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 end result of his efforts to carry medieval fable and sleek song jointly in a dynamic dating. Wagner's engagement with religion--Buddhist in addition to Christian--reaches a climax right here, as he seeks via inventive capability "to rescue the essence of faith by means of perceiving its legendary symbols . . . in line with their figurative worth, permitting us to determine their profound, hidden fact via idealized representation." The individuals to this assortment holiday clean flooring in exploring the textual content, the song, and the reception heritage 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 track, its affinities to Wagner's past works, quite Tristan und Isolde, and the best manner within which the track was once composed. Essays deal with the work's daring, modernistic musical language and its unparalleled soundscape related to hidden choruses and different unseen assets of sound. The turbulent, unbelievable, and occasionally stressful background of Parsifal performances from 1882 until eventually 2004 is traced in shiny aspect for the 1st time, demonstrating the abiding fascination exerted by way of this uniquely hard murals. individuals: Mary A. Cicora, James M. McGlathery, Ulrike Kienzle, Warren Darcy, Roger Allen. William Kinderman and Katherine Syer educate on the collage of Illinois at Urbana-Champaign, and infrequently lead examine seminars throughout the Wagner competition in Bayreuth, Germany.
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Additional info for A Companion to Wagner's Parsifal (Studies in German Literature Linguistics and Culture)
Strassburg’ des Vaters sich an, um zu sehen, ob er kein ‘Plagiat’ begeht” (looked again at father’s “Glocken v. Strassburg” to see whether there was “plagiarism”), although this was during his work on the Transformation music of act I with its use of the motive of the bells. (CT 1:1100). Commentators on Parsifal have often paid insufficient attention to the influence of Liszt on Wagner. 50 “Liszt and Parsifal,” Music Review 14 (1953): 107–24. 51 Longfellow’s Complete Poetical Works, 19, cited in Marget, “Liszt and Parsifal,” 120.
However, Wolfram’s Parzival does not have a linear plot, since the Gawan books comprise about a third of the romance, and Parzival’s story is masterfully interwoven with that of Gawan. The romance is, though, clearly a literary expression of the medieval worldview, and for this reason the main forces of the Middle Ages are evident in this work. They consist of family, the ties of blood relationship; the knightly status, the code of chivalry; courtly love (minne); and religion. Wolfram has, nevertheless, decisively changed and significantly deepened the traditional structure of medieval knightly romance.
Mendelssohn had used the “Dresden Amen” in his “Reformation” Symphony in D minor, op. 107, of 1830. 45 In Parsifal, this traditional musical motive, which features the interval of a stepwise rising fourth (or fifth), is incorporated into the second part of the Grail motive. In turn, the prominent rising contour of the “Dresden Amen” is neatly complemented by the so-called Faith motive, which inverts this 43 Joachim Bergfeld, Richard Wagner: Das braune Buch: Tagebuchaufzeichnungen 1865 bis 1882 (Zurich: Atlantis, 1975), 76.
A Companion to Wagner's Parsifal (Studies in German Literature Linguistics and Culture) by William Kinderman, Katherine R. Syer