Wagnerianas

  Beethoven, 1870. Über die Bestimmung der Oper.1871  Über die Benennung "Musikdrama ,1872 Ein Einblick in das heutige deutsche Opernwesen, 1873.   Über das Dichten und Komponieren, 1879 Über die Anwendung der Musik auf das Drama (1879) Über das Opern-Dichten und Komponieren im Besonderen, 1879,   v. https://richard-wagner-web-museum.com/catalogue-complet-des-oeuvres-en-prose/ https://fr.wikisource.org/wiki/Dix_%C3%89crits_de_Richard_Wagner

 Parte um . 1813-1843.   "Music was still a secondary occupation with me when the news of Weber's death and the longing to learn his music to Oberon fanned my enthusiasm into flame again. This received fresh impetus from the afternoon concerts in the Grosser Garten at Dresden, where I often heard my favourite music played by Zillmann's Town Band, as I thought, exceedingly well. The mysterious joy I felt in hearing an orchestra play quite close to me still remains one of my most pleasant memories. The mere tuning up of the instruments put me in a state of mystic excitement; even the striking of fifths on the violin seemed to me like a greeting from the spirit world-- which, I may mention incidentally, had a very real meaning for me. When I was still almost a baby, the sound of these fifths, which has always excited me, was closely associated in my mind with ghosts and spirits. I remember that even much later in life I could never pass the small palace of Prince Anthony, at ...

Cosima, diário 1, 1869,p. 40. At table we talked a lot again about the drama. R. explained to me various verse meters, particularly in regard to Schiller, whose Wallenstein I am now rereading. 1871 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 itself to the music.”  p. 349.     1872 In the afternoon I read Hermann und Dorothea and felt that the hexa meter form does much to impair the impression of a splendid naivete in Goethe’s characters. R. agreed with me and said, “One sees by that to what extent everything with us was a seeking and groping; the people who don’t understand call it classical, since it uses a Greek form which does not suit it at all and which gives everything an air of affec...

 VOlume 1 1869 Sunday, January } Bright Sunday sky. Eva healthy again. Richard well after a good night. Hoping for a letter from the children in Munich. First subject of conversation at breakfast— Homer I His influence on the artistic and earlier having ideals of my beloved. p. 29 Took up again the cantos of Homer which we read yesterday; a feeling that the book refuses to come to life when the Friend is not reading it out loud to me. To me the whole world is recognizable only in him and through him. — At R. ’ s wish the children are being given a second room; the move unsettles me, as does any outward change, however small. 30  Afterward two cantos from the Odyssey (Polyphemus and Circe); great delight in the former; Circe, however, whom we accompanied with punch, sent us to sleep. Genelli ’ s Homer designs now no longer attract me, they are totally lacking in naivete, even i...

 Paper proposto e aceito ao SEFIM, 2022. Congresso foi adiado.

  Colloque 15-16 novembre Les odyssées de l'hexamètre . Wagnerian Hexameters, Homeric Questions: Classical Obsessions on text, meter, and performance At various times in his career, Richard Wagner sought aesthetic solutions for his artistic projects through the reception of ideas and forms from Antiquity. Among some of his options was reworking Homeric poetry, trying to find solutions to the impasses found in the disjunction between text and performance, as he identified in his German literary tradition. In this paper, I present some moments of this search for an understanding of past rhythms in new forms of expression. Bibliography FOSTER, Daniel . Wagner's Ring Cycle and the Greeks . Cambridge University Press, 2010. BORCHMEYER, Dieter.  Richard Wagner: Theory and Theatre . Clarendon Press, 1991. WAGNER, Richard.  Richard Wagner, Werke: Dichtungen und Schriften.  Jubiläumsausgabe in 10 Bänden. Ed. Dieter Borchmeyer.   Insel Verlag,1983.