Search Results for rienzi
1-20 of 33 Search Results for
19th-Century Music. 2017; 4113–30 doi: https://doi.org/10.1525/ncm.2017.41.1.3
Published: 01 July 2017
... Liebesverbot, Rienzi, Der fliegende Holländer , his editorial and journalistic work for Schlesinger, and his emerging relationship with key figures in Parisian musical life, Meyerbeer most notably. A clearer picture is also beginning to emerge of Wagner's position in French cultural life and letters in the...
19th-Century Music. 2018; 413253 doi: https://doi.org/10.1525/ncm.2018.41.3.253
Published: 01 March 2018
... 253 INDEX INDEX FOR VOLUME 41 (2017 18) Contributors 93, 180, 252 Everist, Mark Wagner and Paris: The Case of Rienzi (1869) 3 Giger, Andreas Svesti la giubba, or, Uncloaking the Genesis of Pagliacci 225 Knyt, Erinn A History of Man and His Desire : Ferruccio Busoni and Faust 151 Lalonde, Amanda L...
19th-Century Music. 2017; 41131–47 doi: https://doi.org/10.1525/ncm.2017.41.1.31
Published: 01 July 2017
..., Mozart, and Beethoven alongside a smattering of modern compositions and music by Spanish composers. During the 1860s and 1870s the Sociedad only performed selections from Wagner s early operas Rienzi, Tannhäuser, and Lohengrin. Not until the 1885 86 season, when composer and Wagner admirer Tómas Bréton...
19th-Century Music. 2015; 383219–242 doi: https://doi.org/10.1525/ncm.2015.38.3.219
Published: 01 March 2015
... dramatist and composer by trying his hand at three completely different genres of opera: the German Romantic opera including ghost and rescue opera in Die Feen, the comic opera in Das Liebesverbot, and the grand opéra in Rienzi, der Letzte der Tribunen. And then, suddenly, in Paris in 1841, Wagner, who had...
19th-Century Music. 2014; 373161–187 doi: https://doi.org/10.1525/ncm.2014.37.3.161
Published: 01 March 2014
19th-Century Music. 2011; 343271–301 doi: https://doi.org/10.1525/ncm.2011.34.3.271
Published: 01 March 2011
..., Nabucodonozar by G. Verdi, Sinfonia, Giovanna d Arco by G. Verdi, First Symphony by L. V. Beethoven, Unfinished Symphony by F. Schubert, Les Huguenots by Meyerbeer, Rienzi by R. Wagner, Le Jongleur de Notre Dame by J. Massenet, L Arlésienne (Prelude and Carillon) by G. Bizet, Silent Woe and...
19th-Century Music. 2009; 332151–172 doi: https://doi.org/10.1525/ncm.2009.33.2.151
Published: 01 November 2009
... about 700 individual recordings. All of the canonical (i.e., post-Rienzi) Wagnerian works are among the group of sev- enty, with the exception of Parsifal (Parsifal was added in the next edition, when the roster of operas was expanded from 70 to 100).17 For my purposes, the practical effects of the...
19th-Century Music. 2009; 33125–61 doi: https://doi.org/10.1525/ncm.2009.33.1.025
Published: 01 July 2009
...- nection with Berlioz s concert. During that visit Berlioz had occasion to hear Der fliegende Holländer and the last three acts of Rienzi. He then kept abreast at a distance of Liszt s Wagnerian productions in Weimar: Tannhäuser in 1849, Lohengrin (the world premiere) in 1850, Der fliegende Holländer in...
19th-Century Music. 2004; 282133–159 doi: https://doi.org/10.1525/ncm.2004.28.2.133
Published: 01 November 2004
..., and at Turin with Wagner s Rienzi. Wagner in particular loomed ever larger: the 1870s saw the Italian premieres of Lohengrin (1871), Tannhäuser (1872), Rienzi (1874), and Der fliegende Holländer (1877). See Julian Budden, Wagnerian Tendencies in Italian Op- era, in Music and Theatre: Essays in...
19th-Century Music. 1999; 23162–83 doi: https://doi.org/10.2307/746847
Published: 01 July 1999
... attainability through a mystical union of the sexes. This concept of Liebeserlisung (re- demption through love), whose origins extend at least as far back as the early opera Rienzi, finds its most characteristic form in the yearn- ing for ultimate union with the infinite of Tristan and Isolde, Siegfried and...
19th-Century Music. 1997; 203300–320 doi: https://doi.org/10.2307/746860
Published: 01 April 1997
..., Warren, Wagner's Das Rheingold (Patrick McCreless) XVIII:277 Daverio, John, Nineteenth-Century Music and the German Romantic Ideology (Marshall Brown) XVIII:290 Deathridge, John, Wagner's Rienzi: A Reappraisal Based on a Study of the Sketches and Drafts (Douglas Johnson) III:265 Debussy, Claude, cEuvres...
19th-Century Music. 1995; 192191–211 doi: https://doi.org/10.2307/746661
Published: 01 October 1995
..., Tannhdauser, and Lohengrin as steps backward from Rienzi and Grand opera to outdated models of Roman- tic opera, asserting instead their move toward an artwork of the future that would ultimately be realized by the Ring."7 Wagner's subtitle iden- tifying Der fliegende Holldnder as a "roman- tische Oper" and...
19th-Century Music. 1994; 18164–82 doi: https://doi.org/10.2307/746602
Published: 01 July 1994
... work in three scenes, a work, according to Wagner, "so mod- est in appearance" that it did not need to be full length. After the success of the Rienzi pre- miere in Dresden in October 1842, modesty of that kind was no longer necessary, and Wagner divided the work into three acts by splitting the music...
19th-Century Music. 1992; 162181–202 doi: https://doi.org/10.2307/746265
Published: 01 October 1992
19th-Century Music. 1980; 33265–271 doi: https://doi.org/10.2307/746491
Published: 01 March 1980
...Douglas Johnson Copyright 1980 The Regents of the University of California Wagner's Rienzi: A Reappraisal Based on a Study of the Sketches and Drafts Deathridge John Reviews DOUGLAS JOHNSON John Deathridge. Wagner's Rienzi: A Reappraisal Based on a Study of the Sketches and Drafts...
19th-Century Music. 1982; 53277–281 doi: https://doi.org/10.2307/746469
Published: 01 April 1982
... unthinkable extremes of irresponsibil- ity. Two letters have been received commenting on contributions to previous issues. John Deathridge replies to the review of his Wagner's Rienzi: A Reappraisal Based on a Study of the Sketches and Drafts by Douglas Johnson in March 1980 (III, 265-71): The claims a book...
19th-Century Music. 1988; 12123–26 doi: https://doi.org/10.2307/746607
Published: 01 July 1988
... Italien gefallen hat, freut mich herzlich. Mir geht es hier vortrefflich, ich arbeite fleifgig im Wagner u. Liszt, von letzterem habe ich dieses Jahr schon Faust- u. Bergsinfonie gebracht; von ersterem habe ich bis jetzt Tannhiuser u. Lohengrin vollstin- dig ohne Strich, Rienzi in m6glichst unverkiirzter...
19th-Century Music. 1988; 122190–192 doi: https://doi.org/10.2307/746743
Published: 01 October 1988
... of Rienzi and Der fliegende Holliinder) re- sponding to traditions in German Romantic Opera" surely has more explanatory potential than "Tann- hiauser, a late example of German Romantic Op- era." One can believe this is true without thinking for a moment that the real object of the inquiry at hand is...
19th-Century Music. 1988; 1213–22 doi: https://doi.org/10.2307/746606
Published: 01 July 1988
... (material drawn from the same climactic scene of the op- era). But he also defers the resolution to the tonic until the fortissimo counterstatement of the main theme, preceded by an energetic chro- matic anacrusis. All of these features find an echo, if a somewhat feeble one, in the overture to Rienzi (1840...