Wagner, filologia e ritmos citações

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Wagner, filologia e ritmos 27-29 abril. 

« Rythme et Son » 

 Rhythm, Sound, and Performance: Richard Wagner's Remarks on Ancient Greek Meters. dia 27 17H30-18H00

1- (Eastman Studies in Music, 185) Eva Rieger_ Chris Walton (trans.) - Minna Wagner_ A Life, with Richard Wagner-University of Rochester Press (2022) (1).pdf

1847 

The music of Lohengrin was keeping Richard busy. In the mornings he worked assiduously on the score, and in the heat of the afternoon he retired to a shady spot in the garden, reading all manner of books: historical works, fairy tales, heroic sagas, and the writings of the Ancient Greeks. Both his overall health and his mood improved. " p. 88

A música de Lohengrin estava mantendo Richard ocupado. De manhã, trabalhava assiduamente na partitura e, no calor da tarde, retirava-se para um canto sombreado do jardim, lendo todo tipo de livro: obras históricas, contos de fadas, sagas heróicas e os escritos dos gregos antigos. Tanto sua saúde geral quanto seu humor melhoraram.

Georg Herwegh also influenced his friend in another matter. He had been educated in both linguistics and the natural sciences and had mastered not only the ancient, Classical languages but also the most important modern ones. He was able to communicate perfectly in French, Italian, and English. Wagner was not so proficient, however, and also spoke with a heavy Saxon accent. Herwegh loved to read dictionaries, claiming to prefer them to the best novels. Wagner, eager to profit from this knowledge too, soon became the terror of all around him by developing a mania for doggedly divining etymological roots for all manner of words. Minna accused Herwegh of driving her husband quite mad. Richard’s etymological extravagances would end in awkward marital arguments, most of which were pacified by Jacquot the parrot, that extraordinary bird that could whistle five bars of Beethoven’s 9th Symphony and that delighted in squawking its familiar refrain of “Richard Wagner is a bad man!”
p 280

Georg Herwegh também influenciou seu amigo em outro assunto. Ele havia sido educado tanto em lingüística quanto em ciências naturais e dominava não apenas as antigas línguas clássicas, mas também as mais importantes línguas modernas. Ele foi capaz de se comunicar perfeitamente em francês, italiano e inglês. Wagner não era tão proficiente, entretanto, e também falava com um forte sotaque saxão. Herwegh adorava ler dicionários, afirmando preferi-los aos melhores romances. Wagner, ansioso por lucrar também com esse conhecimento, logo se tornou o terror de todos ao seu redor, desenvolvendo uma mania de adivinhar obstinadamente as raízes etimológicas de todos os tipos de palavras. Minna acusou Herwegh de enlouquecer seu marido. As extravagâncias etimológicas de Richard terminariam em desajeitadas discussões conjugais, a maioria das quais pacificadas por Jacquot, o papagaio, aquele pássaro extraordinário que sabia assobiar cinco compassos da 9ª Sinfonia de Beethoven e que se deliciava em grasnar seu familiar refrão de “Richard Wagner é um homem mau!” 15

Herwegh, Marcel (1932): Au Banquet des Dieux. Franz Liszt, Richard Wagner et leurs amis. Paris: Peyronnet.

2- V.
The Writing of Spirit: Soul, System, and the Roots of Language Science
 
Sarah M. Pourciau

Chapter Three treats the 19th century emergence, and polemical Saussurean reinterpretation, of a specifically Germanic poetics of enspirited letters. The ancient compositional technique of alliteration (Stabreim), which gives shape to the oldest-known Germanic poetry, is interpreted by 19th century German language scientists as a powerful tool for explicating the structuring energy of their language. Primal poetry, philologically reconstructed, thus comes to operate as a projection screen for language scientific fantasies about the writing (down) of language spirit. Saussure’s response to this tradition, the chapter argues, takes the form of a battle with the Germans over the origins of both verse and written letters. In the context of his famously enigmatic “anagram studies,” and in line with his language-scientific vision of a fully dis-enspirited linguistic notation, Saussure imagines the roots of Indoeuropean rhythm as a rule-governed, letter-based procedure for emptying poetry—and by extension, language itself—of all spiritual content.


Chapter Four moves beyond the boundaries of the comparative linguistic tradition to explore Richard Wagner’s extraordinarily influential, poetico-musical “realization” of the philological fantasy about Germanic verse origins, as described in Chapter Three. This chapter argues that Wagner’s dramatic project in the Ring cycle, which was inspired by his intense engagement with the language theories of Jacob Grimm, must be understood as an attempt to harness the rhythms of ancient alliterative verse to an all-encompassing, neo-Pythagorean model of cosmic-acoustic accord, such that the meter of his own, mid-19th century alliterations—when united with the harmonic modulations of his music—merges with the “meter” of the world spirit progressing through history.

3-

Thus whenever I was inclined to envy Mendelssohn’s thorough philological training, I could not help but be amazed that it did not prevent him from lending his own music [i.e., his musical style] to Sophoclean drama, since, despite my lack of refinement, I still had more respect for the spirit of antiquity than he appears to have shown in these efforts 

“Dagegen mufite ich, wenn ich nun Mendelssohn seiner fertigen Philologie wiilen beneidete, mich wiederum nur darüber wundern, dass  diese seine Philologie ihn nicht davon abhielt, zu Sophokleischen Dramen gerade seine Musik zu schreiben, da ich trotz meiner Unfertigkeit doch mehr Achtung vor dem Geiste der Antike hatte, al ser sie hierbei zu verrathen schien.”

Letter of 12 June 1872, in Richard Wagner, Gesammelte Schriften und Dichtungen, 3^^ed. (Leipzig: C. F. W. Siegel, 1897), ix: 296.

v.

GEARY, Jason Ancient Voices: Mendelssohn’s Incidental Music to Sophocles’s Antigone and Oedipus at Colonus. Thesis, Faculty of the Graduate School of Yale University,2004