By William Kinderman, Katherine R. Syer
Richard Wagner's Parsifal is still an inexhaustible but hugely arguable paintings. This "stage consecration pageant play," because the composer defined it, represents the fruits of his efforts to convey medieval fantasy and sleek tune jointly in a dynamic dating. Wagner's engagement with religion--Buddhist in addition to Christian--reaches a climax the following, as he seeks via inventive capacity "to rescue the essence of faith by means of perceiving its legendary symbols . . . in line with their figurative price, permitting us to determine their profound, hidden fact via idealized representation." The individuals to this assortment holiday clean flooring in exploring the textual content, the track, and the reception background of Parsifal. Wagner's borrowings-and departures-from the medieval assets of the Grail legend, Wolfram's Parzival and Chr?©tien's Perceval, are thought of intimately, and the tensional relation of the paintings to Christianity is probed. New views emerge that endure at the lengthy genesis of the textual content and song, its affinities to Wagner's previous works, fairly Tristan und Isolde, and the ideal manner during which the song was once composed. Essays handle the work's daring, modernistic musical language and its extraordinary soundscape related to hidden choruses and different unseen assets of sound. The turbulent, staggering, and infrequently worrying background of Parsifal performances from 1882 till 2004 is traced in brilliant element for the 1st time, demonstrating the abiding fascination exerted by means of this uniquely difficult murals. participants: Mary A. Cicora, James M. McGlathery, Ulrike Kienzle, Warren Darcy, Roger Allen. William Kinderman and Katherine Syer educate on the college of Illinois at Urbana-Champaign, and sometimes lead examine seminars throughout the Wagner competition in Bayreuth, Germany.
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Extra resources for A Companion to Wagner's Parsifal (Studies in German Literature Linguistics and Culture)
19 Wapnewski, Der traurige Gott, 211–13. 20 Wapnewski, Der traurige Gott, 227. 21 In this manner, Wagner imposed onto the mass of material a basic unity that he felt Wolfram’s Parzival lacked. Much to the chagrin of medievalists, Wagner claims in his letter to Mathilde Wesendonk that Wolfram did not really understand the legend: Er hängt Begebnis an Begebnis an Begebnis, Abenteuer an Abenteuer, gibt mit dem Gralsmotiv kuriose und seltsame Vorgänge und Bilder, tappt herum und läßt dem ernst gewordenen die Frage, was er denn eigentlich wollte?
42 MARY A. 22 He radically reduced Wolfram’s huge cast of characters to a manageable number, in some cases by combining several of them into a composite character, or, as in most cases, disposing of them entirely. Gawan is relegated to a mere mention; the story of the title character’s parents became an offstage pre-curtain feature. Wagner’s Parsifal consists of a small group of basic scenes played out in a limited number of locales. Not only were the displays of chivalry virtually unstageable, but they were, for Wagner’s purposes, irrelevant.
CICORA Trevrizent, from whom Parzival receives a theology lesson and absolution on Good Friday. 17 Other brief details offer glimpses of the medieval source through flashbacks or seemingly minor mentions. Though entirely absent from the onstage drama, Herzeleide and Gamuret as well as their stories are clearly derived from Wolfram’s romance. Their names resemble those of their prototypes, and the story of how Parsifal’s father died in a knightly battle, how his mother thus sheltered him from knightly existence to protect him, and perished out of sorrow at her son’s departure, are all details that Wagner took from the romance.
A Companion to Wagner's Parsifal (Studies in German Literature Linguistics and Culture) by William Kinderman, Katherine R. Syer