By Stephen Muir, Anastasia Belina-Johnson
Richard Wagner has arguably the best and such a lot long term impression on wider eu tradition of all nineteenth-century composers. And but, one of the copious English-language literature studying Wagner's works, effect, and personality, learn into the composer's influence and function in Russia and japanese eu nations, and perceptions of him from inside of these international locations, is considerably sparse. Wagner in Russia, Poland and the Czech Lands goals to redress imbalance and stimulate extra examine during this wealthy sector. the 10 essays are divided in 3 components - one each one on Russia, the Czech lands and Poland - and canopy a large ancient span, from the composer's first contacts with and appearances in those areas, via to his later reception within the Communist period. The contributing authors learn his affects in quite a lot of components reminiscent of track, literary and epistolary history, politics, and the cultural histories of Russia, the Czech lands, and Poland, in an try to determine Wagner's position in part of Europe now not in general addressed in reviews of the composer.
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Extra resources for Wagner in Russia, Poland and the Czech Lands: Musical, Literary and Cultural Perspectives
1, p. 63. , p. 71. , p. 119. Wagner in Russia, Poland and the Czech Lands 12 Oresteia and Wagner Oresteia Libretto Act I, Agamemnon After a 10-year wait, the Watchman finally sees the lights that signal Agamemnon’s return from the Trojan War. Agamemnon’s wife Clytemnestra announces to the people that their victorious king is coming back. Clytemnestra’s lover (who is also Agamemnon’s cousin) Aegisthus is in turmoil – he is afraid that Agamemnon will kill him when he finds out that he has committed adultery with Clytemnestra.
P. 133. 49 ‘Только это так нестерпимо сложно. Ведь я убежден, что сам Вагнер не мог бы сыграть наизусть двух страниц своей вещи. ’ Ibid. 43 44 ‘One can learn a lot from Wagner, including how not to write operas’ 11 musicians with Wagner’s music dramas. 51 By that time, having played through Götterdämmerung with Taneyev on one fateful evening, Sabaneyev was already a convinced Wagnerite, but he did not yet admit it to anyone there, particularly to Taneyev. 53 The evening finished with Taneyev retrieving a German book he had acquired containing caricatures of Wagner and showing it to everyone present.
Oresteia, of course, appeared completely in dissonance with the rest of the operas written by Taneyev’s contemporaries. Oresteia shares a number of obvious similarities with Wagner’s Ring: owing to the nature of their texts, the characters inform the audience of past events in their monologues. The idea of wanderers is common to both, as both Wotan and Orestes visit their families in disguise. In Die Walküre, semi-goddess and semi-human Brünnhilde foretells the arrival of a hero, Siegfried, whose leitmotif appears for the first time in her vocal part.