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Manual Schmerzen from Wesendonk-Lieder - Score

In the Italian composer Vieri Tosatti entirely re-orchestrated the songs. In the German composer Hans Werner Henze produced a chamber version for the songs. Each of the players has a separate part, with some very unusual wind registration. In the bicentennial of Wagner's birth the French composer Alain Bonardi released a new version for voice, piano, clarinet and cello, including instrumental interludes with oriental resonant percussions.

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Ching transposed Wagner's original songs so as to form a closed palindromic tonal sequence in the manner of a five-movement sonata, and also added an elaborate obbligato part for viola or cello , which comments on the poems and adds harmonic and contrapuntal detail to Wagner's accompaniment. From Wikipedia, the free encyclopedia.

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Can I get a copy? Can I view this online? Ask a librarian. Aboriginal, Torres Strait Islander and other First Nations people are advised that this catalogue contains names, recordings and images of deceased people and other content that may be culturally sensitive. He lived with an increasingly debilitated Minna, whose heart condition worsened continuously during this period, and whom he could no longer tolerate, at least for most of the time.

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  • Manual Schmerzen from Wesendonk-Lieder - Score.

The circumstances were propitious for a forbidden love, with a beautiful and fascinating young woman, to lift him above his desperate circumstances, or release him from the power of the will. Mathilde's husband, and Wagner's benefactor, Otto Wesendonk In these circumstances, Mathilde wrote the poems and showed them to Wagner, and then he wrote music to them, so as to return them to her as a gift, for Christmas in A small orchestra performed the music outside the Wesendonk home that day, under the jealous eyes of Minna who did not miss one detail of the event, as Newman relates to us.

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  4. The jealous Minna Wagner The denoument of the relationship between Wagner and Mathilde is not really germane here. Wagner left the Asyl, and traveled promptly to Venice, where he continued to correspond with Mathilde. He began to resume his work on Siegfried , in The affair with Schopenhauer had ended, or at least subsided, for the moment.

    The Wesendonk Lieder , therefore, are inseparable as a work of art from the circumstances that gave them birth. The musical essays that anticipate the creation of Tristan , and of the Ring as well, are invaluable as an historical document. Above all, their ethereal, libidinal, repressed nature and their appropriateness for the culture of the emergent bourgeoisie, - private, sexually repressed, and increasingly confined to the family music-room -, sustain the value of these fascinating Lieder as a great work of music of the nineteenth century with great revelatory power as to the historical context of their conception.

    Wintergarten I have been hesitating to write this all down. Feelings of nebulosity, of not being able to go on anything more than my emotions, my vague impressionistic interpretations as I listen to the music.

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    5. I reiterate: He wrote the music for the words, as opposed to his own method, often proclaimed by him, of writing the words for the music. What we hear is the hothouse atmosphere of a Victorian infatuation. The Angel, for example, the subject of the first song in the series, is all about Wagner as savior to this delicate lily, this rich, young and beautiful, married, woman.

      That may not have been what Mathilde intended when she wrote the poem, we shall never know, but that is clearly what Wagner reads into the poem, and the music accuses him. Why else would he have written music for her words, when he made it always a point of pride to proclaim to the seven winds, to everyone who cared to know, that he always wrote the words of his librettos in his great operas?

      3 Schmerzen

      Tristan und Isolde - Liebestod In the first five parts on this subject of the Wesendonk Lieder , the sections I posted on November 11, I have written my commentary on the poems, and on the music that Wagner wrote for them, so as to attempt to prove my point, to wit, that the Wesdendonk Lieder reflect the hothouse atmosphere of a Victorian infatuation, of Mathilde with Wagner, and of Wagner with himself.

      I encourage my readers to check out the previous five postings on the Wesendonk Lieder which include the music, the words of the poems, with English translations, and the commentary on what is heard. Wagner in Paris, in , somewhat the worse for wear, after his platonic affair with Mathilde Wesendonk. Posted by Albert Sonntag at PM. Century , Romanticism , Wagner. Mariana Whitmer November 16, at AM. Alberto Raul November 16, at PM.