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Zwischen Zitat und Stilkopie: Rolf Wilhelms Filmmusik zu Ödipussi und Pappa ante PortasFuchs, Stefan 27 October 2023 (has links)
»Schreiben Sie Musik wie Wagner, nur lauter«, soll Samuel Goldwyn, Gründer der Filmproduktionsfirma Metro-Goldwyn-Mayer, einst von einem Filmkomponisten gefordert haben. Die Musik der klassisch-romantischen Epoche diente Filmkomponist_innen seit der frühen Stummfilmära als Fundgrube für ihre Scores, und die Beherrschung verschiedenster Stilistiken gehörte zu ihrem selbstverständlichen Handwerkszeug. Auch der deutsche Filmkomponist Rolf Wilhelm (1927–2013) knüpft in seiner Musik zu den beiden Loriot-Spielfilmen Ödipussi (1988) und Pappa ante portas (1991) an diese Tradition an. Wilhelm reichert seine Filmmusiken mit unzähligen motivischen Zitaten an, vornehmlich aus den Werken Richard Wagners, und setzt vielfältige Stilkopien ein. In diesem Artikel werden Wilhelms Vertonungsstrategien anhand ausgewählter Beispiele vorgestellt und deren charakteristische Wirkung beschrieben. / »Write music like Wagner, only louder,« Samuel Goldwyn, the founder of the film production company Metro-Goldwyn-Mayer, once demanded of a film composer. Film composers have used the music of the classical-romantic era as a quarry for their scores since the early days of silent film. The ability to compose in various styles was one of their basic skills. The German film composer Rolf Wilhelm (1927–2013) also draws on this tradition in his music for the two motion pictures by Loriot, Ödipussi (1988) and Pappa ante portas (1991). Wilhelm enriches his soundtracks with countless motivic quotations, primarily from Richard Wagner’s works, and uses a variety of stylistic copies. This essay presents selected examples of Wilhelm’s compositional strategies and describes their characteristic effects.
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Gegliederte Zeit: 15. Jahreskongress der Gesellschaft für Musiktheorie, Berlin 2015Aydintan, Marcus, Edler, Florian, Graybill, Roger, Krämer, Laura 17 September 2023 (has links)
No description available.
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K otázce dramaturgie Kittlovy opery Bianca und Giuseppe oder Die Franzosen vor Nizza / On a Question of the Dramaturgy of Kittl's Opera Bianca und Gisuppe oder Die Franzosen vor NizzaŠochman, Martin January 2016 (has links)
The Czech opera production of the so called "Pre-Smetanian" era represents a topic quite neglected by music historians. It is therefore the goal of this master's thesis to repay this debt by showing Kittl's opera, Bianca und Giuseppe oder Die Franzosen vor Nizza, (the libretto, written by Richard Wagner, based on the novel, Die hohe Braut, by Heinrich König) as a work of art which illustrates the high quality of the Prague opera scene in the mid-1800s. The core of this thesis consists of a dramaturgical analysis of the final form of the mentioned opera. This analysis advances in three steps. 1. The main idea of König's novel and its aesthetic are presented in the light of his life. 2. The following chapter concerns Wagner's libretto. Apart from showing the differences between the novel- and opera aesthetics, the emphasis is on the dramaturgical means which Wagner employs: various usage of the couleur locale, ensemble of the pezzo concertato type, working with specific time structures in the opera or allegorical usage of the so called - as Frenchmen say - spectacle d'optique. 3. The next chapter strives to assess the extent to which Kittl succeeded in expressing Wagner's intentions or, in another words, the extent to which Wagners's "poetic intention" (dichterische Absicht) came true in Kittls's music....
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Wagners Tristan im Blickfeld der neuen Tonalität: Eine Betrachtung der V. Szene im Ersten Aufzug mit einer Anmerkung zur Semantik und Konnotation des TristanakkordesPütz, Elisabeth 22 October 2023 (has links)
No description available.
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Leitmotiv und Sprache – die Sprache der Leitmotive in Bergs »Wozzeck«Heffter, Moritz 22 October 2023 (has links)
No description available.
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In der Börse, am Hain und im Museum: Friktionen Urbaner Praxis im Ausstellen von StadtgeschichteKurz, Julia 08 April 2024 (has links)
Im vorliegenden Beitrag „In der Börse, am Hain und im Museum. Friktionen Urbaner Praxis im Ausstellen von Stadtgeschichte“ wird anhand künstlerisch-kuratorischer Kooperationen mit dem Stadtgeschichtlichen Museum Leipzig beschrieben, inwiefern auch museale Institutionen Räume Urbaner Praxis darstellen und maßgeblich verantwortlich dafür sind, wie städtischer Raum gelesen und gestaltet wird. Als öffentliche Institutionen haben Museen Zugriff auf Räume im Sinne einer Dynamisierung in der Zeit und „verwalten“ gleichzeitig mit den Archiven und Sammlungen deren Zugänglichkeit und das Wissen über deren bisherige Vorstrukturierung, Besetzung und Prägung. Anhand zweier Beispiele, einer performativen Intervention in der Alten Handelsbörse Leipzig und einer künstlerischen Auseinandersetzung mit dem Richard-Wagner-Hain, wird die Verschränkung von Historie und Gegenwart städtischer Räume mit aktuellen Fragen einer demokratischen Gesellschaft beschrieben.
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Wort Ton Bild WeltTsampa, Anatoli 25 July 2017 (has links)
Die Dissertation untersucht die Entwicklung des Gesamtkunstwerk-Konzeptes und seine Aktualität, Möglichkeit und Notwendigkeit in Bezug auf ein modernes filmisches Gesamtkunstwerk. Ausgegangen wird von der ästhetischen Theorie und Praxis der deutschen Frühromantik, in der das Konzept wurzelt. In einer umfassenden Betrachtung und Analyse der ästhetischen und gesellschaftspolitischen Dimension des Konzeptes in den Schriften und dem Werk Richard Wagners sollen wesentliche Strukturmerkmale erkundet und soll ein Maßstab für ein ‚positives‘ zeit-genössisches Gesamtkunstwerk gebildet werden, das sich von seinem ideologischen Missbrauch befreit. Erforscht wird, inwiefern der Farb- und Tonspielfilm ein geeignetes Kunstmedium für die Anwendung des Konzeptes darstellt und wie sich die Frage seiner gesellschaftspolitischen Dimension in der globalen Epoche übersetzen lässt. / The dissertation explores the evolution of the concept of the Total Work of Art (ʹGesamtkunstwerkʹ) as well as its actuality, feasibility and necessity in the form of a modern cinematic Gesamtkunstwerk. Starting point is the aesthetic theory and praxis of the Early German Romanticism, in which the concept is rooted. An extensive consideration and analysis of the concept in both its aesthetic and socio-political dimension as developed in the writings and works of Richard Wagner aims to define its essential structural features and to set the standard for a ʹpositiveʹ contemporary Gesamtkunstwerk beyond its ideological abuse. Key is the examination of how and to what extend the sound and colour feature film constitutes a legit artistic medium for the application of the concept as well as how its sociopolitical facet translates within the global era.
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Chausson dans l'ombre de Wagner? : de la genèse à la réception du Roi ArthusBenoit-Otis, Marie-Hélène 02 1900 (has links)
Thèse réalisée en cotutelle avec la Freie Universität Berlin. La version intégrale de cette thèse est disponible uniquement pour consultation individuelle à la
Bibliothèque de musique de l’Université de Montréal (www.bib.umontreal.ca/MU). / Ce travail aborde l’aspect spécifiquement compositionnel du phénomène
wagnérien en France dans les dernières décennies du XIXe siècle, par le
biais d’une étude de cas centrée sur l’opéra Le Roi Arthus d’Ernest
Chausson (1855-1899). Exceptionnellement bien documenté grâce à de
nombreuses sources dont une bonne part sont inédites (brouillons et
esquisses du livret et de la partition, correspondance, etc.), cet opéra
composé de 1886 à 1895 et créé en 1903 au Théâtre de la Monnaie de
Bruxelles offre en effet un aperçu privilégié de la relation complexe
qu’entretiennent les compositeurs français de cette époque avec l’imposante
figure de Wagner.
La question de l’influence wagnérienne dans Le Roi Arthus est abordée
ici dans le cadre d’une démarche appliquant, dans une perspective
historique, la méthode sémiologique développée par Jean Molino et
Jean-Jacques Nattiez. L’analyse de la genèse, de la version finale et de la
réception de l’oeuvre au moment de sa création permet d’obtenir une vue
d’ensemble inédite des rapports s’établissant entre l’opéra de Chausson et
les drames lyriques de Wagner, en particulier Tristan und Isolde. Il en
ressort que des premières esquisses à la création de l’opéra, Le Roi Arthus
a évolué dans une dialectique complexe avec un modèle à la fois craint et
admiré.
Ardent wagnérien dès son plus jeune âge, Chausson ne souhaite pas
pour autant devenir un épigone de Wagner. Sur les conseils d’Henri
Duparc, il déploie donc de grands efforts pour « déwagnériser » le livret du
Roi Arthus, qu’il rédige lui-même à partir d’un sujet mythique rappelant
fortement Wagner. La version finale du livret, si elle présente encore quelques points de contact avec Tristan und Isolde et Der Ring des
Nibelungen, incarne cependant une vision du monde très éloignée de celle
de Wagner, et dans laquelle des valeurs comme l’honneur et la fidélité
l’emportent sur un amour interdit apparaissant condamné d’avance. Cette
dramaturgie aux antipodes de celle de Tristan s’appuie, paradoxalement,
sur des références musicales wagnériennes que Chausson intègre et précise
graduellement au fil de la genèse de la partition, et dont la mise en oeuvre
souligne habilement tout ce qui sépare Lancelot et Genièvre, amants
dépareillés, du couple indissociable formé par Tristan et Isolde.
Dans cet opéra conçu, mais jusqu’à un certain point seulement, dans
l’ombre de Wagner, ce sont les ressemblances musicales et surtout
dramatiques avec Tristan und Isolde qui ont le plus frappé les critiques des
premières représentations, donnant lieu à une réception où la question de
l’influence wagnérienne occupe une place prépondérante. Mais si tous les
recenseurs abordent cette question, ils le font sous des angles variant en
fonction de facteurs extérieurs à l’oeuvre, comme leur formation antérieure,
leur propre position face à Wagner et les liens qu’ils ont entretenus avec
Chausson alors qu’il était encore vivant.
Au-delà des connaissances qu’elle permet d’acquérir sur l’oeuvre, et plus
particulièrement sur sa genèse, l’étude du Roi Arthus dans une triple
perspective poïétique, immanente et esthésique s’ouvre donc sur un
portrait du rôle central joué par le « Maître de Bayreuth » dans
l’imaginaire musical de la fin du XIXe siècle, tout en jetant les bases d’une
synthèse encore à faire des stratégies créatrices employées par les
compositeurs d’opéra français face au modèle de Wagner. / This thesis examines the compositional aspect of Wagnerism in France
during the final decades of the 19th century, through a case study of Ernest
Chausson’s (1855-1899) opera Le Roi Arthus. Exceptionally well
documented thanks to a large number of sources, most of which are
unpublished (drafts and sketches of the libretto and score, correspondence,
etc.), this opera, composed between 1886 and 1895 and premiered at the
Théâtre de la Monnaie in Brussels in 1903, in fact allows a remarkable
glimpse into the relationship between French composers of the period and
the imposing figure of Wagner.
The question of Wagnerian influence in Le Roi Arthus is here
approached through a methodology that applies the semiotic model
developed by Jean-Jacques Nattiez and Jean Molino in a historical
perspective. An analysis of the genesis of the opera, its final version and
the reception of its premiere provides a fresh overall view of the connection
between Chausson’s opera and Wagner’s music dramas, particularly
Tristan und Isolde. What emerges is a complex dialectic between Le Roi
Arthus—from the first sketches to the opera’s premiere—and a model that
provoked both disquiet and admiration.
Though an ardent Wagnerian from an early age, Chausson did not
want to merely become an epigone of the German composer. Following
advice from Henri Duparc, Chausson therefore expended considerable
effort in “dewagnerizing” the libretto of Le Roi Arthus, which he wrote
himself, based on a mythical subject strongly reminiscent of Wagner. The
final version of the libretto, while it maintains some links with Tristan und
Isolde and Der Ring des Nibelungen, otherwise projects a worldview quite unlike Wagner’s, in which values such as honor and fidelity outweigh a
forbidden love that seems doomed from the start. Paradoxically, this
un-Tristanesque dramatic setup rests in part on Wagnerian musical
references that Chausson integrated and honed gradually as he composed
the score, and whose treatment cleverly underscores what separates
Lancelot and Genièvre, poorly matched lovers, from the integrated couple
formed by Tristan and Isolde.
In this opera conceived, but only up to a point, in Wagner’s shadow,
the musical and especially dramatic resemblances with Tristan und Isolde
are what have most struck the critics of the first performances, which has
given rise to a reception where the question of Wagnerian influence
dominates. However, even though all critics touched on this question, they
did so from points of view that vary according to factors extrinsic to the
work, such as their own prior training, their personal positions on Wagner
and the relationships they had had with Chausson during his lifetime.
Beyond the knowledge it allows us to gain on the work itself, and more
particularly on its early development, the study of Le Roi Arthus from
poietic, immanent and esthesic perspectives opens onto an understanding
of the central role played by the “Bayreuth Master” in late 19th-century
musical imagination, while creating the basis necessary to undertake a new
synthesis of the creative strategies used by composers of French opera
faced with the Wagnerian model.
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Teorie intermediality v kontextu díla Heinera Goebbelse / The theory of intermediality in Heiner Goebbels's theatreMocek, Jan January 2012 (has links)
The goal of the Master Thesis is to analyse the performance Eraritjaritjaka created by the leading director of German experimental theatre Heiner Goebbels. The first part exposes the new theatrical genre Théâtre musical as a theoretical framework. The following text focuses on Goebbels's theoretical views and the basics characetrs of his theatre poetics. The main part of this study is devoted to analysis of performance Eraritjaritjaka. The analysis itself focuses on the functioning of basic components of the performance, its principles and shifts in overall structure.
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Ocorrências entre literatura e música na lenda Tristão e Isolda e na ópera homônima de Richard WagnerOliveira, Aline Carrijo de 29 February 2012 (has links)
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This work aims to study, comparatively, the narrative Tristan and Isolde and homonymous Richard Wagner‟s opera. This study, of inter artistic transposition, analyses two versions, namely Tristão e Isolda, by Fernandel Abrantes and O Romance de Tristão e Isolda, by Joseph Bédier (translated by Luis Claudio de Castro e Costa), to build a relationship between both plots, setting, characters and time, to justify the choice of the versions, deriving from a series of recovered fragments as representative of the myth of Tristan. After the text of this research, we offer a literary analysis of Tristan and Isolde opera libretto as well as a brief explanation of the artist‟s composition procedures and a presentation of music critics who have studied Wagner‟s work. In an attempt to show the established proximities between the legend and the opera, we shall analyze comparatively the observations made about the narrative and the opera under the inter artistic transposition concepts. / Este trabalho tem como objetivo o estudo comparatista entre a narrativa Tristão e Isolda e a ópera homônima de Richard Wagner. O estudo de transposição interartes proposto nesta dissertação de mestrado visa analisar literariamente duas versões, a saber, Tristão e Isolda, de Fernandel Abrantes e O Romance de Tristão e Isolda, de Joseph Bédier (tradução de Luis Claudio de Castro e Costa), a fim de relacionar os enredos, espaço, personagens e tempo de ambas, para justificar a escolha das versões, provenientes de vários fragmentos resgatados, como representante do mito de Tristão. Após essa pesquisa, propomos uma análise literária do libreto da ópera Tristão e Isolda, de Wagner, assim como uma breve explicação da construção operística do compositor e uma apresentação de teóricos musicais que se debruçaram sobre essa obra. Em uma tentativa de demonstrar as proximidades estabelecidas pelo compositor entre a lenda e o texto operístico, analisaremos comparativamente as observações feitas sobre o texto literário e o texto operístico sob a luz dos conceitos de transposição interartes. / Mestre em Teoria Literária
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