By William Kinderman, Katherine R. Syer
Richard Wagner's Parsifal continues to be an inexhaustible but hugely debatable paintings. This "stage consecration pageant play," because the composer defined it, represents the fruits of his efforts to deliver medieval delusion and smooth track jointly in a dynamic dating. Wagner's engagement with religion--Buddhist in addition to Christian--reaches a climax the following, as he seeks via creative skill "to rescue the essence of faith through perceiving its legendary symbols . . . in line with their figurative worth, allowing us to determine their profound, hidden fact via idealized representation." The members to this assortment holiday clean flooring in exploring the textual content, the song, and the reception historical past of Parsifal. Wagner's borrowings-and departures-from the medieval assets of the Grail legend, Wolfram's Parzival and Chr?©tien's Perceval, are thought of intimately, and the tensional relation of the paintings to Christianity is probed. New views emerge that endure at the lengthy genesis of the textual content and tune, its affinities to Wagner's past works, rather Tristan und Isolde, and the fitting manner within which the track was once composed. Essays tackle the work's daring, modernistic musical language and its exceptional soundscape regarding hidden choruses and different unseen assets of sound. The turbulent, awesome, and infrequently irritating historical past of Parsifal performances from 1882 till 2004 is traced in brilliant element for the 1st time, demonstrating the abiding fascination exerted through this uniquely difficult murals. members: Mary A. Cicora, James M. McGlathery, Ulrike Kienzle, Warren Darcy, Roger Allen. William Kinderman and Katherine Syer train on the college of Illinois at Urbana-Champaign, and infrequently lead learn seminars in the course of the Wagner competition in Bayreuth, Germany.
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Extra resources for A Companion to Wagner's Parsifal (Studies in German Literature Linguistics and Culture)
1 This chapter will investigate how Wagner transformed the medieval world of chivalry portrayed in his major source for Parsifal, Wolfram von Eschenbach’s Parzival, into a nineteenth-century musicaldramatic depiction of Schopenhauerian metaphysics. 2 The literary works that Wagner read in Marienbad * Special thanks to R. T. Carr, Paul G. Foster, and Thomas Grey for help in assembling research materials for this chapter. 1 On Wagner’s use of his medieval source material, see Peter Wapnewski, “Mittler des Mittelalters,” in Tristan der Held Richard Wagners (Berlin: Severin und Siedler, 1981), 33–63; and Volker Mertens, “Richard Wagner und das Mittelalter,” in Richard-Wagner-Handbuch, ed.
Even more remarkable is the temporary revival of the dead Titurel in the draft, who momentarily stirs in his coffin. This unsettled nature of the conclusion of Parsifal during its genesis is striking in view of the approaches of modern opera directors, who have explored a variety of possibilities for the end of the drama, often departing from Wagner’s stage directions. One major stage in Wagner’s evolving engagement with Parsifal during the period up to 1877 remains:44 his use of preexisting musical material in connection with the central dramatic idea of the Grail.
T. Carr, Paul G. Foster, and Thomas Grey for help in assembling research materials for this chapter. 1 On Wagner’s use of his medieval source material, see Peter Wapnewski, “Mittler des Mittelalters,” in Tristan der Held Richard Wagners (Berlin: Severin und Siedler, 1981), 33–63; and Volker Mertens, “Richard Wagner und das Mittelalter,” in Richard-Wagner-Handbuch, ed. Ulrich Müller and Peter Wapnewski, 19–59 (Stuttgart: Kröner, 1986). A detailed older study of the topic is Wolfgang Golther’s Parzival und der Gral in der Dichtung des Mittelalters und der Neuzeit (Stuttgart: J.
A Companion to Wagner's Parsifal (Studies in German Literature Linguistics and Culture) by William Kinderman, Katherine R. Syer