Theodor Fontanes Verständnis des Prinzips „Verklärung“ (German Edition)

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Get fast, free shipping with Amazon Prime. Get to Know Us. English Choose a language for shopping. Explore the Home Gift Guide. Amazon Music Stream millions of songs. This task completed, Leporello once again changes mood. Now his sarcasm comes to the fore. Siccome io dicoy che Alessandro il Grande Della Francia, e della Spagna Ve ne sono non so quante: Delle vecchie solamente Non si sente ad infiammar. Il mio cor da gelosia Tutto sento a lacerar.

Egli non merta Che di lui ci pensiate Guardate Questo non picciol libro: Osservate, leggete con me. Nella bruna, la costanza; Nella bianca, la dolcezza. Delle vecchie fa conquista Pel piacer di porle in lista: Non si picca se sia ricca, Se sia brutta, se sia bella: Following further cosmetic changes, primarily affecting Parts Three and Four, the final draft of the cycle appeared, at long last, in , thirteen years before the quadruple premiere in Bayreuth. Thus the text of each unit of The Ring evolved, by way of extrapolation, from narrative passages in the one chronologically preceding it: There I have left him lying under the linden tree and have said farewell to him with heartfelt tears.

There he is better off than elsewhere. The first comprehensive outline of the tetralogy is sketched in letters to Uhlig Nov. Although the scenes in which previous events are recapitulated may at first seem redundant to audiences attending the whole cycle, Wagner considered them intrinsic to his overall plan. Structurally, Siegfried, a veritable tragi-comedy9, is peculiar in so far as it consists of two interlarded sets of scenes, those concerned with Siegfried and those dominated by the Wanderer i.

Wotan makes his grand entrance only in the prose sketch for Young Siegfried early May, , where we are told of an encounter with the dwarf: Conversation while Mime works at his forge. The origin of the Nibelungs, etc. It is on these that we shall concentrate. Our understanding of the standard text will be greatly enhanced by tracing the evolution of certain significant traits, especially the change of tone from serious to mock-heroic.

The following epitome of what would have been Act One of Siegfried shows him to be well-meaning and supportive: After a long pregnancy, the cast-out Sieglinde gives birth to Siegfried in the Wilderness [ Shortly after having given birth to Siegfried, Sieglinde dies, after telling Reigin her story and entrusting the boy to him. The catch, which in the final poem is manifest from the beginning, is revealed only in a subsequent passage: Now Mime incites the youth to kill the worm, in order to show his gratitude.

He leaves the cave [ Only after having done so, he fights and kills the dragon. In the prose version of the proto-Twilight of the Gods, for example, his hunchback foster-father is called a strong dwarf, splendid smith, and wise counsellor; and in the metrical version he appears, with alliterative force, as a manly creature, excellent smith and prudent counsellor to the orphaned boy In both versions of Siegfried he shows himself to be a windbag, hypocrite, liar, weakling and coward.

The fact that Mime, the clownish mimic, does not honour the truth is repeatedly demonstrated, although some of the apparent contradictions between the truth and his deceptive representation of it can be resolved by a comparison between the texts of Siegfried and Young Siegfried, which shows that Wagner was not uniformly successful in eliminating discrepancies That Mime is insidious and hides his dubious purposes under a torrent of deceitful phrases is made explicit when Siegfried, coached by the little Woodbird, learns to distinguish between essence and appearance.

II of his Life of Richard Wagner. Educating Siegfried 97 truth — a device purportedly borrowed from a nineteenth-century Faust play — offers irrefutable proof of his duplicity How ironic, and yet how appropriate, that it is he who should offer to give lessons in fear! For in a conversation with the sculptor Gustav Kietz, in , the composer programmatically stated: All winter long I have been haunted by an idea which, quite recently, has so completely captivated me that I shall now bring it to fruition.

If, once again, we search for evidence in the original plot outline of The Ring, The Nibelung Myth as Sketch for a Drama, we find that, at that point, Wagner had not yet linked fairy story and heroic legend, although even then he must have known that in the Teutonic legends Siegfried is commonly referred to as one who knows no fear, which, naturally, is a far cry from saying that, for whatever reasons, he must learn it. The motivation furnished in 18 The letter was written on May 10, Asked by his tutor what he would do once Mime had mended the sword, the pupil emphatically states: Into the world will I fare and learn fearing since I will never learn it from you.

Wagner must have noticed that this was a grave lacuna and, resolving the issue in his mind, added a note which supplies the much needed rhyme and reason: Siegfried now feels himself quite free of Mime. He will leave him in order to go into the world: Mime tries to instil into him fear of the world so as to keep him in the wood. He paints for him one terror after another in the world beyond the wood. Mime must explain it. Siegfried cannot learn it and now will go forth just to learn it.

Mime resolves quickly to teach it to him himself. In the corresponding passage of Young Siegfried, Wagner realizes this idea but unduly complicates matters by coupling the notion of fear with that of cunning List. Here Mime acquaints his ward with what he claims to be the educational policy framed by his mother on her deathbed: Mime will teach it to him or so he thinks together with its antidote List: Siegfried, my son, you see it yourself: That you hate me I am pleased to hear, but must I yield my life as well?

You get me all wrong. Although the intrinsic motif of fear was retained, it was altered from phase to phase of the creative process. Thus both in Young Siegfried and in Siegfried it is neither the protagonist nor Mime but the Wanderer who brings up the subject, and each time in a different manner. In Siegfried, on the other hand, Wotan, linking the forging of the sword with the acquisition of fear and embedding both motifs in a riddle, prophesies: That is the next step, for once Siegfried has done the seemingly impossible by forging Notung, there can be no doubt as to who will kill him.

Yet, on second thought he realizes that he is now caught on the horns of a dilemma: How do I hide my anxious head? It is forfeited to the bold youth unless Fafner teaches him fear. But woe, poor me! How would I attain the ring? Since the scenario that would suit Mime best — Siegfried killing Fafner and, in turn, being killed by him — is unlikely to be enacted, the resourceful dwarf literally concocts an alternate plan: The plan backfires, and Siegfried emerges unscathed but without having learnt to fear. Still uncertain of his calling but acting on another hint from the Woodbird, he embarks on a new adventure 21 Wagner deliberately couched the farcical passages of Siegfried in the colloquial language of low comedy.

In her realm he is to acquire his sentimental education. What he is to learn now is a kind of fear that is in no way physical. Rather he, the loner, who has until now met only animals, dwarfs, giants and gods, is to become a thinking and feeling member of the human race. Approaching the sleeping Valkyrie, he reflects: How do I, coward, feel? Is this what fear is?

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To awake myself I must awaken the maiden. Fear it is, but of an entirely different order. Although the two seem to be equated in the drama — they are in no way differentiated in the text — the story simply does not make sense if there is no distinction drawn between them. This different type of fear is the first step in his experience of human love, which in turn gives him back the confidence to forget self-doubt.

Indeed, as soon as he has discovered what it feels like to be afraid in an emotional sense he also learns that another new experience, that of human love, enables him to overcome it. Educating Siegfried As the fire in the blood is kindled, as we pierce each other with our glances, as we burn in ardent embraces, my keen courage returns to me, and the fear, ah! Love, united with knowledge and free of anguish, is about to conquer the world and, in the process, topple the mythological edifice erected in the earlier portions of The Ring.

In gaining this insight, they have learned their lesson, and no further schooling is needed. Pariser Farce oder wienerische Maskerade?

Richard Strauss1 Sein wir in Frankreich? Sein wir unter die Kurutzen? Oder in Kaiserlicher Hauptstadt? Ochs von Lerchenau2 I. Dramen V Operndichtungen Frankfurt: Fischer, , S. Von hier an durchgehend als Dramen V zitiert. Bibliographie des Schrifttums Berlin: Bibliographie Freiburg i. Was den Rosenkavalier selbst anbetrifft, so liegen zwar zahllose Arbeiten, Rezensionen usw.

Es bleibt abzuwarten, was in dieser Hinsicht der inzwischen erschienene, von Dirk O. Agora Verlag, , S. Modern Languages 39 , S. Wie der Name dieser Figur andeutet, handelt es sich bei ihr um einen ausgesprochenen Typencharakter. Literarisches Echo 14 , Sp. Wenn die Marschallin im Rosenkavalier zu Oktavian sagt: Die Briefe, in denen diese Frage behandelt wird, finden sich in dem von Hilde Burger herausgegebenen Briefwechsel Frankfurt: Insel-Verlag, der beiden.

Siehe vor allem S. Fassungen, Filmszenarium, Briefe, hsg. Fischer, 2 , S. Gilbert erkannt, die freilich in ihrer Argumentation zu weit geht Hanser , III , S. Modern Language Review 64 , S. Fassungen, Filmszenarium, Briefe, S. Van Oest, , Ill. Die Regiebemerkungen hierzu lauten: Neue Freie Presse, wiederabgedruckt in: Ein Briefwechsel , hsg. Deutsches Literaturarchiv, , S. Februar an seine Schwester. Und Hofmannsthal teilte Strauss am Atlantis, , S.

Die Skizze, die Kessler und Hofmannsthal zwischen dem 8. Abgedruckt in Dramen V, S. Und Kesslers Bemerkung in einem Brief vom Sie freut sich auf die Ehe [ So verlegte er die Begegnung kurzerhand in den Salon Gilbert Anmerkung 24 , S. Niveau der Opernhandlung stark angehoben wird. Pourceaugnac ist pathetisch im komischen Sinn, weil er eine Zielscheibe des Spottes ist. Im Rosenkavalier dehnte er dieses Versteckspiel auch auf manche Nebenfiguren aus. So grob will Er sein? Gilbert Anmerkung 24, S. Bei Hofmannsthal, dessen lyrische Ader und psychologische Finesse von jeher Bewunderung erregten, erwer52 Ebd.

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Geronte kompromittiert vor der Hofgesellschaft. Faublas im Travesti meldet sich. Journal of the American Psychoanalytic Association 14 , S. Marschallin durchschaut die Situation. Sophie ab zum Vater. To begin with the beginning: A droite, premier plan, une autre porte. Faublas, qui vient de sortir du lit, est dans sa petite culotte et chemisette de cavalier.

Sa robe de nuit est sur un meuble. Das Schlafzimmer der Feldmarschallin. Neben dem Bett ein dreiteiliger chinesischer Wandschirm, hinter dem Kleider liegen. Auf einem kleinen Sofa links liegt ein Degen in der Scheide. Je me souviens de ma Sophie. Je la vis si belle! Ich will nicht den Tag! Da haben Dich alle! Wie der folgende Passus aus einem Brief des Dichters an den Komponisten vom Juli beweist, beugte sich Hofmannsthal der Stimme des Volkes: Die Zeit, die ist ein sonderbar Ding. Wenn man so hinlebt, ist sie rein gar nichts.

Aber dann auf einmal. Sie ist um uns herum, sie ist auch in uns drinnen. In den Gesichtern rieselt sie, im Spiegel da rieselt sie. Et il continua sans regarder sa femme. Hier sehen sich Germanistik und Komparatistik vor eine gemeinsame Aufgabe gestellt. La Renaissance du Livre, [o. Ihre Gnade wird bereuen. Euer Gnaden werden sich schaden [ Juli an den Dichter schrieb. Sophie mit einem neuen Knix: Faninal mit gleichem Spiel zwischen ihr und Oktavian, der immer einen Schritt gegen den Ausgang tut, aber von Sophie in diesem Augenblick nicht loskann: Ah, springst noch aus dem Wagen. Ah, gibst Nein statt Ja zur Antwort.

Wie sich bald herausstellte, war das gar nicht so einfach. Oktavian hat sich gesetzt, sie stehen vor ihm. Zu Euer Exzellenz Befehl. Mit Leib und Leben. Schmerzen leidend, auf Quinquin fluchend, die Braut glossierend September konnte er Strauss mitteilen: Im Hintergrund links ein Alkoven, darin ein Bett. Calder, wiedergegebenen Text der Oper. August und Straussens Antwort vom Das gilt es zu beweisen. Beginnen wir mit dem Ingenu libertin.

Als er sie sieht, erhebt sich Faublas, wohl mit schuldiger Miene, und entfernt sich ein wenig von Sophie. Doch sobald ihn die Marquise ruft, trennen sich die beiden, und einen Augenblick lang steht Faublas genau in der Mitte zwischen ihnen M F S So hat sich der Kreis geschlossen: Sophie macht der Marschallin einen verlegenen Knix.

Der Baron, zwischen Sophie und der Marschallin stehend: Oktavian zwischen beiden hin- und herpendeln Aber die letzte Entscheidung ist noch nicht gefallen. Erst als sie den Raum verlassen hat, steht das junge Paar in intimer Pose beisammen: Dann gehen sie und versetzen Oktavian und Sophie in den siebenten Himmel: So geriet das ganze Libretto in unser Blickfeld.

So schrieb Kessler am Oktober an Hofmannsthal: Warum nicht Die galanten Abenteuer des Barons von Lerchenau? Hofmannsthal erwiderte am Das eigentliche Publikum verlangt [ There are surely more than thirteen ways of looking at opera, and any scholar or critic worth his salt is well advised to make up his mind early on as to the kind of approach he wishes to take in a given case. Up to this point in the history of interdisciplinary studies involving the musical drama, theoretical and methodological reflections have been few and far between, and no latter-day Aristotle has come to the rescue to unfold a cogent systematic Poetics of Opera3.

Egon Voss, 2nd enlarged edition Munich: Schriften, Aufzeichnungen, Briefe, ed. Insel-Verlag, , p. The Free Press, It will therefore behoove me to preface my paper with a few observations on the various choices open to the practitioner of Opernforschung in general and its subdivision, librettology, in particular. Needless to say, both Musik- and Literaturwissenschaft err when assuming that either the libretto or the score of an opera can be meaningfully viewed in isolation.

An interaction between the two disciplines is absolutely necessary, and an emphasis on one or the other collaborative art at the expense, or to the exclusion, of the other is merely a matter of convenience or professional competence. Let us illustrate this tripartite and, in the original sense of the word, trivial scheme with a few examples drawn from the literature on Tristan und Isolde. Oxford University Press, , which lacks both a method and a sense of direction.

But insofar as chromaticism also subserves a dramatic purpose, even here the literary dimension is not lacking. In short, Wagner, too, seems to treat Tristan und Isolde more or less as a symphonic poem Given the fact that Wagner was an artistic Doppelbegabung of the first order who believed that language and music — the male and female principles — were destined to join hands in marriage, it is hardly surprising that most of the devices he uses, and often introduces, pertain somehow to both spheres of artistic activity and should ideally be judged by those endowed with scholarly Doppelbegabung.

In the 6 The letter was addressed to Franz Brendel and published on 9 September, ; it is reproduced in the Dokumentarbiographie, pp. Knopf, , p. Richard Wagner an Mathilde Wesendonck: Duncker, , p. Zur musikalischen Analyse, ed. Wissenschaftliche Buchgesellschaft, , pp. Among the features that enjoy what might be called dual citizenship in the land of opera, the most obvious, and obsessively treated, is the leitmotif.

Indeed, in some of its applications it must be regarded as a quasi-literary device transferable to literature Thomas Mann. Bosse, , pp. Since it was intended for performance in the theater, Tristan und Isolde shares certain basic structural features with all plays; hence the option of treating it within a dramaturgical framework, following the examples set by Francis Fergusson14 and Kerman, whose analysis of the paroxysmal cycle experienced by Tristan in Act III is primarily, though not exclusively, structural In fact, thematology as practiced by a long string of critics from Wolfgang Golther to Michael S.

Batts and Egon Voss has long been a staple of Tristan und Isolde criticism Princeton University Press, The fifth chapter of Michael S. The few efforts that have been made to assess the work from this point of view have been largely polemical. Ich verkenne nicht, dass im Text [ The piece known to Wagner, appeared in the Programmheft of the Bayerische Staatsoper issued in conjunction with a production of the opera. Texte, Materialien, Kommentare, ed. Rowohlt, includes several of the essays previously mentioned.

Georg Reimer, , p. Tristan und Isolde as Verbal Construct concludes with an attack on Weltrich: In an unpublished title page for his treatise Die Kunst und die Revolution , for example, he stated: Thus, speaking of Tristan and Die Sieger, he unburdens himself to Liszt: On the lexical level, Wagner, who prided himself on being a perceptive etymologist, excels or, in the eyes of his severest critics, sins in proliferating neologisms, some of which form part of a carefully designed pattern. Syntax is another subject warranting closer scrutiny than has so far been accorded it, for simply to affirm that the text is muddled throughout and an early example of willed unintelligibility is an act of critical cowardice.

A whole 22 Reprinted from Nachge1assene Schriften und Dichtungen in the Dokumentarbiographie, p. Breitkopf und Hartel, , II, p. In fact, in dealing with rhetorical figures, I have already arrived at the level of Gehalt, which must now occupy us for a moment. Seeking to discover an integral meaning in Tristan and to determine its underlying Weltanschauung has been the occupation of many Wagnerites, often indulged in with a passion rarely encountered in scholarly pursuits.

Since I shall face the philosophical issue head-on in the course of analyzing a central passage from Act II, the only kind of approach I need to deal with at this juncture focuses on the sexual issue. With respect to the role of sex in Tristan und Isolde, two scholarly factions are at loggerheads with each other, the one upgrading, the other downplaying its importance.

All textual references will be to this edition. Except in one potentially significant case, the discrepancies between this version and the one found in vol. Stage directors, take care! Reynal, , p.

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Plon, , p. Whatever the merits of this assessment, the analysis fails to take into account that the text is not strictly Christian and that Tristan und Isolde aims not at renunciation but at fulfillment. Depending on the mood of the moment and, one guesses, his readings of the day, he planned at different times to end his drama in different ways. Braziller, , p. Ils sont ensemble et pourtant ils sont deux. With two mutually exclusive endings, contradictions abound, but may be resolved with reference to Die Sieger, the Buddhist drama about renunciation of carnal love as a precondition for the release from earthly fetters and for rejoining the God in his Nirvana.

This work was to have formed a diptych with Tristan und Isolde. Wagner never proceeded beyond a brief prose sketch39; but the work, pondered for many years, entered the mainstream of his art by way of Parsifal. Two letters to Liszt written within the space of three months indicate how Wagner hoped to extricate himself from the dilemma caused by the conflicting views. The relevant passage in the first letter, which includes the allusion to the black and white flags, reads: It is dated 16 May, Tristan und Isolde as Verbal Construct And on a Sunday morning in the fall of date unspecified he expostulates, dwelling on the concordia discors of the pair: We must look, first of all, at the sequence of events relating to the genesis of Tristan und Isolde, in order to ascertain whether the words came before the music prima le parole e dopo la musica As it turns out, the matter is more complicated, and the answer less decisive, than one would wish it to be.

The documents at our disposal indicate that Wagner began to think about writing Tristan und Isolde in late As he puts it in a letter to Liszt of 16 December of that year: The direct impulse for that enterprise was his response to another dramatic 41 Briefwechsel zwischen Wagner und Liszt, p. Unfortunately, this sketch has not survived.

After a two-year period of gestation, Wagner decided in mid to carry out the project. The first musical sketches for Tristan, most likely based on the early outline, were made in December, However, the systematic, sequential Vertonung did not begin until after the libretto was finished.

Wagner completed the full score of Act I on 3 April, , in 44 Schumann himself was planning a Tristan und Isolde, for which Robert Reinick prepared a scenario, first published in Zu manchem werde ich wohl auch eher die Musik als die Verse machen. In January , the score in its entirety was published, but five years elapsed before the premiere of the opera on 10 June, , at the Munich Hof- und Nationaltheater These are the ascertainable facts and the raw chronological data.

They do not offer a satisfactory answer to our question as to what came first, the text or the music. What 48 The so-called Wesendonck-Lieder, which Wagner considered to be studies for Tristan und Isolde, were composed between late November, and early May, Carefully weighing the slender and fairly ambiguous evidence, he arrives at the following preliminary conclusion: Und vor allem steht nicht fest, wie die musikalischen Ideen, die in die dichterisch-szenische Konzeption eingriffen, beschaffen waren.

According to Dahlhaus, these Formideen were vague and yet firmly embedded in the text. This raises the question as to the exact point at which, in the genesis of the work, the embedding took place. Bosse, , p. In other words, Tristan und Isolde progressively ceased to be a literary product.

I do not wish to prolong the argument unduly, which was broached mainly in order to show that there is no easy solution to the problem and that, with all due respect to Wagner the musician, we do have a right to treat Tristan und Isolde as a verbal construct — a better right, at any rate, than can be claimed by those who choose to treat it as a symphonic poem. If as a literary scholar I venture occasionally onto territory that is more essentially musical, I do so in full awareness of the pitfalls and quicksands that are in store for me.

The evidence I am prepared to offer is so forthright and cumulative that it is strange, even shocking, that it has never been marshalled before. Once again Peckham, shrewd but purblind observer that he is, will serve as our whipping boy. Realizing full well that Tristan und Isolde is all about the principium individuationis, he once again completely misses the mark. There are many ways of looking at Tristan und Isolde conceived as a poem, a symphony or a mixture of both, but also as possible models of or analogues to its underlying world view, that is, the realization that Non-Being is preferable to Being Various religious and philosophical systems advocating the dissolution of self preceded by abdication of the will and its re-absorption into a larger, depersonalized or disembodied, stream may have gone into the making of this music drama, whether directly or indirectly.

It is a noun frequently used in Tristan und Isolde. The model that the creator of Tristan und Isolde selected was provided by Indian, specifically Buddhist thought, in which he had steeped himself since It is described at length in a letter to Liszt of 7 June, , whose central for our purposes passage reads: Die Bramanen-Lehre stellt [ This sounds like a slightly foreshortened plot outline for Die Sieger, of which Tristan und Isolde is a secular mirror image, Heilige having here been replaced by Liebende.

Both men were profoundly interested in Buddhism at the time of writing their masterpieces. This mingling of the divine element with the earthly was the Fall from heaven. Logically, then, the act of creation occurs in the Prelude, that is, before the curtain rises, the dramatis personae appear and the action gets under way.

As Wagner puts it in a letter to Mathilde: Doch Nirwana wird mir schnel1 wieder Tristan. Sie kennen die buddhistische Weltentstehungstheorie. In Act I the wind — objective correlative of the WeltAtem — is still seen as a hostile and destructive force with entirely negative connotations. Zeigt ihm die Beute, die ich ihm biete! The quotation comes from p. Den Winden Segel und Mast! In analyzing the process by which the world constructed in the Prelude is slowly but surely deconstructed, I shall focus on that portion of the dialogue between hero and heroine in Act II, Scene Two, in which the Ent-Ichung is thematic.

It is hardly coincidental, for instance, that it is Isolde, rather than Tristan, who stresses the und, 62 I have omitted the stage directions. The passage in question: Ich kann nicht mehr sagen, meine Liebe oder deine Liebe; beide sind sich gleich und vollkommen Eins, so viel Liebe als Gegenliebe.

The strategical blueprint to be used for our subsequent analysis specifies that each stage in the unfolding process of disintegration in Tristan und Isolde be marked and justified. However, since Wagner was an artist rather than a logician, he had to take musico-esthetic factors into account and was not, or was not primarily, concerned with fashioning solid causal links within the chain I shall construct here, rearranging the order in which the steps are presented in the opera so as to lay bare the ideal sequence, or rather sequences, for there are actually two series which run parallel to each other: Texte, Materialien, Kommentare, pp.

Pinpointing the stage at which consciousness vanishes, these words terminate the series, whose parts, scattered over the three acts of the opera, make up a pattern that correlates with the inner action. The second, longer, and much more intricate series focuses in its first, phenomenal phase on the way in which the names of the two 64 Leo Spitzer, A Method of Interpreting Literature, pp. Tristan und Isolde as Verbal Construct protagonists are juxtaposed in the text. In the first stage, marked by that portion of Act I which precedes the drinking of the love potion, Tristan and Isolde are kept apart inasmuch as their names are not permitted to occur in one and the same line or without intervening text.

With the sudden intrusion of external reality, no further progress toward the perfect union of the lovers is made in Act I. At this point, then, no und is in sight, at least not in the finished libretto. Curiously enough, in the prose sketch Wagner introduces it just before the curtains are torn open: Stages two to eight in our schematic presentation are all encompassed within the passage from Act II, Scene Two.

We might call the second stage of the irreversible sequence possessive, that is, a condition in which the lovers, still very much themselves, seek to appropriate each other in preparation for the actual exchange of identities that is to follow. In this case, for instance, anticipatory overlappings occur on the musical plane. The third stage, foreshadowed in the title of the opera and fully thematized in our excerpt, is that in which a perfect balance is struck, but not yet at the cost of lost identities. The und which plays so weighty a role in the central portion of the interchange is used like an anchor to show that, while it is still in place, all is well with the phenomenal world.

This manoeuver is neatly executed, near the end of our key passage in the following verbal exchange: Tristan du, ich Isolde, nicht mehr Tristan! Du Isolde, Tristan ich, nicht mehr Isolde! This metamorphic act has taken us to the very brink of the world of phenomena which, if Tristan is to have his way, must be thrown over for that of noumena. On the fringes, linking the physical with the metaphysical realm, lies the domain of myth, for which Wagner, throughout his career, displayed a very special affinity.

Whereas mythical figures are embodiments of concrete natural or, as the case may be, abstract supernatural forces, the figures of legend, as Tristan and Isolde, are fictional counterparts of historical or pseudohistorical personages that may ultimately rise to the level of myth. In both cases, it is the names which, firmly affixed to their bearers, offer stability and give permanence. For that reason, the loss of names, resulting in anonymity, entails the destruction of the very fabric of which myths and legends are made, a return to a chaotic sphere in which the principium individuationis has ceased to function and where individuals are, at best, reduced to qualities Tristan and Isolde reach and — given the inverse perspective which here prevails — celebrate this condition, which constitutes the sixth rung of the ladder: It would lead too far to ponder the implications of this substitution here.

Herz an Herz dir, Mund an Mund; Tristan: Like so much else in the opera, this may seem preposterous at first glance; yet it fits perfectly into the pattern that I am here attempting to trace. Sung in unison in the last line, the phrase lifts us to a level of abstraction which transcends the world as Vorstellung or Erscheinung, except for the Ich which stubbornly resists the force of the universal will. Tristan und Isolde as Verbal Construct As the world was created by mistake or as a consequence of sin, so, according to Wagner, must it be destroyed.

Symptomatically, Isolde remains attached to the world even as she is about to leave it. More specifically, in her case the desired erasure of consciousness is effected in a setting that is truly sensuous, namely through the medium of synesthesia. As a psycho-physical phenomenon, synesthesia, which denotes the fusion or confusion of the senses, entails the breakdown of the highly differentiated human sensorium and a return, quite appropriate in this context, to a more primitive form of multiple perception.

Isolde experiences this deprivation which for her is an enrichment in a state of complete euphoria. Er sinkt in Isoldens Armen langsam leblos zu Boden. There will be no reconstitution of identity, no subsequent recourse to consciousness, no restoration of the sensory apparatus. Language will fail; and how long can music, of which Nietzsche maintains that it antedates the principium individuationis, survive?

If empathy has carried the day, listeners and viewers will feel deprived of the chance to follow the pair into the Schopenhauerian Nirvana. Wagner agonized over the risk he thought he was taking. Dieser Tristan wird was furchtbares! Von hier an zitiert als Teatro. Im Frankreich des achtzehnten Jahrhunderts galt bekanntlich die Oper als eine Unterart des Dramas, d.

Was das Opernwesen bzw. Valvasense, , II, S. Von hier an zitiert als Einstein. Opere di Francesco Algarotti e di Saverio Bettinelli, hrsg. Von hier an zitiert als Saggio. Zitiert bei Reinhard G. Vita e Opere Mailand: Zu den wahren Urhebern des dramma per musica — dem Dichter und dem Komponisten, die E. Fabrizio e detti [Ali, der Agent Nibio und der Dichter Maccaro], poi tutte quelle persone che da Nibio vengono nominate. Mio signore ad Ali Ali: Venite innanzi, signori verso la scena. Ecco i pittori ed i lavoranti. Eco qui il capo delle comparse con trentadue compagni, bella gente e pratica del teatro.

Questi sono i tre portinari. Questi sono i due paggi da sostener la colla alle donne. Ecco un bravo suggeritore, capace di suggerire le parole e la musica. Ecco due uomini per dispensare i biglietti. Ecco quei che devono assistere ai palchetti, per dare e ricuperare le chiavi. Questo sa far da orso. Condur Smirne tutta questa canaglia? Mangiar impresa e impresario. Tu voler Ali precipitar. Mondadori, , Band VII. Siehe hierzu die entsprechenden Hinweise in meinem in Anm. Norton, [wiederabgedruckt in diesem Band]. Testimonianza dei contemporanei Turin: Loro musica perniziosa a i costumi. Riprovata ancor da gli antichi.

Poesia serva della musica.

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Apostolo Zeno bezieht sich auf sie in einem bei Einstein Anm. Niuna cosa nella formazione di essa fu lasciata indietro, niuno ingrediente, niun mezzo, onde arrivar si potesse al proposto fine. Januar in Pietro Metastasio, Opere, hrsg. Metastasio stand auch mit Algarotti im regen Briefwechsel. Er lobte vor allem die Wahl des exotischen Stoffes. Die Prosa- und Verssatire als Parodie der gelehrten Abhandlung nimmt innerhalb der Geschichte der Kritik an der Oper zwar einen wichtigen, aber weniger gewichtigen Platz ein.

Norton, , S. Wie aus Wiels Katalog Anm. The next step to our refinement was the introducing of Italian actors into our opera, who sung their parts in their own language, at the same time that our countrymen performed theirs in our native tongue. The king or hero of the play generally spoke in Italian, and his slaves answered him in English; the lover frequently made his court and gained the heart of his princess in a language which she did not understand.

One would have thought it very difficult to have carried on dialogue after this manner without an interpreter between the persons that conversed together, but this was the state of the English stage for about three years Jahrhunderts eine nicht unwesentliche Rolle. Und wer kennte nicht den Schauspieldirektor? Garland Press, , ohne Paginierung. This piece I own was originally writ for celebrating the marriage of James Chanter and Moll Lay, two most excellent ballad singers.

I have introduced the similes that are in all your celebrated operas: Besides, I have a prison scene, which the ladies always reckon charmingly pathetic. As to the parts, I have observed such a nice impartiality to our two ladies that it is impossible for either of them to take offense.

I hope I may be forgiven that I have not made my opera throughout unnatural, like those in vogue, for I have no recitative. Excepting this, as I have consented to have neither prologue nor epilogue, it must be allowed an opera in all its forms Um drei besonders auffallende Entsprechungen zu nennen: University of Nebraska Press, Siehe hierzu in Metastasios Impresario delle Canarie Anm. Il poeta mi scusi. Dopo una scena tragica Vogliono certe stitiche persone Che stia male una tal comparazione.

If your friend thinks of sending a specimen here, I must warn him that in England people like very few recitatives, thirty airs, and one duet at least distributed over the three acts. Senesino takes the principal male character, and his part must be heroic. The other three male parts should be arranged proportionately song for song in the three acts and entrusted to the two women. If the subject demands three women, a third woman may be employed, as there is a third singer here to take the part Siehe Goldonis Opere, hrsg.

Hinzu kommt als 6.

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Zuerst kommt der Dichter an die Reihe. The Musical Quarterly 34 Bei den im Teatro alla moda — eigentlich: Un tomo di commedie francesi, un dizionario, un rimario e la grammatica del Corticelli stavano tutti alla destra del signor poeta; quelli che aveva alla sinistra non ho potuto vedere ehe cosa fossero. So bedient er sich unentwegt des non sequitur als einer rhetorischen Waffe. Mai in Hugo Wolfs musikalische Kritiken, hg. Jahrhunderts4 —, will ich mich im folgenden befassen. Obwohl es sich bei Mignon um ein letzten Endes musikdramatisch verfehltes Werk handelt, das dem Kenner der literarischen Vorlage, d.

Ich betrete also operngeschichtliches Neuland. Eine kurze Zusammenfassung aus der Feder des Autors findet sich in Dissertation Abstracts International 33 , a. Diese Begeisterung war, wenn auch nicht schrankenlos, in der deutschen Kritik vorgebildet. New York , Eine Zeitschrift, im Repr. Sevelings aus dem Jahre , in der Wilhelm in Alfred umgetauft wird und Mignon als Fanfan auftritt Aber erst mit Gautier fils, einem der bedeutendsten Interpreten deutscher Literatur um die Jahrhundertmitte, trat der entscheidende Vermittler auf den Plan Die Publikation der Gesamtausgabe von Meyerbeers Briefen ist leider noch nicht bis zu dem hier in Frage kommenden Zeitpunkt gelangt.

Entsprechende Angaben in H. Blaze de Burys Buch Meyerbeer et son temps, Paris Stein in einem in der Zeitschrift Comparative Literature 22 publizierten Aufsatz. Schirmer in New York erschienenen Ausgabe des Klavierauszugs. Was die Struktur bzw. Zwar handelt es sich hierbei vordringlich um Anweisungen des Verfassers an den Regisseur, doch wendet sich der Autor auch an den Leser und, wenigstens indirekt, an den Zuschauer.

Jarno est debout sur le chariot. Mignon [Textbuch] I 7 [23]. Zafari saisit son violon et donne le signal de la danse. In dem Text, der der Aufnahme auf Columbia-Langspielplatten beiliegt, wird im ersten Fall einfach gesagt: So gibt es von Don Giovanni eine sowohl an das Publikum als an das Opernpersonal Konzessionen machende Wiener Fassung, in der die komische Nebenhandlung erweitert wird Sie konnte sich allerdings nicht durchsetzen.

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Rossinis Guillaume Tell, eine musikalische Schweizerreise? Oui, je veux par le monde Promener librement Mon humeur vagabonde. Je ne voulais rien voir! Je ne voulais rien entendre! Mignon [zu den Zigeunern]: In der heute verbindlichen Standardfassung besteht Mignon aus drei Akten, von denen jeder seinen fest umrissenen Schauplatz hat. Was hat man dir, du armes Kind, getan? In etwa bezieht sich die Handlung des ersten Aktes auf das zweite Buch vor allem auf dessen viertes Kapitel , die des zweiten auf das dritte Buch und die des dritten auf das achte Buch vor allem auf dessen zweites und neuntes Kapitel der Lehrjahre.

Ihre bei Goethe in der Schwebe gehaltene Relation wird hier also dingfest gemacht. Die Szene ist, wie gesagt, Italien. Wobei offen bleibt, wie die dramatis personae dorthin gelangt sind. Auch bei Thomas stirbt sie, freilich nur metaphorisch gesprochen, um aus dem Scheintod schnell in Wilhelms Armen zu erwachen: Le bonheur est ici maintenant.

Adapted from Matthew 7: In fact, an article by Richard Seebohm , dealing with one of the two works discussed in this essay, may well be the only serious attempt to cope with this neglect, although not systematically7. Before turning to Pfitzner and Hindemith, however, and to their respective masterpieces — so rarely performed Pfitzner Aron but does not focus on the inspiration-creation scenes, was brought to my attention after I had completed this essay. In this essay I rely primarily on the bilingual texts included with the recordings listed in note Few, if any, productions of the two works have been mounted in the United States, which Pfitzner never visited but where Hindemith lived and taught between and Let us start by inquiring why it is that, especially within the German tradition, the artist-play and, to a lesser degree, the artist-opera occupy such a special niche in the repertory, mostly since the late eighteenth century.

Tieck, But I think that [ The specific traits that make the painter what he is can be delineated, and whatever would seem superfluous and disruptive in a drama would be more graceful in the narrative. John Calder, ; Palestrina, translated by Veronica Slater, libretto included with the Deutsche Grammophon recording ; Mathis der Maler, translated by Bernard Jacobson, libretto included with the Angel recording. That is to say, it is natural for Tasso to exclaim: Unless, that is, he can be presented, as it were, in action.

The dramatist who selects a painter as his hero, however, must engage him in some sort of verbal action by combining the Schauspiel with the Sprechspiel. If he is very conventional, he may also call for the presentation of living pictures in which works of art are reenacted tableau fashion see Goldschmidt, 5 14 — an excellent subject for both pantomime and ballet.

More frequently, the Malerdrama shows the protagonist at a crucial or climactic moment of his career, engaged in painting, chiseling, etc. But even if one accepts this frame of reference, so perfectly suited to opera, whether seria or buffa, one might object to the lack of verisimilitude that practice dictates and convention justifies.