Conductors are oftern associated with a specific body of work in their repertoy. Gustav Mahler's conducting repertory contained some major Wagnerian works, including Tristan und Isolde. Mahler's first performance of Tristan took place during his tenure at the Stadttheater in Hamburg (1891-1897). It remained an integral part of his repertory through his tenure at the Vienna Hofoper (1897-1907), and was one of eight works he conducted at New York's Metropolitan Opera (1907-1910). This study includes a brief history of Mahler's education and a description of his conducting style characteristics. It traces the reception of Mahler's production of Tristan from Hamburg to New York, and focuses on his performances at the Hofoper and at the Metropolitan Opera. Sources used to determine performance changes he made include letters, personal reminiscences of friends and critics, and newspaper and journal reviews.

Made available in DSpace on 2014-06-11T19:26:19Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-05-21Bitstream added on 2014-06-13T20:15:09Z : No. of bitstreams: 1 siveira_jen_me_mar.pdf: 759974 bytes, checksum: c919df57e4df77215d9b28794f080f9a (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / O presente texto trata da relação estabelecida entre o jovem filósofo Friedrich Nietzsche e o experiente compositor e ensaísta Richard Wagner. Concentrando nossa análise no período da amizade existente entre Nietzsche e Wagner, período este que coincide com a produção filosófica do jovem Nietzsche, a saber, de 1869 a 1876, o objetivo de nossa análise é buscar elementos presentes no pensamento de ambos que possibilitaram a aproximação e o desenvolvimento de amizade entre eles. Neste sentido, a crítica à cultura moderna, o elogio ao mundo grego, a influência do romantismo e a filosofia de Schopenhauer aparecem como pontos de apoio que alicerçaram a construção desta amizade / The present text treats the relationship between the young Friedrich Nietzsche and the expert composer and essayist Richard Wagner. Concentrate our analyze on the period of the friendship that was there between Nietzsche and Wagner, period that coincide with the philosophic production of the young Nietzsche, to know, from 1869 until 1876, the target of our analyze is to found elements presents in the thought of both that made possible the approach and development of the friendship between them. In this way, the critique to modern culture, the praise to the greek world, the influence of the romanticism and the philosophy of Schopenhauer appears like points of support that build foundation to this friendship

As Written presents an investigation of selected literary configurations of musical ineffability in the nineteenth and twentieth centuries. By putting literary parables into constellation with media technologies and texts from philosophy, critical theory, aesthetics, and media theory, the dissertation seeks to better understand the ways in which literature engages, discloses, disrupts, and determines musical discourse at times of aesthetic, political, and technological shift. The dissertation begins by establishing the “cryptographic” ineffable that emerges in early German Romanticism through readings of Novalis. These readings suggest this formulation of ineffability to arise out of an instrumentalization of instrumental music that emphasizes the symbolic relations of musical notation over music’s sound—this in service of a literary and philosophical project that strives to transcend its own medial and epistemological limits. Subsequent chapters will analyze alternative configurations of ineffability in writings by Richard Wagner, Theodor Adorno, Thomas Mann, and Helmut Lachenmann, but vestiges of this “originary” Romantic configuration will remain. Indeed, while the literary texts analyzed in these later chapters will respond to the medial, technical, and technological developments of their historical contexts, more than merely disclosing discursive formulations of musical ineffability, they, like Novalis’ Heinrich von Ofterdingen, will be shown to enact these formulations in forms of linguistic, sonic, and material absence through their complex narratologies and poetologies. How, this dissertation will ask, might literature’s ability to accommodate changing contexts in these configurations ultimately suggest musical ineffability as a conduit through which a music-discursive tradition that emerges in literature around 1800 is able to preserve itself into the twentieth century?

Nous savons que le Nietzsche juvénile au temps de La naissance de la tragédie espérait une renaissance de la tragédie à partir de la musique de Wagner et des a priori archaïques de la Grèce antique : le dionysisme et l'apollinisme. La question principale que Nietzsche se posa dans La naissance de la tragédie est : est-ce que la musique de Wagner est apte à engendrer une nouvelle vision tragique du monde (Weltanschauung) à l'image des Grecs dans laquelle le goût allemand, en matière d'esthétisme, se reconnaîtrait par le romantisme wagnérien? Voilà notre aperçu du problème de la renaissance de la tragédie dans lequel nous avons situé plus précisément notre problématique sur le rôle de la musique dans La naissance de la tragédie de Nietzsche.

Despite Tristan’s place as a cornerstone of the operatic repertory, there has been surprisingly little scholarship on King Mark, whom scholars often overlook in favour of the title characters. This study examines Wagner’s adaptation of his source, the Tristan of Gottfried von Strassburg, to construct a character that represents the courtly chivalric society of the opera in opposition to the new order represented in Tristan’s passionate pursuit of love and, ultimately, of death. Building on literary scholarship of the Tristan tradition, this study explores issues of duality and decline in Mark’s character and the elements of his chivalric friendship with Tristan within the homosocial constructs of the courts. Through his use of traditional operatic lament form, associative orchestration, and text expression, Wagner constructs a king who is more nuanced that any of his predecessors: one cleansed by tragedy and capable of forgiveness.

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