By Stephen McClatchie
The paintings of the Wagnerian theorist and analyst Alfred Lorenz (1869-1939) has had a profound impression upon either Wagnerian scholarship and song research within the 20th century, and but it hasn't ever been correctly evaluated. interpreting Wagner's Operas outlines the origins and improvement of the expressive aesthetic in writings by means of Wagner and others, in addition to in early-twentieth-century theories of musical shape, and it considers Lorenz's paintings and contributions during this gentle. The booklet additionally hopes to teach, to the level attainable, the place Lorenz's paintings acted as a type of "musical metaphor" for German nationalist ideology through the Nazi period.
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Additional resources for Analyzing Wagner's Operas: Alfred Lorenz and German Nationalist Ideology (Eastman Studies in Music)
Schopenhauer is adamant that words occupy a subordinate position to the music. The music does not express the words, but rather the universal which lies behind the words. "12 Melody is the highest degree of the will's objectification. Schopenhauer describes the process of melodic motion in terms of the will's appetite, its satisfaction and perpetual renewal, analogous to the melodic resolution of nonharmonic tones or modulation away from and back to a tonic. Schopenhauer's depiction of music was to have a profound effect on many musiciansparticularly composersin the latter half of the century.
104. Or, perhaps more correctly, as Lorenz's contemporaries understood Nietzsche. As is well known, Nietzsche's sister, Elisabeth Förster-Nietzsche, went out of her way to depict Nietzsche as a proto-Nazi in her publications of her brother's works, including (most notoriously), the posthumous collection of aphorisms, Der Wille zur Macht. 105. For example, his discussion of Guido Adler's Wagner lectures is uniformly laudatory. On the subject of anti-Semitic stereotyping in Wagner in general, see Marc A.
16 Given the influence of Schopenhauer on Wagner and the influence of Wagner on intellectuals at the end of the century, it is not surprising that to be a Wagnerian generally meant to be a disciple of Schopenhauer as well. This is nowhere more clearly to be seen than in Friedrich Nietzsche's Die Geburt der Tragödie aus dem Geist der Musik (1871). Nietzsche's book, which contains a "Preface to Richard Wagner," posits an eternal opposition between what he terms the Apollinian and the Dionysian, and argues that the power of Greek tragedy lay in its cultivation of the latter principle.
Analyzing Wagner's Operas: Alfred Lorenz and German Nationalist Ideology (Eastman Studies in Music) by Stephen McClatchie