Dificuldade no texto Wagner e ritmos gregos

 Dificuldade em ultrapassar uma visão linear, que a relação com os gregos geraria a dramaturgia e a estética wagnerianas.

Do ponto de vista da composição, a criação de versos não é a partir de presets rítmicos/métricos. Conceito de aplicação.

Multicausal

1- reação contra a ópera de seu tempo

2- reação com o contexto cultural de seu tempo

3- busca de sua singularidade

4- poesia, música e pesquisas de fundamentação (erudição)

Há uma cronologia das relações de Wagner com os estudos clássicos.

Mas há um hiato entre as obras e as ideias e comentários esparsos entre publicações e cartas. 

Em primeiro lugar, qual a relevância dessa relação com os ritmos gregos? Por que esse envolvimento com metros e ritmos gregos?

Ao mesmo, tempo desse envolvimento temos uma reação, contra o modo tais informações são apresentadas.

Há uma meta que não é a meta do filólogo. Mas Wagner precisa do filólogo.

Roteiros possíveis: 

Contextualizar a prática artística de Wagner

Como ele vai da literatura para a Dramaturgia musical

a- presença nos diários de cosima

b- Carta aberta à Nietzsche

c- Textos da Ópera e Drama

d- Carta Mathilde Wesendoncksobre transições

e- Exemplo de Ouro do Reno?

Seriam as questões de métrica e ritmo, imagens de organização para obras?

Citações escolhidas:

A- Diários de Cosima

1-Cosima’s Diaries (journals). Tells about Wagner’s social life – meetings, daily routines, etc.. Reading aloud texts/ Lecturing.
•
•Thursday, November,1878: “A lot more about Aeschylus’s chorus, he says one could write a whole book about it.”

2- •On the other hand, he listens willingly to all I have to say to him following my becoming more closely acquainted with Aeschylus, and he speaks highly of Droysen and the influence he had on him when, self-taught, he set about building a library and was obliged to acquire these things in translation.

•Sunday, June 27, 1880.--

3- 

•In the evening talked a lot about Aeschylus. “The remarkable thing about this truly great being is that one hardly notices the way it is done! It does not appear to be art at all, because it is in fact something much higher: improvisation. With Schiller, one can imagine how things came into his mind and how he considered manipulating them; but not in Shakespeare or Aeschylus.” “I should like to die in you,” I say to R.—a poor expression for my feelings, my longing to be nothing apart from him.”
•Friday, January 12 , 1872.

4- • I come upon him at work, he is altering the words to fit the melody, and says: “Nothing worth while will come just from writing a good poem and then putting a melody to it. I can see how the irregularities of the Greek choruses arose; I also knew what I was doing when I constructed my Nibelungen meter—I knew it would accommodate itselfto the music.”—
Thursday, March 16, 1871

5- •He sings a poem by Goethe, the “Resurrection Hymn,” to the tune of the “Sehnsuchts-Walzer,” and says it lacks a conclusion, because all the stanzas are the same and there is no interchange of double and treble feet: “So something is lost which the Greeks understood so well and which struck me at once in my youth, and I made it the basis of my whole metrical pattern. Lope de Vega also has this alternation, less so Calderon, who argued more and needed regular trochees for that. With the five-foot iamb, people imagined that, since it contained two and three, it would provide a caesura, but that, is not so—it is also a heavy meter and does not bear duplication.
•Friday, March 28, 1873.

6- Before that he had sought out some fine metrical examples (by Bach), since he cannot get over his amazement that Mendelssohn could find no way of matching the rhythms of Greek verse—he, a philologist, and so well educated!
•Monday, January 20, 1879.

7- ••Rehearsal at 5 o’clock (voice and piano); R. asks the people to pay attention to his rhythms: “I think I have got them right; I may have composed badly, but my rhythm is good.”
•Monday, July 3, 1882.

Carta a Uhlig, Sunday, February 15th, 1852.

Thus he always held on to the letter with the finest of musical cleverness, and thus was like our philologists, who, in their expositions of Greek poets, must always point out the literal characters, the particles, the various readings, etc., but never the real contents. Mendelssohn's gross errors in

the conception of the tempi show clearly his failure to comprehend the content of a composition ; and this every one will recognize who, for instance, heard his tempo for the first movement of the Ninth Symphony,

which he took so fast that the whole movement was distorted to the direct opposite of what it really is. In this he suddenly revealed himself to me as a most ordinary music-maker, and I recognized at once the reason why he himself could never create anything different from what he did create.

Carta a Uhlig, ZURICH, February 26th, '52.

A subject is here touched upon truly fatal to our post-Beethoven musical doings: in my opinion,nothing less than the proof that Beethoven, in his true essentials, is universally and absolutely not understood.I, at least, cannot view the matter otherwise, as I myself have become convinced that I, too, have only understood Beethoven since I sought for the poetical subject of his tone utterances, and at last found it : Coriolan proves this clearly to me. I maintain that until now people, when they performed the real Beethoven, have only imitated and listened to a language of which they perceived only the outward sound, which indeed they only understood as you perchance understand sonorous Greek verse when you hear it recited ; i.e., you take pleasure in the sound, now soft, now strong, now muffled, now clear, but you do not perceive the sense which is conveyed in this verse. Is it otherwise ? What now is all our idolatry of Beethoven ? Answer !

Carta a Uhlig, march, 1852

The song did not satisfy me : it were better it had been left out ; it is all made bar by bar, and with no grasp of the whole. These eternal harmonic tricks are becoming quite intolerable to me now, and I believe now that I have my rhythmic verse to hand that in future I shall be able to proceed quite otherwise with harmony than formerly. By this I do not mean that I should return to patriarchal simplicity: but my harmonies will move in broader expansion more distinctly, and more definitely. This at least is how my new lyrical element made possible by means of my new verse is revealing itself to me.

Carta de Wagner a Liszt

ZURICH, May 29th, 1852.

My work also pleases me again ; my Nibelung tetralogy is completely designed, and in a few months the verse also will be finished. After that I shall be wholly and entirely a "music- maker," for this work will be my last poem, and a litterateur I hope I shall never be again. Then I shall have nothing but plans for performances in my head; no more writing, only performing. I hope you will help me.

Carta de wagner a Liszt ZURICH, March 4th, 1854.

One other thing : my musical position towards verse and metre has undergone an enormous change. I could not at any price write a melody to Schiller's verses, which are entirely intended for reading. These verses must be treated musically in a certain arbitrary manner, and that arbitrary manner, as it does not bring about a real flow of melody, leads us to harmonic excesses and violent efforts to produce artificial wavelets in the unmelodic fountain. I have experienced all this myself, and in my present state of development have arrived at an entirely different form of treatment.