By Stephen McClatchie
The paintings of the Wagnerian theorist and analyst Alfred Lorenz (1869-1939) has had a profound impression upon either Wagnerian scholarship and song research within the 20th century, and but it hasn't ever been thoroughly evaluated. interpreting Wagner's Operas outlines the origins and improvement of the expressive aesthetic in writings through Wagner and others, in addition to in early-twentieth-century theories of musical shape, and it considers Lorenz's paintings and contributions during this mild. The publication additionally hopes to teach, to the level attainable, the place Lorenz's paintings acted as a kind of "musical metaphor" for German nationalist ideology throughout the Nazi period.
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Additional resources for Analyzing Wagner's Operas: Alfred Lorenz and German Nationalist Ideology (Eastman Studies in Music)
The best survey of these developments in the field of musicology is Pamela Potter's dissertation, "Trends in German Musicology," previously referred to. 78 Censorship (self, or otherwise) became the rule: certain areas of research, Mendelssohn for example, were now forbidden; others, like folk music, were encouraged. Richard Wagner, obviously, fell into the category of acceptable research. 79 Under the direction of Baron Hans von Wolzogen, Wagner's house organ, the Bayreuther Blätter, grew more and more conservative, völkisch-nationalistic, and indeed anti-Semitic.
129. 20. , 12627. , Music in European Thought 18511912 (Cambridge: Cambridge University Press, 1988), 99. 21. Carl Dahlhaus, The Idea of Absolute Music, trans. Roger Lustig (Chicago: University of Chicago Press, 1989), 33. < previous page page_32 next page > < previous page page_33 next page > Page 33 terms as Schopenhauer and Wagner: as an absolute, as "essence" itself (whether this be called Ding an sich, will, or the Dionysian). The following extract from Nietzsche's text establishes the necessary balance between the Apollinian and the Dionysian, and offers us a glimpse of the nascent expressive aesthetic position whereby form is predetermined by and is a necessary consequence of the content.
99 He argues that Wagner was not just a composer, but a thinker of all-encompassing greatness, a spiritual forefather of Nazism. In his edition, Lorenz highlights "such thoughts which lie close to our times"100 with a cursive typeface that contrasts with the Fraktur of the rest. Epigrams by Adolf Hitler and Alfred Rosenberg introduce each of the volumes, and Hitler is explicitly eulogized on the final page of the edition: This side of Wagner's spiritto which this book is dedicatedwas thus not yet consummated upon his death.
Analyzing Wagner's Operas: Alfred Lorenz and German Nationalist Ideology (Eastman Studies in Music) by Stephen McClatchie