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Revision as of 20:40, 21 November 2002 editClutch (talk | contribs)647 editsNo edit summary← Previous edit Revision as of 00:29, 22 November 2002 edit undoSomeone else (talk | contribs)8,055 edits no controversy that he was antisemitic, only how important his antisemitism should be in evaluting himNext edit →
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Early-on Wagner thought he would be a playwright, and turned to music originally to enhance the dramas he wanted to write and stage. But it was his operas to his own ], styled by him as "music dramas", that came to change radically the concept of stage music and, to some extent, music itself. Early musical influences were performances of Carl Maria von Weber's "Der Freischuetz" and ]'s "Fidelio". Among other strong acknowledged influences was the philosopher ]. Early-on Wagner thought he would be a playwright, and turned to music originally to enhance the dramas he wanted to write and stage. But it was his operas to his own ], styled by him as "music dramas", that came to change radically the concept of stage music and, to some extent, music itself. Early musical influences were performances of Carl Maria von Weber's "Der Freischuetz" and ]'s "Fidelio". Among other strong acknowledged influences was the philosopher ].


Wagner commenced the study of music at the University of Leipsic, but had a struggling existence till 1839, when he made the acquaintance of Meyerbeer, who assisted him in his attempts to have his operas produced in Paris. He came in contact also with Heine, who helped him with the libretto of "Der Fliegende Holländer". Wagner commenced the study of music at the University of Leipzig, but had a struggling existence till 1839, when he made the acquaintance of Meyerbeer, who assisted him in his attempts to have his operas produced in Paris. He came in contact also with Heine, who helped him with the libretto of "Der Fliegende Holländer".


Harking back to Greek ideals as he saw them, Wagner intended to create a new kind of stage work, one dubbed "Gesamtkunstwerk" (or Total Art Work), combining all aspects of artistic creation including ], ], ], ], and the like. He devised his own plots, often derived from legend and ], with the idea that this would awaken a resonance in his audience. For some, his revolutionized ] were nothing more than morality plays, where ] and ] were incompatible and the gaining of all power had as a price of the loss of love. For some, his ] carried the ] and dominated everything. His huge ]s created a river of sound that overwhelmed the audience. His of the "leitmotiv" - musical themes which stand for characters and events - would be present throughout a work, reappearing interwoven with other melodies whenever the story makes reference to them. Harking back to Greek ideals as he saw them, Wagner intended to create a new kind of stage work, one dubbed "Gesamtkunstwerk" (or Total Art Work), combining all aspects of artistic creation including ], ], ], ], and the like. He devised his own plots, often derived from legend and ], with the idea that this would awaken a resonance in his audience. For some, his revolutionized ] were nothing more than morality plays, where ] and ] were incompatible and the gaining of all power had as a price of the loss of love. For some, his ] carried the ] and dominated everything. His huge ]s created a river of sound that overwhelmed the audience. His of the "leitmotiv" - musical themes which stand for characters and events - would be present throughout a work, reappearing interwoven with other melodies whenever the story makes reference to them.


In his stage works, the themes of ], ], and the attaining of power predominate. As for many figures of the Romantic Era, for Wagner losing one's self in the grand passion of ] was a redemptive force over the corruption of the world. These themes came to dominate his life as well. In his stage works, the themes of ], ], and the attaining of power predominate. As for many figures of the Romantic Era, for Wagner losing one's self in the grand passion of ] was a redemptive force over the corruption of the world. These themes came to dominate his life as well.

Because ] (long after Richard Wagner's death) was so approving of Wagner's music and of his anti-Semitic writings, Wagner's anti-Jewish statements have assumed an importance they would not otherwise have had. See ].


'''Wagner's Operas''' '''Wagner's Operas'''
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**] - ''Götterdämmerung'' **] - ''Götterdämmerung''
*] *]

In modern times Richard Wagner has been controversially linked with anti-Semitism. See ].

Revision as of 00:29, 22 November 2002

Richard Wagner was a German essayist and perhaps the most influential composer of the 19th century. His works and opinions have generated a great deal of controversy, and a brief summary of his life and place in history is practically impossible. It has been said that more has been written about Wagner than perhaps any other historical figure with the exception of Christ and Muhammad the Prophet.

Richard Wagner was born in Leipzig on May 22, 1813 and died in Venice on February 13, 1883. His father was a minor city official and died when Richard was 6 months old. In August 1814 his mother married the actor Ludwig Geyer (who may actually have been the boy's father).

Early-on Wagner thought he would be a playwright, and turned to music originally to enhance the dramas he wanted to write and stage. But it was his operas to his own libretti, styled by him as "music dramas", that came to change radically the concept of stage music and, to some extent, music itself. Early musical influences were performances of Carl Maria von Weber's "Der Freischuetz" and Beethoven's "Fidelio". Among other strong acknowledged influences was the philosopher Schopenhauer.

Wagner commenced the study of music at the University of Leipzig, but had a struggling existence till 1839, when he made the acquaintance of Meyerbeer, who assisted him in his attempts to have his operas produced in Paris. He came in contact also with Heine, who helped him with the libretto of "Der Fliegende Holländer".

Harking back to Greek ideals as he saw them, Wagner intended to create a new kind of stage work, one dubbed "Gesamtkunstwerk" (or Total Art Work), combining all aspects of artistic creation including music, drama, poetry, painting, and the like. He devised his own plots, often derived from legend and German myth and folklore, with the idea that this would awaken a resonance in his audience. For some, his revolutionized opera were nothing more than morality plays, where love and materialism were incompatible and the gaining of all power had as a price of the loss of love. For some, his music carried the opera and dominated everything. His huge orchestras created a river of sound that overwhelmed the audience. His of the "leitmotiv" - musical themes which stand for characters and events - would be present throughout a work, reappearing interwoven with other melodies whenever the story makes reference to them.

In his stage works, the themes of love, death, and the attaining of power predominate. As for many figures of the Romantic Era, for Wagner losing one's self in the grand passion of love was a redemptive force over the corruption of the world. These themes came to dominate his life as well.

Because Hitler (long after Richard Wagner's death) was so approving of Wagner's music and of his anti-Semitic writings, Wagner's anti-Jewish statements have assumed an importance they would not otherwise have had. See Richard Wagner and anti-Semitism.

Wagner's Operas