Richard Wagner (1813-1883) aimed to be greater than only a composer. He got down to redefine opera as a "total paintings of art" combining the top aspirations of drama, poetry, the symphony, the visible arts, even faith and philosophy. both celebrated and vilified in his personal time, Wagner maintains to impress debate this present day relating to his political legacy in addition to his track and aesthetic theories. Wagner and His international examines his works of their highbrow and cultural contexts.
Seven unique essays examine such subject matters as tune drama in gentle of rituals of naming within the composer's works and the politics of style; the position of leitmotif in Wagner's reception; the urge for extinction in Tristan und Isolde as psychology and image; Wagner as his personal level director; his conflicted dating with pianist-composer Franz Liszt; the anti-French satire Eine Kapitulation within the context of the Franco-Prussian warfare; and responses of Jewish writers and musicians to Wagner's anti-Semitism.
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Extra resources for Richard Wagner and His World
The music historian Eileen Southern (1997) in The Music of Black Americans describes how the professional class of black musicians by the end of the nineteenth century performed across the country in popular bands and orchestras. Like their white counterparts, black professional musicians based their performances on instrumental techniques and music repertoires from Europe. The black middle class in the nineteenth century adopted similar attitudes as the white middle class, aesthetic and moral, about what constituted “good” music and this was reflected in the performances of black professional musicians.
In the first two decades of the twentieth century several additional patronsupported symphony orchestras were established in major cities including Minneapolis, San Francisco, and Houston. ” Just like classical music, opera music was easily mixed into a variety of popular performances from large summer jubilees to musical extravaganzas. In fact, as Lawrence Levine (1988) points out, songs from European operas were popular and could be found in virtually any popular performance context, either performed straight or in parody.
As Paul DiMaggio (1982) and Lawrence Levine (1988) argue, the establishment of the Boston Symphony Orchestra in 1881 marked the beginning of the rise of a patron-supported high art world of European cultivated music performance. The patronage model of the Boston Symphony Orchestra proved successful in establishing permanent symphony orchestras across the country. By the end of the nineteenth century such orchestras were established in St. Louis, Pittsburgh, Cincinnati, Los Angeles, Philadelphia, New York, Chicago as well as Boston.