[Footnotes]

[Footnotes]
1
August W. Ambros, "Carl Maria von Weber in seinen Beziehungen zu den Romantikern der deutschen Literatur," in Culturhistorische Bilder aus dem Musikle- ben der Gegenwart, 2nd edn. (Leipzig, 1865), pp. 45, 50
Ambros
2
Carl Maria von Weber in seinen Beziehungen zu den Romantikern der deutschen Literatur
45
Culturhistorische Bilder aus dem Musikleben der Gegenwart
1865
Eduard Hanslick, Die moderne Oper (Berlin, 1875), pp. 69- 70
Hanslick
69
Die moderne Oper
1875
2
Autobiographische Skizze (1842), in Richard Wagner, Sämtliche Briefe [RWSB], ed. Gertrud Strobel and Werner Wolf, vol. I (Leipzig, 1967), p. 95
Wagner
Autobiographische Skizze (1842)
95
I
Sämtliche Briefe [RWSB]
1967
Richard Wagner, Mein Leben [ML], ed. Martin Gregor-Dellin (Munich, 1976), pp. 19-20, 34-35
Wagner
19
Mein Leben [ML]
1976
Wagner's private comment of 29 October 1873: "If I had never had the experience of Weber's things, I believe I should never have become a musician." Cosima Wagner's Diaries, ed. Martin Gregor-Dellin and Dietrich Mack, trans. Geoffrey Skelton (New York, 1978), I, 692.
Wagner
If I had never had the experience of Weber's things, I believe I should never have become a musician
692
I
Cosima Wagner's Diaries
1978
3
Weber's own direction: "In the evening the Euryanthe overture, regarding which R. describes his youthful impressions; how the violin accom- paniment on the G string sounded under Weber's own direc- tion, and the unholy fascination it exercised on him as a child." Ibid., I, 279.
Weber
In the evening the Euryanthe overture, regarding which R. describes his youthful impressions; how the violin accompaniment on the G string sounded under Weber's own direction, and the unholy fascination it exercised on him as a child
279
I
Cosima Wagner's Diaries
4
ML, pp. 89-90.
89
5
ML, p. 264
264
Carl Friedrich Glasenapp, Das Leben Richard Wagners, 3rd edn. (Leipzig, 1894), I, 384;
Glasenapp
3
384
I
Das Leben Richard Wagners
1894
Helmut Kirchmeyer, Das zeitgenössische Wagner-Bild, vol. I (Regensburg, 1972), pp. 594, 601.
Kirchmeyer
594
I
Das zeitgenössische Wagner-Bild
1972
6
ML, p. 310
310
Kurt Mey, "Ri- chard Wagners Webertrauermarsch," Die Musik 4 (1906- 07), 331-36.
Mey
331
4
Die Musik
1906
7
Richard Wagner, Sämtliche Schriften und Dichtungen, 6th edn. (Leipzig, 1912), XII, 2.
Wagner
6
2
XII
Sämtliche Schriften und Dichtungen
1912
8
Michael C. Tusa, Carl Maria von Weber's Euryanthe: A Study of Its Historical Context, Genesis and Reception (Ph.D. diss., Princeton University, 1983), pp. 373- 75
Wagner reiterated this line of criticism in his article directed at Parisian audiences of 1841, Über deutsches Musikwesen, in Richard Wagner, Gesammelte Schriften und Dichtungen [GSD], 4th edn. (Leipzig, 1907), I, 164
Wagner
4
Über deutsches Musikwesen
164
I
Gesammelte Schriften und Dichtungen [GSD]
1907
9
GSD III, 289-93.
289
10
Ibid., p. 289
289
Chezy's article, "Carl Maria von Weber's Eu- ryanthe: ein Beitrag zur Geschichte der deutschen Oper," appeared in the Neue Zeitschrift für Musik 13 (1840), 1-2, 5-6, 9-10, 13-14, 17-19, 33-35, 37-39, 41-42.
Chezy
1
13
Neue Zeitschrift für Musik
1840
11
GSD III, 290-91.
290
12
Ibid., p. 292.
292
13
lbid., p. 293
293
Richard Wagner, Opera and Drama, trans. Edwin Evans (London, n. d.), I, 144-45
Wagner
144
I
Opera and Drama
14
GSD I, 164.
164
15
ML, p. 89.
89
16
GSD IX, 46, 208.
46
17
GSD X, 167-68.
167
18
John Warrack's Carl Maria von Weber, 2nd edn. (Cambridge, 1976), p. 287
Warrack
2
287
Carl Maria von Weber
1976
Warrack, pp. 300-01
300
Ro- bert Haas, Aufführungspraxis der Musik (Potsdam, 1934), p. 262
Haas
262
Aufführungspraxis der Musik
1934
19
Klaus Kropfinger, Wagner und Beethoven (Regensburg, 1975), p. 191.
Kropfinger
191
Wagner und Beethoven
1975
20
Kropfinger, pp. 187- 91
187
René Wellek and Austin Warren, Theory of Literature, 3rd edn. (London, 1966), pp. 257-59
Wellek
3
257
Theory of Literature
1966
J. T. Shaw, "Literary Indebtedness and Comparative Literature," in Comparative Literature, Method and Perspective, ed. Newton P. Stallknecht and Horst Franz (Carbondale, 1961), pp. 56-71
Shaw
Literary Indebtedness and Comparative Literature
56
Comparative Literature, Method and Perspective
1961
Ulrich Weisstein, Comparative Literature and Literary Theory, trans. William Riggan (Bloomington, 1973), pp. 29-47
Weisstein
29
Comparative Literature and Literary Theory
1973
Charles Rosen's "Influence: Plagiarism and Inspiration," this journal 4 (1980), 87-10010.2307/746707
87
21
Siegfried Goslich's Die deutsche romantiche Oper (Tutz- ing, 1975)
Goslich
Die deutsche romantiche Oper
1975
22
Autobiographische Skizze (1842)
Eine Mittheilung an meine Freunde (1851)
Eine Mittheilung an meine Freunde
1851
Zukunftsmusik (1860)
Zukunftsmusik
1860
23
Cosima's diary for 11 December 1878: "Then he once again plays the Weber funeral music and speaks of the effect Weber had on him: 'He was my begetter, it was he who aroused my passion for music. He revealed to me what wind instruments can do-for instance, the en- trance of a clarinet, what an effect that can make.' " Diaries II, 224
Cosima
224
II
Diaries
1878
24
Weisstein, pp. 34-35
34
25
GSD I, 2-3.
2
26
Wagner himself made this point in the original version of the "Autobiographische Skizze": "In den einzelnen Ge- sangsstücken [of Die Feen] fehlte die selbsändige freile Melodie, in welcher der Sänger einzig wirken kann, wäfhrend er durch kleinliche detaillirte Deklamation von dem Komponisten aller freien Wirksamkeit beraubt wird. Übelstand der meisten Deutschen, welche Opern schreib- en."
RWSB I, 100
100
27
Mark A. Ra- dice, "Carl Maria von Weber: Forefather of Wagner," Music Review 37 (1976), 165- 70
Radice
165
37
Music Review
1976
28
ML, p. 136.
136
29
GSD VII, 132-33.
132
30
Tannhäuser's song in praise of Venus is briefly adumbrated in the Lied von dem Danheüser
Tannhäuser
Lied von dem Danheiiser
Bechstein's Der Sagenschatz und die Sagenkreise des Thäringerlandes: "Herr danheüser jr solt urlaüb han / Meyn lob das solt jr preysen / Wo jr in dem landt umbfart"
Bechstein
Der Sagenschatz und die Sagenkreise des Thäringerlandes
Spencer as "Sir Tannhäuser, you have my leave; you shall sing my praises through whichever country you travel"
"Tannháuser: mediävistische Handlung in drei Aufzügen," in Wagner 1976: A Celebration of the Bayreuth Festival (London, 1976), pp. 43, 45.
Tannháuser: mediävistische Handlung in drei Aufzügen
43
Wagner 1976: A Celebration of the Bayreuth Festival
1976
31
Cosima's diary for 22 August 1878 in Dia- ries II, 139
Cosima
139
II
Diaries
1878
Wagner's comments to Cosima on 10 October 1875 in I, 869
22 March 1880 in II, 455
32
Ernest Newman pointed out in The Wagner Operas (New York, 1949), p. 51
Newman
The Wagner Operas
1949
Hoffmann's story, "Der Kampf der Sänger."
Hoffmann
Der Kampf der Sänger
33
Wagner's works after Der fliegende Holländer
Wagner
Der fliegende Holländer
Robert Bailey, "The Structure of the Ring and its Evolution," this journal 1 (1977), 51-55
Bailey
51
Nineteenth-Century Music
1977
34
Tusa, pp. 142-48
35
Spohr's Faust
Spohr
Faust
Caspar's sinister drinking song in Freischiitz, and the Valse infernale from Robert le diable
Caspar
Freischiitz
Valse infernale from Robert le diable
Klingsor's act in Par- sifal
Klingsor
Parsifal
36
Bailey, p. 52.
52
37
Paul Bekker, Richard Wagner: His Life in His Works, trans. M. M. Bozman (London, 1931), pp. 176- 81
Bekker
176
Richard Wagner: His Life in His Works
1931
Carl Dahlhaus, Richard Wagner's Music Dramas, trans. Mary Whittall (Cambridge, 1979) pp. 38-39
Dahlhaus
38
Richard Wagner's Music Dramas
1979
Warrack, pp. 295-98
295
Kropfinger, p. 193, fn. 41.
193
38
Dagmer Ingenschay-Goch does in her recent study , Ri- chard Wagners neu erfundener Mythos (Bonn, 1982), pp. 100-03
Ingenschay-Goch
100
Richard Wagners neu erfundener Mythos
1982
39
Eglantine begins with a cry of satisfied revenge: "Triumph! Gerochen / Ist meine Schmach? Der Feindin Herz gebrochen! / Es stiirmt der Tod durch deine Brust!"
Ortrud originally was to have begun with a similar exclamation of victory: "Sieg! Sieg! Willkomm'ner Richerstunde! / Nun nenn' ich herrenlos dies Land! / Gepriesen deines Herzens Wunde, / Durch die ich meine Rache fand!"
Julius Kapp, "Die Urschrift von Richard Wagners Lohengrin-Dichtung," Die Musik 11 (1911-12), 92
Kapp
92
11
Die Musik
1911
John Deathridge presented a paper on the composition draft of Lohengrin at the Verdi-Wagner Conference at Cornell Uni- versity, October 1984
Deathridge
Composition draft of Lohengrin at the Verdi-Wagner Conference at Cornell University, October 1984
1984
40
Dahlhaus, pp. 25-27
25
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