Guide Beethoven (Sutton Pocket Biographies)

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  1. beethoven sutton pocket biographies Manual
  2. ISBN 13: 9780750915090
  3. Once Bitten (The Hunted Book Two)
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  5. Beethoven (Sutton Pocket Biographies) By Anne Pimlott Baker | eBay

Like many concepts in the book world, "series" is a somewhat fluid and contested notion. A good rule of thumb is that series have a conventional name and are intentional creations , on the part of the author or publisher. For now, avoid forcing the issue with mere "lists" of works possessing an arbitrary shared characteristic, such as relating to a particular place. Avoid series that cross authors, unless the authors were or became aware of the series identification eg. Also avoid publisher series, unless the publisher has a true monopoly over the "works" in question.

So, the Dummies guides are a series of works. But the Loeb Classical Library is a series of editions, not of works.

Home Groups Talk Zeitgeist. I Agree This site uses cookies to deliver our services, improve performance, for analytics, and if not signed in for advertising. Finally the author examines the language of the poem, in which she variously identifies archaic words and forms, imitation of Hans Sachs' poetry and hints of Bavarian dialect. Rayner was one of the first commentators on any of Wagner's dramas to understand the importance of considering the music and words together, and to study the interaction between the poem and the score.

The book discusses the origins and development of Die Meistersinger and the final score. Appendices consider Wagner's sources. With 5 black and white plates. Not about Wagner's opera but a useful source of historical information about the real Nuremberg at the time of Hans Sachs. A concise treatment of Wagner's usage of J. Wagenseil's Nuremberg chronicle, Buch von der Meistersinger holdseligen Kunst. Hadow , a book which is indispensable to all students of the subject. The first section of this volume, 'Performing Meistersinger', contains three articles commissioned from internationally respected artists - a conductor Peter Schneider , a stage director Harry Kupfer and a singer Dietrich Fischer-Dieskau.

The second section, 'Meistersinger and History', examines both the representation of German history in the opera and the way the opera has functioned in history through political appropriation and staging practice. The third section, 'Representations', is the most eclectic, exploring, among other topics, the problematic question of genre from the perspective of a theatrical historian, the fashionable theory that there is an anti-Semitic subtext in this opera, and the claim that Beckmesser is a caricature of Eduard Hanslick.

John Warrack traces the evolution of Die Meistersinger from plans for a light comic opera or "satyr-play", through all the drafts and literary influences on them, into the eventual comedy; he then presents an analysis of the music, and investigates what Wagner found in the historical Mastersingers and their music.

Lucy Beckett contributes an insightful essay into the influence of Schopenhauer and the changes that this brought about in the work as it developed. She also explores the complexity of expression in the work. Michael Tanner suggests new ways of interpreting the opera's inner and outer worlds. Patrick Carnegy provides a stage history.

beethoven sutton pocket biographies Manual

Includes a synopsis, bibliography and three appendices: versions of the 'Wahn' monologue, Sachs' final address, and the Prize Song respectively. A long-overdue, perceptive study of Wagner's Parsifal. For Bassett the message of this work is that human salvation is to be achieved not through the satisfaction of worldly desires but through compassion.

Wagner shows Parsifal's inner journey towards enlightenment through compassion, in which he is able to ease the burdens of others.

ISBN 13: 9780750915090

Bassett has looked at the relationship between Wagner's sources and his text, which is shown to owe more to those sources than many people suspect. He limits his study to the medieval sources, however, overlooking the allusions in Wagner's text to contemporary literature. In contrast to the study by Lucy Beckett see below , Peter Bassett paints a balanced picture of the world-view behind Parsifal , taking into account Wagner's interest in Buddhism and the impact that Buddhist ideas had upon Wagner in general and this work in particular. Includes a synopsis, a prose translation of the libretto, a chronological table and a short bibliography.

Since some commentators regard this book as definitive , it needs to be examined in some detail.

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The book contains too many errors for them all to be discussed in this review -- but it is most at fault in what it omits and ignores. Lucy Beckett's full account of the reception history of Parsifal and Arnold Whittall's insightful comments on the score are the parts of this book that will be most useful to the reader, whether student, scholar or interested opera-goer. Some commentators have found Beckett's discussion of Wagner's sources so incomplete as to be misleading, however, and there has been widespread scepticism about her claim that the work is a profoundly and exclusively Christian miracle play.

Commentators on Parsifal are in general agreement that it is a religious drama, or at least that it concerns subjects that are generally considered to lie within the domain of religion, but are less likely to agree with Wagner's claim that his last opera was "Christian", or indeed that it is concerned with any specific religion, despite Wagner's use of religious symbols.

It is only through a highly selective reading of Wagner's text and its background that Beckett was able to make a case to support these claims. Although Beckett acknowledged the influence of "Schopenhauerian Buddhism" in the early development of Wagner's drama, she concluded that in its final form there are only remnants of Schopenhauer's influence. She takes literally Wagner's repeated assertion for example in his letters to Ludwig that Parsifal is a Christian work. Wagner's idea of true Christianity was quite different, however, from anything Beckett would recognise as Christian doctrine.

He said that he was a Christian without dogma ; he said that he did not believe in God although he did believe in divinity; and he was dismissive both of Christian scripture and of Church tradition. He wrote to Mathilde about his belief in reincarnation quoted on p. In spite of this, Beckett single-mindedly seeks the Christian message in Wagner's text.

Ludwig van Beethoven-biography,documentary,life,works for children

She identifies as the central subject of the work its hero's religious conversion p. She finds in it Wagner's sense of the central importance of incarnation p. Although the noun appearing most frequently in Wagner's libretto is "Heil", Beckett does not describe the work as being primarily about salvation. This might be one reason why Beckett repeats an error of earlier writers by over-emphasising the importance of Parzival -- a work of which Wagner was dismissive -- and other Romances in forming the ideality of Parsifal.

It is true that Wagner's hero is like Wolfram's hero to the extent that he is a young man who grows slowly wise but he is more than that: Parsifal is a sheltered youth who appears foolish but who despite appearances is capable of achieving perfect wisdom. Although both are knights errant, where Parzival achieves the chivalric ideal by an unorthodox path, Parsifal finds and follows the path that leads to salvation.

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Wolfram's Parzival is about fidelity, not about salvation. Wagner's Parsifal is about salvation, or in other words about overcoming the world and the devil; some, although not Beckett, understand this to be his mission in a specifically Schopenhauerian sense which Tanner called Wagner's anti-transcendental redemptivist vision. It is salvation that the hero offers to Kundry in act 2 and it is, according to Gurnemanz, salvation that he brings to the community in act 3.

Beckett's analysis of Parsifal is inhibited by the incompleteness of her survey of Wagner's literary sources. She mentions none of the Indian texts -- many of them concerning another sheltered youth who achieved perfect wisdom -- that other authors such as Carl Suneson consider to have influenced Wagner in the creation of Parsifal. Not only does she overlook the important Indian texts but also a medieval religious work Barlaam and Josaphat , present in Wagner's Dresden library, that was arguably of far greater importance than Parzival , at least for act 2 of the drama.

The characters of this act are not found in Parzival where although the hidden sorceror is called Clinschor, he has nothing to do with Parzival. According to Wagner in , the nameless maiden who kissed the hero was not originally identified with the servant of the Grail herself a fusion, as Beckett correctly observed, of several female characters in Parzival , originally called by Wagner "Condrie" , who appeared only in the outer acts. In the final version, of course, the temptress has had like the hero many names.

There can be little doubt that much of the second act was based upon a passage in Barlaam and Josaphat , supplemented by Indian sources. In addition, the relationship between Barlaam and Josaphat was seen by Suneson as the model for that between Gurnemanz and Parsifal.

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Beckett missed this text and its significance entirely. It is not clear what primary sources Beckett had consulted. Obviously she did not examine the Wagner's diary, the Brown Book ; if she had done so, then she might have seen the importance of the Ramayana , another literary source that she does not mention at all. Wagner had expressed in his diary his enthusiasm for this Indian poem, which he was reading, a few days before he wrote the first prose draft of Parsifal.

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Beckett found Parsifal to be inconsistent because of a perceived uneasy balance between Christian and pagan non-Christian elements. If she was thinking of "pagan" elements of the Romances -- such as the Grail, the Spear and the Fisher King -- then the Christianized versions of these elements that are used in Wagner's drama could hardly conflict with any strictly Christian elements that appear in the drama -- indeed, Beckett writes of the Christian force of the Grail p.

They can be at the same time both "Christian" and "pagan". One does not have to scratch these symbols hard before "pagan" prototypes appear: the spear is presented as the weapon that wounded Christ but it is obviously also the spear of the Grail procession from the Romances and it only functions as a binding element of Wagner's plot because like the spear of Telephus, it both wounds and heals. Despite the high visibility of Christian symbols, one does not have to look hard at the libretto to find non-Christian ideas there too: characters, events and types Wagner had found in Buddhist and Vedic religious writings, or in classical myth, and concepts he had learned from Schopenhauer's writings on ethics.

Beckett treats them as noise that distracts us from the Christian message.