuoso pianist. He had been assured by his teacher Friedrich Wieck that he could become the finest pianist in Europe, but a hand injury ended this dream. Schumann then focused his musical energies on composing.
Schumann's published compositions were written exclusively for the piano until 1840; he later composed works for piano and orchestra; many Lieder (songs for voice and piano); four symphonies; an opera; and other orchestral, choral, and chamber works. Works such as Kinderszenen, Album für die Jugend, Blumenstück and Albumblätter are among his most famous. His writings about music appeared mostly in the Neue Zeitschrift für Musik (New Journal for Music), a Leipzig-based publication which he jointly founded.
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Roger Scruton
Roger Vernon Scruton (born 27 February 1944) is a conservative English philosopher and writer. He is the author of over 30 books, including Art and Imagination (1974), Sexual Desire (1986), The Aesthetics of Music (1997), and A Political Philosophy: Arguments for Conservatism (2006). He has also written several novels and two operas.
Scruton was a lecturer and professor of aesthetics at Birkbeck College, London, from 1971 to 1992. In 1982 he helped found The Salisbury Review, a conservative political journal, which he edited for 18 years. Since 1992 he has held part-time positions at Boston University, the American Enterprise Institute in Washington, D.C., the University of St Andrews, and the Institute for the Psychological Sciences in Arlington, Virginia—a school affiliated with the Legion of Christ, a conservative Catholic religious congregation. He also founded the Claridge Press in 1987, and sits on the editorial board of the British Journal of Aesthetics. He serves in addition as a member of the International Advisory Board of the Center for European Renewal.
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Romain Rolland
Romain Rolland (29 January 1866 – 30 December 1944) was a French dramatist, novelist, essayist, art historian and mystic who was awarded the Nobel Prize for Literature in 1915.
Rolland was born Clamecy, Nièvre into a family that had both wealthy townspeople and farmers in its lineage. Writing introspectively in his Voyage intérieur (1942), he sees himself as a representative of an "antique species." He would cast these ancestors in Colas Breugnon (1919).
Accepted to the École normale supérieure in 1886, he first studied philosophy, but his independence of spirit led him to abandon that so as not to submit to the dominant ideology. He received his degree in history in 1889 and spent two years in Rome, where his encounter with Malwida von Meysenbug–who had been a friend of Nietzsche and of Wagner–and his discovery of Italian masterpieces were decisive for the development of his thought. When he returned to France in 1895, he received his doctoral degree with his thesis The origins of modern lyric theatre and his doctoral dissertation, A History of Opera in Europe before Lully and Scarlatti.
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Samuel Palmer
Samuel Palmer (27 January 1805 – 24 May 1881) was a British landscape painter, etcher and printmaker. He was also a prolific writer. Palmer was a key figure in Romanticism in Britain and produced visionary pastoral paintings.
Palmer, who was born in Newington, London in Surrey Square off the Old Kent Road, was the son of a bookseller and sometime Baptist minister, and was raised by a pious nurse. Palmer painted churches from around age twelve, and first exhibited Turner-inspired works at the Royal Academy at the age of fourteen. He had little formal training, and did not have a formal schooling, although he was educated briefly at Merchant Taylors' School.
Through John Linnell, he met William Blake in 1824. Blake's influence can be seen in the works he produced over the next ten years or so, which are generally reckoned to be his greatest. These works were of landscapes around Shoreham, near Sevenoaks in the west of the county of Kent. He purchased a run-down cottage, nicknamed "Rat Abbey", and it was there that he lived from 1826 to 1835, depicting the area as a demi-paradise, mysterious and visionary, and often shown in sepia shades under moon and star light. There Palmer also associated with the group of Blake-influenced artists known as The Ancients (including George Richmond and Edward Calvert). They were among the few who ever saw the Shoreham paintings since, as a result of attacks by critics in 1825, he only ever opened those early portfolios to selected friends.
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Siegfried Wagner
Siegfried Wagner (6 June 1869 – 4 August 1930) was a German composer and conductor, the son of Richard Wagner. He was an opera composer and the artistic director of the Bayreuth Festival from 1908 to 1930.
Helferich Siegfried Richard Wagner, nicknamed "Fidi," was born in 1869 to Richard Wagner and his future wife Cosima, at Tribschen on Lake Lucerne in Switzerland. Through his mother, he was a grandson of Franz Liszt, from whom he received some instruction in harmony.
Some youthful compositions date from about 1882. After he completed his secondary education in 1889, he studied with Wagner's pupil Engelbert Humperdinck, but was more strongly drawn to a career as an architect and studied architecture in Berlin and Karlsruhe.
In 1892 he undertook a trip to Asia with a friend, the English composer Clement Harris. During the voyage he decided to abandon architecture and commit himself to music. Reputedly, it was also Harris who first aroused his homoerotic impulses.
While on board ship he sketched his first official work, the symphonic poem Sehnsucht, inspired by the poem of the same name by Friedrich Schiller. This piece was not completed until just before the concert in which Wagner conducted it in London on 6 June 1895. He composed more operas than his father.[citation needed] Though his works are numerous, none entered the standard repertory.
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Sigismond Thalberg
Sigismond Thalberg (January 8, 1812 – April 27, 1871) was a composer and one of the most distinguished virtuoso pianists of the 19th century.
Sigismond Thalberg was born in Pâquis near Geneva, Switzerland, on January 8, 1812. According to his birth certificate, he was the son of "Joseph Thalberg" and "Fortunée Stein", both from Frankfurt-am-Main, but the names in the birth certificate are now regarded as fictitious. For reasons of Thalberg's illegitimate birth, during his lifetime it was common use not to call his parents true names. François-Joseph Fétis, in the article "Thalberg" in his Biographie universelle des musiciens (1863), therefore wrote that Thalberg was son of a Prince „M.. D..“ and a Baroness „W...“.
The identity of Thalberg's mother as Baroness Maria Julia Wetzler von Plankenstern was disclosed 1871 by L. R. von Kohlenegg (Poly Henrion) in an article for the paper Ueber Land und Meer and 1882 by Constant von Wurzbach in the eighth volume of his Biographisches Lexikon des Kaiserthums Österreich. As excuse for their being indiscreet both authors wrote that the Baroness herself had always admitted that Sigismond Thalberg was her son. She wore a ring on one of her thumbs and told people who had asked her about it, that the ring had been given to her by Thalberg's father after she had given birth to the child. She was born Julia Bydeskuty von Ipp, from a Hungarian family of a lower rank of the nobility. In 1820 she married Baron Alexander Ludwig Wetzler von Plankenstern.
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Sigmund Freud
Sigmund Freud (German pronunciation: [ˈziːkmʊnt ˈfʁɔʏt]), born Sigismund Schlomo Freud (6 May 1856 – 23 September 1939), was an Austrian neurologist who founded the discipline of psychoanalysis. Freud's family and ancestry were Jewish. Freud always considered himself a Jew even though he rejected Judaism and had a critical view of religion. Freud's parents were poor, but ensured his education. Freud was an outstanding pupil in high school, and graduated the Matura with honors in 1873. Interested in philosophy as a student, Freud later turned away from it and became a neurological researcher into cerebral palsy, Aphasia and microscopic neuroanatomy.
Freud went on to develop theories about the unconscious mind and the mechanism of repression, and established the field of verbal psychotherapy by creating psychoanalysis, a clinical method for treating psychopathology through dialogue between a patient (or "analysand") and a psychoanalyst. Though psychoanalysis has declined as a therapeutic practice, it has helped inspire the development of many other forms of psychotherapy, some diverging from Freud's original ideas and approach. Freud postulated the existence of libido (an energy with which mental process and structures are invested), developed therapeutic techniques such as the use of free association (in which patients report their thoughts without reservation and make no attempt to concentrate while doing so), discovered the transference (the process by which patients displace on to their analysts feelings based on their experience of earlier figures in their lives) and established its central role in the analytic process, and proposed that dreams help to preserve sleep by representing as fulfilled wishes that would otherwise awake the dreamer. He was also a prolific essayist, drawing on psychoanalysis to contribute to the interpretation and critique of culture.
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Stendhal
Marie-Henri Beyle (23 January 1783 – 23 March 1842), better known by his pen name Stendhal, was a 19th-century French writer. Known for his acute analysis of his characters' psychology, he is considered one of the earliest and foremost practitioners of realism in his two novels Le Rouge et le Noir (The Red and the Black, 1830) and La Chartreuse de Parme (The Charterhouse of Parma, 1839).
Born in Grenoble, Isère, he had an unhappy childhood in what he found to be stifling provincial France, disliking his "unimaginative" father and mourning his mother, who had died when he was young. His closest friend was his younger sister, Pauline, with whom he maintained a steady correspondence throughout the first decade of the 19th century.
The military and theatrical worlds of the First French Empire were a revelation to Beyle. He was named an auditor with the Conseil d'État on 3 August 1810, and thereafter took part in the French administration and in the Napoleonic wars in Italy. He travelled extensively in Germany and was part of Napoleon's army in the 1812 invasion of Russia.
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Stéphane Mallarmé
Stéphane Mallarmé (pronounced [ste.fan ma.laʁ.me]) (18 March 1842 – 9 September 1898), whose real name was Étienne Mallarmé, was a French poet and critic. He was a major French symbolist poet, and his work anticipated and inspired several revolutionary artistic schools of the early 20th century, such as Dadaism, Surrealism, and Futurism.
Stéphane Mallarmé was born in Paris. He worked as an English teacher and spent much of his life in relative poverty; but was famed for his salons, occasional gatherings of intellectuals at his house on the rue de Rome for discussions of poetry, art, philosophy. The group became known as les Mardistes, because they met on Tuesdays (in French, mardi), and through it Mallarmé exerted considerable influence on the work of a generation of writers. For many years, those sessions, where Mallarmé held court as judge, jester, and king, were considered the heart of Paris intellectual life. Regular visitors included W.B. Yeats, Rainer Maria Rilke, Paul Valéry, Stefan George, Paul Verlaine, and many others.
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T. S. Eliot
Thomas Stearns Eliot OM (September 26, 1888 – January 4, 1965) was a publisher, playwright, literary and social critic and "arguably the most important English-language poet of the 20th century." Although he was born an American, he moved to the United Kingdom in 1914 (at age 25) and was naturalised as a British subject in 1927 at age 39.
The poem that made his name, The Love Song of J. Alfred Prufrock—started in 1910 and published in Chicago in 1915—is seen as a masterpiece of the Modernist movement, and was followed by some of the best-known poems in the English language, including Gerontion (1920), The Waste Land (1922), The Hollow Men (1925), Ash Wednesday (1930), and Four Quartets (1945). He is also known for his seven plays, particularly Murder in the Cathedral (1935). He was awarded the Nobel Prize in Literature in 1948.
Eliot was born into the Eliot family, a middle class family originally from New England, who had moved to St. Louis, Missouri. His father, Henry Ware Eliot (1843–1919), was a successful businessman, president and treasurer of the Hydraulic-Press Brick Company in St. Louis. His mother, Charlotte Champe Stearns (1843–1929), wrote poetry and was a social worker, a new profession in the early twentieth century. Eliot was the last of six surviving children; his parents were both 44 years old when he was born. His four sisters were between eleven and nineteen years older; his brother was eight years older. Known to family and friends as Tom, he was the namesake of his maternal grandfather Thomas Stearns.
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Taras Shevchenko
Taras Hryhorovych Shevchenko (Ukrainian: Тара́с Григо́рович Шевче́нко, Russian: Тара́с Григо́рьевич Шевче́нко, Taras Grigoryevich Shevchenko), ( March 9 [O.S. February 25] 1814 – March 10 [O.S. February 26] 1861) was a Ukrainian poet, artist and humanist. His literary heritage is regarded to be the foundation of modern Ukrainian literature and, to a large extent, the modern Ukrainian language. Shevchenko also wrote in Russian and left many masterpieces as a painter and an illustrator.
Born into a serf family of Hryhoriy Ivanovych Shevchenko (1782? - 1825) and Kateryna Yakymivna Shevchenko (Boiko) (1782? - August 6, 1823) in the village of Moryntsi, of Kiev Governorate of the Russian Empire (now in Cherkasy Oblast, Ukraine) Shevchenko was orphaned at the age of eleven. He was taught to read by a village precentor, and loved to draw at every opportunity. Shevchenko went as a household servant with his Russian aristocrat lord Pavel Engelhardt to Vilnius (1828–31) and then to Saint Petersburg.
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Theodor Adorno
Theodor W. Adorno (September 11, 1903 – August 6, 1969) was a German sociologist, philosopher and musicologist known for his critical theory of society.
He was a leading member of the Frankfurt School of critical theory, whose work has come to be associated with thinkers such as Ernst Bloch, Walter Benjamin, Max Horkheimer and Herbert Marcuse, for whom the work of Freud, Marx and Hegel were essential to a critique of modern society. He is widely regarded as one of the 20th century's foremost thinkers on aesthetics and philosophy, as well as one of its preeminent essayists. As a critic of both fascism and what he called the culture industry, his writings—such as Dialectic of Enlightenment (1947), Minima Moralia (1951) and Negative Dialectics (1966)—strongly influenced the European New Left.
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Theodor W. Adorno
Theodor W. Adorno (September 11, 1903 – August 6, 1969) was a German sociologist, philosopher and musicologist known for his critical theory of society.
He was a leading member of the Frankfurt School of critical theory, whose work has come to be associated with thinkers such as Ernst Bloch, Walter Benjamin, Max Horkheimer and Herbert Marcuse, for whom the work of Freud, Marx and Hegel were essential to a critique of modern society. He is widely regarded as one of the 20th century's foremost thinkers on aesthetics and philosophy, as well as one of its preeminent essayists. As a critic of both fascism and what he called the culture industry, his writings—such as Dialectic of Enlightenment (1947), Minima Moralia (1951) and Negative Dialectics (1966)—strongly influenced the European New Left.
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Thomas Mann
Thomas Mann (6 June 1875 – 12 August 1955) was a German novelist, short story writer, social critic, philanthropist, essayist, and 1929 Nobel Prize laureate, known for his series of highly symbolic and ironic epic novels and novellas, noted for their insight into the psychology of the artist and the intellectual. His analysis and critique of the European and German soul used modernized German and Biblical stories, as well as the ideas of Goethe, Nietzsche, and Schopenhauer. His older brother was the radical writer Heinrich Mann, and three of his six children, Erika Mann, Klaus Mann and Golo Mann, also became important German writers. When Hitler came to power in 1933, Mann fled to Switzerland. When World War II broke out in 1939, he emigrated to the United States, from where he returned to Switzerland in 1952. Thomas Mann is one of the best-known exponents of the so-called Exilliteratur.
Mann was born Paul Thomas Mann in Lübeck, Germany, and was the second son of Thomas Johann Heinrich Mann (a senator and a grain merchant), and his wife Júlia da Silva Bruhns (a Brazilian of partial German ancestry who emigrated to Germany when seven years old). His mother was Roman Catholic, but Mann was baptised into his father's Lutheran faith. Mann's father died in 1891, and his trading firm was liquidated. The family subsequently moved to Munich. Mann attended the science division of a Lübeck Gymnasium (school), then spent time at the Ludwig Maximillians University of Munich and Technical University of Munich where, in preparation for a journalism career, he studied history, economics, art history and literature.
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Théodore Géricault
Jean-Louis André Théodore Géricault (26 September 1791 – 26 January 1824) was a profoundly influential French artist, painter and lithographer, known for The Raft of the Medusa and other paintings. Although he died young, he became one of the pioneers of the Romantic movement.
Born in Rouen, France, Géricault was educated in the tradition of English sporting art by Carle Vernet and classical figure composition by Pierre-Narcisse Guérin, a rigorous classicist who disapproved of his student's impulsive temperament yet recognized his talent. Géricault soon left the classroom, choosing to study at the Louvre instead, where (from 1810 to 1815) he copied from paintings by Peter Paul Rubens, Titian, Diego Velázquez, and Rembrandt. During this period at the Louvre he discovered a vitality he found lacking in the prevailing school of Neoclassicism. Much of his time was spent in Versailles, where he found the stables of the palace open to him, and where he gained his knowledge of the anatomy and action of horses.
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Théophile Gautier
Pierre Jules Théophile Gautier (pronounced: [pjɛʁ ʒyl teofil ɡotje]; August 30, 1811 – October 23, 1872) was a French poet, dramatist, novelist, journalist, art critic and literary critic.
While Gautier was an ardent defender of Romanticism, his work is difficult to classify and remains a point of reference for many subsequent literary traditions such as Parnassianism, Symbolism, Decadence and Modernism. He was widely esteemed by writers as diverse as Balzac, Baudelaire, the Goncourt brothers, Flaubert, Proust and Oscar Wilde.
Gautier was born on August 30, 1811, in Tarbes, capital of Hautes-Pyrénées département in southwestern France. His father, Pierre Gautier, was a fairly cultured minor government official and his mother was Antoinette-Adelaïde Concarde. The family moved to Paris in 1814, taking up residence in the ancient Marais district.
Gautier's education commenced at the prestigious Collège Louis-le-Grand in Paris (fellow alumni include Voltaire and Charles Baudelaire), which he attended for three months before being brought home due to illness. Although he completed the remainder of his education at Collège Charlemagne (alumni include Charles Augustin Sainte-Beuve), Gautier's most significant instruction came from his father, who prompted him to become a Latin scholar by age 18.
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Téodor de Wyzewa
Téodor de Wyzewa born as Teodor Wyżewski (12 September 1863 — 7 April 1917), of Polish origin, was a leading exponent of the Symbolist movement in France.
With Édouard Dujardin he created La Revue wagnérienne in 1885. He frequently contributed articles on European literature to the Revue des deux mondes.
He was married to Marguerite Terlinden, the daughter of Belgian painter Félix Terlinden and the sister-in-law of the art critic and historian Pierre Francastel.
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Ugo Foscolo
Ugo Foscolo (Italian pronunciation: [ˈuɡo ˈfoskolo]; 6 February 1778 – 10 September 1827), born Niccolò Foscolo, was an Italian writer, revolutionary and poet.
Foscolo was born on the Ionian island of Zakynthos. His father was Andrea Foscolo, an impoverished Venetian nobleman, and his mother Diamantina Spathis was Greek.
In 1788, on the death of his father, who worked as a physician in Spalato, today Croatia (Split), the family removed to Venice, and at the University of Padua Foscolo completed the studies begun at the Dalmatian grammar school.
Amongst his Paduan teachers was the abbé Cesarotti, whose version of Ossian had made that work highly popular in Italy, and who influenced Foscolo's literary tastes; he knew both modern and Ancient Greek. His literary ambition revealed itself by the appearance in 1797 of his tragedy Tieste--a production which obtained a certain degree of success.
Foscolo, who, for causes not clearly explained, had changed his Christian name Niccolò to that of Ugo, now began to take an active part in the stormy political discussions which the fall of the republic of Venice had provoked. He was a prominent member of the national committees, and addressed an ode to Napoleon Bonaparte, expecting Napoleon to overthrow the Venetian oligarchy and create a free republic.
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Vasily Zhukovsky
Vasily Andreyevich Zhukovsky (Russian: Васи́лий Андре́евич Жуко́вский; IPA: [vɐˈsʲilʲɪj ɐˈndrʲejɪvʲɪtɕ ʐʊˈkofskʲɪj]; February 9 [O.S. January 29] 1783 – April 24 [O.S. April 12] 1852) was the foremost Russian poet of the 1810s and a leading figure in Russian literature in the first half of the 19th century. He held a high position at the Romanov court as tutor to the Grand Duchess Alexandra Feodorovna and later to her son, the future Tsar-Liberator Alexander II.
Zhukovsky is credited with introducing the Romantic Movement into Russia. The main body of his literary output consists of free translations covering an impressively wide range of poets, from ancients like Ferdowsi and Homer to his contemporaries Goethe, Schiller, Byron, and others. Many of his translations have become classics of Russian literature, arguably better-written and more enduring in Russian than in their original languages.
Zhukovsky was born in the village of Mishenskoe, in Tula Oblast, Russia, the illegitimate son of a landowner named Afanasi Bunin and his Turkish housekeeper Salkha. The Bunin family had a literary bent and some 90 years later produced the Nobel Prize-winning modernist writer Ivan Bunin. For reasons of social propriety, Zhukovsky was formally adopted by a family friend. He kept his adopted surname and patronymic for the rest of his life, even when later ennobled, eventually passing it on to his own children.
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Victor Hugo
Victor-Marie Hugo (French pronunciation: [viktɔʁ maʁi yɡo]) (26 February 1802 – 22 May 1885) was a French poet, playwright, novelist, essayist, visual artist, statesman, human rights activist[citation needed] and exponent of the Romantic movement in France.
In France, Hugo's literary fame comes first from his poetry but also rests upon his novels and his dramatic achievements. Among many volumes of poetry, Les Contemplations and La Légende des siècles stand particularly high in critical esteem, and Hugo is sometimes identified as the greatest French poet. Outside France, his best-known works are the novels Les Misérables and Notre-Dame de Paris (also known in English as The Hunchback of Notre-Dame).
Though a committed royalist when he was young, Hugo's views changed as the decades passed; he became a passionate supporter of republicanism[citation needed], and his work touches upon most of the political and social issues and artistic trends of his time. He is buried in the Panthéon.
Hugo was the third, illegitimate, son of Joseph Léopold Sigisbert Hugo (1774–1828) and Sophie Trébuchet (1772–1821); his brothers were Abel Joseph Hugo (1798–1855) and Eugène Hugo (1800–1837). He was born in 1802 in Besançon (in the region of Franche-Comté) and lived in France for the majority of his life. However, he decided to live in exile as a result of Napoleon III's Coup d'état at the end of 1851.
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Vincenzo Bellini
Vincenzo Salvatore Carmelo Francesco Bellini (3 November 1801 – 23 September 1835) was a Italian opera composer. A native of Catania in Sicily, his greatest works are I Capuleti ed i Montecchi (1830), La sonnambula (1831), Norma (1831), Beatrice di Tenda (1833), and I puritani (1835). Known for his long-flowing melodic lines, for which he was named "the Swan of Catania", Bellini was the quintessential composer of bel canto opera. He died in Puteaux, France at the age of 33, nine months after the premiere of his last opera, I puritani.
Born in Catania, Sicily, Bellini was a child prodigy from a highly musical family and legend has it he could sing an aria of Valentino Fioravanti at eighteen months. He began studying music theory at two, the piano at three, and by the age of five could apparently play well. Bellini's first five pieces were composed when he was just six years old. Regardless of the veracity of these claims, it is certain that Bellini grew up in a musical household and that a career as a musician was never in doubt.
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Volsunga Saga
The Völsungasaga (often referred to in English as the Volsunga Saga or Saga of the Völsungs) is a legendary saga, a late 13th century Icelandic prose rendition of the origin and decline of the Völsung clan (including the story of Sigurd and Brynhild and destruction of the Burgundians). It is largely based on epic poetry. The earliest known pictorial representation of this tradition is the Ramsund carving, Sweden, which was created c. 1000 AD.
The origins of the material are considerably older, however, and it echoes real events in Central Europe during the Migration Period. On the other hand, the only manuscript of the saga, Ny kgl. Saml. 1824 b 4to, which is held by the Royal Library of Denmark, dates to about 1400. In this manuscript, the saga leads straight in to Ragnars saga loðbrókar.
The Middle High German epic poem Nibelungenlied is based largely on the old stories, which were commonly known in all of the Germanic lands from the early Middle Ages on, but reworks the material into a courtly medieval setting.
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W. H. Auden
Wystan Hugh Auden ( /ˈwɪstən ˈhjuː ˈɔːdən/; 21 February 1907 – 29 September 1973), who published as W. H. Auden, was an Anglo-American poet, born in England, later an American citizen, regarded by many as one of the greatest writers of the 20th century. His work is noted for its stylistic and technical achievements, its engagement with moral and political issues, and its variety of tone, form and content. The central themes of his poetry are love, politics and citizenship, religion and morals, and the relationship between unique human beings and the anonymous, impersonal world of nature.
Auden grew up around Birmingham in a professional middle class family and read English literature at Christ Church, Oxford. His early poems, written in the late 1920s and early 1930s, alternated between telegraphic modern styles and fluent traditional ones, were written in an intense and dramatic tone, and established his reputation as a left-wing political poet and prophet. He became uncomfortable in this role in the later 1930s, and abandoned it after he moved to the United States in 1939, where he became an American citizen in 1946. His poems in the 1940s explored religious and ethical themes in a less dramatic manner than his earlier works, but still combined traditional forms and styles with new forms devised by Auden himself. In the 1950s and 1960s many of his poems focused on the ways in which words revealed and concealed emotions, and he took a particular interest in writing opera librettos, a form ideally suited to direct expression of strong feelings.
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Walter Benjamin
Walter Bendix Schönflies Benjamin (German pronunciation: [ˈvaltɐ ˈbɛnjamiːn]; 15 July 1892 – 26 September 1940) was a German-Jewish literary critic, philosopher, social critic, translator, radio broadcaster and essayist. Combining elements of German idealism or Romanticism, Historical Materialism and Jewish mysticism, Benjamin made enduring and influential contributions to aesthetic theory and Western Marxism, and has sometimes been associated with the Frankfurt School of critical theory. Among his major works as a literary critic are essays on Goethe's novel Elective Affinities; the work of Franz Kafka and Karl Kraus; translation theory; the stories of Nikolai Leskov; the work of Marcel Proust and perhaps most significantly, the poetry of Charles Baudelaire. He also made major translations into German of the Tableaux Parisiens section of Baudelaire's Les Fleurs du mal and parts of Proust's À la recherche du temps perdu.
His turn to Marxism in the 1930s was partly due to the influence of Bertolt Brecht, whose critical aesthetics developed epic theatre and its Verfremdungseffekt (defamiliarisation, alienation). An earlier influence was friend Gershom Scholem, founder of the academic study of the Kabbalah and of Jewish mysticism.
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Walter Scott
Sir Walter Scott, 1st Baronet (15 August 1771 – 21 September 1832) was a Scottish historical novelist, playwright, and poet, popular throughout much of the world during his time.
Scott was the first English-language author to have a truly international career in his lifetime, with many contemporary readers in Europe, Australia, and North America. His novels and poetry are still read, and many of his works remain classics of both English-language literature and of Scottish literature. Famous titles include Ivanhoe, Rob Roy, The Lady of the Lake, Waverley, The Heart of Midlothian and The Bride of Lammermoor.
Born in College Wynd in the Old Town of Edinburgh in 1771, the son of a solicitor, Scott survived a childhood bout of polio in 1773 that left him lame. To cure his lameness he was sent in 1773 to live in the rural Borders region at his paternal grandparents' farm at Sandyknowe, adjacent to the ruin of Smailholm Tower, the earlier family home. Here he was taught to read by his aunt Jenny, and learned from her the speech patterns and many of the tales and legends that characterised much of his work. In January 1775 he returned to Edinburgh, and that summer went with his aunt Jenny to take spa treatment at Bath in England, where they lived at 6 South Parade. In the winter of 1776 he went back to Sandyknowe, with another attempt at a water cure at Prestonpans during the following summer.
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Washington Irving
Washington Irving (April 3, 1783 – November 28, 1859) was an American author, essayist, biographer and historian of the early 19th century. He is best known for his short stories "The Legend of Sleepy Hollow" and "Rip Van Winkle", both of which appear in his book The Sketch Book of Geoffrey Crayon, Gent. His historical works include biographies of George Washington, Oliver Goldsmith and Muhammad, and several histories of 15th-century Spain dealing with subjects such as Christopher Columbus, the Moors, and the Alhambra. Irving also served as the U.S. ambassador to Spain from 1842 to 1846.
He made his literary debut in 1802 with a series of observational letters to the Morning Chronicle, written under the pseudonym Jonathan Oldstyle. After moving to England for the family business in 1815, he achieved international fame with the publication of The Sketch Book of Geoffrey Crayon, Gent. in 1819. He continued to publish regularly—and almost always successfully—throughout his life, and completed a five-volume biography of George Washington just eight months before his death, at age 76, in Tarrytown, New York.
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Wilhelm Furtwängler
Wilhelm Furtwängler (January 25, 1886 – November 30, 1954) was a German conductor and composer. He is widely considered to have been one of the greatest symphonic and operatic conductors of the 20th century. By the 1930s he had built a reputation as one of the leading conductors in Europe, and he was the leading conductor who remained in Germany during the Second World War. Although he was never a member of the Nazi party, the morality of his decision to remain working in Germany during this period has been continually debated since his death. However even today, many musicians, critics and record collectors still revere him for his very subjective conducting style, which is often compared and contrasted to the more objective style of Arturo Toscanini, who was probably the most famous conductor at the time. Like Toscanini, Furtwängler was a major influence on many later conductors, and his name is often mentioned when discussing their interpretive style.
Furtwängler was born in Berlin into a prominent family. His father Adolf was an archaeologist, his mother a painter. Most of his childhood was spent in Munich, where his father taught at the city's Ludwig Maximilian University. He was given a musical education from an early age, and developed an early love of Ludwig van Beethoven, a composer with whom he remained closely associated throughout his life. Though his chief posthumous fame rests on his work as a conductor, he was also a composer and regarded himself first and foremost as such, having in fact first taken up the baton in order to perform his own works.
wn.com/Wilhelm_Furtwängler -
William Blake
William Blake (28 November 1757 – 12 August 1827) was an English poet, painter, and printmaker. Largely unrecognised during his lifetime, Blake is now considered a seminal figure in the history of both the poetry and visual arts of the Romantic Age. His prophetic poetry has been said to form "what is in proportion to its merits the least read body of poetry in the English language". His visual artistry has led one contemporary art critic to proclaim him "far and away the greatest artist Britain has ever produced". Although he lived in London his entire life except for three years spent in Felpham he produced a diverse and symbolically rich corpus, which embraced the imagination as "the body of God", or "Human existence itself".
Considered mad by contemporaries for his idiosyncratic views, Blake is held in high regard by later critics for his expressiveness and creativity, and for the philosophical and mystical undercurrents within his work. His paintings and poetry have been characterised as part of both the Romantic movement and "Pre-Romantic", for its large appearance in the 18th century. Reverent of the Bible but hostile to the Church of England – indeed, to all forms of organised religion – Blake was influenced by the ideals and ambitions of the French and American revolutions, as well as by such thinkers as Jakob Böhme and Emanuel Swedenborg. Despite these known influences, the singularity of Blake's work makes him difficult to classify. The 19th-century scholar William Rossetti characterised Blake as a "glorious luminary," and as "a man not forestalled by predecessors, nor to be classed with contemporaries, nor to be replaced by known or readily surmisable successors".
wn.com/William_Blake -
William Shakespeare
William Shakespeare (baptised 26 April 1564; died 23 April 1616) was an English poet and playwright, widely regarded as the greatest writer in the English language and the world's pre-eminent dramatist. He is often called England's national poet and the "Bard of Avon". His surviving works, including some collaborations, consist of about 38 plays, 154 sonnets, two long narrative poems, and several other poems. His plays have been translated into every major living language and are performed more often than those of any other playwright.
Shakespeare was born and brought up in Stratford-upon-Avon. At the age of 18, he married Anne Hathaway, with whom he had three children: Susanna, and twins Hamnet and Judith. Between 1585 and 1592, he began a successful career in London as an actor, writer, and part owner of a playing company called the Lord Chamberlain's Men, later known as the King's Men. He appears to have retired to Stratford around 1613 at age 49, where he died three years later. Few records of Shakespeare's private life survive, and there has been considerable speculation about such matters as his physical appearance, sexuality, religious beliefs, and whether the works attributed to him were written by others.
wn.com/William_Shakespeare -
William Wordsworth
William Wordsworth (7 April 1770 – 23 April 1850) was a major English Romantic poet who, with Samuel Taylor Coleridge, helped to launch the Romantic Age in English literature with the 1798 joint publication Lyrical Ballads.
Wordsworth's magnum opus is generally considered to be The Prelude, a semiautobiographical poem of his early years which he revised and expanded a number of times. It was posthumously titled and published, prior to which it was generally known as the poem "to Coleridge". Wordsworth was Britain's Poet Laureate from 1843 until his death in 1850.
The second of five children born to John Wordsworth and Ann Cookson, William Wordsworth was born on 7 April 1770 in Wordsworth House in Cockermouth, Cumberland—part of the scenic region in northwest England, the Lake District. His sister, the poet and diarist Dorothy Wordsworth, to whom he was close all his life, was born the following year, and the two were baptised together. They had three other siblings: Richard, the eldest, who became a lawyer; John, born after Dorothy, who went to sea and died in 1805 when the ship of which he was Master, the Earl of Abergavenny, was wrecked off the south coast of England; and Christopher, the youngest, who entered the Church and rose to be Master of Trinity College, Cambridge. Their father was a legal representative of James Lowther, 1st Earl of Lonsdale and, through his connections, lived in a large mansion in the small town. Wordsworth, as with his siblings, had little involvement with their father, and they would be distant from him until his death in 1783.
wn.com/William_Wordsworth -
Zygmunt Krasiński
Count Napoleon Stanisław Adam Ludwig Zygmunt Krasiński (Polish pronunciation: [ˈzɨɡmunt kraˈɕiɲskʲi]; Paris, France, 19 February 1812 – 23 February 1859, Paris, France), a Polish count, is traditionally ranked with Mickiewicz and Słowacki as one of Poland's Three National Bards — the trio of great Romantic poets who influenced national consciousness during the period of Poland's political bondage.
Krasiński was the son of a general, Count Wincenty Krasiński, of the aristocratic Krasiński family. He studied law at Warsaw University and in Geneva, where he met Adam Mickiewicz.
Krasiński was more sociopolitically conservative than the other two poets. He published much of his work anonymously.
He is best known for his philosophical Messianist ideas. His drama, Nie-boska Komedia (The Un-Divine Comedy, 1835), portrays the tragedy of an old-world aristocracy defeated by a new order of communism and democracy, and is a poetic prophecy of class conflict and of Russia's October Revolution (see also Okopy Świętej Trójcy); and his drama, Irydion (1836), deals, in the context of Christian ethics, with the struggle of a subjugated nation against its oppressor.
wn.com/Zygmunt_Krasiński -
Étienne Méhul
Étienne Nicolas Méhul (22 June 1763 – 18 October 1817) was a French composer, "the most important opera composer in France during the Revolution." He was also the first composer to be called a "Romantic".
Méhul was born at Givet in Ardennes to Jean-François Méhul, a wine merchant, and his wife Marie-Cécile (née Keuly). His first music lessons came from a blind local organist, but he had innate aptitude and was sent to study with a German musician and organist, Wilhelm Hanser, at the monastery of Lavaldieu, a few miles from Givet. Here Méhul developed his lifelong love of flowers.
In 1778 or 1779 he went to Paris and began to study with Jean-Frédéric Edelmann, a harpsichord player and friend of Méhul's idol Christoph Willibald von Gluck. Méhul's first published composition was a book of piano pieces in 1783. He also arranged airs from popular operas and by the late 1780s he had begun to think about an operatic career for himself.
In 1787, the writer Valadier offered Méhul one of his libretti, Cora, which had been rejected by Gluck in 1785. The Académie royale de musique (the Paris Opéra put Méhul's work, under the title Alonzo et Cora, into rehearsal in June 1789. However, the rehearsals were abandoned on 8 August, probably because the Opéra had been suffering severe financial difficulties throughout the 1780s, and the opera was not premiered until 1791. In the meantime, Méhul found an ideal collaborator in the librettist François-Benoît Hoffman, who provided the words to the first of Méhul's operas to be performed, Euphrosine. Its premiere in 1790 was an immense success and marked the composer out as a new talent. It was also the start of his long relationship with the Comédie Italienne theatre (soon to be renamed the Opéra-Comique).
wn.com/Étienne_Méhul
Wagner, Richard Filmography
- Dich teure Halle grüß ich wieder (2012)
- Lohengrin (2011)
- Rienzi der letzte der Tribunen (2010)
- Lohengrin (2009)
- Tristan und Isolde (2009)
- Die Walküre (2009)
- Die Meistersinger von Nürnberg (2009)
- Tannhauser (2008)
- Tristan und Isolde (2007)
- Das Rheingold (2005)
- Die Walküre (2004)
- Götterdämmerung (2004)
- Siegfried (2003)
- Das Rheingold (2003)
- Die Meistersinger von Nürnberg (2001)
- Tannhäuser (2000)
- Parsifal (1999)
- Die Meistersinger von Nürnberg (1999)
- Die Walküre (1996)
- Tristan und Isolde (1996)
- Tristan und Isolde (1995)
- Tannhäuser (1994)
- Parsifal (1993)
- Die Walküre (1993)
- Siegfried (1993)
- Das Rheingold (1992)
- Götterdämmerung (1992)
- Rienzi (1992)
- Parsifal (1992)
- Lohengrin (1991)
- Der fliegende Holländer (1991)
- Das Rheingold (1990)
- Die Walküre (1990)
- Götterdämmerung (1990)
- Lohengrin (1990)
- Siegfried (1990)
- Der fliegende Holländer (1989)
- Tannhäuser (1989)
- Die Meistersinger von Nürnberg (1989)
- Die Meistersinger von Nürnberg (1988)
- Der fliegende Holländer (1986)
- Die Nacht (1985)
- Die Meistersinger von Nürnberg (1984)
- Die Meistersinger von Nürnberg (1984)
- Tristan und Isolde (1983)
- Parsifal (1983)
- Tannhäuser (1982)
- Lohengrin (1982)
- Parsifal (1982)
- Tannhäuser (1978)
- Der fliegende Holländer (1975)
- The Flying Dutchman (1975)
- Die Meistersinger von Nürnberg (1971)
- Der fliegende Holländer (1964)
- Das Grabmal des Kaisers (1963)
- What's Opera, Doc? (1957)
- Lohengrin (1948)
- Ama - Nangoku-hen (1926)
- Ama - Tokai-hen (1926)
- Tannhäuser (1913)
- Sigfrido (1912)
- Walkirie (1903)
Wagner, Richard Filmography
Wagner, Richard Filmography
karaoke
Richard Wagner
(Wesendonck-Lieder)
In der Kindheit frühen Tagen
hört' ich oft von Engeln sagen,
die des Himmels hehre Wonne
tauschen mit der Erdensonne.
DaÃ, wo bang ein Herz in Sorgen
schmachtet vor der Welt verborgen,
daÃ, wo still es will verbluten,
und vergehn in Tränenfluten,
DaÃ, wo brünstig sein Gebet
einzig um Erlösung fleht,
da der Engel niederschwebt,
und es sanft gen Himmel hebt.
Ja es stieg auch mir ein Engel nieder,
und auf leuchtendem Gefieder
Famous quotes by Richard Wagner:
"I hate this fast growing tendency to chain men to machines in big factories and deprive them of all joy in their efforts - the plan will lead to cheap men and cheap products"
"I am convinced that there are universal currents of Divine Thought vibrating the ether everywhere and that any who can feel these vibrations is inspired."
"I am fond of them, of the inferior beings of the abyss, of those who are full of longing."
"After Rossini dies, who will there be to promote his music?"
"One supreme fact which I have discovered is that it is not willpower, but fantasy-imagination that creates. Imagination is the creative force. Imagination creates reality."
"I write music with an exclamation point!"
"Never look at the trombones, it only encourages them."
"I believe in God, Mozart and Beethoven, and likewise their disciples and apostles; - I believe in the Holy Spirit and the truth of the one, indivisible Art; - I believe that this Art proceeds from God, and lives within the hearts of all illumined men; - I believe that he who once has bathed in the sublime delights of this high Art, is consecrate to Her for ever, and never can deny Her; - I believe that through Art all men are saved."
"Imagination creates reality."
"Joy is not in things; it is in us"
"I believe in God, Mozart and Beethoven, and likewise their disciples and apostles; - I believe in the Holy Spirit and the truth of the one, indivisible Art; - I believe that this Art proceeds from God, and lives within the hearts of all illumined men; - I believe that he who once has bathed in the sublime delights of this high Art, is consecrate to Her for ever, and never can deny Her; - I believe that through Art all men are saved."
"I hate this fast growing tendency to chain men to machines in big factories and deprive them of all joy in their efforts - the plan will lead to cheap men and cheap products"
"I am convinced that there are universal currents of Divine Thought vibrating the ether everywhere and that any who can feel these vibrations is inspired."
"I am fond of them, of the inferior beings of the abyss, of those who are full of longing."
"After Rossini dies, who will there be to promote his music?"
"One supreme fact which I have discovered is that it is not willpower, but fantasy-imagination that creates. Imagination is the creative force. Imagination creates reality."
"I write music with an exclamation point!"
"Never look at the trombones, it only encourages them."
"Imagination creates reality."
"Joy is not in things; it is in us"
RELEASE
ALBUMS
Die Meistersinger von Nürnberg (conductor: Marek Janowski; Rundfunk-Sinfonieorchester Berlin; Rundfunkchor Berlin)
Released 2012
Released 2012
- Vorspiel
- Da zu dir der Heiland kam
- Verweilt! Ein Wort
- David! Was stehst?
- Mein Herr! Der Singer Meisterschlag
- Der Meister Tön' und Weisen
- Seid meiner Treue wohl versehen
- Zu einer Freiung
- Nicht doch, ihr Meister
- Verzeiht, vielleicht schon ginget ihr zu weit
- Dacht ich mir's doch!
- Am stillen Herd
- Nun, Meister! Wenn's gefallt
- Was euch zum Liede Richt und Schnur
- Für dich, Geliebte, sei's getan - Fanget an!
- Halt, Meister! Nicht so geeilt!
Der Ring des Nibelungen: Die Walküre, WWV. 86b (Wiener Philharmoniker feat. conductor: Wilhelm Furtwängler)
Released 2011
Released 2011
- Act II Scene 1: Der Alte Sturm
- Act II Scene 1: So Ist Denn Aus Mit Den Ewigen Göttern
- Act II Scene 1: Nichts Lerntest Du
- Act II Scene 1: Was Verlangst Du?
- Act II Scene 2: Schlimm, Fürcht' Ich, Schloß Der Streit
- Act II Scene 2: Was Keinem in Worten Ich Künde
- Act II Scene 2: Eins Andres Ist's
- Act II Scene 2: O Sag', Künde
- Act II Scene 3: Raste Nun Hier
- Act II Scene 3: Hinweg! Hinweg!
- Act II Scene 4: Siegmund! Sieh Auf Mich!
- Act II Scene 4: Hehr Bist Du, Und Heilig Gewahr' Ich
- Act II Scene 4: So Wenig Achtest Du Ewige Wonne?
Tristan und Isolde (Orchestra e Coro del Teatro alla Scala feat. conductor Herbert von Karajan, singers Windgassen, Hotter, Nilsson)
Released 2010
Released 2010
- Tristan und Isolde: 3. Aufzug Einleitung
- Tristan und Isolde: 3. Aufzug Orchestervorspiel
- Tristan und Isolde: 3. Aufzug "Kurwenal! He! Sag, Kurwenal!"
- Tristan und Isolde: 3. Aufzug "Die alte Weise; - Was weckt sie mich?"
- Tristan und Isolde: 3. Aufzug "Dünkt dich das? Ich weiß es anders"
- Tristan und Isolde: 3. Aufzug "Der einst ich trotzt’, aus Treu’ zu dir"
- Tristan und Isolde: 3. Aufzug "Isolde kommt! Isolde naht!"
- Tristan und Isolde: 3. Aufzug "Noch ist kein Schiff zu sehn!"
- Tristan und Isolde: 3. Aufzug "Mein Herre! Tristan! Schrecklicher Zauber!"
- Tristan und Isolde: 3. Aufzug "Wie sie selig, hehr und milde"
- Tristan und Isolde: 3. Aufzug "O Wonne! Freude!"
- Tristan und Isolde: 3. Aufzug "O diese Sonne! Ha, dieser Tag!"
- Tristan und Isolde: 3. Aufzug "Ha! Ich bin’s, ich bin’s, süßester Freund!"
- Tristan und Isolde: 3. Aufzug "Kurwenal! hör! Ein zweites Schiff"
- Tristan und Isolde: 3. Aufzug "Tot denn alles! Alles tot!"
- Tristan und Isolde: 3. Aufzug "Mild uns leise wie er lächelt"
- Prelude
- He! Ho! Waldhueter ihr!
- Recht so! Habt Dank! Ein wenig Rast.
- Nicht Dankt! Ha, ha! Was wird es helfen?
- O wunden-wundervoller heiliger Speer!
- Titurel, der fromme Held, der kannt' ihn wohl.
- Weh'! Weh'! Hoho! Auf! Wer ist der Frevler?
- Nun sag': nichts weisst du, was ich dich frage.
- Act III Scene 2: Siegfrieds Trauermarsch (Siegfried's Funeral March)
- Act III Scene 3: War das sein Horn? (Gutrune, Hagen, Gunther)
- Act III Scene 3: Hoiho! Hoiho! Wacht auf! (Hagen's Voice, Guntrune, Gunther)
- Act III Scene 3: Siegfried, Siegfried erschlagen! (Gutrune)
- Act III Scene 3: Schweigt eures Jammers (Brunnhilde, Gutrune)
- Act III Scene 3: Starke Scheite schichtet mir dort (Brunnhilde)
- Act III Scene 3: Wie Sonne lauter strahlt mir sein Licht (Brunnhilde)
- Act III Scene 3: Mein Erbe nun nehm' ich zu eigen (Brunnhilde)
- Act III Scene 3: Fliegt heim, ihr Raben! (Brunnhilde)
- Act III Scene 3: Conclusion (Hagen)
Lohengrin (Orchestra Sinfonica e Coro di Milano della RAI, feat. conductor: Ferdinand Leitner, singers: Dari, Kónya, Pobbe, Protti, Didier)
Released 2009
Released 2009
- Lohengrin: Act I. Preludio
- Lohengrin: Act I. "Udite, Conti e Prenci del Brabante!"
- Lohengrin: Act I. "Grazie, o Signor, che a far giustizia vieni! Federico"
- Lohengrin: Act I. "Oh ciel! Si avanza l’accusata…"
- Lohengrin: Act I. "Sola ne’ miei primi anni"
- Lohengrin: Act I. "Quel cavalier ognora il mio campion sarà!!!"
- Lohengrin: Act I. "Mercè, mercè, - Cigno gentil!"
- Lohengrin: Act I. "Di vergin casta - a cui l’onor"
- Lohengrin: Act I. "Mai devi domandarmi"
- Lohengrin: Act I. "Ebben!… io qui proclamo in faccia al mondo"
- Lohengrin: Act I. "M’ascolti dunque - attento ognun"
- Lohengrin: Act I. "Tu ben farai - giustizia al ver,"
- Lohengrin: Act I. "Lo volle il ciel!…"
- Lohengrin: Act II. Preludio
- Lohengrin: Act II. "Ti leva, andiam…"
- Lohengrin: Act II. "Portar a tal eccesso il tuo furor"
Rienzi (Wiener Staatsopernchor, Großes Orchester der RAVAG, feat conductor: Robert Heger, singers: Treptow, Scheyrer, Rössel-Majdan)
Released 2008
Released 2008
- Rienzi: 1. Aufzug Overtüre
- Rienzi: 1. Aufzug "Hier ist's, hier ist's! Frisch auf, ihr Freunde"
- Rienzi: 1. Aufzug "Zur Ruhe! Und ihr, habt ihr vergessen"
- Rienzi: 1. Aufzug "Wohlan, so mög' es sein!"
- Rienzi: 1. Aufzug "O Schwester, sprich, was dir geschah"
- Rienzi: 1. Aufzug "Die Stunde naht, mich ruft mein hohes Amt"
- Rienzi: 1. Aufzug "Ja, eine Welt voll Leiden"
- Rienzi: 1. Aufzug "Gegrüßt, gegrüßt sei, hoher Tag!"
- Rienzi: 1. Aufzug "Erstehe, hohe Roma, neu!"
- Rienzi: 2. Aufzug "Ihr Römer, hört die Kunde des holden Friedens an"
- Rienzi: 2. Aufzug "Du Friedensbote, sage an, hast deine Sendung du vollbracht"
- Rienzi: 2. Aufzug "Rienzi, nimm des Friedens Gruß!"
- Rienzi: 2. Aufzug "Colonna, hörtest du das freche Wort"
- Rienzi: 2. Aufzug "Erschallet, Feierklange! Stimmt Jubellieder an!"
- Rienzi: 2. Aufzug "Seid mir gegrüßt, ihr Romer all'!"
- Rienzi: 2. Aufzug "Rienzi! Auf! Schützt den Tribun!"
- Rienzi: 2. Aufzug "Den heil'gen Dank! Er ist allein"
- Rienzi: 2. Aufzug "Euch Edlen dieses Volk verzeiht, seid frei"
Parsifal (Rundfunkchor Leipzig, RSO Leizig, feat. conductor: Herbert Kegel, singers Adam, Teschler, Schröter)
Released 2008
Released 2008
- Parsifal: 1. Aufzug "Nehmet hin meinen Leib, nehmet hin mein Blut
- Parsifal: 1. Aufzug "Wein und Brot des letzten Mahles
- Parsifal: 1. Aufzug "Was stehst du noch da?
- Parsifal: 2. Aufzug Vorspiel
- Parsifal: 2. Aufzug "Die Zeit ist da"
- Parsifal: 2. Aufzug "Erwachst du ?"
- Parsifal: 2. Aufzug "Ach! Ach! Tiefe Nacht!"
- Parsifal: 2. Aufzug "Furchtbare Not ! So lacht nun der Teufel mein"
- Parsifal: 2. Aufzug "Jetzt schon erklimmt er die Burg"
- Parsifal: 2. Aufzug "Hier war das Tosen"
- Parsifal: 2. Aufzug "Ihr schönen Kinder"
- Parsifal: 2. Aufzug "Komm, komm, holder Knabe!"
- Parsifal: 2. Aufzug "Weile!"
- Parsifal: 2. Aufzug "Dies alles hab´ ich nun geträumt?"
- Parsifal: 2. Aufzug "Ich sah das Kind an seiner Mutter Brust"
- Parsifal: 2. Aufzug "Wehe! Wehe! Was tat ich?"
- Parsifal: 2. Aufzug "Amfortas! Die Wunde!"
- Parsifal: 2. Aufzug "Grausamer! Fühlst du im Herzen"
- Parsifal: 2. Aufzug "Auf Ewigkeit wärst du verdammt"
- Parsifal: 2. Aufzug "Vergeh, unseliges Weib!"
- Parsifal: 2. Aufzug "Mit diesem Zeichen bann´ ich deinen Zauber"
Los clásicos de la Ópera, No. 7: Tristan und Isolde (Orquesta Philharmonia feat. conductor: Wilhelm Furtwängler)
Released 2007
Released 2007
- Tristan und Isolde: Acto I. "War Morold dir so wert"
- Tristan und Isolde: Acto I. "Des Schweigens Herrin heißt mich schweigen"
- Tristan und Isolde: Acto I. "Tristan! Isolde!"
- Tristan und Isolde: Acto I. "Schnell, den Mantel, den Königsschmuck!"
- Tristan und Isolde: Acto II. Vorspiel
- Tristan und Isolde: Acto II. "Hörst du sie noch?"
- Tristan und Isolde: Acto II. "Dem Freund zulieb' erfand diese List"
- Tristan und Isolde: Acto II. "Isolde! Geliebte!"
- Tristan und Isolde: Acto II. "Getäuscht von ihm, der dich getäuscht"
- Tristan und Isolde: Acto II. "O sink hernieder"
- Tristan und Isolde: Acto II. "Lausch, Geliebter!"
Die Walküre (Nederlands Philahrmonisch Orkest, feat. conductor: Hartmut Haenchen, singers: Keyes, Rydl, Dohmen, Margiano, Watson)
Released 2006
Released 2006
- Die Walküre: 1. Aufzug Vorspiel
- Die Walküre: 1. Aufzug "Wess' Herd dies auch sei, hier muß ich rasten"
- Die Walküre: 1. Aufzug "Einen Unseligen labtest du"
- Die Walküre: 1. Aufzug "Müd' am Herd fand ich den Mann"
- Die Walküre: 1. Aufzug "Friedmund darf ich nicht heißen"
- Die Walküre: 1. Aufzug "Die so leidig Los dir beschied"
- Die Walküre: 1. Aufzug "Ich weiß ein wildes Geschlecht"
- Die Walküre: 1. Aufzug "Ein Schwert verhieß mir der Vater"
- Die Walküre: 1. Aufzug "Schläfst du, Gast?"
- Die Walküre: 1. Aufzug "Winterstürme wichen dem Wonnemond"
- Die Walküre: 1. Aufzug "Du bist der Lenz, nach dem ich verlangte"
- Die Walküre: 1. Aufzug "O süßeste Wonne! Seligstes Weib!"
- Die Walküre: 1. Aufzug "Siegmund heiß' ich, und Siegmund bin ich!"
Der Ring des Nibelungen (Orchester der Bayreuther Festspiele feat. conductor: Karl Böhm)
Released 2006
Released 2006
- Die Walküre: Akt 2. Vorspiel - Akt 2, Szene 1: "Nun zäume dein Roß"
- Die Walküre: Akt 2, Szene 1. "Der alte Sturm, die alte Müh'"
- Die Walküre: Akt 2, Szene 1. "Heut hast du's erlebt!"
- Die Walküre: Akt 2, Szene 1. "Was verlangst du?"
- Die Walküre: Akt 2, Szene 2. "Schlimm, fürcht ich, schloß der Streit"
- Die Walküre: Akt 2, Szene 2. "Laß ich's verlauten"
- Die Walküre: Akt 2, Szene 2. "Ein andres ist 's: achte es wohl"
- Die Walküre: Akt 2, Szene 2. "So sah ich Siegvater nie" - Akt 2, Szene 3. "Raste nun hier; gönne dir Ruh!"
- Die Walküre: Akt 2, Szene 3. "Hinweg! Hinweg! Flieh die Entweihte!"
- Der fliegende Holländer, WWV 63: Act I. Vorspiel
- Der fliegende Holländer, WWV 63: Act I, Scene I. "Hojohe! Hallojo!" (Chor)
- Der fliegende Holländer, WWV 63: Act I, Scene I. "Lied des Steuermanns: Mit Gewitter und Sturm aus fernem Meer" (Steuermann)
- Der fliegende Holländer, WWV 63: Act I, Scene II. "Die Frist ist um" (Holländer)
- Der fliegende Holländer, WWV 63: Act I, Scene III. "He! Holla! Steuermann!" (Daland, Steuermann)
- Der fliegende Holländer, WWV 63: Act I, Scene III. "Weit komm' ich her, verwehrt bei Sturm und Wetter" (Holländer, Daland)
- Der fliegende Holländer, WWV 63: Act I, Scene III. "Südwind! Südwind!" (Steuermann, Daland, Holländer, Chor)
- Der fliegende Holländer, WWV 63: Act II. Introduktion
- Der fliegende Holländer, WWV 63: Act II, Scene I. "Summ' und brumm, du gutes Rädchen" (Chor)
- Der fliegende Holländer, WWV 63: Act II, Scene I. "Traft ihr dass Schiff" (Senta, Chor, Mary)
- Der fliegende Holländer, WWV 63: Act II, Scene I. "Senta! Willst du mich verderben?" (Erik, Mary)
- Der fliegende Holländer, WWV 63: Act II, Scene II. "Bleib', Senta! Bleib' nur einen Augenblick" (Erik, Senta)
Parsifal (Orchestra Sinfonica e Coro di Roma della Rai, feat. conductor Vittorio Gui, singers Callas, Baldeli, Christof, Panerai, Lopatti, Modesti)
Released 2005
Released 2005
- Parsifal: Preludio
- Parsifal: Atto Primo "Eh? Oh? Guardia Così"
- Parsifal: Atto Primo "Sì, Qui! - Sta Ben!"
- Parsifal: Atto Primo "Oh, Santa Lancia, Prodigioso Acciar!"
- Parsifal: Atto Primo "Titurel, Il Pio Campion"
- Parsifal: Atto Primo "Nel Menomato Tempio"
- Parsifal: Atto Primo "Dal Bagno Già Ritorna"
- Parsifal: Atto Primo "Il Giorno Ha Preparato"
- Parsifal: Atto Primo "Figliuol Amfortas, Sei Pronto Al Rito?"
- Parsifal: Atto Primo "Triste Retaggio A Me Serbato"
BBC Music, Volume 13, Number 13: Orchestral Music from the Operas (BBC Philharmonic feat. conductor: Sir Edward Downes)
Released 2005
Released 2005
- Lohengrin: Act III. Prelude
- Lohengrin: Act I. Prelude
- Rienzi: Overture
- Tannhauser: Act III. Prelude
- Parsifal: Act I. Prelude
- Tristan und Isolde: Prelude
- Tristan und Isolde: Liebestod
- Ouvertüre
- Act 1: Schwinget euch auf
- Act 1: Was seh ich? Moread, ihr, und Gunther, du?
- Act 1: Wo find ich dich, wo wird mir Trost?
- Act 1: Da sheht Ihr nun, so recht bejammernswert!
- Act 1: War einst'ne böse Hexe wohl
- Act 1: Arindal!
- Act 1: So soll für immer ich nun vo dir scheiden
- Act 1: Wie muss ich doch beklagen
- Act 1: Wo bin ich?
- Act 1: Auf, Arindal, komm jetzt mit uns von hinnen!
- Act 1: Dein Vater hat das Los
- Act 1: Was ist wohl die Bedeutung von dem, was er beschwor?
- Act 1: Auf, komm mit uns nach deinem Lande
- Der fliegende Holländer: Overture
- Rienzi: Overture
- Die Meistersinger von Nürnberg: Vorspiel
- Tannhäuser: Overture
- Tristan und Isolde: Vorspiel
- Tristan und Isolde: Isoldens Liebestod
- The Mastersingers of Nurember: Finale (excerpts) (Act III)
- The Flying Dutchman: Chorus of Norwegian Sailors and Girls (Act III)
- Tannhäuser: Procession into the Hall of Song (Act II, Scene 4)
- Lohengrin: Bridal Procession (Act II, Scene 4)
- Rienzi: the Messengers of Peace (Act II)
- Parsifal: The Journey to Montsalvat (Act I)
Tristan und Isolde (Chor und Orchester der Bayreuther Festspiele, feat. conductor Herbert von Karajan, singers Mödl, Vinay, Weber, Malaniuk)
Released 2003
Released 2003
- Tristan und Isolde: 1. Aufzug Vorspiel
- Tristan und Isolde: 1. Aufzug "Westwärts schweift der Blick"
- Tristan und Isolde: 1. Aufzug "Frisch weht der Wind der Heimat zu"
- Tristan und Isolde: 1. Aufzug "Hab acht, Tristan! Botschaft von Isolde"
- Tristan und Isolde: 1. Aufzug "Weh, ach wehe! Dies zu dulden!"
- Tristan und Isolde: 1. Aufzug "O Wunder! Wo hatt' ich die Augen?"
- Tristan und Isolde: 1. Aufzug "Das wär' ein Schatz, mein Herr und Ohm"
- Tristan und Isolde: 1. Aufzug "Ungeminnt den hehrsten Mann"
- Tristan und Isolde: 1. Aufzug "Auf! Auf! Ihr Frauen! Frisch und froh!"
- Tristan und Isolde: 1. Aufzug "Hörtest du nicht? Hier bleib' ich. Tristan will ich erwarten."
- Tristan und Isolde: 1. Aufzug "Begehrt, Herrin, was ihr wünscht"
- Tristan und Isolde: 1. Aufzug "Da du so sittsam, mein Herr Tristan"
- Tristan und Isolde: 1. Aufzug "Was schwurt Ihr, Frau?"
- Tristan und Isolde: 1. Aufzug "War Morold dir so wert"
- Tristan und Isolde: 1. Aufzug "Ho! Ha! Ha! He!"
- Tristan und Isolde: 1. Aufzug "Auf das Tau! Anker los!"
- Tristan und Isolde: 1. Aufzug "Tristan!"
- Tristan und Isolde: 1. Aufzug "Seligste Frau!"
Lohengrin (Metropolitan Opera and Chorus fet. conductor: Erich Leinsdorf, singers: Melchior, Rethberg, Thorborg, Huehn, List, Warren)
Released 2002
Released 2002
- Lohengrin: 1. Aufzug Vorspiel
- Lohengrin: 1. Aufzug "Hört! Grafen, edle"
- Lohengrin: 1. Aufzug "Dank, König"
- Lohengrin: 1. Aufzug "Ha, schwerer Schuld"
- Lohengrin: 1. Aufzug "Seht hin! Sie naht"
- Lohengrin: 1. Aufzug "Einsam in trüben Tagen"
- Lohengrin: 1. Aufzug "Mich irret nicht"
- Lohengrin: 1. Aufzug "Des Ritters willl ich wahren"
- Lohengrin: 1. Aufzug "Ohn' Antwort ist der Ruf"
- Lohengrin: 1. Aufzug "Seht! Seht! Welch seltsam Wunder!"
- Lohengrin: 1. Aufzug "Nun seid bedankt"
- Lohengrin: 1. Aufzug "Heil, König Heinrich"
- Lohengrin: 1. Aufzug "Wenn ich im Kampfe für dich siege"
- Lohengrin: 1. Aufzug "Elsa! Hast du mich wohl vernommen"
- Lohengrin: 1. Aufzug "Welch holde Wunder!"
- Lohengrin: 1. Aufzug "Nun höret mich und achtet wohl"
- Lohengrin: 1. Aufzug "Du kündest nun dein wahr' Gericht"
- Lohengrin: 1. Aufzug "Durch Gottes Sieg"
- Lohengrin: Orchestervorspiel
- Lohengrin: Act I, Scene I. "Hört! Grafen, Edle, Freie von Brabant!"
- Lohengrin: Act I, Scene I. "Dank, König, dir, daß du zu richten kamst!"
- Lohengrin: Act I, Scene II. "Seht hin! Sie naht, die hart Beklagte!"
- Lohengrin: Act I, Scene II. "Einsam in trüben Tagen"
- Lohengrin: Act I, Scene II. "Mich irret nicht ihr träumerischer Mut"
- Lohengrin: Act I, Scene II. "Wer hier im Gotteskampf zu streiten kam"
- Lohengrin: Act I, Scene III. "Nun sei bedankt, mein lieber Schwan!"
- Lohengrin: Act I, Scene III. "Zum Kampf für eine Magd zu stehn"
- Lohengrin: Act I, Scene III. "Nun hört! Euch, Volk von Edlen, mach' ich kund"
- Lohengrin: Act I, Scene III. "Nun höret mich und achtet wohl"
- Lohengrin: Act I, Scene III. "Durch Gottes Sieg ist jetzt dein Leben mein"
Tristan und Isolde (Gewandhausorchester und Chor des MDR Leipzig, feat. conductor Konwitschny, singers Suthaus, Bäumer, Frick=
Released 2001
Released 2001
- Tristan und Isolde: 1. Akt Orchestervorspiel
- Tristan und Isolde: 1. Akt "Westwärts schweift der Blick"
- Tristan und Isolde: 1. Akt "Frisch weht der Wind"
- Tristan und Isolde: 1. Akt "Hab acht, Tristan!"
- Tristan und Isolde: 1. Akt "Das sage sie der Frau Isold"
- Tristan und Isolde: 1. Akt "O Wunder! Wo hatt ich die Augen"
- Tristan und Isolde: 1. Akt "Ungeminnt den hehrsten Mann"
- Tristan und Isolde: 1. Akt "Auf! Auf! Ihr Frauen!"
- Tristan und Isolde: 1. Akt "O tiefstes Weh!"
- Tristan und Isolde: 1. Akt "Müht euch die?"
- Tristan und Isolde: 1. Akt "Wo sind wir?"
Der fliegende Holländer (Orchestra e Coro del Teatro alla Scala feat. conductor Wolfgang Sawallisch, singers Crass, Ridderbusch, Rysanek)
Released 2001
Released 2001
- Der fliegende Holländer: I. Akt Ouvertüre
- Der fliegende Holländer: I. Akt "Hojohe! Hallojo!" (Chorus)
- Der fliegende Holländer: I. Akt "Mit Gewitter und Sturm" (Steuermann)
- Der fliegende Holländer: I. Akt "Die Frist ist um" (Holländer)
- Der fliegende Holländer: I. Akt "He, hollah, Steuermann" (Holländer)
- Der fliegende Holländer: I. Akt "Südwind! Südwind!" (Steuermann)
- Der fliegende Holländer: II. Akt "Summ' und brumm'" (Chorus)
- Der fliegende Holländer: II. Akt "Johohoe!" (Senta)
Tannhäuser (Chor und Orchester des Hessischen Rundfunks, feat. conductor Kurt Schröder singers von Rohr, Treptow, Schlusnus, Eipperle, Joesten)
Released 2001
Released 2001
- Tannhäuser: Akt I. Ouvertüre
- Tannhäuser: Akt I. Bacchanal
- Tannhäuser: Akt I. "Naht euch dem Strande!"4
- Tannhäuser: Akt I. "Dir töne Lob! Die Wunder sei'n gepriesen"
- Tannhäuser: Akt I. "Stets soll nur dir, nur dir mein Lied ertönen"
- Tannhäuser: Akt I. "Frau Holda kam aus dem Berg hervor"
- Tannhäuser: Akt I. "Allmächt'ger, dir sei Preis"
- Tannhäuser: Akt I. "Wer ist der dort in brünstigem Gebete?"
- Tannhäuser: Akt I. "Als du in kühnem Sange uns bestrittest"
Tannhäuser (Staatsoper u. Staatskapelle Berlin, feat. conductor Barenboim, Seiffert, Eaglen; Meyer, Hampson)
Released 2001
Released 2001
- Tannhäuser: Aufz. I, Ouvertüre
- Tannhäuser: Aufz. I, Auftr. I. "Naht Euch dem Strande!"
- Tannhäuser: Aufz. I, Auftr. II. "Geliebter, sag, wo weilt dein Sinn?"
- Tannhäuser: Aufz. I, Auftr. II. "Dir töne Lob"
- Tannhäuser: Aufz. I, Auftr. II. "Dank deiner Huld!"
- Tannhäuser: Aufz. I, Auftr. II. "Geliebter, komm! Sieh dort die Grotte
- Tannhäuser: Aufz. I, Auftr. II. "Stets soll nur dir mein Lied ertönen"
- Tannhäuser: Aufz. I, Auftr. II. "Zieh hin, Wahnbetörter"
- Tannhäuser: Aufz. I, Auftr. II. "Nein! Mein Stolz soll dir den Jammer sparen"
- Tannhäuser: Aufz. I, Auftr. III. "Frau Holda kam aus dem Berg hervor"
- Tannhäuser: Aufz. I, Auftr. III. "Zu dir wall ich, mein Jesus Christ"
- Tannhäuser: Aufz. I, Auftr. IV. "Wer ist der dort im brünstigen Gebete"
- Tannhäuser: Aufz. I, Auftr. IV. "Als du im kühnen Sange uns bestrittest"
Der Ring des Nibelungen (La Scala Opera Orchestra feat. conductor: Wilhelm Furtwängler)
Released 2001
Released 2001
- Dritter Aufzug- Erste Szene, Die Walküren
- Gerhilde: Hojotoho!
- Waltraute: Nach dam Tann lenkt sie das taumelnde Ross
- Brünnhilde: Schütz mich, und helft in höchster Not!
- Brünnhilde: Hört mich in Eile
- Brünnhilde: Wehe der Armen, wenn Wotan sie trifft
- Sieglinde: Nicht sehre dich Sorge um mich
- Brünnhilde: Fort denn eile, nach Osten gewandt!
- Zweite Szene- Wotan: Wo ist Brünnhilde
- Brünnhilde: Hier bin ich Vater
- Wotan: Hörtet ihr nicht, was ich verhängt?
- Dritte Szene- Brünnhilde: War es so schmählich
- Brünnhilde: Nicht weise bin ich
- Brünnhilde: Weil für dich im Auge das eine ich hielt
- Wotan: So tatest du, was so gern zu tun ich begehrt
- Brünnhilde: Wohl taugte dir nicht die tör'ge Maid
- Wotan: Und das ich ihn in Stücke schlug
- Wotan: Leb wohl, du kühnes, herrliches Kind!
- Wotan: Der Augen leuchtendes Paar
- Wotan: Loge, hör!
Der Ring des Nibelungen - Gotterdaemmerung (La Scala Opera Orchestra feat. conductor: Wilhelm Furtwängler) (disc 11)
Released 2001
Released 2001
- Siegfried: Brünnhilde'! Ein Freier kam, den dein Feuer nicht geschreckt
- Zweiter Aufzug: Vorspiel und erste Szene
- Alberich: Schläfst du, Hagen, mein Sohn?
- Alberich: Ich - und du!
- Alberich: Den gold' nen Ring, den Reif gilt's zu erringen!
- Zweite Szene- Siegfried: Hoioh! Hagen!
- Siegfried: Heiß mich willkommen, Gibichskind!
- Siegfried: Durch des Feuers verlöschende Lohe
- Dritte Szene- Hagen: Hoiho! Hoi hohohoho!
- Vierte Szene- Die Mannen: Heil dir, Gunther!
- Gunther: Gegrüßt, sei, teurer Held!
- Brünnhilde: Einen Ring sah ich an deiner Hand...
- Brünnhilde: Heil' ge Götter, himmlische Lenker!
- Brünnhilde: Er zwang mir Lust und Liebe ab
- Die Mannen: Wie? Brach er die Treue?
- Siegfried: Helle Wehr!
- Siegfried: Gunther, wehr' deinem Weibe
- Fünfte Szene: Brünnhilde: Welches Unholds List liegt hier verholen?
- Hagen: Vertraue mir, betrog'ne Frau!
- Hagen: Und dort trifft ihn mein Speer!
- Gunther: Betrüger ich und betrogen!
- Gunther: Doch Gutrune, ach! Der ich ihn gönnte!
- Gunther und Brünnhilde: So soll es sein!
Das Rheingold (Sinfonie Orchester des HR feat. conductor Winfried Zillig, singers: Kronenberg, Stern, Sattler, Carlsson, Kopp, Schild, von Rohr, Etterer)
Released 2000
Released 2000
- Das Rheingold: 3. Szene "Niebelheim hier"
- Das Rheingold: 3. Szene "Nehmt Euch in acht!"
- Das Rheingold: 3. Szene "Habt acht! Habt acht!"
- Das Rheingold: 4. Szene "Da Vetter, sitze du fest!"
- Das Rheingold: 4. Szene "Wohlan, die Nibelungen rief ich"
- Das Rheingold: 4. Szene "Lauschtest du"
- Das Rheingold: 4. Szene "Weiche, Wotan, weiche!"
- Das Rheingold: 4. Szene "Geheimnis-hehr"
- Das Rheingold: 4. Szene "Halt du Gieriger"
- Das Rheingold: 4. Szene "Was gleicht, Wotan, wohl...Schwüles Gedünst"
- Siegfried Idyll
- Symphony No. 9 in D minor: I. Andante comodo
- Symphony No. 9 in D minor: II. Im Tempo eines gemächlichen Ländlers. Etwas täppisch und sehr derb
BBC Music, Volume 7, Number 5: Requiem / Siegfried Idyll (Hong Kong PO feat. conductor: David Atherton)
Released 1999
Released 1999
- Siegfried Idyll
- Requiem: Introit & Kyrie
- Requiem: Offertorium
- Requiem: Sanctus
- Requiem: Pie Jesu
- Requiem: Agnus Dei
- Requiem: Libera me
- Requiem: In paradisum
- Тангейзер: Увертюра (Новый лондонский филармонический оркестр, дирижёр А. Шольц)
- Лоэнгрин: Свадебный марш из 3-го акта (Симфонический оркестр радио Любляна, дирижёр М. Мюних)
- Риенци: Увертюра (Оркестр Южно-германской филармонии, дирижёр Х. Адольф)
- Нюрнбергские мейстерзингеры: Увертюра (Нюрнбергский симфонический оркестр, дирижёр Р. Чупп)
- Нюрнбергские мейстерзингеры: Хор из 3-го акта (Симфонический оркестр радио Любляна, дирижёр М. Мюних)
- Полёт Валькирий (Гамбургский симфонический оркестр, дирижёр Х. Ю. Вальтер)
- Тристан и Изольда: Песня любви и смерти (Гамбургский симфонический оркестр, дирижёр Х. Ю. Вальтер)
- Тангейзер: Песня вечерней звезды (Гамбургский симфонический оркестр, дирижёр Х. Ю. Вальтер)
Der Ring des Nibelungen (Berliner Philharmoniker, feat. conductor: Herbert von Karajan)
Released 1998
Released 1998
- Die Walküre: Aufzug II, Szene II. "So sah ich Siegvater nie, erzürnt’ ihn sonst wohl auch ein Zank!" (Brünnhilde)
- Die Walküre: Aufzug II, Szene III. "Raste nun hier; gönne dir Ruh’!" (Siegmund, Sieglinde)
- Die Walküre: Aufzug II, Szene IV. "Siegmund! Sieh auf mich!" (Brünnhilde, Siegmund)
- Die Walküre: Aufzug II, Szene IV. "Du sahest der Walküre sehrenden Blick" (Brünnhilde, Siegmund)
- Die Walküre: Aufzug II, Szene IV. "So jung und schon erschimmerst du mir" (Siegmund, Brünnhilde)
- Die Walküre: Aufzug II, Szene V. "Zauberfest bezähmt ein Schlaf der Holden Schmerz und Harm" (Siegmund)
- Die Walküre: Aufzug II, Szene V. "Der dort mich ruft, rüste sich nun" (Siegmund, Sieglinde, Hunding, Brünnhilde)
- Die Walküre: Aufzug II, Szene V. "Zu Ross, dass ich dich rette!" (Brünnhilde, Wotan)
- Die Walküre: Aufzug III, Szene I. "Hojotoho! Hojotoho! Heiaha! Heiaha!" (Die acht Walküren)
- Die Walküre: Aufzug III, Szene I. "Schützt mich und helft in hochster Not!" (Brünnhilde, Die acht Walküren)
- Die Walküre: Aufzug III, Szene I. "Nicht sehre dich Sorge um mich" (Sieglinde, Brünnhilde, Waltraute, Ortlinde, Die sechs anderen Walküren)
- Die Walküre: Aufzug III, Szene II. "Wo ist Brünnhild’, wo die Verbrecherin?" (Wotan, Die acht Walküren)
Lohengrin (Chor der Deutschen Staatsoper Berlin, Staatskapelle Berlin feat. conductor: Daniel Barenboim, singers: Seiffert, Magee, Polaski, Struckmann, Pape, Trekel)
Released 1998
Released 1998
- Lohengrin: 3. Aufzug Vorspiel
- Lohengrin: 3. Aufzug, 1. Szene "Treulich geführt ziehet dahin"
- Lohengrin: 3. Aufzug, 2. Szene "Das süße Lied verhallt"
- Lohengrin: 3. Aufzug, 2. Szene "Fühl ich zu dir so süß mein Herz entbrennen"
- Lohengrin: 3. Aufzug, 2. Szene "Atmest du nicht mit mir die süßen Düfte?"
- Lohengrin: 3. Aufzug, 2. Szene "Höchstes Vertrau'n hast du mir schon zu danken"
- Lohengrin: 3. Aufzug, 2. Szene "Weh, nun ist all unser Glück dahin!"
- Lohengrin: 3. Aufzug, 3. Szene "Heil König Heinrich!"
- Lohengrin: 3. Aufzug, 3. Szene "Macht Platz dem Helden von Brabant!"
- Lohengrin: 3. Aufzug, 3. Szene "In fernem Land, unnahbar euren Schritten"
- Lohengrin: 3. Aufzug, 3. Szene "Mir schwankt der Boden! Welche Nacht!"
- Lohengrin: 3. Aufzug, 3. Szene "Mein lieber Schwan!"
Romantic - Wagner: Ride of the Valkyries; The Flying Dutchman Overture; Bridal Chorus from Lohengrin
Released 1996
Released 1996
- Ride of the Valkyries
- Bridal Chorus from Lohengrin
- Overture to Die Meistersinger von Nurnberg
- The Flying Dutchman Overture
- Overture to Lohengrin
- Overture to Tannhauser
- Overture to Tristan and Isolde
- Scene 3: Wer hälfe mir?
- Scene 3: Nehmt euch in ach!
- Scene 3: Zittre und zage
- Scene 3: Was wollt ihr hier?
- Scene 3: Die in linder Lüfte Wehn
- Scene 3: Wen doch fasste nicht Wunder
- Scene 3: Riesen-Wurm winde sich
- Scene 3: Krumm und grau
- Scene 4: Da, Vetter sitze du fest!
- Scene 4: Gezahlt hab' ich
- Scene 4: Ein goldner Ring
- Scene 4: Ist er gelösl
- Scene 4: Lauschtest du seinem Liebesgruss?
- Scene 4: Lieblichste Schwester
- Scene 4: So sind wir denn fertig
- Scene 4: Weiche, Wotan, weiche!
- Scene 4: Hört, ihr Riesen!
- Scene 4: Halt, du Gieriger!
- Scene 4: Was gleicht, Wotan
- Scene 4: Schwüles Gedünst
- Scene 4: Abendlich strahlt der Sonne Auge
- Scene 4: Ihrem Ende eilen sie zu
- Scene 4: Rheingold! Rheingold!
Tristan und Isolde (Chor und Orchester der Bayrischen Staatsoper feat. conductor Knappertsbusch, singers Treptow, Braun, Schöffler, Klose)
Released 1993
Released 1993
- Tristan und Isolde: Vorspiel
- Tristan und Isolde: 1. Aufzug "Westwärts schweift der Blick: Ostwärts streicht das Schiff"
- Tristan und Isolde: 1. Aufzug "Frisch weht der Wind der Heimat zu"
- Tristan und Isolde: 1. Aufzug "Weh, ach wehe! Dies zu dulden!"
- Tristan und Isolde: 1. Aufzug "Am Untermast die Segel ein!"
- Tristan und Isolde: 1. Aufzug "Herr Tristan trete nah!"
- Overture
- Dich, teure Halle, grüß' ich wieder
- Freudig begrüßen wir die edle Halle
- Blick' ich umher in diesem edlen Kreise
- Beglückt darf nun dich, o Heimat, ich schauen
- Allmächt'ge Jungfrau, hör mein Flehen
- Wie Todesahnung, Dämm'rung deckt die Lande...O du mein holder Abendstern
- Inbrunst im Herzen, wie dein Büßer noch sie je gefühlt
- Willkommen ungetreurer Mann
- Parsifal: Vorspiel
- Parsifal: Act I. "He! Ho! Waldhüter ihr"
- Parsifal: Act I. "Recht so! Habt Dank! Ein wenig Rast"
- Parsifal: Act I. "Nicht Dank! Haha! Was wird es helfen?"
- Parsifal: Act I. "O wunden-wundervoller heiliger Speer!"
- Parsifal: Act I. "Titurel, der fromme Held"
- Parsifal: Act I. "Weh! Weh!...Hoho!"
- Parsifal: Act I. "Nun sag! Nichts weisst du"
- Der Fliegende Holländer: Ouvertüre
- Der Fliegende Holländer: Act I. "Hojoje! Hojoje! Hallojo! Ho!"
- Der Fliegende Holländer: Act I. "Mit Gewitter und Sturm aus fernem Meer"
- Der Fliegende Holländer: Act I. "Die Frist ist um"
- Der Fliegende Holländer: Act I. "Wie oft in Meeres tiefsten Schlund"
- Der Fliegende Holländer: Act I. "He! Holla! Steuermann"
- Der Fliegende Holländer: Act I. "Durch Sturm und bösen Wind verschlagen"
- Der Fliegende Holländer: Act I. "Wie? Hör' ich recht? Meine Tochter sein Weib?"
- Der Fliegende Holländer: Act I. "Südwind! Südwind!"
- Der Fliegende Holländer: Act I. "Mit Gewitter und Sturm aus fernem Meer"
- Der Fliegende Holländer: Act II. "Summ und brumm, du gutes Rädchen"
- Der Fliegende Holländer: Act II. "Du böses Kind, wenn du nicht spinnst"
- Der Fliegende Holländer: Act II. "Johohoe! Traft ihr das Schiff im Meere an"
Parsifal (Berliner Philharmoniker, Chor der Deutschen Staatsoper feat. conductor Daniel Barenboim, singers Meier, Jerusalem, Hölle, van Dam)
Released 1991
Released 1991
- Parsifal: 1. Aufzug Vorspiel
- Parsifal: 1. Aufzug "He! Ho! Waldhüter ihr"
- Parsifal: 1. Aufzug "Habt Dank! - Ein wenig Rast"
- Parsifal: 1. Aufzug "Haha! Was wird es helfen?"
- Parsifal: 1. Aufzug "O wunden-wundervoller heiliger Speer!"
- Parsifal: 1. Aufzug "Titurel, der fromme Held, der kannt' ihn wohl"
- Parsifal: 1. Aufzug "Weh! Weh!... Wer ist der Frevler?"
- Parsifal: 1. Aufzug "Nun sag! Nichts weißt du "
- Der fliegende Holländer: Ouvertüre
- Tannhäuser: Ouvertüre
- Die Meistersinger von Nürnberg: Vorspiel
- Tristan und Isolde: Vorspiel
- Tristan und Isolde: Liebestod
- Prelude to Die Meistersinger
- Flying Dutchman Overture
- Rienzi Overture
- Siegfried's Rhine Journey
- Prelude to Lohengrin
- Das Rheingold; Prelude
- Das Rheingold; Der Welt Erbe Gewänn' Ich... Hülfe! Weh!
- Das Rheingold; Bruder, Hierher! Weise Der Brücke Den Weg!
- Die Walküre; Wie Dir Die Stirn
- Die Walküre; Hojotoho!
- Siegfried; Nothung! Nothung! Neidliches Schwert!
- Siegfried; Ewig War Ich
- Götterdämmerung; Siegfried's Rheinfahrt
- Götterdämmerung; Brünnhilde! Heilige Braut!... Trauerrmarsch
Die Meistersinger von Nürnberg (Chor und Orchester der Bayerischen Staatsoper feat. conductor: Joseph Keilberth)
Released 1986
Released 1986
- Die Meistersinger von Nürnberg: Vorspiel
- Die Meistersinger von Nürnberg: Akt I, Szene I. "Da zu dir der Heiland kam" (Gemeinde) / "Verweilt! - Ein Wort!" (Walther, Eva, Magdalene, David)
- Die Meistersinger von Nürnberg: Akt I, Szene II. "David, was stehst?" (Lehrbuben, David, Walther)
- Die Meistersinger von Nürnberg: Akt I, Szene III. "Seid meiner Treue wohl versehen" (Pogner, Beckmesser, Walther)
- Overture
- Act 1 Scene 1 Hier ist's, hier ist's
- Act 1 Scene 1 Dies ist eur Handwerk
- Act 1 Scene 1 Doch höret Ihr der Trompete Ruf
- Act 1 Scene 2 O Schwester sprich
- Act 1 Scene 2 Rienzi du bist fürchterlich
- Act 1 Scene 2 Die Stunde naht, Act 1 Scene 3 Er geht und lasst dich meinem Schutz
- Act 1 Scene 4 Gegrüßt, gegrüßt sei
- Act 1 Scene 4 Erwacht ihr Schläfer nah und fern
- Act 1 Scene 4 Erstehe hohe Roma neu
- Act 2 Intro
- Act 2 Scene 1 Ihr Römer hört die Kunde
- Act 2 Scene 1 Rienzi nimm des Friedens Gruß
- Act 2 Scene 2 Colonna hörtest du das freche Wort
- Der Fliegende Hollaender - Overture
- Der Fliegende Hollaender - Sailors' Chorus
- Tannhauser - O du mein holder Abendstern
- Tannhauser - Pilgrims' Chorus
- Lohengrin - Prelude to Act III
- Lohengrin - Bridal Chorus
- Die Meistersinger von Nuernberg - Overture
- Tristan und Isolde - Liebestod
- Der Ring des Nibelungen - Die Walkuere - Ride of the Valkyries
- Der Ring des Nibelungen - Siegfried - Hoho! Hoho! Hohei!
- Der Ring des Nibelungen - Goetterdaemmerung - Siegfried's Funeral March
- Dir Unweisen ruf ich ins Ohr
- Mein Vöglein schwebte mir fort!
- Wohin, Knabe, heisst dich dein Weg?
- Kenntest du mich, kühner Spross?
- Mit zerfochtner Waffe floh mir der Feige?
- Selige Öde auf sonniger Höh'!
- Das ist kein Mann!
- Heil dir, Sonne!
- O Siegfried! Siegfried! Seliger Held!
- Dort seh' ich Grane
- Ewig war ich, ewig bin ich
- Tannhäuser: Ouvertüre
- Tannhäuser: Aufz. I. Auftr. I. "Naht euch dem Strande!"
- Tannhäuser: Aufz. I. Auftr. II. "Geliebter, sag, wo weilt dein Sinn?"
- Tannhäuser: Aufz. I. Auftr. II. "Dir töne Lob"
- Tannhäuser: Aufz. I. Auftr. II. "Geliebter, komm! Sieh dort die Grotte"
- Tannhäuser: Aufz. I. Auftr. II. "Stets soll Dir nur"
- Tannhäuser: Aufz. I. Auftr. II. "Zieh hin, Wahnsinniger"
- Tannhäuser: Aufz. I. Auftr. II. "Wie hatt' ich das"
- Tannhäuser: Aufz. I. Auftr. III. "Frau Holda kam aus dem Berg hervor"
- Tannhäuser: Aufz. I. Auftr. III. "Allmächt'ger, dir sei Preis!"
- Tannhäuser: Aufz. I. Auftr. IV. "Wer ist der dort im brünstigen Gebete?"
- Tannhäuser: Aufz. I. Auftr. IV. "Ich wanderte in weiter, weiter Fern'"
- Tannhäuser: Aufz. I. Auftr. IV. "Als du in kühnem Sange uns bestrittest"
- Tannhäuser: Aufz. I. Auftr. IV. "Zu ihr, zu ihr! O führet mich zu ihr!"
- Tannhäuser: Aufz. II. Auftr. I. "Dich, teure Halle, grüß ich wieder"
- Tannhäuser: Aufz. II. Auftr. II. "Dort ist sie; nahe dich ihr ungetört!"
- Tannhäuser: Aufz. II. Auftr. II. "Verzeiht, wenn ich nicht weiß"
- Tannhäuser: Aufz. II. Auftr. II. "Den Gott der Liebe sollst du preisen"
- Die Walküre: Act III. "The Ride of the Valkyries"
- Götterdämmerung: Act I. "Dawn and Siegfried's Rhine Journey"
- Götterdämmerung: Act III. "Death March"
- Lohengrin: Act I. Prelude
- Lohengrin: Act III. Prelude
- Die Meistersinger von Nürnberg: Act I. Prelude
- Die Meistersinger von Nürnberg: Act III. "The Dance of the Apprentices"
Born: 1813-05-22
Died: 1883-02-13
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Richard Wagner - Der Ring des Nibelungen
- Order: Reorder
- Duration: 69:38
- Updated: 18 Dec 2012
THIS RECORDING IS WITHOUT WORDS!! Der Ring des Nibelungen (The Ring of the Nibelung) is a cycle of four epic operas by the German composer Richard Wagner. Wagner wrote the libretto and music over the course of about twenty-six years, from 1848 to 1874. The four operas that constitute the...
http://wn.com/Richard_Wagner_Der_Ring_des_Nibelungen
THIS RECORDING IS WITHOUT WORDS!! Der Ring des Nibelungen (The Ring of the Nibelung) is a cycle of four epic operas by the German composer Richard Wagner. Wagner wrote the libretto and music over the course of about twenty-six years, from 1848 to 1874. The four operas that constitute the...
Richard Wagner - "Tristan und Isolde", Prelude
- Order: Reorder
- Duration: 10:59
- Updated: 18 Dec 2012
Prelude to the first act from Wagner's "Tristan und Isolde", german opera in three acts. Author: Richard Wagner (1813-1883). Conductor: Wilhelm Furtwangler & Philharmonia Orchestra Picture: Caspar Friedrich's "Meeresufer im Mondschein" (Seashore by Moonlight).
http://wn.com/Richard_Wagner_Tristan_und_Isolde,_Prelude
Prelude to the first act from Wagner's "Tristan und Isolde", german opera in three acts. Author: Richard Wagner (1813-1883). Conductor: Wilhelm Furtwangler & Philharmonia Orchestra Picture: Caspar Friedrich's "Meeresufer im Mondschein" (Seashore by Moonlight).
- published: 10 Aug 2010
- views: 556662
- author: neuIlaryRheinKlange
Richard Wagner - Siegfried Idyll
- Order: Reorder
- Duration: 23:38
- Updated: 17 Dec 2012
Conductor: Sergiu Celibidache & Münchner Philharmoniker Apart from the operas, Wagner composed a small number of pieces; this stems from his reluctance to conceive music which didn't belong to the sacredness of the drama, fundamental expression of his thought. The "Siegfried Idyll" is a symphonic poem for chamber orchestra, composed by Richard Wagner (1813-1883) as a birthday present to his second wife, Cosima, after the birth of their son Siegfried in 1869. It was first performed on Christmas morning, 25 December 1870, by a small ensemble on the stairs of their villa at Tribschen. Wagner's opera "Siegfried", which was premiered in 1876, incorporates music from the Idyll. It was once thought that the Idyll borrowed musical ideas intended for the opera, but it is now known that the opposite is the case: Wagner adapted melodic material from an unfinished chamber piece in the Idyll and later incorporated it into the love scene between Siegfried and Brunhilde in the opera.
http://wn.com/Richard_Wagner_Siegfried_Idyll
Conductor: Sergiu Celibidache & Münchner Philharmoniker Apart from the operas, Wagner composed a small number of pieces; this stems from his reluctance to conceive music which didn't belong to the sacredness of the drama, fundamental expression of his thought. The "Siegfried Idyll" is a symphonic poem for chamber orchestra, composed by Richard Wagner (1813-1883) as a birthday present to his second wife, Cosima, after the birth of their son Siegfried in 1869. It was first performed on Christmas morning, 25 December 1870, by a small ensemble on the stairs of their villa at Tribschen. Wagner's opera "Siegfried", which was premiered in 1876, incorporates music from the Idyll. It was once thought that the Idyll borrowed musical ideas intended for the opera, but it is now known that the opposite is the case: Wagner adapted melodic material from an unfinished chamber piece in the Idyll and later incorporated it into the love scene between Siegfried and Brunhilde in the opera.
- published: 23 Feb 2011
- views: 110363
- author: IlaryRhineKlange
Wagner - RIDE OF THE VALKYRIES - Furtwangler
- Order: Reorder
- Duration: 5:09
- Updated: 18 Dec 2012
The Ride of the Valkyries, by Richard Wagner, in a classic recording with Wilhelm Furtwangler and the Vienna Philharmonic. Illustrations are by Arthur Rackham. "One golden summer in adolescence...I heard the 'Ride of the Valkyries' on a gramophone and saw Arthur Rackham's illustrations to The Ring." (CSLewis) The music: probably the most famous and instantly identifiable of Wagner's works is this short orchestral prelude from Die Walkure, the second opera in the monumental Der Ring des Nibelungen. It has gone on to enter popular culture, being used in many films, most notably the helicopter attack sequence in Apocalypse Now. In terms of composition it perfectly demonstrates Wagner's epic sense of drama, and also his masterful orchestration. The conductor: Wilhelm Furtwangler is probably unrivalled as an interpreter of the core Austro-German Romantic repertoire, setting benchmarks in the performance of Beethoven, Schubert, Brahms, Wagner, Bruckner and others. His recordings include two complete Ring Cycles, both of them classics. The illustrations: Arthur Rackham was one of the greatest illustrators at the turn of the 19th century, creating classic visions for fairy tales and fantasies (Alice, Peter Pan, etc.). His work on Der Ring des Nibelungen is often considered one of the finest visual depictions of Wagner's epic. Sound: sorry the quality isn't first class - the recording is nearly sixty years old! (Imagine what Furtwangler could do with digital surround sound ...
http://wn.com/Wagner_RIDE_OF_THE_VALKYRIES_Furtwangler
The Ride of the Valkyries, by Richard Wagner, in a classic recording with Wilhelm Furtwangler and the Vienna Philharmonic. Illustrations are by Arthur Rackham. "One golden summer in adolescence...I heard the 'Ride of the Valkyries' on a gramophone and saw Arthur Rackham's illustrations to The Ring." (CSLewis) The music: probably the most famous and instantly identifiable of Wagner's works is this short orchestral prelude from Die Walkure, the second opera in the monumental Der Ring des Nibelungen. It has gone on to enter popular culture, being used in many films, most notably the helicopter attack sequence in Apocalypse Now. In terms of composition it perfectly demonstrates Wagner's epic sense of drama, and also his masterful orchestration. The conductor: Wilhelm Furtwangler is probably unrivalled as an interpreter of the core Austro-German Romantic repertoire, setting benchmarks in the performance of Beethoven, Schubert, Brahms, Wagner, Bruckner and others. His recordings include two complete Ring Cycles, both of them classics. The illustrations: Arthur Rackham was one of the greatest illustrators at the turn of the 19th century, creating classic visions for fairy tales and fantasies (Alice, Peter Pan, etc.). His work on Der Ring des Nibelungen is often considered one of the finest visual depictions of Wagner's epic. Sound: sorry the quality isn't first class - the recording is nearly sixty years old! (Imagine what Furtwangler could do with digital surround sound ...
- published: 23 Feb 2008
- views: 4316385
- author: Mimameior
Richard Wagner - Tannhäuser - Overture
- Order: Reorder
- Duration: 14:23
- Updated: 17 Dec 2012
Tannhäuser (full title Tannhäuser und der Sängerkrieg auf Wartburg / Tannhäuser and the Singers' Contest at Wartburg) is an opera in three acts, music and text by Richard Wagner, based on the two German legends of Tannhäuser and the song contest at Wartburg. Photo: Richard Wagner Denkmal, Berlin (1903).
http://wn.com/Richard_Wagner_Tannhäuser_Overture
Tannhäuser (full title Tannhäuser und der Sängerkrieg auf Wartburg / Tannhäuser and the Singers' Contest at Wartburg) is an opera in three acts, music and text by Richard Wagner, based on the two German legends of Tannhäuser and the song contest at Wartburg. Photo: Richard Wagner Denkmal, Berlin (1903).
- published: 02 Apr 2011
- views: 58094
- author: Fledermaus1990
Richard Wagner Siegfried funeral march
- Order: Reorder
- Duration: 9:30
- Updated: 18 Dec 2012
http://wn.com/Richard_Wagner_Siegfried_funeral_march
Richard Wagner - Lohengrin - Prelude
- Order: Reorder
- Duration: 9:54
- Updated: 17 Dec 2012
Lohengrin is a romantic opera in three acts composed and written by Richard Wagner, first performed in 1850. The story of the eponymous character is taken from medieval German romance, notably the Parzival of Wolfram von Eschenbach and its sequel, Lohengrin, written by a different author, itself inspired by the epic of Garin le Loherain. It is part of the Knight of the Swan tradition. The opera has proved inspirational towards other works of art. Among those deeply moved by the fairy-tale opera was the young King Ludwig II of Bavaria. 'Der Märchenkönig' ('The Fairy-tale King') as he was dubbed later built his ideal fairy-tale castle and dubbed it "New Swan Stone," or "Neuschwanstein", after the Swan Knight. It was King Ludwig's patronage that later gave Wagner the means and opportunity to compose, build a theatre for, and stage his epic cycle, the Ring of the Nibelung. The most popular and recognizable part of the opera is the Bridal Chorus, better known as "Here Comes the Bride", often played as a processional at weddings in the West. The first production of Lohengrin was in Weimar, Germany on 28 August 1850 at the Staatskapelle Weimar under the direction of Franz Liszt, a close friend and early supporter of Wagner. Picture: Neuschwanstein Castle. Conductor: Michael Halasz Orchestra: Slovak Philharmonic Orchestra
http://wn.com/Richard_Wagner_Lohengrin_Prelude
Lohengrin is a romantic opera in three acts composed and written by Richard Wagner, first performed in 1850. The story of the eponymous character is taken from medieval German romance, notably the Parzival of Wolfram von Eschenbach and its sequel, Lohengrin, written by a different author, itself inspired by the epic of Garin le Loherain. It is part of the Knight of the Swan tradition. The opera has proved inspirational towards other works of art. Among those deeply moved by the fairy-tale opera was the young King Ludwig II of Bavaria. 'Der Märchenkönig' ('The Fairy-tale King') as he was dubbed later built his ideal fairy-tale castle and dubbed it "New Swan Stone," or "Neuschwanstein", after the Swan Knight. It was King Ludwig's patronage that later gave Wagner the means and opportunity to compose, build a theatre for, and stage his epic cycle, the Ring of the Nibelung. The most popular and recognizable part of the opera is the Bridal Chorus, better known as "Here Comes the Bride", often played as a processional at weddings in the West. The first production of Lohengrin was in Weimar, Germany on 28 August 1850 at the Staatskapelle Weimar under the direction of Franz Liszt, a close friend and early supporter of Wagner. Picture: Neuschwanstein Castle. Conductor: Michael Halasz Orchestra: Slovak Philharmonic Orchestra
- published: 22 Jan 2012
- views: 11910
- author: Fledermaus1990
Parsifal Fantasia Richard Wagner
- Order: Reorder
- Duration: 5:16
- Updated: 18 Dec 2012
Ave Maria final from Fantasia with Richard Wagner's opera Parsifal. Thank you!
http://wn.com/Parsifal_Fantasia_Richard_Wagner
Ave Maria final from Fantasia with Richard Wagner's opera Parsifal. Thank you!
- published: 05 Jan 2009
- views: 370333
- author: Carlos Rangel
Richard Wagner - Tannhauser - Grand March
- Order: Reorder
- Duration: 6:37
- Updated: 16 Dec 2012
Richard Wagner - Tannhauser - Grand March
http://wn.com/Richard_Wagner_Tannhauser_Grand_March
Richard Wagner - Tannhauser - Grand March
- published: 04 Sep 2008
- views: 707095
- author: TheWickedNorth
Richard Wagner - Siegfried Idyll
- Order: Reorder
- Duration: 19:15
- Updated: 13 Dec 2012
George Szell, conductor Cleveland Orchestra 26-27 September 1969
http://wn.com/Richard_Wagner_Siegfried_Idyll
George Szell, conductor Cleveland Orchestra 26-27 September 1969
- published: 09 Sep 2011
- views: 28689
- author: kutapika
Richard Wagner - Wiki Article
- Order: Reorder
- Duration: 63:19
- Updated: 22 Nov 2012
Wilhelm Richard Wagner (; German pronunciation: ˈʁiçaʁt ˈvaːɡnɐ; 22 May 1813 -- 13 February 1883) was a German composer, conductor, theatre director and polemicist primarily known for his operas (or "... Richard Wagner - Wiki Article - wikiplays.org Original @ http All Information Derived from Wikipedia using Creative Commons License: en.wikipedia.org Author: Unknown Image URL: en.wikipedia.org Licensed under:This image is ineligible for copyright and therefore is in the public domain, because it consists entirely of information that is common property and contains no original authorship., This work is in the Public Domain., This work is in the public domain in the United States. Author: Alexander von Otterstedt (artist) Image URL: en.wikipedia.org Licensed under:This image is ineligible for copyright and therefore is in the public domain, because it consists entirely of information that is common property and contains no original authorship., This work is in the Public Domain., This work is in the public domain in the United States. Author: JoJan Image URL: en.wikipedia.org Licensed under:This image is ineligible for copyright and therefore is in the public domain, because it consists entirely of information that is common property and contains...
http://wn.com/Richard_Wagner_Wiki_Article
Wilhelm Richard Wagner (; German pronunciation: ˈʁiçaʁt ˈvaːɡnɐ; 22 May 1813 -- 13 February 1883) was a German composer, conductor, theatre director and polemicist primarily known for his operas (or "... Richard Wagner - Wiki Article - wikiplays.org Original @ http All Information Derived from Wikipedia using Creative Commons License: en.wikipedia.org Author: Unknown Image URL: en.wikipedia.org Licensed under:This image is ineligible for copyright and therefore is in the public domain, because it consists entirely of information that is common property and contains no original authorship., This work is in the Public Domain., This work is in the public domain in the United States. Author: Alexander von Otterstedt (artist) Image URL: en.wikipedia.org Licensed under:This image is ineligible for copyright and therefore is in the public domain, because it consists entirely of information that is common property and contains no original authorship., This work is in the Public Domain., This work is in the public domain in the United States. Author: JoJan Image URL: en.wikipedia.org Licensed under:This image is ineligible for copyright and therefore is in the public domain, because it consists entirely of information that is common property and contains...
- published: 31 Oct 2012
- views: 507
- author: WikiPlays
Richard Wagner - The Flying Dutchman Overture
- Order: Reorder
- Duration: 10:01
- Updated: 16 Dec 2012
Richard Wagner (1813 - 1883) The Flying Dutchman Overture
http://wn.com/Richard_Wagner_The_Flying_Dutchman_Overture
Richard Wagner (1813 - 1883) The Flying Dutchman Overture
- published: 05 Nov 2009
- views: 41709
- author: fozziebear2009
LOHENGRIN de Richard Wagner - Opera completa subtitulada en español
- Order: Reorder
- Duration: 219:09
- Updated: 17 Dec 2012
Ópera Estatal de Viena Enrique I el Pajarero - Robert Lloyd Lohengrin - Plácido Domingo Elsa de Brabante - Cheryl Studer Friedrich de Telramund - Hartmut Welker Ortrud, esposa de Telramund - Dunja Vejzovic El heraldo del rey - Georg Tichy Coro y Orquesta de la Ópera Estatal de Viena Director - Claudio Abbado
http://wn.com/LOHENGRIN_de_Richard_Wagner_Opera_completa_subtitulada_en_español
Ópera Estatal de Viena Enrique I el Pajarero - Robert Lloyd Lohengrin - Plácido Domingo Elsa de Brabante - Cheryl Studer Friedrich de Telramund - Hartmut Welker Ortrud, esposa de Telramund - Dunja Vejzovic El heraldo del rey - Georg Tichy Coro y Orquesta de la Ópera Estatal de Viena Director - Claudio Abbado
- published: 22 Aug 2012
- views: 25000
- author: montejesus
Richard Wagner: Lohengrin - Overtüre
- Order: Reorder
- Duration: 10:00
- Updated: 17 Dec 2012
Der Beginn von Richard Wagner's "Lohengrin". Der Geschichte vom edlen Schwanenritter.
http://wn.com/Richard_Wagner_Lohengrin_Overtüre
Der Beginn von Richard Wagner's "Lohengrin". Der Geschichte vom edlen Schwanenritter.
- published: 05 Apr 2010
- views: 626748
- author: TheRenardeau
Wagner - Die Walküre: "The Ride of the Valkyries" (Boulez)
- Order: Reorder
- Duration: 10:54
- Updated: 18 Dec 2012
start of Act III, as the Valkyries gather the soldiers' bodies, and clip ends a bit after Brünnhilde's entrance. Wagner used the Valkyries of the Norse Sagas, rather than the depiction of them in the Nibelungenlied. Women of death and warfare, as Chéreau understood well. from Darraðarljóð (Njál's saga Chap. 156.): Vindum, vindum vef darraðar, þars er vé vaða vígra manna! Látum eigi líf hans farask; eigu valkyrjur vals of kosti. Wind we, wind swiftly Our warwinning woof. sword-bearing rovers To banners rush on, Mind, maidens, we spare not One life in the fray! We corse-choosing sisters Der Ring des Nibelungen, a famous production from Bayreuth 1976, recorded 1980. Carmen Reppel as Gerhilde Gabriele Schnaut as Waltraute Gwendolyn Killebrew as Schwertleite Karen Middleton as Ortlinde Gwyneth Jones as Brünnhilde Katie Clarke as Helmwige Ilse Gramatzki as Grimgerde Jeannine Altmeyer as Sieglinde Elisabeth Glauser as Rossweisse Marga Schiml as Siegrune Conducted by Pierre Boulez Directed by Patrice Chéreau, who had very little experience with opera, and his only exposure to Wagner on stage was a performance of Die Walküre at the Paris Opéra that he slept thru. Scenic design by Richard Peduzzi, who had never designed a Wagner opera Costumes by Jacques Schmidt, who had never dressed a Wagner opera Der Walküren-Ritt La Chevauchée des Walkyries
http://wn.com/Wagner_Die_Walküre_The_Ride_of_the_Valkyries_Boulez
start of Act III, as the Valkyries gather the soldiers' bodies, and clip ends a bit after Brünnhilde's entrance. Wagner used the Valkyries of the Norse Sagas, rather than the depiction of them in the Nibelungenlied. Women of death and warfare, as Chéreau understood well. from Darraðarljóð (Njál's saga Chap. 156.): Vindum, vindum vef darraðar, þars er vé vaða vígra manna! Látum eigi líf hans farask; eigu valkyrjur vals of kosti. Wind we, wind swiftly Our warwinning woof. sword-bearing rovers To banners rush on, Mind, maidens, we spare not One life in the fray! We corse-choosing sisters Der Ring des Nibelungen, a famous production from Bayreuth 1976, recorded 1980. Carmen Reppel as Gerhilde Gabriele Schnaut as Waltraute Gwendolyn Killebrew as Schwertleite Karen Middleton as Ortlinde Gwyneth Jones as Brünnhilde Katie Clarke as Helmwige Ilse Gramatzki as Grimgerde Jeannine Altmeyer as Sieglinde Elisabeth Glauser as Rossweisse Marga Schiml as Siegrune Conducted by Pierre Boulez Directed by Patrice Chéreau, who had very little experience with opera, and his only exposure to Wagner on stage was a performance of Die Walküre at the Paris Opéra that he slept thru. Scenic design by Richard Peduzzi, who had never designed a Wagner opera Costumes by Jacques Schmidt, who had never dressed a Wagner opera Der Walküren-Ritt La Chevauchée des Walkyries
- published: 20 Jul 2007
- views: 2562875
- author: TheGreatPerformers
Richard Wagner - Ride Of The Valkyries
- Order: Reorder
- Duration: 5:00
- Updated: 18 Dec 2012
Richard Wagner - Ride Of The Valkyries
http://wn.com/Richard_Wagner_Ride_Of_The_Valkyries
Richard Wagner - Rienzi Ouverture (Full)
- Order: Reorder
- Duration: 13:18
- Updated: 15 Dec 2012
The Symphony Orchestra of the LISZT School of Music Weimar plays the Ouverture of Richard Wagner's opera "Rienzi" at the Neue Weimarhalle on May 10th. Conductor: Professor Nicolás Pasquet. For an Interview with the conductor as well as more videos of this and other concerts performed by the orchestra, check our youtube channel at www.youtube.com
http://wn.com/Richard_Wagner_Rienzi_Ouverture_Full
The Symphony Orchestra of the LISZT School of Music Weimar plays the Ouverture of Richard Wagner's opera "Rienzi" at the Neue Weimarhalle on May 10th. Conductor: Professor Nicolás Pasquet. For an Interview with the conductor as well as more videos of this and other concerts performed by the orchestra, check our youtube channel at www.youtube.com
- published: 29 May 2012
- views: 4515
- author: hfmFRANZLISZTweimar
Richard Wagner : The Mastersingers of Nuremberg - Overture
- Order: Reorder
- Duration: 9:51
- Updated: 16 Dec 2012
Title : Richard Wagner , The Mastersingers of Nuremberg - Overture
http://wn.com/Richard_Wagner_The_Mastersingers_of_Nuremberg_Overture
Title : Richard Wagner , The Mastersingers of Nuremberg - Overture
- published: 15 Jul 2008
- views: 306603
- author: ClassicalMusicOnly
Richard Wagner - Götterdämmerung (English: Twilight of the Gods)
- Order: Reorder
- Duration: 8:14
- Updated: 17 Dec 2012
Richard Wagner - Götterdämmerung (English: Twilight of the Gods)
http://wn.com/Richard_Wagner_Götterdämmerung_English_Twilight_of_the_Gods
Richard Wagner - Götterdämmerung (English: Twilight of the Gods)
- published: 18 Dec 2010
- views: 45685
- author: bazpanroll1
Wagner: Tristan und Isolde - Prelude
- Order: Reorder
- Duration: 10:23
- Updated: 18 Dec 2012
Zubin Mehta conducting Bayerische Staatsoper Bayerisches Staatsorchester (National Theatre Munich)
http://wn.com/Wagner_Tristan_und_Isolde_Prelude
Zubin Mehta conducting Bayerische Staatsoper Bayerisches Staatsorchester (National Theatre Munich)
- published: 14 Apr 2008
- views: 1582515
- author: musicvideoing
Richard Wagner - The ride of the Valkyries from "Die Walküre"
- Order: Reorder
- Duration: 4:50
- Updated: 18 Dec 2012
Richard Wagner The ride of the Valkyries, from Die Walküre Richard Wagner is considered the master of German opera, and one of the most progressive composers in history. The philosophical issues that Wagner considered vital to society were the tension between good and evil, between the physical and spiritual, and between selfishness and redemptive love. Wagner is also one to the most controversial composers of our time, his music was breathtaking, his politics left many cold. Der Ring des Nibelungen, (The Ring of the Nibelung), is a cycle of four epic music dramas by the German composer Richard Wagner.
http://wn.com/Richard_Wagner_The_ride_of_the_Valkyries_from_Die_Walküre
Richard Wagner The ride of the Valkyries, from Die Walküre Richard Wagner is considered the master of German opera, and one of the most progressive composers in history. The philosophical issues that Wagner considered vital to society were the tension between good and evil, between the physical and spiritual, and between selfishness and redemptive love. Wagner is also one to the most controversial composers of our time, his music was breathtaking, his politics left many cold. Der Ring des Nibelungen, (The Ring of the Nibelung), is a cycle of four epic music dramas by the German composer Richard Wagner.
- published: 25 Nov 2007
- views: 3001959
- author: 0OoFACUoO0
Richard Wagner - El Holandés Errante (Obertura)
- Order: Reorder
- Duration: 12:00
- Updated: 18 Dec 2012
Obertura a la ópera "El Holandés Errante" (Der Fliegende Holländer) Richard Wagner, compositor Orquesta Sinfónica de Chicago dirigida por (sir) Georg Solti © 1977
http://wn.com/Richard_Wagner_El_Holandés_Errante_Obertura
Obertura a la ópera "El Holandés Errante" (Der Fliegende Holländer) Richard Wagner, compositor Orquesta Sinfónica de Chicago dirigida por (sir) Georg Solti © 1977
- published: 01 Dec 2011
- views: 9386
- author: agustigula4
Richard Wagner - Parsifal 3.Aufzug - Bayreuth 2012
- Order: Reorder
- Duration: 72:08
- Updated: 16 Dec 2012
Parsifal 3.Aufzug, Bühnenweihfestspiel von Richard Wagner, Bayreuth, Bayreuther Festspiele 2012 0:00:00 Vorspiel/Prelude 0:05:40 Von dorther kam das Stöhnen 0:13:30 Heil dir, mein Gast! 0:19:54 Heil mir, daß ich dich wiederfinde! 0:23:54 O Herr! War es ein Fluch, der dich vom rechten Pfad vertrieb 0:30:45 Nicht so! - Die heil'ge Quelle selbst erquicke unsres Pilgers Bad 0:34:30 Gesegnet sei, du Reiner, durch das Reine! 0:39:31 Wie dünkt mich doch die Aue heut so schön - Karfreitagszauber 0:42:22 Du siehst, das ist nicht so 0:48:10 Mittag. - Die Stund' ist da 0:52:36 Geleiten wir im bergenden Schrein den Gral zum heiligen Amte 0:56:13 Ja, Wehe! Wehe! Weh' über mich! 1:03:34 Nur eine Waffe taugt 1:07:39 Höchsten Heiles Wunder! Chorleitung: Eberhard Friedrich Kostüme: Gesine Völlm Chor der Bayreuther Festspiele Orchester der Bayreuther Festspiele Dirigent: Philippe Jordan Ausstattung: Heike Scheele Inszenierung: Stefan Herheim Detlef Roth (Amfortas) Diógenes Randes (Titurel) Kwangchul Youn (Gurnemanz) Burkhard Fritz (Parsifal) Thomas Jesatko (Klingsor) Susan Maclean (Kundry) Arnold Bezuyen (1. Gralsritter) Christian Tschelebiew (2. Gralsritter) Julia Borchert (1. Knappe) Ulrike Helzel (2. Knappe) Clemens Bieber (3. Knappe) Willem Van der Heyden (4. Knappe) Julia Borchert (Klingsors Zaubermädchen) Martina Rüping (Klingsors Zaubermädchen) Carola Guber (Klingsors Zaubermädchen) Christiane Kohl (Klingsors Zaubermädchen) Jutta Maria Böhnert (Klingsors Zaubermädchen) Ulrike Helzel ...
http://wn.com/Richard_Wagner_Parsifal_3Aufzug_Bayreuth_2012
Parsifal 3.Aufzug, Bühnenweihfestspiel von Richard Wagner, Bayreuth, Bayreuther Festspiele 2012 0:00:00 Vorspiel/Prelude 0:05:40 Von dorther kam das Stöhnen 0:13:30 Heil dir, mein Gast! 0:19:54 Heil mir, daß ich dich wiederfinde! 0:23:54 O Herr! War es ein Fluch, der dich vom rechten Pfad vertrieb 0:30:45 Nicht so! - Die heil'ge Quelle selbst erquicke unsres Pilgers Bad 0:34:30 Gesegnet sei, du Reiner, durch das Reine! 0:39:31 Wie dünkt mich doch die Aue heut so schön - Karfreitagszauber 0:42:22 Du siehst, das ist nicht so 0:48:10 Mittag. - Die Stund' ist da 0:52:36 Geleiten wir im bergenden Schrein den Gral zum heiligen Amte 0:56:13 Ja, Wehe! Wehe! Weh' über mich! 1:03:34 Nur eine Waffe taugt 1:07:39 Höchsten Heiles Wunder! Chorleitung: Eberhard Friedrich Kostüme: Gesine Völlm Chor der Bayreuther Festspiele Orchester der Bayreuther Festspiele Dirigent: Philippe Jordan Ausstattung: Heike Scheele Inszenierung: Stefan Herheim Detlef Roth (Amfortas) Diógenes Randes (Titurel) Kwangchul Youn (Gurnemanz) Burkhard Fritz (Parsifal) Thomas Jesatko (Klingsor) Susan Maclean (Kundry) Arnold Bezuyen (1. Gralsritter) Christian Tschelebiew (2. Gralsritter) Julia Borchert (1. Knappe) Ulrike Helzel (2. Knappe) Clemens Bieber (3. Knappe) Willem Van der Heyden (4. Knappe) Julia Borchert (Klingsors Zaubermädchen) Martina Rüping (Klingsors Zaubermädchen) Carola Guber (Klingsors Zaubermädchen) Christiane Kohl (Klingsors Zaubermädchen) Jutta Maria Böhnert (Klingsors Zaubermädchen) Ulrike Helzel ...
- published: 12 Aug 2012
- views: 16376
- author: wagklassik
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YTSO: Richard Wagner "Die Walkirie". Michael Tilson Thomas live at Carnegie Hall
- Order: Reorder
- Duration: 5:36
- Updated: 03 Oct 2012
Mi página web: mazzini.clariperu.org ___________________________________ The YouTube Symphony Orchestra performs Wagner's "Die Walkirie" at Carnegie Hall. I play the bass clarinet in this concert. The YTSO: www.youtube.com My website: www.clariperu.org I always use Gonzalez reeds: www.gonzalezreeds.com
http://wn.com/YTSO_Richard_Wagner_Die_Walkirie_Michael_Tilson_Thomas_live_at_Carnegie_Hall
Mi página web: mazzini.clariperu.org ___________________________________ The YouTube Symphony Orchestra performs Wagner's "Die Walkirie" at Carnegie Hall. I play the bass clarinet in this concert. The YTSO: www.youtube.com My website: www.clariperu.org I always use Gonzalez reeds: www.gonzalezreeds.com
- published: 23 Apr 2009
- views: 26961
- author: Marco Antonio Mazzini
Siegmund death - finale 2nd act Walküre - Richard Wagner / Met 2011 /
- Order: Reorder
- Duration: 6:54
- Updated: 15 Dec 2012
Die Walküre - Richard Wagner live at THE METROPOLITAN OPERA NY 05.14.2011 JONAS KAUFMANN as siegmund EVA-MARIA WESTBROEK as Sieglinde HANS-PETER KOENIG as Hunding DEBORAH VOIGHT as Bruennhilde BRYN TERFEL as Wotan
http://wn.com/Siegmund_death_finale_2nd_act_Walküre_Richard_Wagner_Met_2011_
Die Walküre - Richard Wagner live at THE METROPOLITAN OPERA NY 05.14.2011 JONAS KAUFMANN as siegmund EVA-MARIA WESTBROEK as Sieglinde HANS-PETER KOENIG as Hunding DEBORAH VOIGHT as Bruennhilde BRYN TERFEL as Wotan
- published: 07 Oct 2012
- views: 863
- author: Stewie Lukecza
Richard Wagner - Wesendonck Lieder (5/5) Träume
- Order: Reorder
- Duration: 5:37
- Updated: 10 Dec 2012
Anne Evans live at the 1994 Proms with the BBC National Orchestra of Wales conducted by Tadaaki Otaka Träume - Studie zu Tristan und Isolde (December 1857) The Wesendonck Lieder is a song cycle composed by Richard Wagner while he was working on Die Walküre. This, and the Siegfried Idyll, are his only two non-operatic works that are still regularly performed. The cycle is a setting of poems by Mathilde Wesendonck, the wife of one of Wagner's patrons. Wagner had become acquainted with Otto Wesendonck in Zürich, where he had fled on his escape from Saxony after the May Uprising in Dresden in 1849. For a time Wagner and his wife Minna lived together in the Asyl (German for Asylum), a small cottage on the Wesendonck estate. It is sometimes claimed that Wagner and Mathilde had a love affair; in any case, the situation and mutual infatuation certainly contributed to the intensity of the first act of Die Walküre which Wagner was working on at the time, and the conceiving of Tristan und Isolde; there is certainly an influence on Mathilde's poems as well. The poems themselves are in a wistful, pathos-laden style influenced by Wilhelm Müller, the author of the poems used by Schubert earlier in the century. But the language is more rarefied and intense as the Romantic style had developed. Wagner himself called two of the songs in the cycle "studies" for Tristan und Isolde, using for the first-time musical ideas that are later developed in the opera. In Träume can be heard the roots ...
http://wn.com/Richard_Wagner_Wesendonck_Lieder_5_5_Träume
Anne Evans live at the 1994 Proms with the BBC National Orchestra of Wales conducted by Tadaaki Otaka Träume - Studie zu Tristan und Isolde (December 1857) The Wesendonck Lieder is a song cycle composed by Richard Wagner while he was working on Die Walküre. This, and the Siegfried Idyll, are his only two non-operatic works that are still regularly performed. The cycle is a setting of poems by Mathilde Wesendonck, the wife of one of Wagner's patrons. Wagner had become acquainted with Otto Wesendonck in Zürich, where he had fled on his escape from Saxony after the May Uprising in Dresden in 1849. For a time Wagner and his wife Minna lived together in the Asyl (German for Asylum), a small cottage on the Wesendonck estate. It is sometimes claimed that Wagner and Mathilde had a love affair; in any case, the situation and mutual infatuation certainly contributed to the intensity of the first act of Die Walküre which Wagner was working on at the time, and the conceiving of Tristan und Isolde; there is certainly an influence on Mathilde's poems as well. The poems themselves are in a wistful, pathos-laden style influenced by Wilhelm Müller, the author of the poems used by Schubert earlier in the century. But the language is more rarefied and intense as the Romantic style had developed. Wagner himself called two of the songs in the cycle "studies" for Tristan und Isolde, using for the first-time musical ideas that are later developed in the opera. In Träume can be heard the roots ...
- published: 16 Jan 2010
- views: 7909
- author: bartje11
Richard Wagner: Walküre - Gundula Janowitz and Jon Vickers live 1967
- Order: Reorder
- Duration: 10:59
- Updated: 18 Dec 2012
Richard Wagner: Walküre - finale 1st act Siegmund: Jon Vickers Sieglinde: Gundula Janowitz Conductor: Herbert von Karajan Berliner Philharmoniker Live recording in mono from Grosses Festspielhaus Salzburg March 19, 1967
http://wn.com/Richard_Wagner_Walküre_Gundula_Janowitz_and_Jon_Vickers_live_1967
Richard Wagner: Walküre - finale 1st act Siegmund: Jon Vickers Sieglinde: Gundula Janowitz Conductor: Herbert von Karajan Berliner Philharmoniker Live recording in mono from Grosses Festspielhaus Salzburg March 19, 1967
- published: 04 Jul 2012
- views: 900
- author: Stewie Lukecza
Träume - Wesendonck Lieder - Richard Wagner - Amadea
- Order: Reorder
- Duration: 4:18
- Updated: 04 Oct 2012
"A Summernight's Concert in Berlin" "Träume" is a study for one of my favorite operas - Tristan und Isolde. Wagner's life was not unsimilar to his music. When you listen to this song, you get the feeling that he must also have been an amazing lover as well as a great composer. Live Performance of the orchestral song, "Träume," the last song from Richard Wagner's song cycle - The Wesendonck Lieder. Sung by Amadea (Mezzo-Soprano), accompanied by Jens Holzkamp (Piano). The poems to the five Wesendonck Lieder are written by the poetess, Mathilde Wesendonck. It is thought that she was one of Richard Wagner's lovers. (June 2007).
http://wn.com/Träume_Wesendonck_Lieder_Richard_Wagner_Amadea
"A Summernight's Concert in Berlin" "Träume" is a study for one of my favorite operas - Tristan und Isolde. Wagner's life was not unsimilar to his music. When you listen to this song, you get the feeling that he must also have been an amazing lover as well as a great composer. Live Performance of the orchestral song, "Träume," the last song from Richard Wagner's song cycle - The Wesendonck Lieder. Sung by Amadea (Mezzo-Soprano), accompanied by Jens Holzkamp (Piano). The poems to the five Wesendonck Lieder are written by the poetess, Mathilde Wesendonck. It is thought that she was one of Richard Wagner's lovers. (June 2007).
- published: 03 Aug 2007
- views: 8793
- author: dorotheafayne
Klemperer, 1968 (Live) Der fliegende Holländer / Adam / Silja / Talvela / King
- Order: Reorder
- Duration: 151:57
- Updated: 18 Dec 2012
Richard Wagner Der fliegende Holländer Der Holländer......Theo Adam Senta..............Anja Silja Daland.............Martti Talvela Erik...............James King Der Steuermann.....Kenneth Macdonald Mary...............Annelies Burmeister BBC Chorus & New Philharmonia Orchestra Otto Klemperer, conductor Recorded live, March 1968 The Royal Festival Hall, London.
http://wn.com/Klemperer,_1968_Live_Der_fliegende_Holländer_Adam_Silja_Talvela_King
Richard Wagner Der fliegende Holländer Der Holländer......Theo Adam Senta..............Anja Silja Daland.............Martti Talvela Erik...............James King Der Steuermann.....Kenneth Macdonald Mary...............Annelies Burmeister BBC Chorus & New Philharmonia Orchestra Otto Klemperer, conductor Recorded live, March 1968 The Royal Festival Hall, London.
- published: 28 Jun 2012
- views: 4880
- author: jacquesurlus
Richard Wagner - Wesendonck Lieder (3/5) Im Treibhaus
- Order: Reorder
- Duration: 6:35
- Updated: 10 Dec 2012
Anne Evans live at the 1994 Proms with the BBC National Orchestra of Wales conducted by Tadaaki Otaka Im Treibhaus - Studie zu Tristan und Isolde (May 1858) The Wesendonck Lieder is a song cycle composed by Richard Wagner while he was working on Die Walküre. This, and the Siegfried Idyll, are his only two non-operatic works that are still regularly performed. The cycle is a setting of poems by Mathilde Wesendonck, the wife of one of Wagner's patrons. Wagner had become acquainted with Otto Wesendonck in Zürich, where he had fled on his escape from Saxony after the May Uprising in Dresden in 1849. For a time Wagner and his wife Minna lived together in the Asyl (German for Asylum), a small cottage on the Wesendonck estate. It is sometimes claimed that Wagner and Mathilde had a love affair; in any case, the situation and mutual infatuation certainly contributed to the intensity of the first act of Die Walküre which Wagner was working on at the time, and the conceiving of Tristan und Isolde; there is certainly an influence on Mathilde's poems as well. The poems themselves are in a wistful, pathos-laden style influenced by Wilhelm Müller, the author of the poems used by Schubert earlier in the century. But the language is more rarefied and intense as the Romantic style had developed. Wagner himself called two of the songs in the cycle "studies" for Tristan und Isolde, using for the first-time musical ideas that are later developed in the opera. In Träume can be heard the roots ...
http://wn.com/Richard_Wagner_Wesendonck_Lieder_3_5_Im_Treibhaus
Anne Evans live at the 1994 Proms with the BBC National Orchestra of Wales conducted by Tadaaki Otaka Im Treibhaus - Studie zu Tristan und Isolde (May 1858) The Wesendonck Lieder is a song cycle composed by Richard Wagner while he was working on Die Walküre. This, and the Siegfried Idyll, are his only two non-operatic works that are still regularly performed. The cycle is a setting of poems by Mathilde Wesendonck, the wife of one of Wagner's patrons. Wagner had become acquainted with Otto Wesendonck in Zürich, where he had fled on his escape from Saxony after the May Uprising in Dresden in 1849. For a time Wagner and his wife Minna lived together in the Asyl (German for Asylum), a small cottage on the Wesendonck estate. It is sometimes claimed that Wagner and Mathilde had a love affair; in any case, the situation and mutual infatuation certainly contributed to the intensity of the first act of Die Walküre which Wagner was working on at the time, and the conceiving of Tristan und Isolde; there is certainly an influence on Mathilde's poems as well. The poems themselves are in a wistful, pathos-laden style influenced by Wilhelm Müller, the author of the poems used by Schubert earlier in the century. But the language is more rarefied and intense as the Romantic style had developed. Wagner himself called two of the songs in the cycle "studies" for Tristan und Isolde, using for the first-time musical ideas that are later developed in the opera. In Träume can be heard the roots ...
- published: 16 Jan 2010
- views: 7399
- author: bartje11
Richard Wagner- Der Fliegende Holländer (The Flying Dutchman): Senta's Ballad, Kyra Vayne
- Order: Reorder
- Duration: 4:45
- Updated: 11 Nov 2012
The late dramatic soprano Kyra Vayne sings Senta's Ballade from Der Fliegende Holländer (The Flying Dutchman) by Wagner. Live recording 1946. The dancer shown in the video is NOT Kyra Vayne.
http://wn.com/Richard_Wagner_Der_Fliegende_Holländer_The_Flying_Dutchman_Senta's_Ballad,_Kyra_Vayne
The late dramatic soprano Kyra Vayne sings Senta's Ballade from Der Fliegende Holländer (The Flying Dutchman) by Wagner. Live recording 1946. The dancer shown in the video is NOT Kyra Vayne.
- published: 25 Apr 2010
- views: 3943
- author: mendesboyge
Furtwängler, 1937 (Live) Wagner, Die Walküre act 3, Flagstad / Bockelmann
- Order: Reorder
- Duration: 63:22
- Updated: 12 Dec 2012
Richard Wagner Die Walküre: Act 3 Kirsten Flagstad......Brünnhilde Rudolf Bockelmann.....Wotan Maria Müller..........Sieglinde Gladys Ripley.........Schwertleite Elsa Stenning.........Helmwige Edith Coates..........Siegrune Mae Craven............Gerhilde Thelma Bardsley.......Ortlinde Linda Seymour.........Waltraute Gwladys Garside.......Grimgerde Evelyn Arden..........Roßweiße London Philharmonic Orchestra, Royal Opera House Covent Garden Chorus Wilhelm Furtwängler, conductor Recording Live, May 26, 1937 Covent Garden, London.
http://wn.com/Furtwängler,_1937_Live_Wagner,_Die_Walküre_act_3,_Flagstad_Bockelmann
Richard Wagner Die Walküre: Act 3 Kirsten Flagstad......Brünnhilde Rudolf Bockelmann.....Wotan Maria Müller..........Sieglinde Gladys Ripley.........Schwertleite Elsa Stenning.........Helmwige Edith Coates..........Siegrune Mae Craven............Gerhilde Thelma Bardsley.......Ortlinde Linda Seymour.........Waltraute Gwladys Garside.......Grimgerde Evelyn Arden..........Roßweiße London Philharmonic Orchestra, Royal Opera House Covent Garden Chorus Wilhelm Furtwängler, conductor Recording Live, May 26, 1937 Covent Garden, London.
- published: 22 Mar 2012
- views: 3299
- author: jacquesurlus
FRITZ REINER - 1950 Live - Der fliegende Holländer, Ouvertüre - WAGNER
- Order: Reorder
- Duration: 10:48
- Updated: 07 Dec 2012
Richard Wagner, Der fliegende Holländer. Ouvertüre. Mertopolitan Opera Orchestra, Fritz Reiner, Conductor. Rec, Live, 30 December 1950. Sir Rudolf Bing (January 9, 1902 - September 2, 1997) was an Austrian-born opera impresario who worked in Germany, the United Kingdom and the United States, most notably being General Manager of the Metropolitan Opera in New York from 1950 to 1972. He became a British citizen in 1946 and was knighted by Queen Elizabeth II in 1971.
http://wn.com/FRITZ_REINER_1950_Live_Der_fliegende_Holländer,_Ouvertüre_WAGNER
Richard Wagner, Der fliegende Holländer. Ouvertüre. Mertopolitan Opera Orchestra, Fritz Reiner, Conductor. Rec, Live, 30 December 1950. Sir Rudolf Bing (January 9, 1902 - September 2, 1997) was an Austrian-born opera impresario who worked in Germany, the United Kingdom and the United States, most notably being General Manager of the Metropolitan Opera in New York from 1950 to 1972. He became a British citizen in 1946 and was knighted by Queen Elizabeth II in 1971.
- published: 18 Sep 2011
- views: 1224
- author: jacquesurlus
Kirsten Flagstad, 1950 (Live) Concert, Strauss, Wagner
- Order: Reorder
- Duration: 30:08
- Updated: 18 Dec 2012
Kirsten Flagstad, Strauss & Wagner, Concert. Richard Strauss 1."Befreit" 2."Allerseelen" 3."Cäcilie" Richard Wagner 4."Starke scheite schischtet mir dort" Götterdämmerung: Brünnhilde's Immolation Scene (Act 3) Orchestra of the San Francisco Opera House Gaetano Merola, conductor 8 October 1950 San Francisco Opera House.
http://wn.com/Kirsten_Flagstad,_1950_Live_Concert,_Strauss,_Wagner
Kirsten Flagstad, Strauss & Wagner, Concert. Richard Strauss 1."Befreit" 2."Allerseelen" 3."Cäcilie" Richard Wagner 4."Starke scheite schischtet mir dort" Götterdämmerung: Brünnhilde's Immolation Scene (Act 3) Orchestra of the San Francisco Opera House Gaetano Merola, conductor 8 October 1950 San Francisco Opera House.
- published: 15 May 2012
- views: 367
- author: jacquesurlus
Richard Wagner - Wesendonck Lieder (4/5) Schmerzen
- Order: Reorder
- Duration: 2:40
- Updated: 18 Dec 2012
Anne Evans live at the 1994 Proms with the BBC National Orchestra of Wales conducted by Tadaaki Otaka. Schmerzen (December 1857) The Wesendonck Lieder is a song cycle composed by Richard Wagner while he was working on Die Walküre. This, and the Siegfried Idyll, are his only two non-operatic works that are still regularly performed. The cycle is a setting of poems by Mathilde Wesendonck, the wife of one of Wagner's patrons. Wagner had become acquainted with Otto Wesendonck in Zürich, where he had fled on his escape from Saxony after the May Uprising in Dresden in 1849. For a time Wagner and his wife Minna lived together in the Asyl (German for Asylum), a small cottage on the Wesendonck estate. It is sometimes claimed that Wagner and Mathilde had a love affair; in any case, the situation and mutual infatuation certainly contributed to the intensity of the first act of Die Walküre which Wagner was working on at the time, and the conceiving of Tristan und Isolde; there is certainly an influence on Mathilde's poems as well. The poems themselves are in a wistful, pathos-laden style influenced by Wilhelm Müller, the author of the poems used by Schubert earlier in the century. But the language is more rarefied and intense as the Romantic style had developed. Wagner himself called two of the songs in the cycle "studies" for Tristan und Isolde, using for the first-time musical ideas that are later developed in the opera. In Träume can be heard the roots of the love duet in Act 2 ...
http://wn.com/Richard_Wagner_Wesendonck_Lieder_4_5_Schmerzen
Anne Evans live at the 1994 Proms with the BBC National Orchestra of Wales conducted by Tadaaki Otaka. Schmerzen (December 1857) The Wesendonck Lieder is a song cycle composed by Richard Wagner while he was working on Die Walküre. This, and the Siegfried Idyll, are his only two non-operatic works that are still regularly performed. The cycle is a setting of poems by Mathilde Wesendonck, the wife of one of Wagner's patrons. Wagner had become acquainted with Otto Wesendonck in Zürich, where he had fled on his escape from Saxony after the May Uprising in Dresden in 1849. For a time Wagner and his wife Minna lived together in the Asyl (German for Asylum), a small cottage on the Wesendonck estate. It is sometimes claimed that Wagner and Mathilde had a love affair; in any case, the situation and mutual infatuation certainly contributed to the intensity of the first act of Die Walküre which Wagner was working on at the time, and the conceiving of Tristan und Isolde; there is certainly an influence on Mathilde's poems as well. The poems themselves are in a wistful, pathos-laden style influenced by Wilhelm Müller, the author of the poems used by Schubert earlier in the century. But the language is more rarefied and intense as the Romantic style had developed. Wagner himself called two of the songs in the cycle "studies" for Tristan und Isolde, using for the first-time musical ideas that are later developed in the opera. In Träume can be heard the roots of the love duet in Act 2 ...
- published: 16 Jan 2010
- views: 5654
- author: bartje11
R. Wagner Die Meistersinger Ouverture - L. Maniscalco solo tr. - live Lanciano 1981
- Order: Reorder
- Duration: 8:59
- Updated: 21 May 2012
Richard Wagner Die Meistersinger von Nurnberg Ouverture - Lanciano 1981 Lanciano Young Symphony Orchestra 1981 Direttore Karl Martin Solo Trumpet Leonardo ManiscalcoLeonardo Maniscalco was born in Sciacca (Sicily) in 1956. He studied trumpet with Prof. Antonino Bitonto at the Conservatoire in Palermo where he got his Certificate with the best credits. His career started in 1977, when he first collaborated with the Sicilian Symphony Orchestra where he was declared fit in a competition for second trumpet. He assumed the role of first trumpet in the Sanremo Symphony Orchestra, following a national audition. He won other auditions in the Orchestra of the Commune Theatre in Bologna, in the Massimo Theatre in Palermo, in the Italian Youth Orchestra in Fiesole, in the Customs Officer Band. In 1981, he won the competition for second trumpet in the Rome Opera Theatre where he is still doing his main activity. In 1982 he attended the International Trumpet Seminar held by Prof. Pierre Thibaud in Reggio Emilia. He played for the fellowing directors: Metha, Sinopoli, Pretre, Patanè, Aronovich, Semkov, Tate, Oren, Muti, Nelson, Santi, Pesko, Fedosseiev, Gelmetti, Gavazzeni, Bartoletti, Lombard, Rostropovich, Rota, Morricone, Ortolani, De Fabritiis, Ziino, Ferro, Ceccato, Freccia, Delmann, Maag, Renzetti, Koenig, and many others. He was a teacher of trumpet and trombone at the Musical Institute Briccialdi in Terni from 1983 to 1988. He recorded three arias for trumpet and harp by E ...
http://wn.com/R_Wagner_Die_Meistersinger_Ouverture_L_Maniscalco_solo_tr_live_Lanciano_1981
Richard Wagner Die Meistersinger von Nurnberg Ouverture - Lanciano 1981 Lanciano Young Symphony Orchestra 1981 Direttore Karl Martin Solo Trumpet Leonardo ManiscalcoLeonardo Maniscalco was born in Sciacca (Sicily) in 1956. He studied trumpet with Prof. Antonino Bitonto at the Conservatoire in Palermo where he got his Certificate with the best credits. His career started in 1977, when he first collaborated with the Sicilian Symphony Orchestra where he was declared fit in a competition for second trumpet. He assumed the role of first trumpet in the Sanremo Symphony Orchestra, following a national audition. He won other auditions in the Orchestra of the Commune Theatre in Bologna, in the Massimo Theatre in Palermo, in the Italian Youth Orchestra in Fiesole, in the Customs Officer Band. In 1981, he won the competition for second trumpet in the Rome Opera Theatre where he is still doing his main activity. In 1982 he attended the International Trumpet Seminar held by Prof. Pierre Thibaud in Reggio Emilia. He played for the fellowing directors: Metha, Sinopoli, Pretre, Patanè, Aronovich, Semkov, Tate, Oren, Muti, Nelson, Santi, Pesko, Fedosseiev, Gelmetti, Gavazzeni, Bartoletti, Lombard, Rostropovich, Rota, Morricone, Ortolani, De Fabritiis, Ziino, Ferro, Ceccato, Freccia, Delmann, Maag, Renzetti, Koenig, and many others. He was a teacher of trumpet and trombone at the Musical Institute Briccialdi in Terni from 1983 to 1988. He recorded three arias for trumpet and harp by E ...
- published: 26 Dec 2008
- views: 6242
- author: LeonardoManiscalco
Richard Wagner - Siegfried Idyll
- Order: Reorder
- Duration: 23:38
- Updated: 17 Dec 2012
Conductor: Sergiu Celibidache & Münchner Philharmoniker Apart from the operas, Wagner composed a small number of pieces; this stems from his reluctance to conceive music which didn't belong to the sacredness of the drama, fundamental expression of his thought. The "Siegfried Idyll" is a symphonic poem for chamber orchestra, composed by Richard Wagner (1813-1883) as a birthday present to his second wife, Cosima, after the birth of their son Siegfried in 1869. It was first performed on Christmas morning, 25 December 1870, by a small ensemble on the stairs of their villa at Tribschen. Wagner's opera "Siegfried", which was premiered in 1876, incorporates music from the Idyll. It was once thought that the Idyll borrowed musical ideas intended for the opera, but it is now known that the opposite is the case: Wagner adapted melodic material from an unfinished chamber piece in the Idyll and later incorporated it into the love scene between Siegfried and Brunhilde in the opera.
http://wn.com/Richard_Wagner_Siegfried_Idyll
Conductor: Sergiu Celibidache & Münchner Philharmoniker Apart from the operas, Wagner composed a small number of pieces; this stems from his reluctance to conceive music which didn't belong to the sacredness of the drama, fundamental expression of his thought. The "Siegfried Idyll" is a symphonic poem for chamber orchestra, composed by Richard Wagner (1813-1883) as a birthday present to his second wife, Cosima, after the birth of their son Siegfried in 1869. It was first performed on Christmas morning, 25 December 1870, by a small ensemble on the stairs of their villa at Tribschen. Wagner's opera "Siegfried", which was premiered in 1876, incorporates music from the Idyll. It was once thought that the Idyll borrowed musical ideas intended for the opera, but it is now known that the opposite is the case: Wagner adapted melodic material from an unfinished chamber piece in the Idyll and later incorporated it into the love scene between Siegfried and Brunhilde in the opera.
- published: 23 Feb 2011
- views: 110363
- author: IlaryRhineKlange
Richard Wagner Tannhäuser Ouvertüre LIVE Bayreuther Festspiele 1954 Joseph Keilberth
- Order: Reorder
- Duration: 13:56
- Updated: 08 Dec 2012
digital remastering 1991
http://wn.com/Richard_Wagner_Tannhäuser_Ouvertüre_LIVE_Bayreuther_Festspiele_1954_Joseph_Keilberth
Die Walküre, 1944 (Live) George Szell - Melchior / Bampton / Traubel / Janssen / Kipnis / Thorborg
- Order: Reorder
- Duration: 183:44
- Updated: 12 Dec 2012
Richard Wagner Die Walküre Siegmund: Lauritz Melchior Sieglinde: Rose Bampton Brunnhilde: Helen Traubel Wotan: Herbert Janssen Fricka: Kerstin Thorborg Hunding: Alexander Kipnis Orchestra of Metropolitan Opera George Szell, conductor Recording Live, 2 December 1944 New York.
http://wn.com/Die_Walküre,_1944_Live_George_Szell_Melchior_Bampton_Traubel_Janssen_Kipnis_Thorborg
Richard Wagner Die Walküre Siegmund: Lauritz Melchior Sieglinde: Rose Bampton Brunnhilde: Helen Traubel Wotan: Herbert Janssen Fricka: Kerstin Thorborg Hunding: Alexander Kipnis Orchestra of Metropolitan Opera George Szell, conductor Recording Live, 2 December 1944 New York.
- published: 04 Jul 2012
- views: 1545
- author: jacquesurlus
Mitropoulos - 1955 (Live) Wagner, Götterdämmerung Act III, Varnay, Vinay
- Order: Reorder
- Duration: 70:43
- Updated: 25 Nov 2012
Richard Wagner Götterdämmerung, Act III Astrid Varnay........Brünnhilde Ramón Vinay......... Siegfried Lubomir Vichegonov...Hagen Clifford Harvouth....Gunther Lucine Amara.........Gutrune Herta Glaz, Rosalind Ellas, Shakeh Varkanasian (Die drei Rheintöchter) New York Philharmonic Orchestra Dimitri Mitropoulos, Conductor Recording Live, October 30, 1955 New York.
http://wn.com/Mitropoulos_1955_Live_Wagner,_Götterdämmerung_Act_III,_Varnay,_Vinay
Richard Wagner Götterdämmerung, Act III Astrid Varnay........Brünnhilde Ramón Vinay......... Siegfried Lubomir Vichegonov...Hagen Clifford Harvouth....Gunther Lucine Amara.........Gutrune Herta Glaz, Rosalind Ellas, Shakeh Varkanasian (Die drei Rheintöchter) New York Philharmonic Orchestra Dimitri Mitropoulos, Conductor Recording Live, October 30, 1955 New York.
- published: 05 Mar 2012
- views: 722
- author: jacquesurlus
RICHARD WAGNER: DREAMS (A STUDY TO TRISTAN) - XAVER VARNUS (ORGAN)
- Order: Reorder
- Duration: 6:37
- Updated: 27 Oct 2012
Recorded live on the Great Organ of Mathias Church in Budapest, Hungary, in 1997. The Wesendonck Lieder, WWV 91, is a song cycle composed by Richard Wagner while he was working on Die Walküre. This and the Siegfried Idyll are his only two non-operatic works that are still regularly performed. The Wesendonck Lieder were published under the title Fünf Gedichte von Mathilde Wesendonk für eine Frauenstimme und Klavier in 1857 and 1858 by CF Peters. The cycle is a setting of poems by Mathilde Wesendonck, the wife of one of Wagner's patrons. Wagner had become acquainted with Otto Wesendonck in Zurich, where he had fled on his escape from Saxony after the May Uprising in Dresden in 1849. For a time Wagner and his wife Minna lived together in the Asyl (German for Asylum in the sense of "sanctuary"), a small cottage on the Wesendonck estate. It is sometimes claimed that Wagner and Mathilde had a love affair; in any case, the situation and mutual infatuation certainly contributed to the intensity of the first act of Die Walküre which Wagner was working on at the time, and the conceiving of Tristan und Isolde; there is certainly an influence on Mathilde's poems as well. The poems themselves are in a wistful, pathos-laden style influenced by Wilhelm Müller, the author of the poems used by Schubert earlier in the century. But the language is more rarefied and intense as the Romantic style had developed. Wagner himself called two of the songs in the cycle "studies" for Tristan und ...
http://wn.com/RICHARD_WAGNER_DREAMS_A_STUDY_TO_TRISTAN_XAVER_VARNUS_ORGAN
Recorded live on the Great Organ of Mathias Church in Budapest, Hungary, in 1997. The Wesendonck Lieder, WWV 91, is a song cycle composed by Richard Wagner while he was working on Die Walküre. This and the Siegfried Idyll are his only two non-operatic works that are still regularly performed. The Wesendonck Lieder were published under the title Fünf Gedichte von Mathilde Wesendonk für eine Frauenstimme und Klavier in 1857 and 1858 by CF Peters. The cycle is a setting of poems by Mathilde Wesendonck, the wife of one of Wagner's patrons. Wagner had become acquainted with Otto Wesendonck in Zurich, where he had fled on his escape from Saxony after the May Uprising in Dresden in 1849. For a time Wagner and his wife Minna lived together in the Asyl (German for Asylum in the sense of "sanctuary"), a small cottage on the Wesendonck estate. It is sometimes claimed that Wagner and Mathilde had a love affair; in any case, the situation and mutual infatuation certainly contributed to the intensity of the first act of Die Walküre which Wagner was working on at the time, and the conceiving of Tristan und Isolde; there is certainly an influence on Mathilde's poems as well. The poems themselves are in a wistful, pathos-laden style influenced by Wilhelm Müller, the author of the poems used by Schubert earlier in the century. But the language is more rarefied and intense as the Romantic style had developed. Wagner himself called two of the songs in the cycle "studies" for Tristan und ...
- published: 09 Aug 2012
- views: 392
- author: Xaver Varnus
Richard Wagner: Tristan und Isolde Vorspiel / Prelude
- Order: Reorder
- Duration: 9:53
- Updated: 10 Dec 2012
Carlos Kleiber. Bayreuther Festspiele 1974. Live (Radio-Broadcast, Mono!)
http://wn.com/Richard_Wagner_Tristan_und_Isolde_Vorspiel_Prelude
Carlos Kleiber. Bayreuther Festspiele 1974. Live (Radio-Broadcast, Mono!)
- published: 26 Apr 2009
- views: 11872
- author: petatap
Richard Wagner " Ride of Valkyries " 2011 Met
- Order: Reorder
- Duration: 7:28
- Updated: 14 Dec 2012
Richard Wagner - Der Ring den Nibelungen - Die Walküre James Levine Metropolitan opera Robert Lepage new production of the ring cycle
http://wn.com/Richard_Wagner_Ride_of_Valkyries_2011_Met
Richard Wagner - Der Ring den Nibelungen - Die Walküre James Levine Metropolitan opera Robert Lepage new production of the ring cycle
- published: 19 Jun 2012
- views: 6662
- author: Stewie Lukecza
Richard Wagner: Götterdämmerung 1/3
- Order: Reorder
- Duration: 120:41
- Updated: 26 Nov 2012
Brünnhilde ... Eva Marton Siegfried ... Rene Kollo Alberich ... Walter Berry Gunther ... Michael Devlin Hagen ... John Tomlinson Gutrune ... Katherine Bouleyn Waltraute ... Helga Dernesch 1.Norn ... Marina Paunova 2.Norn ... Helga Dernesch 3.Norn ... Katherine Bouleyn Woglinde ... Deborah Sasson Flosshilde ... Alexandra Hughes conductor ... Edo De Waart production by Nikolaus Lehnhoff San Francisco Ring 1985
http://wn.com/Richard_Wagner_Götterdämmerung_1_3
Brünnhilde ... Eva Marton Siegfried ... Rene Kollo Alberich ... Walter Berry Gunther ... Michael Devlin Hagen ... John Tomlinson Gutrune ... Katherine Bouleyn Waltraute ... Helga Dernesch 1.Norn ... Marina Paunova 2.Norn ... Helga Dernesch 3.Norn ... Katherine Bouleyn Woglinde ... Deborah Sasson Flosshilde ... Alexandra Hughes conductor ... Edo De Waart production by Nikolaus Lehnhoff San Francisco Ring 1985
- published: 18 Aug 2012
- views: 1256
- author: Stewie Lukecza
Wagner - Die Walküre: "The Ride of the Valkyries" (Boulez)
- Order: Reorder
- Duration: 10:54
- Updated: 18 Dec 2012
start of Act III, as the Valkyries gather the soldiers' bodies, and clip ends a bit after Brünnhilde's entrance. Wagner used the Valkyries of the Norse Sagas, rather than the depiction of them in the Nibelungenlied. Women of death and warfare, as Chéreau understood well. from Darraðarljóð (Njál's saga Chap. 156.): Vindum, vindum vef darraðar, þars er vé vaða vígra manna! Látum eigi líf hans farask; eigu valkyrjur vals of kosti. Wind we, wind swiftly Our warwinning woof. sword-bearing rovers To banners rush on, Mind, maidens, we spare not One life in the fray! We corse-choosing sisters Der Ring des Nibelungen, a famous production from Bayreuth 1976, recorded 1980. Carmen Reppel as Gerhilde Gabriele Schnaut as Waltraute Gwendolyn Killebrew as Schwertleite Karen Middleton as Ortlinde Gwyneth Jones as Brünnhilde Katie Clarke as Helmwige Ilse Gramatzki as Grimgerde Jeannine Altmeyer as Sieglinde Elisabeth Glauser as Rossweisse Marga Schiml as Siegrune Conducted by Pierre Boulez Directed by Patrice Chéreau, who had very little experience with opera, and his only exposure to Wagner on stage was a performance of Die Walküre at the Paris Opéra that he slept thru. Scenic design by Richard Peduzzi, who had never designed a Wagner opera Costumes by Jacques Schmidt, who had never dressed a Wagner opera Der Walküren-Ritt La Chevauchée des Walkyries
http://wn.com/Wagner_Die_Walküre_The_Ride_of_the_Valkyries_Boulez
start of Act III, as the Valkyries gather the soldiers' bodies, and clip ends a bit after Brünnhilde's entrance. Wagner used the Valkyries of the Norse Sagas, rather than the depiction of them in the Nibelungenlied. Women of death and warfare, as Chéreau understood well. from Darraðarljóð (Njál's saga Chap. 156.): Vindum, vindum vef darraðar, þars er vé vaða vígra manna! Látum eigi líf hans farask; eigu valkyrjur vals of kosti. Wind we, wind swiftly Our warwinning woof. sword-bearing rovers To banners rush on, Mind, maidens, we spare not One life in the fray! We corse-choosing sisters Der Ring des Nibelungen, a famous production from Bayreuth 1976, recorded 1980. Carmen Reppel as Gerhilde Gabriele Schnaut as Waltraute Gwendolyn Killebrew as Schwertleite Karen Middleton as Ortlinde Gwyneth Jones as Brünnhilde Katie Clarke as Helmwige Ilse Gramatzki as Grimgerde Jeannine Altmeyer as Sieglinde Elisabeth Glauser as Rossweisse Marga Schiml as Siegrune Conducted by Pierre Boulez Directed by Patrice Chéreau, who had very little experience with opera, and his only exposure to Wagner on stage was a performance of Die Walküre at the Paris Opéra that he slept thru. Scenic design by Richard Peduzzi, who had never designed a Wagner opera Costumes by Jacques Schmidt, who had never dressed a Wagner opera Der Walküren-Ritt La Chevauchée des Walkyries
- published: 20 Jul 2007
- views: 2563588
- author: TheGreatPerformers
Richard Wagner - Tannhäuser - Overture (Bayreuth Festival 2012)
- Order: Reorder
- Duration: 13:49
- Updated: 03 Dec 2012
Conductor: Christian Thielemann Orchestra: Bayreuth Festival Orchestra Recording live from the Bayreuth Festival, July 28th, 2012.
http://wn.com/Richard_Wagner_Tannhäuser_Overture_Bayreuth_Festival_2012
Conductor: Christian Thielemann Orchestra: Bayreuth Festival Orchestra Recording live from the Bayreuth Festival, July 28th, 2012.
- published: 29 Jul 2012
- views: 3496
- author: Fledermaus1990
5:36
YTSO: Richard Wagner "Die Walkirie". Michael Tilson Thomas live at Carnegie Hall
Mi página web: mazzini.clariperu.org ___________________________________ The YouTube Symph...
published: 23 Apr 2009
author: Marco Antonio Mazzini
YTSO: Richard Wagner "Die Walkirie". Michael Tilson Thomas live at Carnegie Hall
Mi página web: mazzini.clariperu.org ___________________________________ The YouTube Symphony Orchestra performs Wagner's "Die Walkirie" at Carnegie Hall. I play the bass clarinet in this concert. The YTSO: www.youtube.com My website: www.clariperu.org I always use Gonzalez reeds: www.gonzalezreeds.com
- published: 23 Apr 2009
- views: 26961
- author: Marco Antonio Mazzini
6:54
Siegmund death - finale 2nd act Walküre - Richard Wagner / Met 2011 /
Die Walküre - Richard Wagner live at THE METROPOLITAN OPERA NY 05.14.2011 JONAS KAUFMANN a...
published: 07 Oct 2012
author: Stewie Lukecza
Siegmund death - finale 2nd act Walküre - Richard Wagner / Met 2011 /
Die Walküre - Richard Wagner live at THE METROPOLITAN OPERA NY 05.14.2011 JONAS KAUFMANN as siegmund EVA-MARIA WESTBROEK as Sieglinde HANS-PETER KOENIG as Hunding DEBORAH VOIGHT as Bruennhilde BRYN TERFEL as Wotan
- published: 07 Oct 2012
- views: 863
- author: Stewie Lukecza
5:37
Richard Wagner - Wesendonck Lieder (5/5) Träume
Anne Evans live at the 1994 Proms with the BBC National Orchestra of Wales conducted by Ta...
published: 16 Jan 2010
author: bartje11
Richard Wagner - Wesendonck Lieder (5/5) Träume
Anne Evans live at the 1994 Proms with the BBC National Orchestra of Wales conducted by Tadaaki Otaka Träume - Studie zu Tristan und Isolde (December 1857) The Wesendonck Lieder is a song cycle composed by Richard Wagner while he was working on Die Walküre. This, and the Siegfried Idyll, are his only two non-operatic works that are still regularly performed. The cycle is a setting of poems by Mathilde Wesendonck, the wife of one of Wagner's patrons. Wagner had become acquainted with Otto Wesendonck in Zürich, where he had fled on his escape from Saxony after the May Uprising in Dresden in 1849. For a time Wagner and his wife Minna lived together in the Asyl (German for Asylum), a small cottage on the Wesendonck estate. It is sometimes claimed that Wagner and Mathilde had a love affair; in any case, the situation and mutual infatuation certainly contributed to the intensity of the first act of Die Walküre which Wagner was working on at the time, and the conceiving of Tristan und Isolde; there is certainly an influence on Mathilde's poems as well. The poems themselves are in a wistful, pathos-laden style influenced by Wilhelm Müller, the author of the poems used by Schubert earlier in the century. But the language is more rarefied and intense as the Romantic style had developed. Wagner himself called two of the songs in the cycle "studies" for Tristan und Isolde, using for the first-time musical ideas that are later developed in the opera. In Träume can be heard the roots ...
- published: 16 Jan 2010
- views: 7909
- author: bartje11
10:59
Richard Wagner: Walküre - Gundula Janowitz and Jon Vickers live 1967
Richard Wagner: Walküre - finale 1st act Siegmund: Jon Vickers Sieglinde: Gundula Janowitz...
published: 04 Jul 2012
author: Stewie Lukecza
Richard Wagner: Walküre - Gundula Janowitz and Jon Vickers live 1967
Richard Wagner: Walküre - finale 1st act Siegmund: Jon Vickers Sieglinde: Gundula Janowitz Conductor: Herbert von Karajan Berliner Philharmoniker Live recording in mono from Grosses Festspielhaus Salzburg March 19, 1967
- published: 04 Jul 2012
- views: 900
- author: Stewie Lukecza
4:18
Träume - Wesendonck Lieder - Richard Wagner - Amadea
"A Summernight's Concert in Berlin" "Träume" is a study for one of my favorite operas - Tr...
published: 03 Aug 2007
author: dorotheafayne
Träume - Wesendonck Lieder - Richard Wagner - Amadea
"A Summernight's Concert in Berlin" "Träume" is a study for one of my favorite operas - Tristan und Isolde. Wagner's life was not unsimilar to his music. When you listen to this song, you get the feeling that he must also have been an amazing lover as well as a great composer. Live Performance of the orchestral song, "Träume," the last song from Richard Wagner's song cycle - The Wesendonck Lieder. Sung by Amadea (Mezzo-Soprano), accompanied by Jens Holzkamp (Piano). The poems to the five Wesendonck Lieder are written by the poetess, Mathilde Wesendonck. It is thought that she was one of Richard Wagner's lovers. (June 2007).
- published: 03 Aug 2007
- views: 8793
- author: dorotheafayne
151:57
Klemperer, 1968 (Live) Der fliegende Holländer / Adam / Silja / Talvela / King
Richard Wagner Der fliegende Holländer Der Holländer......Theo Adam Senta..............Anj...
published: 28 Jun 2012
author: jacquesurlus
Klemperer, 1968 (Live) Der fliegende Holländer / Adam / Silja / Talvela / King
Richard Wagner Der fliegende Holländer Der Holländer......Theo Adam Senta..............Anja Silja Daland.............Martti Talvela Erik...............James King Der Steuermann.....Kenneth Macdonald Mary...............Annelies Burmeister BBC Chorus & New Philharmonia Orchestra Otto Klemperer, conductor Recorded live, March 1968 The Royal Festival Hall, London.
- published: 28 Jun 2012
- views: 4880
- author: jacquesurlus
6:35
Richard Wagner - Wesendonck Lieder (3/5) Im Treibhaus
Anne Evans live at the 1994 Proms with the BBC National Orchestra of Wales conducted by Ta...
published: 16 Jan 2010
author: bartje11
Richard Wagner - Wesendonck Lieder (3/5) Im Treibhaus
Anne Evans live at the 1994 Proms with the BBC National Orchestra of Wales conducted by Tadaaki Otaka Im Treibhaus - Studie zu Tristan und Isolde (May 1858) The Wesendonck Lieder is a song cycle composed by Richard Wagner while he was working on Die Walküre. This, and the Siegfried Idyll, are his only two non-operatic works that are still regularly performed. The cycle is a setting of poems by Mathilde Wesendonck, the wife of one of Wagner's patrons. Wagner had become acquainted with Otto Wesendonck in Zürich, where he had fled on his escape from Saxony after the May Uprising in Dresden in 1849. For a time Wagner and his wife Minna lived together in the Asyl (German for Asylum), a small cottage on the Wesendonck estate. It is sometimes claimed that Wagner and Mathilde had a love affair; in any case, the situation and mutual infatuation certainly contributed to the intensity of the first act of Die Walküre which Wagner was working on at the time, and the conceiving of Tristan und Isolde; there is certainly an influence on Mathilde's poems as well. The poems themselves are in a wistful, pathos-laden style influenced by Wilhelm Müller, the author of the poems used by Schubert earlier in the century. But the language is more rarefied and intense as the Romantic style had developed. Wagner himself called two of the songs in the cycle "studies" for Tristan und Isolde, using for the first-time musical ideas that are later developed in the opera. In Träume can be heard the roots ...
- published: 16 Jan 2010
- views: 7399
- author: bartje11
4:45
Richard Wagner- Der Fliegende Holländer (The Flying Dutchman): Senta's Ballad, Kyra Vayne
The late dramatic soprano Kyra Vayne sings Senta's Ballade from Der Fliegende Holländer (T...
published: 25 Apr 2010
author: mendesboyge
Richard Wagner- Der Fliegende Holländer (The Flying Dutchman): Senta's Ballad, Kyra Vayne
The late dramatic soprano Kyra Vayne sings Senta's Ballade from Der Fliegende Holländer (The Flying Dutchman) by Wagner. Live recording 1946. The dancer shown in the video is NOT Kyra Vayne.
- published: 25 Apr 2010
- views: 3943
- author: mendesboyge
63:22
Furtwängler, 1937 (Live) Wagner, Die Walküre act 3, Flagstad / Bockelmann
Richard Wagner Die Walküre: Act 3 Kirsten Flagstad......Brünnhilde Rudolf Bockelmann.....W...
published: 22 Mar 2012
author: jacquesurlus
Furtwängler, 1937 (Live) Wagner, Die Walküre act 3, Flagstad / Bockelmann
Richard Wagner Die Walküre: Act 3 Kirsten Flagstad......Brünnhilde Rudolf Bockelmann.....Wotan Maria Müller..........Sieglinde Gladys Ripley.........Schwertleite Elsa Stenning.........Helmwige Edith Coates..........Siegrune Mae Craven............Gerhilde Thelma Bardsley.......Ortlinde Linda Seymour.........Waltraute Gwladys Garside.......Grimgerde Evelyn Arden..........Roßweiße London Philharmonic Orchestra, Royal Opera House Covent Garden Chorus Wilhelm Furtwängler, conductor Recording Live, May 26, 1937 Covent Garden, London.
- published: 22 Mar 2012
- views: 3299
- author: jacquesurlus
10:48
FRITZ REINER - 1950 Live - Der fliegende Holländer, Ouvertüre - WAGNER
Richard Wagner, Der fliegende Holländer. Ouvertüre. Mertopolitan Opera Orchestra, Fritz Re...
published: 18 Sep 2011
author: jacquesurlus
FRITZ REINER - 1950 Live - Der fliegende Holländer, Ouvertüre - WAGNER
Richard Wagner, Der fliegende Holländer. Ouvertüre. Mertopolitan Opera Orchestra, Fritz Reiner, Conductor. Rec, Live, 30 December 1950. Sir Rudolf Bing (January 9, 1902 - September 2, 1997) was an Austrian-born opera impresario who worked in Germany, the United Kingdom and the United States, most notably being General Manager of the Metropolitan Opera in New York from 1950 to 1972. He became a British citizen in 1946 and was knighted by Queen Elizabeth II in 1971.
- published: 18 Sep 2011
- views: 1224
- author: jacquesurlus
30:08
Kirsten Flagstad, 1950 (Live) Concert, Strauss, Wagner
Kirsten Flagstad, Strauss & Wagner, Concert. Richard Strauss 1."Befreit" 2."Allerseelen" 3...
published: 15 May 2012
author: jacquesurlus
Kirsten Flagstad, 1950 (Live) Concert, Strauss, Wagner
Kirsten Flagstad, Strauss & Wagner, Concert. Richard Strauss 1."Befreit" 2."Allerseelen" 3."Cäcilie" Richard Wagner 4."Starke scheite schischtet mir dort" Götterdämmerung: Brünnhilde's Immolation Scene (Act 3) Orchestra of the San Francisco Opera House Gaetano Merola, conductor 8 October 1950 San Francisco Opera House.
- published: 15 May 2012
- views: 367
- author: jacquesurlus
2:40
Richard Wagner - Wesendonck Lieder (4/5) Schmerzen
Anne Evans live at the 1994 Proms with the BBC National Orchestra of Wales conducted by Ta...
published: 16 Jan 2010
author: bartje11
Richard Wagner - Wesendonck Lieder (4/5) Schmerzen
Anne Evans live at the 1994 Proms with the BBC National Orchestra of Wales conducted by Tadaaki Otaka. Schmerzen (December 1857) The Wesendonck Lieder is a song cycle composed by Richard Wagner while he was working on Die Walküre. This, and the Siegfried Idyll, are his only two non-operatic works that are still regularly performed. The cycle is a setting of poems by Mathilde Wesendonck, the wife of one of Wagner's patrons. Wagner had become acquainted with Otto Wesendonck in Zürich, where he had fled on his escape from Saxony after the May Uprising in Dresden in 1849. For a time Wagner and his wife Minna lived together in the Asyl (German for Asylum), a small cottage on the Wesendonck estate. It is sometimes claimed that Wagner and Mathilde had a love affair; in any case, the situation and mutual infatuation certainly contributed to the intensity of the first act of Die Walküre which Wagner was working on at the time, and the conceiving of Tristan und Isolde; there is certainly an influence on Mathilde's poems as well. The poems themselves are in a wistful, pathos-laden style influenced by Wilhelm Müller, the author of the poems used by Schubert earlier in the century. But the language is more rarefied and intense as the Romantic style had developed. Wagner himself called two of the songs in the cycle "studies" for Tristan und Isolde, using for the first-time musical ideas that are later developed in the opera. In Träume can be heard the roots of the love duet in Act 2 ...
- published: 16 Jan 2010
- views: 5654
- author: bartje11
8:59
R. Wagner Die Meistersinger Ouverture - L. Maniscalco solo tr. - live Lanciano 1981
Richard Wagner Die Meistersinger von Nurnberg Ouverture - Lanciano 1981 Lanciano Young Sym...
published: 26 Dec 2008
author: LeonardoManiscalco
R. Wagner Die Meistersinger Ouverture - L. Maniscalco solo tr. - live Lanciano 1981
Richard Wagner Die Meistersinger von Nurnberg Ouverture - Lanciano 1981 Lanciano Young Symphony Orchestra 1981 Direttore Karl Martin Solo Trumpet Leonardo ManiscalcoLeonardo Maniscalco was born in Sciacca (Sicily) in 1956. He studied trumpet with Prof. Antonino Bitonto at the Conservatoire in Palermo where he got his Certificate with the best credits. His career started in 1977, when he first collaborated with the Sicilian Symphony Orchestra where he was declared fit in a competition for second trumpet. He assumed the role of first trumpet in the Sanremo Symphony Orchestra, following a national audition. He won other auditions in the Orchestra of the Commune Theatre in Bologna, in the Massimo Theatre in Palermo, in the Italian Youth Orchestra in Fiesole, in the Customs Officer Band. In 1981, he won the competition for second trumpet in the Rome Opera Theatre where he is still doing his main activity. In 1982 he attended the International Trumpet Seminar held by Prof. Pierre Thibaud in Reggio Emilia. He played for the fellowing directors: Metha, Sinopoli, Pretre, Patanè, Aronovich, Semkov, Tate, Oren, Muti, Nelson, Santi, Pesko, Fedosseiev, Gelmetti, Gavazzeni, Bartoletti, Lombard, Rostropovich, Rota, Morricone, Ortolani, De Fabritiis, Ziino, Ferro, Ceccato, Freccia, Delmann, Maag, Renzetti, Koenig, and many others. He was a teacher of trumpet and trombone at the Musical Institute Briccialdi in Terni from 1983 to 1988. He recorded three arias for trumpet and harp by E ...
- published: 26 Dec 2008
- views: 6242
- author: LeonardoManiscalco
23:38
Richard Wagner - Siegfried Idyll
Conductor: Sergiu Celibidache & Münchner Philharmoniker Apart from the operas, Wagner comp...
published: 23 Feb 2011
author: IlaryRhineKlange
Richard Wagner - Siegfried Idyll
Conductor: Sergiu Celibidache & Münchner Philharmoniker Apart from the operas, Wagner composed a small number of pieces; this stems from his reluctance to conceive music which didn't belong to the sacredness of the drama, fundamental expression of his thought. The "Siegfried Idyll" is a symphonic poem for chamber orchestra, composed by Richard Wagner (1813-1883) as a birthday present to his second wife, Cosima, after the birth of their son Siegfried in 1869. It was first performed on Christmas morning, 25 December 1870, by a small ensemble on the stairs of their villa at Tribschen. Wagner's opera "Siegfried", which was premiered in 1876, incorporates music from the Idyll. It was once thought that the Idyll borrowed musical ideas intended for the opera, but it is now known that the opposite is the case: Wagner adapted melodic material from an unfinished chamber piece in the Idyll and later incorporated it into the love scene between Siegfried and Brunhilde in the opera.
- published: 23 Feb 2011
- views: 110363
- author: IlaryRhineKlange
Vimeo results:
2:34
OPERA: Tannhäuser (Richard Wagner) 2008
Tannhäuser (Opera)
Video Director: Xavi Bové
Composer: Richard Wagner
Stage Director: Ro...
published: 27 Feb 2010
author: Xavi Bove
OPERA: Tannhäuser (Richard Wagner) 2008
Tannhäuser (Opera)
Video Director: Xavi Bové
Composer: Richard Wagner
Stage Director: Robert Carsen
Conductor: Sebastian Weigle
Starring: Peter Seiffert, Petra Maria Schnitzer, Béatrice Uria-Monzon, Markus Eiche, Günter Groissböck, Vicente Ombuena, Lauri Vasar
Recorded live at Gran Teatre del Liceu (Barcelona)
2008
Released on DVD and Blu-ray on January 2012
http://www.cmajor-entertainment.com/catalogue/show/id/2339
2:55
High Flyin' with Vincent Laforet
Fly-along with photographer Vincent Laforet on an aerial portrait shoot for New York Magaz...
published: 18 Dec 2009
author: Robert Caplin
High Flyin' with Vincent Laforet
Fly-along with photographer Vincent Laforet on an aerial portrait shoot for New York Magazine.
Video by Robert Caplin
http://RobertCaplin.com
Stills by Vincent Laforet
http://bit.ly/vinceblog
Edited by Laia Prats
http://LaiaPrats.com
Score (Richard Wagner's Ride of the Valkyries) recorded by the RFCM Symphony Orchestra conducted by Dr.Keith J.Salmon.
All Rights Reserved
5:06
TEXAS HOEDOWN 2010 - Inline Street - Skatepark Competition
Date:
Oct. 30, 2010
Location:
Plano, TX
Eisenberg's Skatepark
History:
Rollerbladers an...
published: 01 Nov 2010
author: Pat Leal
TEXAS HOEDOWN 2010 - Inline Street - Skatepark Competition
Date:
Oct. 30, 2010
Location:
Plano, TX
Eisenberg's Skatepark
History:
Rollerbladers and fans from all over the world come together for that time of the year again. This competition is based on a grassroots open jam session format in which each competitor judges who gets to advance to the next rounds. In the end, only five are left to battle it out. The 14th Annual Showdown at the Hoedown is hosted by Inline Legend and former X-Games Champion Arlo Eisenberg.
Results:
1st place & best trick - CJ Wellsmore (AUSTRALIA)
Disinfo:
Filmed with a Sony FX1. Additional Canon 5d clips provided by Josh Glowicki. Thanks to Redbull for sponsoring the event.
Full results of the Hoedown 2010:
1. CJ Wellsmore (AUSTRALIA)
2. Julien Cudot (FRANCE)
3. Romaine Godenaire (FRANCE)
4. Fritz Peitzner (TX, USA)
5. Mason Richard (TX, USA)
6. Roman Abrate (FRANCE)
T7. Diego Guilloud (GENèVE)
T7. Dominik Wagner (GERMANY)
9. Micah Simmang (TX, USA)
10. Ian Freunscht (TX, USA)
T11. Brady Johnston (TX, USA)
T11. Johnny Jensen (NEW ZEALAND/AUSTRALIA)
Full Article:
http://www.be-mag.com/article/1563-Live-UPDATES-FROM-THE-HOEDOWN-4-Exclusive-edit-
www.worldrollingseries.com
www.eisenbergs.com
www.teamtrs.com
14:58
Valkyre by Richard Wagner
Probably the most famous piece from The Ring of the Nibelung, four operas by Richard Wagne...
published: 22 Oct 2011
author: Nostalgic
Valkyre by Richard Wagner
Probably the most famous piece from The Ring of the Nibelung, four operas by Richard Wagner set in Norse mythological world is in public domain.
So are amazing illustrations by Arthur Rackham, who illustrated the complete story for the book The Ring.
Enjoy the superb combination of beauty and power!
Youtube results:
13:56
Richard Wagner Tannhäuser Ouvertüre LIVE Bayreuther Festspiele 1954 Joseph Keilberth
digital remastering 1991...
published: 21 Jul 2011
author: ludwigderzwote
Richard Wagner Tannhäuser Ouvertüre LIVE Bayreuther Festspiele 1954 Joseph Keilberth
digital remastering 1991
- published: 21 Jul 2011
- views: 7685
- author: ludwigderzwote
183:44
Die Walküre, 1944 (Live) George Szell - Melchior / Bampton / Traubel / Janssen / Kipnis / Thorborg
Richard Wagner Die Walküre Siegmund: Lauritz Melchior Sieglinde: Rose Bampton Brunnhilde: ...
published: 04 Jul 2012
author: jacquesurlus
Die Walküre, 1944 (Live) George Szell - Melchior / Bampton / Traubel / Janssen / Kipnis / Thorborg
Richard Wagner Die Walküre Siegmund: Lauritz Melchior Sieglinde: Rose Bampton Brunnhilde: Helen Traubel Wotan: Herbert Janssen Fricka: Kerstin Thorborg Hunding: Alexander Kipnis Orchestra of Metropolitan Opera George Szell, conductor Recording Live, 2 December 1944 New York.
- published: 04 Jul 2012
- views: 1545
- author: jacquesurlus
70:43
Mitropoulos - 1955 (Live) Wagner, Götterdämmerung Act III, Varnay, Vinay
Richard Wagner Götterdämmerung, Act III Astrid Varnay........Brünnhilde Ramón Vinay..........
published: 05 Mar 2012
author: jacquesurlus
Mitropoulos - 1955 (Live) Wagner, Götterdämmerung Act III, Varnay, Vinay
Richard Wagner Götterdämmerung, Act III Astrid Varnay........Brünnhilde Ramón Vinay......... Siegfried Lubomir Vichegonov...Hagen Clifford Harvouth....Gunther Lucine Amara.........Gutrune Herta Glaz, Rosalind Ellas, Shakeh Varkanasian (Die drei Rheintöchter) New York Philharmonic Orchestra Dimitri Mitropoulos, Conductor Recording Live, October 30, 1955 New York.
- published: 05 Mar 2012
- views: 722
- author: jacquesurlus
6:37
RICHARD WAGNER: DREAMS (A STUDY TO TRISTAN) - XAVER VARNUS (ORGAN)
Recorded live on the Great Organ of Mathias Church in Budapest, Hungary, in 1997. The Wese...
published: 09 Aug 2012
author: Xaver Varnus
RICHARD WAGNER: DREAMS (A STUDY TO TRISTAN) - XAVER VARNUS (ORGAN)
Recorded live on the Great Organ of Mathias Church in Budapest, Hungary, in 1997. The Wesendonck Lieder, WWV 91, is a song cycle composed by Richard Wagner while he was working on Die Walküre. This and the Siegfried Idyll are his only two non-operatic works that are still regularly performed. The Wesendonck Lieder were published under the title Fünf Gedichte von Mathilde Wesendonk für eine Frauenstimme und Klavier in 1857 and 1858 by CF Peters. The cycle is a setting of poems by Mathilde Wesendonck, the wife of one of Wagner's patrons. Wagner had become acquainted with Otto Wesendonck in Zurich, where he had fled on his escape from Saxony after the May Uprising in Dresden in 1849. For a time Wagner and his wife Minna lived together in the Asyl (German for Asylum in the sense of "sanctuary"), a small cottage on the Wesendonck estate. It is sometimes claimed that Wagner and Mathilde had a love affair; in any case, the situation and mutual infatuation certainly contributed to the intensity of the first act of Die Walküre which Wagner was working on at the time, and the conceiving of Tristan und Isolde; there is certainly an influence on Mathilde's poems as well. The poems themselves are in a wistful, pathos-laden style influenced by Wilhelm Müller, the author of the poems used by Schubert earlier in the century. But the language is more rarefied and intense as the Romantic style had developed. Wagner himself called two of the songs in the cycle "studies" for Tristan und ...
- published: 09 Aug 2012
- views: 392
- author: Xaver Varnus
photo: AP / Guang Niu, Pool
16 Dec 2012
Retired Col. Gen. Viktor Yesin yesterday wrapped up a visit to the United States during which he met with officials at the Pentagon, State Department as well as members of Congress warning about underestimating China’s tactical nuclear weapons buildup ... Yesin warns that U.S. and Western arms specialists are dramatically underestimating China’s nuclear arsenal ... Somewhere between the higher and lower estimates is no doubt the truth ... Mr ... Mr ... ....(size: 4.0Kb)
photo: AP / Jason DeCrow
16 Dec 2012
NEWTOWN, Conn ... Lanza blasted his way into the building and used a high-power rifle to kill 20 children and six adults, including the principal who tried to stop him, authorities said ... H ... The Rev. Richard Scinto, a deacon, gave a homily ... ... Richard Novia, the school district’s head of security until 2008, who also served as adviser for the high school technology club, of which Lanza was a member, said he clearly “had some disabilities.” ... ....(size: 8.8Kb)
photo: AP / Jason DeCrow
18 Dec 2012
An increasing number of US congressmen have called for a national dialogue about measures to curb gun violence following the shooting last week at a primary school in Connecticut that killed 26 people, including 20 children and six adults. White House officials have said that President Barack Obama would make preventing gun-related violence a priority in his second term in office and stricter laws would be part of the effort. ... ....(size: 19.2Kb)
photo: AP / Khalil Hamra
16 Dec 2012
Article by WN.com Correspondent Dallas Darling. "Fundamentalism is good for protest, good for revolution, and good for war, but not so good for development.". After a century of being persecuted and driven underground, mainly for their vibrant nationalism and their anti-imperialist and pro-Palestinian views, Egypt's Islamist Muslim Brotherhood has finally taken center-state ... Such actions will have to be avoided....(size: 6.9Kb)
photo: AP / Charles Krupa
18 Dec 2012
Article by WN.com Correspondent Dallas Darling. "Most people reason dramatically, not quantitatively." -Oliver Wendell Holmes. On the same day that a 20-year-old, described as brilliant but remote, walked into an elementary school in Connecticut and massacred 26 children and adults, the school where I teach went on "lock-down." Four students with a handgun were arrested ... That morning before school, he had posted on Twitter and Facebook....(size: 14.0Kb)
Wall Street Journal
18 Dec 2012
By DAVID DUBAL. During this 150th anniversary year of the composer's birth—or any year, for that matter—there are plenty of performances of Claude Debussy's music ... Enlarge Image. Close. Even by age 20, in Wagner-mad Paris, Debussy knew that the thick-textured German Romanticism of Anton Bruckner, Hugo Wolf and Richard Wagner was a dead end ... Bach ... When completed, it was the most radical opera since Wagner's "Tristan und Isolde."...(size: 6.9Kb)
The Guardian
18 Dec 2012
Milan opera house's ballet dancers and chorus members take action in 'surreal' row over bonus demands. Richard Wagner's Lohengrin at La Scala. the opera house claims the chorus are regularly on stage in such productions. Photograph. Monika Rittershaus/AP. In a country famous for industrial action, an unlikely group of Italian employees is proving even keener to down tools than train drivers, rubbish collectors and car workers ... ....(size: 4.8Kb)
The Examiner
18 Dec 2012
Charles Mingus is one of those jazz performers who never really received the recognition he deserved. This may be due, in no small part, to a personality that may politely be described as “difficult;” but as Richard Wagner demonstrated many times over, creativity should not be assessed on the basis of character traits ... When it came to recording, Mingus had a reputation for annoyance with any production team that was not his own ... ....(size: 4.3Kb)
The Examiner
17 Dec 2012
Few operas outside of Richard Wagner’s match the grandeur of “Aida,” yet Met conductor Fabio Luisi remarked during Saturday’s HD premiere that Giuseppe Verdi’s opus would be fine without the spectacle ... A project once offered to Verdi’s rival Richard Wagner, Aida reflects the strengths and limitations of its creators....(size: 3.6Kb)
The Examiner
17 Dec 2012
Tweet. 0 Email. Report. Photo 1 of 10. Triumphal march at the beginning of Act II of Aida. Credit. facebook.com ... Bob Costas, the NRA, and America’s gun culture. 11 Photos ... 14 Photos ... 10 Photos ... society and cultureFew operas outside of Richard Wagner’s match the grandeur of “Aida,” yet Met conductor Fabio Luisi remarked during Saturday’s HD premiere that Giuseppe Verdi’s opus would be fine without the spectacle ... ....(size: 4.1Kb)
Yahoo Daily News
17 Dec 2012
The leading name in travel guides for 76 years reveals its global list of destinations for significant events, budding hotspots, best value and buzzworthy sights in 2013 ... “The places on our Go List are our ‘must-dos’ for the coming year ... Events ... Gettysburg, PA ... Ireland ... the 400th Anniversary of the Amsterdam canals, the 200th Anniversary of Jane Austen’s Pride and Prejudice in England, and the 200th birthday of Richard Wagner in Germany ... ....(size: 8.9Kb)
Deutsche Welle
14 Dec 2012
Richard Wagner was once a member of the prestigious Academy of the Arts in Berlin ... Staeck says he's always been interested in seductive figures - and Richard Wagner certainly was one ... In the exhibition "Wagner 2013 ... Wagner polarizes. For the uninitiated, the exhibition explains right at the start that Richard Wagner started out as a young revolutionary who had to flee Germany for political reasons ... Wagner, the art pill....(size: 4.5Kb)
Skiddle
14 Dec 2012
Vladimir Jurowski conducts Brahms, Wagner and Bruckner ... Wagner (arr ... Already in Bruckners First Symphony the influence of the master, Richard Wagner, was making itself felt. In 1863 Bruckner heard Wagners opera Tannhäuser in Linz, capturing its desolate yearning in his first movements third theme. Two years later Bruckner met Wagner for the ......(size: 1.9Kb)
Canada Dot Com
14 Dec 2012
Just shy of four years ago, on the night of Feb ... As newly appointed Supreme Court of Canada Justice Richard Wagner said in an interview this week, the very foundations of our democracy are shaken if the public loses trust in the reliability of the judicial system. Referring specifically to the Turcotte case, Wagner suggested there should have been a better explanation to the public of why the decisions leading to his release were made....(size: 3.4Kb)
Chicago Sun-Times
14 Dec 2012
While composers of all stripes have written dozens of concertos for the violin, piano and cello, the trumpet has not been so lucky ... Just as important, though, was the desire to showcase Christopher Martin, who was appointed the CSO’s principal trumpet in 2005 ... Rouse gave the music a Norse character, drawing on the haunting obsessiveness of contemporary Scandinavian music and Richard Wagner’s evocations of the region and its people ... ....(size: 3.8Kb)
Wall Street Journal
13 Dec 2012
By NORMAN LEBRECHT ... Where Richard Wagner kept a firm eye on fame and absolute control of his work, Schumann threw caution and common sense to the winds ... The Schumanns were cultivating a brand with the same determination as their ferocious counterparts, Wagner, Berlioz and Liszt ... Enlarge Image ... A flood of lieder followed, darker and less melodic than the Schubert cycles, pointing ahead toward the chromaticism of Wagner and Hugo Wolf ... Mr ... ....(size: 6.7Kb)
STL Today
13 Dec 2012
Few races are as appealing as hobbits, comfort-loving foodaholics who enjoy nothing more than a congenial meal, with a congenial pint or two. “They are (or were) a little people, about half our height, and smaller than the bearded dwarves,” J.R.R. Tolkien wrote ... Now you know enough to go on with.” ... Echoes of Richard Wagner’s “Ring of the Nibelungen” also are heard throughout the books, starting with, well, the Ring ... “The Hobbit ... ....(size: 5.1Kb)
Yahoo Daily News
12 Dec 2012
Justice Richard Wagner says in an interview with The Canadian Press that court decisions are being examined and commented upon in the media as never before ... Wagner pointed to the uproar around ......(size: 1.0Kb)
This article is about the composer. For the novelist, see Richard Wagner (novelist).
"Wagner" redirects here. For other uses, see Wagner (disambiguation).
Wilhelm Richard Wagner ( /ˈvɑːɡnər/; German pronunciation: [ˈʁiçaʁt ˈvaːɡnɐ]; 22 May 1813 – 13 February 1883) was a German composer, conductor, theatre director and polemicist primarily known for his operas (or "music dramas", as he later called them). Wagner's compositions, particularly those of his later period, are notable for their complex texture, rich harmonies and orchestration, and the elaborate use of leitmotifs: musical themes associated with individual characters, places, ideas or plot elements. Unlike most other opera composers, Wagner wrote both the music and libretto for every one of his stage works. Perhaps the two best-known extracts from his works are the Ride of the Valkyries from the opera Die Walküre, and the Wedding March (Bridal Chorus) from the opera Lohengrin.
Initially establishing his reputation as a composer of works such as The Flying Dutchman and Tannhäuser which were broadly in the romantic vein of Weber and Meyerbeer, Wagner transformed operatic thought through his concept of the Gesamtkunstwerk ("total work of art"). This would achieve the synthesis of all the poetic, visual, musical and dramatic arts and was announced in a series of essays between 1849 and 1852. Wagner realized this concept most fully in the first half of the monumental four-opera cycle Der Ring des Nibelungen. However, his thoughts on the relative importance of music and drama were to change again, and he reintroduced some traditional operatic forms into his last few stage works, including Die Meistersinger von Nürnberg.
Wagner pioneered advances in musical language, such as extreme chromaticism and quickly shifting tonal centres, which greatly influenced the development of European classical music. His Tristan und Isolde is sometimes described as marking the start of modern music. Wagner's influence spread beyond music into philosophy, literature, the visual arts and theatre. He had his own opera house built, the Bayreuth Festspielhaus, which contained many novel design features. It was here that the Ring and Parsifal received their premieres and where his most important stage works continue to be performed today in an annual festival run by his descendants. Wagner's views on conducting were also highly influential. His extensive writings on music, drama and politics have all attracted extensive comment in recent decades, especially where they have antisemitic content.
Wagner achieved all of this despite a life characterized, until his last decades, by political exile, turbulent love affairs, poverty and repeated flight from his creditors. His pugnacious personality and often outspoken views on music, politics and society made him a controversial figure during his life, which he remains to this day. The effect of his ideas can be traced in many of the arts throughout the twentieth century.
Contents |
Biography[link]
Early years[link]
Richard Wagner was born at No. 3 ('The House of the Red and White Lions'), the Brühl, in the Jewish quarter of Leipzig, the ninth child of Carl Friedrich Wagner, who was a clerk in the Leipzig police service,[1] and his wife Johanna Rosine (née Paetz), the daughter of a baker.[2] Wagner's father died of typhus six months after Richard's birth, following which Wagner's mother began living with the actor and playwright Ludwig Geyer, a friend of Richard's father.[3] In August 1814 Johanna and Geyer probably married – although no documentation of this is found in the Leipzig church registers.[4] She and her family moved to Geyer's residence in Dresden. Until he was fourteen, Wagner was known as Wilhelm Richard Geyer. He almost certainly suspected that Geyer was his natural father.[5]
Geyer's love of the theatre was shared by his stepson, and Wagner took part in his performances. In his autobiography, Wagner recalled once playing the part of an angel.[6] The boy Wagner was also hugely impressed by the Gothic elements of Weber's Der Freischütz. In late 1820, Wagner was enrolled at Pastor Wetzel's school at Possendorf, near Dresden, where he received some piano instruction from his Latin teacher.[7] He could not manage a proper scale but preferred playing theatre overtures by ear. Geyer died in 1821, when Richard was eight. Subsequently, Wagner was sent to the Kreuz Grammar School in Dresden, paid for by Geyer's brother.[8] The young Wagner entertained ambitions as a playwright, his first creative effort (listed as 'WWV 1') being a tragedy, Leubald, begun at school in 1826, which was strongly influenced by Shakespeare and Goethe. Wagner was determined to set it to music; he persuaded his family to allow him music lessons.[9]
By 1827, the family had moved back to Leipzig. Wagner's first lessons in harmony were taken in 1828–1831 with Christian Gottlieb Müller.[10] In January 1828 he first heard Beethoven's 7th Symphony and then, in March, Beethoven's 9th Symphony performed in the Gewandhaus. Beethoven became his inspiration, and Wagner wrote a piano transcription of the 9th Symphony.[11] He was also greatly impressed by a performance of Mozart's Requiem.[12] From this period date Wagner's early piano sonatas and his first attempts at orchestral overtures.[13]
In 1829 he saw the dramatic soprano Wilhelmine Schröder-Devrient on stage, and she became his ideal of the fusion of drama and music in opera. In his autobiography, Wagner wrote, "If I look back on my life as a whole, I can find no event that produced so profound an impression upon me." Wagner claimed to have seen Schröder-Devrient in the title role of Fidelio; however, it seems more likely that he saw her performance as Romeo in Bellini's I Capuleti e i Montecchi.[14]
He enrolled at the University of Leipzig in 1831 where he became a member of the Studentenverbindung Corps Saxonia Leipzig. He also took composition lessons with the cantor of Saint Thomas Church, Christian Theodor Weinlig.[15] Weinlig was so impressed with Wagner's musical ability that he refused any payment for his lessons, and arranged for Wagner's Piano Sonata in B flat (which was consequently dedicated to him) to be published as the composer's Op. 1. A year later, Wagner composed his Symphony in C major, a Beethovenesque work performed in Prague in 1832 [16] and at the Leipzig Gewandhaus in 1833.[17] He then began to work on an opera, Die Hochzeit (The Wedding), which he never completed.[18]
Early career[link]
In 1833, Wagner's older brother Karl Albert managed to obtain for Richard a position as choir master in Würzburg.[19] In the same year, at the age of 20, Wagner composed his first complete opera, Die Feen (The Fairies). This opera, which clearly imitated the style of Carl Maria von Weber, would go unproduced until half a century later, when it was premiered in Munich shortly after the composer's death in 1883.[20]
Meanwhile, Wagner held a brief appointment as musical director at the opera house in Magdeburg[21] during which he wrote Das Liebesverbot (The Ban on Love), based on Shakespeare's Measure for Measure. This was staged at Magdeburg in 1836, but closed before the second performance, leaving the composer (not for the last time) in serious financial difficulties.[22] In 1834 Wagner had fallen for the actress Christine Wilhelmine "Minna" Planer. After the disaster of Das Liebesverbot he followed her to Königsberg where she helped him to get an engagement at the theatre.[23] The two married in Königsberg on 24 November 1836.[24] In June 1837 Wagner moved to Riga (then in the Russian Empire), where he became music director of the local opera.[25] Minna had recently left Wagner for another man[26] but Richard took her back;[27] this was but the first débâcle of a troubled marriage that would end in misery three decades later.
By 1839, the couple had amassed such large debts that they fled Riga to escape from creditors;[28] debt would plague Wagner for most of his life.[29] During their flight, they and their Newfoundland dog Robber took a stormy sea passage to London,[30] from which Wagner drew the inspiration for The Flying Dutchman (with a story based on a sketch by Heinrich Heine).[31]
The Wagners spent 1839 to 1842 in Paris, where Richard made a scant living writing articles and arranging operas by other composers, largely on behalf of the Schlesinger publishing house. However, he also completed his third and fourth operas Rienzi and The Flying Dutchman during this stay.[32] His relief on leaving Paris for Dresden was recorded in his "Autobiographic Sketch" of 1842, "For the first time I saw the Rhine — with hot tears in my eyes, I, poor artist, swore eternal fidelity to my German fatherland."[33]
Dresden[link]
Wagner had completed writing Rienzi in 1840. Largely through the strong support of Giacomo Meyerbeer,[34] it was accepted for performance by the Dresden Court Theatre (Hofoper) in the German state of Saxony. In 1842, Wagner moved to Dresden, where Rienzi was staged to considerable acclaim on 20 October.[35] Wagner lived in Dresden for the next six years, eventually being appointed the Royal Saxon Court Conductor.[36] During this period, he staged there The Flying Dutchman (2 January 1843)[37] and Tannhäuser (19 October 1845),[38] the first two of his three middle-period operas. Wagner also mixed with artistic circles in Dresden, including the composer Ferdinand Hiller and the architect Gottfried Semper.[39]
The Wagners' stay at Dresden was brought to an end by Richard's involvement in leftist politics. A nationalist movement was gaining force in the states of the German Confederation, calling for constitutional freedoms and the unification of Germany as one nation state. Richard Wagner played an enthusiastic role in the socialist wing of this movement, regularly receiving guests who included the radical editor August Röckel, and the Russian anarchist Mikhail Bakunin. He was also influenced by the ideas of Pierre-Joseph Proudhon.[40] Widespread discontent in Dresden came to a head in April 1849, when King Frederick Augustus II of Saxony rejected a new constitution. The May Uprising broke out, in which Wagner played a minor supporting role. The incipient revolution was quickly crushed by an allied force of Saxon and Prussian troops, and warrants were issued for the arrest of the revolutionaries. Wagner had to flee, first visiting Paris and then settling in Zurich.[41]
Exile, Schopenhauer and Mathilde Wesendonck[link]
Wagner spent the next twelve years in exile. He had completed Lohengrin, the last of his middle-period operas before the Dresden uprising, and now wrote desperately to his friend Franz Liszt to have it staged in his absence. Liszt, who proved to be a true friend, eventually conducted the premiere in Weimar in August 1850.[42]
Nevertheless, Wagner found himself in grim personal straits, isolated from the German musical world and without any income to speak of. Before leaving Dresden, he had drafted a scenario that would eventually become the four opera cycle Der Ring des Nibelungen. He initially wrote the libretto for a single opera, Siegfrieds Tod (Siegfried's Death) in 1848. After arriving in Zurich he expanded the story to include an opera Der junge Siegfried (Young Siegfried) exploring the hero's background. He completed the text of the cycle by writing the libretti for Die Walküre and Das Rheingold and revising the other libretti to agree with his new concept, completing them in 1852.[43] Meanwhile, his wife Minna, who had disliked the operas he had written after Rienzi, was falling into a deepening depression and then Wagner himself fell victim to ill-health, according to Ernest Newman "largely a matter of overwrought nerves", which made it difficult for him to continue writing.[44]
Wagner's primary published output during his first years in Zurich was a set of notable essays: "The Art-Work of the Future" (1849), in which he described a vision of opera as Gesamtkunstwerk, or "total work of art", in which the various arts such as music, song, dance, poetry, visual arts, and stagecraft were unified; "Judaism in Music" (1850), a tract directed against Jewish composers; and "Opera and Drama" (1851), which described the aesthetics of drama which he was using to create the Ring operas.
Wagner began composing Das Rheingold in November 1853, following it immediately with Die Walküre in 1854. He then began work on the third opera, now called Siegfried, in 1856 but finished only the first two acts before deciding to put the work aside to concentrate on a new idea: Tristan und Isolde.[45]
Wagner had two independent sources of inspiration for Tristan und Isolde. The first came to him in 1854, when his poet friend Georg Herwegh introduced him to the works of the philosopher Arthur Schopenhauer. Wagner would later call this the most important event of his life.[46] His personal circumstances certainly made him an easy convert to what he understood to be Schopenhauer's philosophy, a deeply pessimistic view of the human condition. He would remain an adherent of Schopenhauer for the rest of his life, even after his fortunes improved.[47]
One of Schopenhauer's doctrines was that music held a supreme role in the arts. He claimed that music is the direct expression of the world's essence, which is blind, impulsive will.[48] Wagner quickly embraced this claim, which must have resonated strongly despite its contradiction of his previous view, expressed in "Opera and Drama", that the music in opera had to be subservient to the drama. Wagner scholars have since argued that this Schopenhauerian influence caused Wagner to assign a more commanding role to music in his later operas, including the latter half of the Ring cycle, which he had yet to compose.[49] Many aspects of Schopenhauerian doctrine undoubtedly found their way into Wagner's subsequent libretti. For example, the self-renouncing cobbler-poet Hans Sachs in Die Meistersinger von Nürnberg, generally considered Wagner's most sympathetic character, although based loosely on a historical person, is a quintessentially Schopenhauerian creation.[50]
Wagner's second source of inspiration was the poet-writer Mathilde Wesendonck, the wife of the silk merchant Otto Wesendonck. Wagner met the Wesendoncks in Zurich in 1852. Otto, a fan of Wagner's music, placed a cottage on his estate at Wagner's disposal.[51] During the course of the next five years, the composer was eventually to become infatuated with his patron's wife. Though Mathilde seems to have returned some of his affections, she had no intention of jeopardizing her marriage. Nevertheless, the affair inspired Wagner to put aside his work on the Ring cycle (which would not be resumed for the next twelve years) and began work on Tristan,[52] based on the Arthurian love story Tristan and Iseult. While planning the opera, Wagner composed the Wesendonck Lieder, five songs for voice and piano setting poems by Mathilde. Two of these settings are explicitly subtitled by Wagner as 'studies for Tristan und Isolde '.[53]
The uneasy affair collapsed in 1858, when Minna intercepted a letter from Wagner to Mathilde.[54] However, Wagner continued his correspondence with Mathilde and his friendship with (and support by) her husband Otto. After the resulting confrontation, Wagner left Zurich alone, bound for Venice, where he sojourned in the Palazzo Giustinian.[55] The following year, he once again moved to Paris to oversee production of a new revision of Tannhäuser, staged thanks to the efforts of his patron Princess Pauline von Metternich, whose husband was the Austrian ambassador in Paris. The performances of the Paris Tannhäuser in 1861 were famously a fiasco, brought about not only by the conservative tastes of the Jockey Club, but also by people of influence who wanted to use the occasion as a veiled political protest against the pro-Austrian policies of Napoleon III.[56] The work was withdrawn after the third performance and Wagner left Paris soon after.[57]
The political ban which had been placed on Wagner in Germany after he had fled Dresden was lifted in 1861. The composer settled in Biebrich in Prussia,[58] where he began work on Die Meistersinger von Nürnberg, the idea for which had come during a visit he had made to Venice with the Wesendoncks.[59] Despite the failure of Tannhäuser in Paris, the possibility that Der Ring des Nibelungen would never be finished, and Wagner's unhappy personal life at the time of writing it, this opera is his only mature comedy.
Between 1861 and 1864 Wagner tried to have Tristan und Isolde produced in Vienna.[60] Despite numerous rehearsals, the opera remained unperformed, and gained a reputation as being "impossible", which further added to Wagner's financial woes.[61]
In 1862, Wagner finally parted from Minna,[62] though he (or at least his creditors) continued to support her financially until her death in 1866. He claimed to be unable to travel to her funeral due to an "inflamed finger".[63]
Patronage of King Ludwig II[link]
Wagner's fortunes took a dramatic upturn in 1864, when King Ludwig II succeeded to the throne of Bavaria at the age of 18. The young king, an ardent admirer of Wagner's operas since childhood, had the composer brought to Munich.[64] He settled Wagner's considerable debts,[65] and proposed to stage Tristan, Die Meistersinger, the Ring, and the other operas Wagner planned.[66] Wagner also began to dictate his autobiography, Mein Leben, at the King's request.[67] To Wagner, it seemed significant that his rescue by Ludwig coincided with his learning the news of the death of his supposed enemy Giacomo Meyerbeer, noting ungratefully that "this operatic master, who had done me so much harm, should not have lived to see this day".[68]
After grave difficulties in rehearsal, Tristan und Isolde premiered at the National Theatre in Munich on 10 June 1865, the first Wagner premiere in almost 15 years. (The premiere had been scheduled for 15 May, but had been delayed by bailiffs acting for Wagner's creditors;[69] and also because the Isolde, Malvina Schnorr von Carolsfeld, was hoarse and needed time to recover). The conductor of this premiere was Hans von Bülow, whose wife Cosima had given birth in April that year to a daughter, named Isolde, the child not of von Bülow but of Wagner.[70]
Cosima was 24 years younger than Wagner and was herself illegitimate, the daughter of the Countess Marie d'Agoult, who had left her husband for Franz Liszt.[71] Liszt disapproved of his daughter seeing Wagner, though the two men were friends.[72] The indiscreet affair scandalized Munich, and to make matters worse, Wagner fell into disfavour among members of the court, who were suspicious of his influence on the king. In December 1865, Ludwig was finally forced to ask the composer to leave Munich.[73] He apparently also toyed with the idea of abdicating in order to follow his hero into exile, but Wagner quickly dissuaded him.[74]
Ludwig installed Wagner at the Villa Tribschen, beside Switzerland's Lake Lucerne.[75] Die Meistersinger was completed at Tribschen in 1867, and premièred in Munich on 21 June the following year.[76] In October, Cosima finally convinced Hans von Bülow to grant her a divorce, but this did not materialize until after she had two more children with Wagner; another daughter, named Eva, after the heroine of Meistersinger, and a son Siegfried, named for the hero of the Ring. Minna Wagner had died the previous year and so Richard and Cosima were now able to marry. The wedding took place on 25 August 1870.[77] On Christmas Day of that year, Wagner arranged a surprise performance of the Siegfried Idyll for Cosima's birthday.[78] The marriage to Cosima lasted to the end of Wagner's life.
Bayreuth[link]
Wagner, settled into his newfound domesticity, turned his energies toward completing the Ring cycle. At Ludwig's insistence, "special previews" of the first two works of the cycle, Das Rheingold and Die Walküre, were performed at Munich in 1869 and 1870,[79] but Wagner wanted the complete cycle to be performed in a new, specially designed opera house.
In 1871, he decided on the small town of Bayreuth as the location of his new opera house.[80] The Wagners moved there the following year, and the foundation stone for the Bayreuth Festspielhaus ("Festival Theatre") was laid.[81] In order to raise funds for the construction, "Wagner Societies" were formed in several cities,[82] and Wagner himself began touring Germany conducting concerts.[83] However, sufficient funds were raised only after King Ludwig stepped in with another large grant in 1874.[84] Later that year, the Wagners moved into their permanent home at Bayreuth, a villa that Richard dubbed Wahnfried ("Peace/freedom from delusion/madness", in German).[85] The expenses of Bayreuth and of Wahnfried, however, meant that Wagner still sought other sources of income by conducting or taking on commissions like the Centennial March for America.[86]
The Festspielhaus finally opened on 13 August 1876 with Das Rheingold, now taking its place as the first evening of the premiere of the complete Ring cycle,[87] and has continued to be the site of the Bayreuth Festival ever since; the Festival has been overseen since 1973 by the Richard-Wagner-Stiftung (Richard Wagner Foundation), the members of which include a number of Wagner's descendants.[88]
Last years[link]
Following the first Bayreuth Festival, Wagner began work on Parsifal, his final opera. The composition took four years, much of which Wagner spent in Italy for health reasons.[89] During this period he also wrote a series of essays, including some reactionary writings on religion and art which recanted his earlier views. Many of these—including "Religion and Art" (1880) and "Hero-dom and Christendom" (1881)[90]—appeared in the journal Bayreuther Blätter,[91] founded in 1880 by Wagner and Hans von Wolzogen for Wagnerite visitors to Bayreuth.[92]
Wagner completed Parsifal in January 1882, and a second Bayreuth Festival was held for the new opera, which was premiered on 26 May.[93] Wagner was by this time extremely ill, having suffered through a series of increasingly severe angina attacks.[94] During the sixteenth and final performance of Parsifal on 29 August, he secretly entered the pit during Act III, took the baton from conductor Hermann Levi, and led the performance to its conclusion.[95]
After the Festival, the Wagner family journeyed to Venice for the winter. Wagner died of a heart attack at the age of 69 on 13 February 1883 at Ca' Vendramin Calergi, a 16th century palazzo on the Grand Canal.[96] Franz Liszt's two pieces for piano solo entitled La lugubre gondola evoke the passing of a black-shrouded funerary gondola bearing Richard Wagner's remains over the Grand Canal.[97] Wagner was buried in the garden of the Villa Wahnfried in Bayreuth.[98]
Works[link]
Opera[link]
Wagner's operatic works are his primary artistic legacy.
Unlike other opera composers, who generally left the task of writing the libretto (the text and lyrics) to others, Wagner wrote his own libretti, which he referred to as "poems".[99] Further, Wagner developed a compositional style in which the orchestra's role is equal to that of the singers. The orchestra's dramatic role, in the later operas, includes the use of leitmotivs, musical themes that can be interpreted as announcing specific characters, locales, and plot elements; their complex interweaving and evolution illuminates the progression of the drama.[100] Ultimately he urged a new concept of opera often referred to as "music drama", (although he did not use or sanction this term himself)[101] in which all musical poetic and dramatic elements were to be fused together—the Gesamtkunstwerk.[102]
Wagner's operas are typically characterized as belonging to three chronological periods.
Early stage (to 1842)[link]
Wagner's first attempt at an opera, at the age of 17, was Die Laune des Verliebten.[18] This was abandoned at an early stage of composition, as was Die Hochzeit (The Wedding), on which Wagner worked in 1832.[18] Wagner then completed Die Feen (The Fairies, 1833, unperformed in the composer's lifetime)[20] and Das Liebesverbot (The Ban on Love, 1836, taken off after its first performance),[22] before working on the aborted singspiel Männerlist grösser als Frauenlist (Men's cunning greater than women's).[18] This was followed by Rienzi (1842), Wagner's first opera to be successfully staged.[103] The compositional style of these early works was conventional—the relatively more sophisticated Rienzi showing the clear influence of Meyerbeerean Grand Opera—and did not exhibit the innovations that would mark Wagner's place in musical history. Later in life, Wagner said that he did not consider these immature works to be part of his oeuvre, and none of them have ever been performed at the Wagnerian Bayreuth Festival.[104] These works have been only rarely revived in the last hundred years, although the overture to Rienzi is an occasional concert piece.
Middle stage (1843–51)[link]
Wagner's middle stage output begins to show the deepening of his powers as a dramatist and composer. This period began with Der fliegende Holländer (1843) (The Flying Dutchman), followed by Tannhäuser (1845) and Lohengrin (1850). These three operas reinforced the reputation among the public in Germany and beyond that Wagner had begun to establish for himself with Rienzi. However, during his exile following the 1849 May Uprising in Dresden he began to reconsider his entire concept of opera and eventually decided, as explained during a series of essays between 1849 and 1852, that these operas did not represent what he hoped to achieve.[105] In his essay A Communication to My Friends (1851), intended as a preface to the printed libretti of the Dutchman, Tannhäuser and Lohengrin, Wagner (to the confusion of many of his friends, since at that time Lohengrin had not even been staged) effectively disowned these operas and declared his intention to strike out in new directions.
I shall never write an Opera more. As I have no wish to invent an arbitrary title for my works, I will call them Dramas [...] I propose to produce my myth in three complete dramas, preceded by a lengthy Prelude (Vorspiel). [...] At a specially-appointed Festival, I propose, some future time, to produce those three Dramas with their Prelude, in the course of three days and a fore-evening. The object of this production I shall consider thoroughly attained, if I and my artistic comrades, the actual performers, shall within these four evenings succeed in artistically conveying my purpose to the true Emotional (not the Critical) Understanding of spectators who shall have gathered together expressly to learn it. [...][106]
Wagner later reconciled himself to the works of this period, though he reworked both Dutchman and Tannhäuser on several occasions.[107] The three operas are the earliest works included into the Bayreuth canon, the list of mature operas which Cosima put on at the Bayreuth Festival after Wagner's death in accordance with his wishes.[108] They continue to be regularly performed today and have been frequently recorded. They show increasing mastery in stagecraft, orchestration and atmosphere.[109]
Late stage (1851–1882)[link]
[edit] Starting the Ring
Main articles: Der Ring des Nibelungen, Der Ring des Nibelungen: Composition of the music and Der Ring des Nibelungen: Composition of the poem
Wagner's late dramas are considered his masterpieces. Der Ring des Nibelungen, commonly referred to as the Ring cycle, is a set of four operas based loosely on figures and elements of Germanic mythology—particularly from the later Norse mythology—notably the Old Norse Poetic Edda and Volsunga Saga, and the Middle High German Nibelungenlied.[110] They were also influenced by Wagner's concepts of ancient Greek drama, in which tetralogies were a component of Athenian festivals, and which he had amply discussed in his essay "Oper und Drama"[111]
The first two components of the Ring cycle were Das Rheingold (The Rhinegold) (completed 1854) and Die Walküre (The Valkyrie) (completed 1856). In Das Rheingold, with its "relentlessly talky "realism" [and] the absence of lyrical "numbers" ",[112] Wagner came very close to the pure musical ideals of his 1849–51 essays. Die Walküre, with Siegmund's almost full-blown aria (Winterstürme) in the first act, and the quasi-choral appearance of the Valkyries themselves, shows more 'operatic' traits, but has been assessed as "the music drama that most satisfactorily embodies the theoretical principles of "Oper und Drama". A thoroughgoing synthesis of poetry and music is achieved without any notable sacrifice in musical expression".[113]
[edit] Tristan und Isolde and Die Meistersinger
While still composing the Ring, (leaving the third Ring opera Siegfried uncompleted for the while), Wagner paused between 1857 and 1864 to compose the tragic love story Tristan und Isolde and his only mature comedy Die Meistersinger von Nürnberg (The Mastersingers of Nuremberg), two works which are also part of the regular operatic canon.[114]
Tristan und Isolde uses a story line deriving from the poem Tristan und Isolt by the 13th century poet Gottfried von Strassburg. Wagner noted that "its all-pervading tragedy […] impressed me so deeply that I felt convinced it should stand out in bold relief, regardless of minor details." This impact, together with his discovery of the philosophy of Schopenhauer in October 1854, led Wagner to find himself in a "serious mood created by Schopenhauer, which was trying to find ecstatic expression. It was some such mood that inspired the conception of a Tristan und Isolde."[115] Wagner half-parodied the powerful erotic atmosphere of the opera in a letter to Mathilde Wesendonck:
Child! This Tristan is turning into something terrible. This final act!!! – I fear the opera will be banned […] only mediocre performances can save me! Perfectly good ones will be bound to drive people mad.[116]
The work was first performed in Munich on 10 June 1865, conducted by Hans von Bülow.
Tristan is often granted a special place in musical history. It has been described as "fifty years ahead of its time" because of its chromaticism, long-held discords, unusual orchestral colouring and harmony, and use of polyphony.[117] Wagner himself felt that his musico-dramatical theories were most perfectly realised in this work with its use of "the art of transition" between dramatic elements and the balance achieved between vocal and orchestral lines.[117]
Die Meistersinger was originally conceived by Wagner in 1845 as a sort of comic pendant to Tannhäuser.[118] It was first performed in Munich, again under the baton of Bülow, on 21 June 1868, its accessibility making it an immediate success. It is "a rich, perceptive music drama widely admired for its warm humanity";[119] but because of its strong German nationalist overtones, it is also held up by some as an example of Wagner's reactionary politics and antisemitism.[120]
[edit] Completing the Ring
When Wagner returned, with the added experience of composing Tristan and Die Meistersinger, to write the music for the last act of Siegfried and for Götterdämmerung (Twilight of the Gods), as the final part of the Ring was eventually called, his style had changed once again to one more recognisable as 'operatic' (though thoroughly stamped with his own originality as a composer, and suffused with leitmotivs) than the aural world of Rheingold and Walküre.[121] This was in part because the libretti of the four 'Ring' operas had been written in reverse order, so that the book for Götterdämmerung was conceived more 'traditionally' than that of Rheingold;[122] still, the self-imposed strictures of the Gesamtkunstwerk had become relaxed. As George Bernard Shaw sardonically (and slightly unfairly)[123] noted,
- And now, O Nibelungen Spectator, pluck up; for all allegories come to an end somewhere[...] The rest of what you are going to see is opera, and nothing but opera. Before many bars have been played, Siegfried and the wakened Brynhild, newly become tenor and soprano, will sing a concerted cadenza; plunge on from that to a magnificent love duet[...]The work which follows, entitled Night Falls On The Gods [Shaw's translation of Götterdämmerung], is a thorough grand opera.[124]
However, the differences are also because of Wagner's development as a composer during the period in which he composed Tristan, Meistersinger and also the Paris version of Tannhäuser.[125] From Act III of Siegfried onwards, the Ring becomes chromatic, and both harmonically more complex and more developmental in its treatment of leitmotifs.[126] Having taken 26 years from the first draft of a libretto in 1848 until the completion of Götterdämmerung in 1874, the Ring represents in all about 15 hours of performance, the only undertaking of such size to be regularly represented on the world's stages.[127]
[edit] Parsifal
Wagner's final opera, Parsifal (1882), which was his only work written especially for his Festspielhaus in Bayreuth and which is described in the score as a "Bühnenweihfestspiel" (festival play for the consecration of the stage), has a storyline suggested by elements of the legend of the Holy Grail. It also however carries elements of Buddhist renunciation suggested by Wagner's readings of Schopenhauer.[128] Wagner described it to Cosima as his "last card".[129] The composer's treatment of Christianity in the opera, its eroticism, and its supposed relationship to ideas of German nationalism (and of antisemitism) have continued to render it controversial for non-musical reasons.[130] However, musically it has been held to represent a continuing development of the composer's style, with "a diaphanous score of unearthly beauty and refinement".[131]
Non-operatic music[link]
Apart from his operas, Wagner composed relatively few pieces of music. These include a single symphony (written at the age of 19), a Faust Overture (the only completed part of an intended symphony on the subject), and some overtures, choral and piano pieces.[132] His most commonly performed work not drawn from an opera is the Siegfried Idyll, a piece for chamber orchestra written for the birthday of his second wife, Cosima. The Idyll draws on several motifs from the Ring cycle, though it is not part of the Ring.[133] Also performed are the Wesendonck Lieder for voice and piano, properly known as Five Songs for a Female Voice, which were composed for Mathilde Wesendonck while Wagner was working on Tristan.[53] An oddity is the American Centennial March of 1876, commissioned by the city of Philadelphia (on the recommendation of conductor Theodore Thomas, who was subsequently very disappointed with the work when it arrived) for the opening of the Centennial Exposition, for which Wagner was paid $5,000.[134]
The rarely performed Das Liebesmahl der Apostel (The Love Feast of the Apostles) is a piece for male choruses and orchestra, composed in 1843. Wagner, who had been elected at the beginning of the year to the committee of a cultural association in the city of Dresden, received a commission to evoke the theme of Pentecost. The premiere took place at the Dresdner Frauenkirche on 6 July 1843, and was performed by around a hundred musicians and almost 1,200 singers. The concert was very well received.[135]
After completing Parsifal, Wagner expressed his intention to turn to the writing of symphonies,[136] and several sketches dating from the late 1870s and early 1880s have been identified as work toward this end.[137]
The overtures and orchestral passages from Wagner's middle and late-stage operas are commonly played as concert pieces. For most of these, Wagner wrote short passages to conclude the excerpt so that it does not end abruptly. Another familiar extract is the "Bridal Chorus" from Lohengrin, frequently played as the bride's processional wedding march in English-speaking countries.[138]
Writings[link]
See also: Category:Essays by Richard Wagner
Wagner was an extremely prolific writer, authoring hundreds of books, poems, and articles, as well as voluminous correspondence, throughout his life. His writings covered a wide range of topics, including politics, philosophy, and detailed analyses of his own operas. Essays of note include "Art and Revolution" (1849), "Opera and Drama" (1851), an essay on the theory of opera, and "Das Judenthum in der Musik" ("Jewishness in Music", 1850), a polemic directed against Jewish composers in general, and Giacomo Meyerbeer in particular. He also wrote various autobiographical works, including "My Life" (1880). In his later years Wagner became a vociferous opponent of experimentation on animals and in 1879 he published an open letter, "Against Vivisection", in support of the animal rights activist Ernst von Weber.[139]
There have been several editions of Wagner's writings, including a centennial edition in German edited by Dieter Borchmeyer (which however omitted the essay "Das Judenthum in der Musik")[140] The English translations of Wagner's prose in 8 volumes by W. Ashton Ellis, (1892–99), are still in print and commonly used, despite their deficiencies.[141] A complete edition of Wagner's correspondence, (estimated to amount to between 10,000 and 12,000 surviving items), of which the first volume appeared in 1967, is still under way.[142]
Influence and legacy[link]
Influence on music[link]
Wagner's later musical style, with its unprecedented exploration of emotional expression, introduced new ideas in harmony, melodic process (leitmotiv) and operatic structure. Notably from Tristan und Isolde onwards, he explored the limits of the traditional tonal system that gave keys and chords their identity, pointing the way to atonality in the 20th century. Some music historians date the beginning of modern classical music to the first notes of Tristan, the so-called Tristan chord.[143][144]
In his lifetime, and for some years after, Wagner inspired fanatical devotion. For a long period, many composers were inclined to align themselves with or against Wagner's music. Anton Bruckner and Hugo Wolf were indebted to him especially, as were César Franck, Henri Duparc, Ernest Chausson, Jules Massenet, Richard Strauss, Alexander von Zemlinsky, Hans Pfitzner and dozens of others.[145] Gustav Mahler said, "There was only Beethoven and Richard [Wagner] – and after them, nobody". The twentieth century harmonic revolutions of Claude Debussy and Arnold Schoenberg (tonal and atonal modernism, respectively) have often been traced back to Tristan and Parsifal.[146] The Italian form of operatic realism known as verismo owed much to Wagnerian reconstruction of musical form.[147]
Wagner made a major contribution to the principles and practice of conducting. His essay "About Conducting" (1869)[148] advanced the earlier work of Hector Berlioz and proposed that conducting was a means by which a musical work could be re-interpreted, rather than simply a mechanism for achieving orchestral unison. He exemplified this approach in his own conducting, which was significantly more flexible than the disciplined approach of Mendelssohn; in his view this also justified practices which would today be frowned upon, such as the rewriting of scores.[149] Wilhelm Furtwängler felt that Wagner and von Bülow, through their interpretative approach, inspired a whole new generation of conductors (including Furtwängler himself).[150]
Influence on literature, philosophy and the visual arts[link]
Wagner's influence on literature and philosophy is significant.
[Wagner's] protean abundance meant that he could inspire the use of literary motif in many a novel employing interior monologue; [...] the Symbolists saw him as a mystic hierophant; the Decadents found many a frisson in his work.[151]
Friedrich Nietzsche was part of Wagner's inner circle during the early 1870s, and his first published work The Birth of Tragedy proposed Wagner's music as the Dionysian rebirth of European culture in opposition to Apollonian rationalist decadence. Nietzsche broke with Wagner following the first Bayreuth Festival, believing that Wagner's final phase represented a pandering to Christian pieties and a surrender to the new German Reich. Nietzsche expressed his displeasure with the later Wagner in "The Case of Wagner" and "Nietzsche contra Wagner".[152]
Charles Baudelaire, Stéphane Mallarmé and Paul Verlaine worshipped Wagner.[153] Edouard Dujardin, whose influential novel Les lauriers sont coupés is in the form of an interior monologue inspired by Wagnerian music, founded a journal dedicated to Wagner, La Revue Wagnérienne, to which J. K. Huysmans and Téodor de Wyzewa contributed.[154]
In the twentieth century, W. H. Auden once called Wagner "perhaps the greatest genius that ever lived",[155] while Thomas Mann[152] and Marcel Proust[156] were heavily influenced by him and discussed Wagner in their novels. He is discussed in some of the works of James Joyce.[157] Wagnerian themes inhabit T. S. Eliot's The Waste Land, which contains lines from Tristan und Isolde and Götterdämmerung and Verlaine's poem on Parsifal.[158] Many of Wagner's concepts, including his speculation about dreams, predated their investigation by Sigmund Freud.[159] Wagner had publicly analysed the Oedipus myth before Freud was born in terms of its psychological significance, insisting that incestuous desires are natural and normal, and perceptively exhibiting the relationship between sexuality and anxiety. [160]. George Groddeck considered the Ring as the first manual of psychoanalysis [161] In a long list of other major cultural figures influenced by Wagner, Bryan Magee includes D. H. Lawrence, Aubrey Beardsley, Romain Rolland, Gérard de Nerval, Pierre-Auguste Renoir, Rainer Maria Rilke and numerous others.[162]
Opponents and supporters[link]
Not all reaction to Wagner was positive. For a time, German musical life divided into two factions, Wagner's supporters and those of Johannes Brahms; the latter, with the support of the powerful critic Eduard Hanslick (of whom Beckmesser in Meistersinger is in part a caricature) championed traditional forms and led the conservative front against Wagnerian innovations.[163] They were supported by the conservative leanings of some German music schools, including the Conservatory at Leipzig under Ignaz Moscheles and that at Cologne under the direction of Ferdinand Hiller.[164] Even those who, like Debussy, opposed him ("that old poisoner") could not deny Wagner's influence. Indeed, Debussy was one of many composers, including Tchaikovsky, who felt the need to break with Wagner precisely because his influence was so unmistakable and overwhelming. 'Golliwogg's Cakewalk' from Debussy's Children's Corner piano suite contains a deliberately tongue-in-cheek quotation from the opening bars of Tristan. Others who resisted Wagner's attraction included Gioachino Rossini ("Wagner has wonderful moments, and dreadful quarters of an hour").[165] In the 20th century Wagner's music was parodied by, among others Paul Hindemith and Hans Eisler.[166]
Wagner's followers (known as Wagnerians or Wagnerites)[167] have formed many Societies dedicated to the life, works, and operas of Wagner. Societies include: The Toronto Wagner Society, the Wagner Society of New York, the Wagner Society of the United Kingdom, The Wagner Society of New Zealand, The Wagner Society of Northern California, etc.
Theatre design and practice[link]
Wagner was responsible for several theatrical innovations developed at the Bayreuth Festspielhaus (for the design of which he appropriated some of the ideas of his former colleague, Gottfried Semper, which he had solicited for a proposed new opera house at Munich).[168] These innovations include darkening the auditorium during performances, and placing the orchestra in a pit out of view of the audience.[169]
Influence on film[link]
Wagner's concept of the use of leitmotifs and integrated musical expression has been an influence on many 20th and 21st century film scores. The critic Theodor Adorno has noted that the Wagnerian leitmotif "leads directly to cinema music where the sole function of the leitmotiv is to announce heroes or situations so as to allow the audience to orient itself more easily".[170] Some film scores have used Wagnerian themes (e.g. Francis Ford Coppola's Apocalypse Now which features a version of the Ride of the Valkyrie). Most of Trevor Jones's soundtrack to John Boorman's Arthurian film Excalibur is from Wagner's operas.[171] The 2011 films A Dangerous Method (dir. David Cronenberg) and Melancholia (dir. Lars von Trier) both utilise music by Wagner.[172]
Wagner has also been the subject of many biographical films. (See article List of films about Richard Wagner).
Influence on popular music[link]
The rock composer Jim Steinman created what he called Wagnerian Rock. Heavy metal music is also said by some to show the influence of Wagner (as well as other classical composers). In Germany Rammstein and Joachim Witt who has named three of his albums Bayreuth, claim inspiration from Wagner's music. German electronic composer Klaus Schulze dedicated his 1975 album Timewind to Wagner's death (two 30-min tracks, "Bayreuth Return" and "Wahnfried 1883"). He also used the alias Richard Wahnfried for a part of his discography. Slovenian avant-garde group Laibach created the sonic suite VolksWagner in 2009 in collaboration with the Slovenian Radio Symphony Orchestra and composer-conductor Izidor Leitinger, using material from Tannhäuser, the Siegfried Idyll and The Ride of the Valkyries. Phil Spector's wall of sound recording technique was, it has been claimed, heavily influenced by Wagner.[173]
Film and stage portrayals[link]
Main article: List of films about Richard Wagner
Several of the film portrayals of Richard Wagner include: Alan Badel in Magic Fire (1955); Lyndon Brook in Song Without End (1960); Trevor Howard in Ludwig (1972); Paul Nicholas in Lisztomania (1975); and Richard Burton in Wagner (1983).
Jonathan Harvey's opera, Wagner Dream (2007), interwines the events surrounding Wagner's death with the story of Wagner's uncompleted opera sketch Die Sieger (The Victors).
Controversies[link]
Main article: Wagner controversies
Wagner's operas, writings, his politics, beliefs and unorthodox lifestyle made him a controversial figure during his lifetime. Following Wagner's death, the debate about his ideas and their interpretation, particularly in Germany during the 20th century, continued to make him politically and socially controversial in a way that other great composers are not. Much heat is generated by Wagner's comments on Jews, which continue to influence the way that his works are regarded, and by the essays he wrote on the nature of race from 1850 onwards, and their putative influence on the antisemitism of Adolf Hitler.
Racism and antisemitism[link]
Wagner's writings on race and against Jews[174] reflected some trends of thought in Germany during the 19th century.
Under a pseudonym in the Neue Zeitschrift für Musik, Wagner published the essay "Das Judenthum in der Musik" in 1850 (originally translated as "Judaism in Music", by which name it is still known, but better rendered as "Jewishness in Music"). The essay attacked Jewish contemporaries (and rivals) Felix Mendelssohn and Giacomo Meyerbeer, and accused Jews of being a harmful and alien element in German culture. Wagner stated the German people were repelled by Jews' alien appearance and behaviour: "with all our speaking and writing in favour of the Jews' emancipation, we always felt instinctively repelled by any actual, operative contact with them." He argued that because Jews had no connection to the German spirit, Jewish musicians were only capable of producing shallow and artificial music. They therefore composed music to achieve popularity and, thereby, financial success, as opposed to creating genuine works of art.[175] Wagner republished the pamphlet under his own name in 1869, with an extended introduction, leading to several public protests at the first performances of Die Meistersinger. He repeated similar views in later articles, such as "What is German?" (1878, but based on a draft written in the 1860s).[176]
Some biographers[177] have suggested that antisemitic stereotypes are also represented in Wagner's operas. The characters of Mime in the Ring, Sixtus Beckmesser in Die Meistersinger, and Klingsor in Parsifal are sometimes claimed as Jewish representations, though they are not explicitly identified as such in the libretto. Moreover, in all of Wagner's many writings about his works, there is no mention of an intention to caricature Jews in his operas; nor does any such notion appear in the diaries written by Cosima Wagner, which record his views on a daily basis over a period of eight years.[178]
Despite his very public views on Jews, throughout his life Wagner had Jewish friends, colleagues and supporters.[179] In his autobiography, Mein Leben, Wagner mentions many friendships with Jews, referring to that with Samuel Lehrs in Paris as "one of the most beautiful friendships of my life."[180]
The topic of Wagner and the Jews is further complicated by allegations, which may have been credited by Wagner himself, that he himself was of Jewish ancestry, via his supposed father Geyer.[181] In reality, Geyer was not of Jewish descent, nor were either of Wagner's official parents. References to Wagner's supposed 'Jewishness' were made frequently in cartoons of the composer in the 1870s and 1880s, and more explicitly by Friedrich Nietzsche in his essay "The Wagner Case", where he wrote "a Geyer [vulture] is almost an Adler [eagle]".[182] (Both 'Geyer' and 'Adler' were common Jewish surnames.)
Some biographers have asserted that Wagner in his final years came to believe in the racialist philosophy of Arthur de Gobineau, and according to Robert Gutman, this is reflected in the opera Parsifal.[183] Other biographers such as Lucy Beckett[184] believe that this is not true. Wagner showed no significant interest in Gobineau until 1880, when he read Gobineau's "An Essay on the Inequality of the Human Races".[185] Wagner had completed the libretto for Parsifal by 1877, and the original drafts of the story date back to 1857. Wagner's writings of his last years indicate some interest in Gobineau's idea that Western society was doomed because of miscegenation between "superior" and "inferior" races.[186]
Other interpretations[link]
Wagner's ideas were amenable to socialist interpretations, which is not surprising given the composer's revolutionary inclinations in the 1840s, when many of his ideas on art were being formulated. Thus for example, George Bernard Shaw wrote in The Perfect Wagnerite (1883):
[Wagner's] picture of Niblunghome [Shaw's anglicization of Nibelheim, the empire of Alberich in the Ring Cycle] under the reign of Alberic is a poetic vision of unregulated industrial capitalism as it was made known in Germany in the middle of the nineteenth century by Engels's Condition of the Laboring Classes in England [187]
Left-wing interpretations of Wagner also inform the writings of Theodor Adorno amongst other Wagner critics.[188] Walter Benjamin gave Wagner as an example of "bourgeois false consciousness", alienating art from its social context.[189]
The writer Robert Donington has produced a detailed, if controversial, Jungian interpretation of the Ring cycle. Others have also applied psychoanalytical techniques to Wagner's life and works.[190]
Others have sought to place Wagner's work in a more generalised sociohistoric framework. For example, Ehrhard Bahr suggests that 'Wagner provided the middle class with a medium to transfer its familial and political conflicts into a myth of supposedly common Germanic past'.[191]
Nazi appropriation[link]
Adolf Hitler was an admirer of Wagner's music and saw in his operas an embodiment of his own vision of the German nation. There continues to be debate about the extent to which Wagner's views might have influenced Nazi thinking.[192] The Nazis used those parts of Wagner's thought that were useful for propaganda and ignored or suppressed the rest.[193] Although Hitler himself was an ardent fan of "the Master", many in the Nazi hierarchy were not and, according to the historian Richard Carr, resented attending these lengthy epics at Hitler's insistence.[194]
There are claims that music of Wagner was used at the Dachau concentration camp in 1933/4 to 'reeducate' political prisoners by exposure to 'national music'.[195] However there seems to be no evidence to support claims, sometimes made,[196] that his music was played at Nazi death camps during the Second World War.[197]
Because of the associations of Wagner with antisemitism and Nazism, the performance of his music in the State of Israel has been a source of controversy.[198]
References[link]
- Notes
- ^ Wagner (1992) 3
- ^ Newman (1976) I, 12
- ^ Newman (1976) I, 6
- ^ Guttman (1990), p. 7 and n.
- ^ Newman (1976) I, 9
- ^ Wagner (1992) 5
- ^ Newman (1976) I, 32–33
- ^ Newman (1976) I, 45–55
- ^ Wagner (1992) 25–27. This sketch is referred to alternatively as Leubald und Adelaide.
- ^ Newman (1976) I, 63, 71
- ^ Wagner (1992) 35–36
- ^ Newman (1976) I, 62
- ^ Newman (1976) I, 76–77
- ^ Millington (1992) 133
- ^ Newman (1976) I, 85–86
- ^ Millington (1992) 309
- ^ Newman (1976) I, 95
- ^ a b c d Millington (1992) 321
- ^ Newman (1976) I, 98
- ^ a b Millington (1992) 271–273
- ^ Newman (1976) I, 173
- ^ a b Millington (1992) 273–274
- ^ Newman (1976) I, 212
- ^ Newman (1976) I, 214
- ^ Newman (1976) I, 226–227
- ^ Newman (1976) I, 217
- ^ Newman (1976) I, 229
- ^ Newman (1976) I, 242–243
- ^ Millington (1992) 116–118
- ^ Newman (1976) I, 249–250
- ^ Millington (1992) 277
- ^ Newman (1976) I, 268–324
- ^ Wagner (1994c) 19
- ^ Newman (1976) I, 316
- ^ Millington (1992) 274
- ^ Newman (1976) I, 325–509
- ^ Millington (1992) 276
- ^ Millington (1992) 279
- ^ Millington (1992) 31
- ^ Millington (1992) 140
- ^ Wagner (1992) 417–420. Röckel and Bakunin failed to escape and endured long terms of imprisonment.
- ^ Wagner (1987) 199 Letter of 21 April 1850
- ^ Millington (1992) 297
- ^ Newman (1976) II, 137–138. Gutman records him as suffering from constipation and shingles (Gutman (1990) 142).
- ^ Millington (1992) 289, 294, 300
- ^ Wagner (1992) 508–510. Others agree on the profound importance of this work to Wagner – see Magee (2000) 133–134.
- ^ See e.g. Magee (2000) 276–278.
- ^ Magee (1988) 77–78
- ^ See e.g. Dahlhaus (1979).
- ^ Magee (2000) 251–253. Schopenhauer asserted that goodness and salvation result from renunciation of the world and turning against and denying one's own will.
- ^ Gutman (1990) 168–169
- ^ Millington (undated a)
- ^ a b Millington (1992) 318
- ^ Newman (1976) II, 540–542.
- ^ Newman (1976) II, 559–567
- ^ Deathridge (1984)
- ^ Gregor-Dellin (1983) 315–320
- ^ Gregor-Dellin (1983) 293–303
- ^ Wagner (1992) 667
- ^ Gregor-Dellin (1983) 321–330
- ^ Newman (1976) III, 147–148
- ^ Gutman (1990) 215–216
- ^ Gutman (1990) 262
- ^ Newman (1976) III, 212–220
- ^ Gregor-Dellin (1983) 339
- ^ Gregor-Dellin (1983) 346
- ^ Wagner (1992) 741
- ^ Wagner (1992) 739
- ^ Gregor-Dellin (1983) 354
- ^ Newman (1976) III, 366
- ^ Millington (1992) 32–33
- ^ Newman (1976) III, 530
- ^ Newman (1976) III, 499–501
- ^ Newman (1976) III, 538–539
- ^ Newman (1976) III, 518–519
- ^ Millington (1992) 301
- ^ Millington (1992) 17
- ^ Millington (1992) 311; Cosima's birthday was 24 December, but she usually celebrated it on Christmas Day
- ^ Millington (1992) 287, 290
- ^ Gregor-Dellin (1983) 400
- ^ Gregor-Dellin (1983) 411
- ^ Newman (1976) IV, 392–393
- ^ Gregor-Dellin (1983) 409–418
- ^ Gregor-Dellin (1983) 418–419
- ^ Gregor-Dellin (1983) 419
- ^ Gregor-Dellin (1983) 422
- ^ Millington (1992) 287
- ^ Statutes of the Foundation (in German) at Bayreuth Festival website.
- ^ Millington (1992) 18
- ^ Wagner (1994a) 211–273, 274–284
- ^ Millington (1992) 331–332
- ^ Millington (1992) 409
- ^ Millington (1992) 19
- ^ Gutman (1990) 414–417
- ^ Newman (1976) IV, 692
- ^ Newman (1976) IV, 697, 711–712
- ^ Walker (1996) 496–498
- ^ Newman (1976) IV, 714–716
- ^ Millington (1992) 264–268
- ^ Millington (1992) 234–235
- ^ Millington (1992) 236–237
- ^ In his 1872 essay 'On the Designation 'Music Drama', he criticizes the term "music drama" suggesting instead the phrase "deeds of music made visible" (Wagner (1995b) 299–304).
- ^ Millington (1992) 274–276
- ^ Magee (1988) 26
- ^ Westernhagen (1980) 111
- ^ Wagner (1994c) 391 and n.
- ^ For the reworking of Dutchman, see Deathridge (1982) 13, 25; for that of Tannhäuser, see Ashman (1988) 7–8.
- ^ Skelton (2002)
- ^ Westernhagen (1980) 106–107
- ^ See Millington (1992) 286; Donnington (1979) 128–130, 141, 210–212.
- ^ Millington (2008) 74
- ^ Grey (2008) 86
- ^ Millington (undated b)
- ^ Millington (1992) 294, 300, 304
- ^ Wagner (2004) Vol.2 Part III: 1850–1861 (no page numbers)
- ^ Letter of April 1859, quoted Daverio (208) 116
- ^ a b Rose (1981) 15
- ^ McClatchie (2008) 134
- ^ Millington (undated c)
- ^ See e.g. Weiner (1997) 66–72.
- ^ Millington (1992) 294–295
- ^ Millington (1992) 286
- ^ Millington (2008) 80
- ^ Shaw (1898) section: "Back to Opera Again"
- ^ Puffett (1984) 43
- ^ Puffett (1984) 48–49
- ^ Millington (1982) 285
- ^ Millington (1992) 308
- ^ Cosima Wagner, 28 March 1881
- ^ Stanley (2008) 169–175
- ^ Millington (undated d)
- ^ von Westernhagen (1980) 138
- ^ Millington (1992) 311–312
- ^ Overvold (1976) 179–180, 183
- ^ Millington (1992) 314
- ^ von Westernhagen (1980) 111
- ^ Deathridge (2008) 189–205
- ^ Kennedy (1980) 701, Wedding March
- ^ Millington (1992) 174–177
- ^ Wagner (1983)
- ^ Treadwell (2008), 191
- ^ Millington (1982) 190, 412
- ^ Deathridge (2008) 114
- ^ Magee (2000) 208–209
- ^ See articles on these composers in Grove Dictionary of Music and Musicians; also Grey (2008) 222–229 and Deathridge (2008) 231–232.
- ^ Magee (1988) 54; Grey (2008) 228–229
- ^ Grey (2008) 226
- ^ Wagner (1995a) 289–364
- ^ Westrup (1980) 645. See for example Wagner's proposals for the rescoring of Beethoven's Ninth Symphony in his essay on that work (Wagner (1995b) 231–253).
- ^ von Westernhagen (1980) 113
- ^ Millington (1992) 396
- ^ a b Magee (1988) 52
- ^ Magee (1988) 49–50
- ^ Grey (2009) 372–387
- ^ Cited in Magee (1988) 48. Magee however does not cite Auden's further reference to Wagner as 'an absolute shit' (Ross (1998)).
- ^ Painter (1983) 163
- ^ Martin (1992) passim
- ^ Magee (1988) 47
- ^ Horton (1999)
- ^ Magee (2001) p 85
- ^ Picard T (ed) Dictionnaire Encyclopédique Wagner.Actes Sud, Paris 2010 p 759.
- ^ Magee (1988) 47–56
- ^ Millington (1992) 26. See also New German School and War of the Romantics
- ^ Sietz & Wiegandt (undated)
- ^ Letter to Emile Naumann, April 1867, quoted in E. Naumann, Italienische Tondichter (1883) IV, 5.
- ^ Deathridge (2008) 228
- ^ cf. Shaw (1898)
- ^ Spotts (1994) 40
- ^ Spotts (1994) 11
- ^ Adorno (205), 34–36
- ^ Grant (1999)
- ^ Olivia Giovetti, 'Silver Screen Wagner Vies for Oscar Gold', WQXR Operavore blog, 10 December 2011, accessed 15 April 2012.
- ^ Michael Long, Beautiful monsters: imagining the classic in musical media, University of California Press, 2008. p.114.
- ^ See e.g. Katz (1986) and Rose (1996) passim. See also article Wagner controversies.
- ^ Wagner (1994)
- ^ Wagner (1995a) 149–170
- ^ Gutman, Robert (1990)
- ^ See, however, Weiner (1997) for very detailed allegations of anti-Semitism in Wagner's music and characterisations.
- ^ Millington, Barry (Ed.) (1992) 164 and Conway (2012) 198
- ^ Wagner (1992) 171
- ^ Conway (2002)
- ^ Nietzsche (1967) 182
- ^ Gutman, Robert (1990) 418 ff
- ^ Beckett (1981)
- ^ Gutman (1990) 406
- ^ Everett (2008)
- ^ Shaw (1998) Introduction
- ^ See Žižek (2009) viii: '[In this book] for the first time the Marxist reading of a musical work of art [...] was combined with the highest musicological analysis'.
- ^ Millington (2008) 81
- ^ Donington (1979); Millington (2008) 82–83
- ^ [1] Bahr, Ehrhard. "Art and Society in Mann's early novellas" in A companion to the works of Thomas Mann, ed. Prof. Herbert Lehnert, Prof. Eva Wessell: p. 55
- ^ The story that Hitler claimed that, after seeing a performance as a young man of Rienzi, "it all began", has been exposed as "fanciful". See Kershaw (1999) 610.
- ^ However, the story that the Nazis banned Parsifal because of its supposed pacifist qualities is completely without foundation. See Deathridge (2008) 173–174.
- ^ "According to Jonathan Carr, author of the forthcoming book The Wagner Clan, Hitler himself was obsessed by "the Master". But the party faithful were not and had to be dragged to performances at Hitler's insistence" (Higgins (2007)).
- ^ Fackler (2007). See also the Music and the Holocaust website.
- ^ For example, in Walsh (1992).
- ^ See e.g. John (2004) for a detailed essay on music in the Nazi death camps, which however nowhere mentions Wagner. See also Potter (2008) 244: "We know from testimonies that concentration camp orchestras played [all sorts of] music [...] but that Wagner was explicitly off-limits. However, after the war, unsubstantiated claims that Wagner's music accompanied Jews to their death took on momentum".
- ^ See Bruen (1993).
Sources and further reading[link]
Prose works by Wagner[link]
- Wagner, Richard, (ed. Dieter Borchmeyer) (1983) Richard Wagner Dichtungen und Schriften, 10 vols. Frankfurt am Main.
- Wagner, Richard (ed. and trans. Stewart Spencer and Barry Millington) (1987) Selected Letters of Richard Wagner, Dent. ISBN 0-460-04643-8; W. W. Norton and Company ISBN 978-0-393-02500-2.
- Wagner, Richard (trans. Andrew Gray) (1992) My Life, Da Capo Press. ISBN 978-0-306-80481-6 Wagner's sometimes unreliable autobiography, covering his life to 1864, written between 1865 and 1880 and first published privately in German in a small edition between 1870 and 1880. The first (edited) public edition appeared in 1911. Gray's translation is the most comprehensive available.
- Wagner, Richard: Collected Prose Works. tr. W. Ashton Ellis
-
- Wagner, Richard (1994c) Vol. 1 The Artwork of the Future and Other Works, University of Nebraska Press, Lincoln and London. ISBN 978-0-8032-9752-4
- Wagner, Richard (1995d) Vol. 2 Opera and Drama, University of Nebraska Press, Lincoln and London. 1995. ISBN 0-8032-9765-3
- Wagner, Richard (1995c) Vol. 3 Judaism in Music and Other Essays, University of Nebraska Press, Lincoln and London. ISBN 978-0-8032-9766-1
- Wagner, Richard (1995a) Vol. 4 Art and Politics, University of Nebraska Press, Lincoln and London. ISBN 978-0-8032-9774-6
- Wagner, Richard (1995b) Vol. 5 Actors and Singers, University of Nebraska Press, Lincoln and London. ISBN 978-0-8032-9773-9
- Wagner, Richard (1994a) Vol. 6 Religion and Art , University of Nebraska Press, Lincoln and London. ISBN 978-0-8032-9764-7
- Wagner, Richard (1994b) Vol. 7 Pilgrimage to Beethoven and Other Essays, University of Nebraska Press, Lincoln and London. ISBN 978-0-8032-9763-0
- Wagner, Richard (1995c) Vol. 8 Jesus of Nazareth and Other Writings, University of Nebraska Press, Lincoln and London. ISBN 978-0-8032-9780-7
Other sources[link]
- Adorno, Theodor (trans. Rodney Livingstone) (2009) In Search of Wagner Verso Books, London. ISBN 978-1-84467-344-5
- Ashman, Mike (1982) "Tannhäuser – an obsession" in: John, Nicholas (Series Editor) English National Opera/The Royal Opera House Opera Guide 12: Der Fliegende Holländer/The Flying Dutchman, London, John Calder, ISBN 0-7145-3920-1. pp. 7–15.
- Beckett, Lucy (1981) Richard Wagner: Parsifal, Cambridge University Press.
- Borchmeyer, Dieter (2003) "Drama and the World of Richard Wagner", Princeton University Press. ISBN 978-0-691-11497-2
- Bruen, Hanan (1993) Wagner in Israel: A conflict among Aesthetic, Historical, Psychological and Social Considerations, Journal of Aesthetic Education, vol. 27 no. 1 (Spring 1993), pp. 99–103
- Burbidge, Peter and Sutton, Richard (eds.) (1979) "The Wagner Companion", Cambridge University Press. ISBN 978-0-521-29657-1
- Dahlhaus, Carl (trans. Mary Whittall) (1979) Richard Wagner's Music Dramas, Cambridge University Press. ISBN 978-0-521-22397-3
- Conway, David (2002) "'A Vulture is Almost an Eagle'......The Jewishness of Richard Wagner", Jewry in Music, accessed 23 July 2010.
- Conway, David (2011) Jewry in Music: Entry to the Profession from the Enlightenment to Richard Wagner, Cambridge University Press. ISBN 978-1-107-01538-8
- Dallas, Ian (1990) The New Wagnerian, Freiburg Books. ISBN 978-84-404-7475-9
- Daverio, John (2008) Tristan und Isolde: essence and appearance, in Grey (2008) 115–133
- Deathridge, John (1984), The New Grove Wagner, London: Macmillan, ISBN 0-333-36065-6
- Deathridge, John (1982) "An Introduction to The Flying Dutchman" in John, Nicholas (Series Editor) English National Opera/The Royal Opera House Opera Guide 12: Der Fliegende Holländer/The Flying Dutchman, London, John Calder, ISBN 0-7145-3920-1 pp. 13–26.
- Deathridge, John (2008) Wagner Beyond Good and Evil, Berkeley ISBN 978-0-520-25453-4
- Donnington, Robert (1979) Wagner's 'Ring' and its Symbols Faber Paperbacks London ISBN 0-571-04818-8
- Everett, Derrick (2008) "Wagner, Gobineau and Parsifal: Gobineau as the inspiration for Parsifal", http://www.monsalvat.no, version of 26 June 2008, accessed 27 July 2010.
- Fackler, Guido (tr. Peter Logan) (2007) "Music in Concentration Camps 1933–1945", Music and Politics, Volume I, Number 1, (Winter 2007).
- Grant, John (1999) "Excalibur: US movie" in John Clute & John Grant (Eds.) The Encyclopedia of Fantasy, Orbit p. 324. ISBN 1-85723-893-1
- Gregor-Dellin, Martin (1983) Richard Wagner – His Life, His Work, His Century, Harcourt. ISBN 978-0-15-177151-6
- Grey, Thomas S. (ed.) (2008) The Cambridge Companion to Wagner, Cambridge University Press. ISBN 978-0-521-64439-6
- Gutman, Robert W. (1990) Wagner – The Man, His Mind and His Music, Harvest Books. ISBN 978-0-15-677615-8
- Higgins, Charlotte (2007) How the Nazis took flight from Valkyries and Rhinemaidens, The Guardian, 3 July 2007, accessed 28 December 2008.
- Horton, Paul C. (1999) Review of Psychoanalytic Explorations in Music: Second Series ed. Stuart Feder, American Journal of Psychiatry vol. 156 pp. 1109–1110, July 1999, consulted 8 July 2010
- John, Eckhardt (2004) La musique dans la système concentrationnaire nazi, in Le troisième Reich et al. Musique, ed. Pascal Huynh, Paris ISBN 2-213-62135-7
- Katz, Jacob (1986) The Darker Side of Genius: Richard Wagner's Anti-Semitism, Hanover and London. ISBN 0-87451-368-5
- Kennedy, Michael (1980) The Concise Oxford Dictionary of Music, Oxford ISBN 978-0-19-311320-6
- Kershaw, Ian (1999) Hitler 1889–1936: Hubris, Penguin. ISBN 0-14-028898-8
- Laibach (undated) "Laibach presents VolksWagner", www.laibach.nsk.si. (Accessed 23 July 2010)
- Lee, M. Owen (1998) Wagner: The Terrible Man and His Truthful Art, University of Toronto Press. ISBN 978-0-8020-4721-2
- Magee, Bryan (2001) The Tristan Chord: Wagner and Philosophy, Metropolitan Books. ISBN 978-0-8050-7189-4
- Magee, Bryan (1988) Aspects of Wagner, Oxford University Press. ISBN 978-0-19-284012-7
- Magic Circle Music (undated) "Artist biography: Manowar", maciccirclemusic.com, accessed 23 July 2010.
- May, Thomas (2004) Decoding Wagner, Amadeus Press. ISBN 978-1-57467-097-4
- Martin, T. P. (1992) Joyce and Wagner: A Study in Influence, Cambridge , 1992. ISBN 978-0-521-39487-1
- McClatchie, Stephen (2008) Performing Germany in Wagner's 'Die Meistersinger von Nürnberg' ,in Grwy (2008) pp. 134–150
- Millington, Barry (Ed.) (1992) The Wagner Compendium: A Guide to Wagner's Life and Music. Thames and Hudson Ltd., London. ISBN 0-02-871359-1
- Millington, Barry (2008) Der Ring des Nibelungen: conception and interpretation in Grey (2008), 74–84
- Millington, Barry (undated a) "Wesendonck, Mathilde" in Grove Music Online. Oxford Music Online. (Subscription only, accessed 20 July 2010).
- Millington, Barry (undated b) "Walküre, Die." In The New Grove Dictionary of Opera, edited by Stanley Sadie. Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com/subscriber/article/grove/music/O003661 (Subscription only, accessed 23 July 2010).
- Millington, Barry (undated c) "Meistersinger von Nürnberg, Die." In The New Grove Dictionary of Opera, edited by Stanley Sadie. Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com/subscriber/article/grove/music/O003512 (Subscription only, accessed 23 July 2010).
- Millington, Barry (undated d) "Parsifal." In The New Grove Dictionary of Opera, edited by Stanley Sadie. Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com/subscriber/article/grove/music/O002803 (Subscription only, accessed 23 July 2010).
- Newman, Ernest (1933) The Life of Richard Wagner, 4 vols. ISBN 978-0-685-14824-2 (the classic biography, superseded by newer research but still full of many valuable insights)
- Nicholson, Christopher (2007) "Richard and Adolf: Did Richard Wagner incite Adolf Hitler to commit the Holocaust?", Gefen Publishing House. ISBN 978-965-229-360-2
- Nietzsche, Friedrich (trans. Walter Kaufmann) (1967) The Case of Wagner in Nietsche (trans. Kaufmann) The Birth of Tragedy and The Case of Wagner, Random House. ISBN 394 70369-3.
- Overvold, Liselotte Z. (1976) Wagner's American Centennial March: Genesis and Reception, Monatshefte (Univ.of Wisconsin),Vol.68 no.2 (Summer 1976), pp. 179–187
- Painter, George D. (1983) Marcel Proust. Penguin, Harmondsworth ISBN 0-14-006512-1
- Potter, Pamela R. (2008) Wagner and the Third Reich: myths and realities, in The Cambridge Companion to Wagner, ed. Thomas S. Grey, Cambridge University Press. ISBN 978-0-521-64439-6
- Puffett, Derrick (1984) "Siegfried in the Context of Wagner's Operatic Writing", in Siegfried: Opera Guide 28 series ed. Nicholas John, John Calder (Publishers) Ltd. ISBN 0-7145-4040-4
- Rose, John Luke (1981) "A Landmark in Musical History" in Nicholas John (series ed.) Tristan and Isolde: English National Opera Guide 6, John Calder Publisher's Ltd. ISBN 0-7145-3849-3
- Rose, Paul Lawrence (1996) Wagner:Race and Revolution, London ISBN 0-571-17888-X
- Ross, Alex (1998) The Unforgiven: Wagner and Hitler" in The New Yorker, 10 August 1998. Copy on author's website used. Link accessed 10 July 2010.
- Runciman, J.F. (1913) Wagner, Project Gutenberg edition. here [2].
- Salmi, Hannu (2005) Wagner and Wagnerism in Nineteenth-Century Sweden, Finland, and the Baltic Provinces: Reception, Enthusiasm, Cult, Eastman Studies in Music. University of Rochester Press. ISBN 978-1-58046-207-5
- Salmi, Hannu (2000) Imagined Germany. Richard Wagner's National Utopia, Peter Lang Publishing. ISBN 978-0-8204-4416-1
- Scruton, Roger (2003) Death-Devoted Heart: Sex and the Sacred in Wagner's 'Tristan and Isolde', Oxford University Press. ISBN 978-0-19-516691-0
- Shaw, George Bernard (1898) The Perfect Wagnerite. Online version at http://www.gutenberg.org/files/1487/1487-h/1487-h.htm#2H_4_0011 accessed 20 July 2010.
- Sietz, Reinhold and Wiegandt, Matthias (undated) "Hiller, Ferdinand." In Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com/subscriber/article/grove/music/13041 (Subscription only, accessed 23 July 2010).
- Skelton, Geoffrey (2002) "Bayreuth" in Grove Music Online, Oxford Music Online. Version dated 28 February 2002, accessed 20 December 2009.
- Spencer, Stewart (2000) Wagner Remembered, Faber and Faber. ISBN 978-0-571-19653-1
- Spiro, Jonathan Peter (2008) Defending the master race: conservation, eugenics, and the legacy of Madison Grant, UPNE. ISBN 978-1-58465-715-5.
- Spotts, Frederic (1994) Bayreuth: A History of the Wagner Festival, New Haven and London ISBN 978-0-300-06665-4
- Tanner, M. (1995) Wagner, Princeton University Press. ISBN 978-0-691-10290-0
- Treadwell, James (2008) The Urge to Communicatein Grey (2008), pp. 179–191
- von Westernhagen, Kurt (1980) (Wilhelm) Richard Wagner in vol. 20 of Grove Dictionary of Music and Musicians, ed. S. Sadie, London 1980
- Wagner, Cosima (trans. Geoffrey Skelton) (1978) Diaries, 2 vols. ISBN 978-0-15-122635-1
- Walker, Alan (1996) Franz Liszt: The Final Years, New York. ISBN 978-0-394-52542-6
- Walsh, Michael (1992) The Case of Wagner – Again, Time, 13 January 1992, consulted online 17 July 2010
- Wapnewski, Peter (1992) Wagner's Musical Influence, in The Wagner Handbook
- Weiner, Marc A. (1997) Richard Wagner and the Anti-Semitic Imagination, Lincoln and London. ISBN 978-0-8032-9792-0
- Westrup, Jack (1980) Conducting, in vol. 4 of Grove Dictionary of Music and Musicians, ed. S. Sadie, London 1980
- Žižek, Slavoj (2009) "Foreword: Why is Wagner Worth Saving" in Adorno (2009) viii–xxvii.
External links[link]
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- Operas
- Richard Wagner Opera, Richard Wagner operas, Wagner interviews, CDs, DVDs, Wagner calendar, Bayreuth Festival
- Wagner Operas, site featuring photographs, video, MIDI files, scores, libretti, and commentary
- RWagner.net, contains libretti of his operas, with English translations
- Wagner website, assortment of articles on Wagner and his operas
- Photo of Wagner's manuscript for the Bridal Chorus
- The Wagnerian Romances by Gertrude Hall
- Wilhelm Richard Wagner site by Stanford University
- Writings
- The Wagner Library. English translations of Wagner's prose works, including some of Wagner's more notable essays.
- Works by Richard Wagner at Project Gutenberg
- Works by or about Richard Wagner in libraries (WorldCat catalog)
- Pictures
- The Richard Wagner Postcard-Gallery, a gallery of historic postcards with motives from Richard Wagner's operas.
- gallica.bnf.fr Pictures of Richard Wagner and his family.
- Scores
- Free scores by Richard Wagner in the Choral Public Domain Library (ChoralWiki)
- Free scores by Wagner at the International Music Score Library Project
- Free scores by Richard Wagner in the Werner Icking Music Archive (WIMA)
- Other
- BBC audio file. Discussion of Wagner on Radio 4 programme In our time.
- Bayreuth Festival
- The National Archive of the Richard Wagner Foundation
- The humanities.music.composers.wagner FAQ.
- Richard Wagner Museum in the country manor Triebschen beside Lucerne, Switzerland where he and Cosima lived and worked from 1866 to 1872.
- The Wagner Tuba
|
|||||||||||||||||
| Persondata | |
|---|---|
| Name | Wagner, Richard |
| Alternative names | Wilhelm Richard Wagner |
| Short description | German composer, conductor, and essayist |
| Date of birth | 22 May 1813 |
| Place of birth | Leipzig, Germany |
| Date of death | 13 February 1883 |
| Place of death | Venice |
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