Journal articles: 'Cosima Wagner'

1

WERNER, ERIC. "Jews Around Richard and Cosima Wagner." Musical Quarterly LXXI, no. 2 (1985): 172–99. http://dx.doi.org/10.1093/mq/lxxi.2.172.

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ANDRE, PAMELA. "Christ and Wagner: The Religion of Cosima." Journal of Religious History 14, no. 4 (December 1987): 419–31. http://dx.doi.org/10.1111/j.1467-9809.1987.tb00641.x.

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ANDRE, PAMELA. "Cosima Wagner: the Building of the Bayreuth Ideology." Australian Journal of Politics & History 29, no. 3 (April 7, 2008): 473–85. http://dx.doi.org/10.1111/j.1467-8497.1983.tb00213.x.

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Göbel, Anna, Carl H. Göbel, and Hartmut Göbel. "Phenotype of migraine headache and migraine aura of Richard Wagner." Cephalalgia 34, no. 12 (March 28, 2014): 1004–11. http://dx.doi.org/10.1177/0333102414527645.

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Background The headache phenotype and neurological symptoms of the German composer Richard Wagner (1813–1883), whose music dramas count towards the most frequently performed operas across the world, are previously undocumented. Methods Richard Wagner’s own descriptions of his headache symptoms in his original writings and letters are investigated, as well as the complete diary records of his second wife, Cosima Wagner. Results There are manifold indications that Richard Wagner suffered from a severe headache disorder, which fulfils most likely the diagnostic criteria of migraine without aura and migraine with aura of ICHD-3 beta. Conclusions Richard Wagner’s life and opus can help to better understand the burden and suffering caused by migraine with its severe effects on the individual, familial and social life, the culture and community.

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Bridgham, Fred, and Eric Eugene. "Richard et Cosima Wagner / Arthur Gobineau: Correspondance 1880-1882." Modern Language Review 98, no. 1 (January 2003): 207. http://dx.doi.org/10.2307/3738229.

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Nunes, Antonio Manoel. "Querelas da Dissonância: Nietzsche, Wagner, Tragédia e Música." Aletria: Revista de Estudos de Literatura 1 (October 31, 1993): 75–81. http://dx.doi.org/10.17851/2317-2096.1..75-81.

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Tristão e Isolda como metáfora da união e desagregação entre Nietzsche e Wagner. Espírito dionisíaco e espírito apolinário: Origem da tragédia. Primeiros encontros e a construção da paixão. Um triângulo estranho: Nietzsche, Wagner e Cosima. A queda do relacionamento em Humano, demasiado humano e O caso Wagner. Bizet e o dionisismo mediterrâneo. As disputas de dissonância: o alvorecer da modernidade em suas várias vanguardas de expressão.

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Nunes, Antonio Manoel. "Querelas da Dissonância: Nietzsche, Wagner, Tragédia e Música." Aletria: Revista de Estudos de Literatura 1 (October 31, 1993): 75. http://dx.doi.org/10.17851/2317-2096.1.0.75-81.

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Tristan and Isolde as a metaphor for the union and disaggregation between Nietzsche and Wagner. Dionysus spirit and apollinean spirit: The Birth of Tragedy. First encounters and the building up of passion. A strange triangle: Nietzsche, Wagner and Cosima. The fall of the relationship in Human, All-Too-Human and The Wagner Affair. Bizet and the Mediteranean dionysism. The disputes of dissonance: the dawn of modernity in its several vanguards of expression.

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Williams, Simon. "Bayreuth Festspielhaus: Enchaining the Audience." Theatre Survey 33, no. 1 (May 1992): 65–73. http://dx.doi.org/10.1017/s0040557400009613.

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In order to recuperate from the rigors of the first production of The Ring at Bayreuth, Richard and Cosima Wagner took an Italian vacation. During their travels they visited the Sistine Chapel. After he had observed the interior, Richard pronounced, “This is like my theatre, one feels it is no place for jokes.” Cosima, never one to contradict her husband, reserved comment. In fact, there can be little doubt that she agreed with him, for in her Diaries she consistently invests the Festspielhaus with an aura of sanctity.

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Barone, Anthony. "Richard Wagner's Parsifal and the theory of late style." Cambridge Opera Journal 7, no. 1 (March 1995): 37–54. http://dx.doi.org/10.1017/s0954586700004407.

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Theodor Adorno thought Parsifal unique, in many respects incongruous when compared with Wagner's earlier operas and music dramas. In a 1956 essay, ‘Zur Partitur des Parsifal’ (‘Concerning the Score of Parsifal’), he noted the ‘continually strange newness’ of Wagner's last work, concluding: ‘From out of the waning of his original inventive powers, Wagner's force produces the virtue of a late style; a style that, according to Goethe's dictum, withdraws from appearance’. More recently, Werner Breig paused appreciatively over Adorno's remark about the ‘continually strange newness’, but pursued a different argument. Breig claims that Parsifal was recapitulatory, stylistically homogeneous with the earlier works, and he is supported by Wagner's assertion to Cosima that he had written ‘nothing new’ since Tristan (CWD II, 26 March 1879), a conviction redolent of one the composer had earlier expressed (albeit in entirely different circumstances) in a letter to Mathilde Wesendonck of 2 May 1860: ‘I can now only repeat myself … I have no other significant characteristics to offer’. Breig summarises his position in the Wagner Handbook: ‘The musical structure of Parsifal contains no fundamentally new elements, but rather follows directly upon the achievements of the Ring and Tristan’, thus nodding to the Wagner who cheerfully confessed having ‘take[n] up the old paint pot’ of the Tristan style for Act II of Parsifal (CWD II, 5 April 1878).

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Dratwicki, Alexandre, and Malou Haine. "Ernest Van Dyck, un ténor à Bayreuth, suivi de la correspondance avec Cosima Wagner." Revue de Musicologie 92, no. 1 (January 1, 2006): 221. http://dx.doi.org/10.2307/20141657.

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Kinderman, William. "The Third-Act Prelude of WagnerÕs Parsifal: Genesis, Form, and Dramatic Meaning." 19th-Century Music 29, no. 2 (2005): 161–84. http://dx.doi.org/10.1525/ncm.2005.29.2.161.

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The Prelude to the third act of Parsifal is one of Wagner's most advanced essays in expanded tonality. One author has described it as "set[ting] foot in atonal territory as it re-explores the melancholy, disjointed polytonal idiom of the introduction to the third act of Tristan," and a noted analyst has suggested that it is motion around the diminished-seventh chord including Bb rather than the tonic triad of Bb minor that defines the background structure of the Prelude. This music also raises issues of form and expressive meaning that have yet to be thoroughly addressed. A valuable means of approaching the Prelude is through Wagner's surviving compositional documents, particularly the individual sketches for the Prelude that preceded the writing-out of his first continuous draft for the third act (the Kompositionsskizze [Composition Draft]). These manuscripts are held in the Wagner-Archiv at Bayreuth. When these sketches are transcribed and compared with the detailed record contained in Cosima Wagner's diary entries, insight can be gained into the way that Wagner composed the Prelude, during late October 1878. This article shows in detail how the Prelude was composed on the basis of sketch sources that are virtually complete. It is supported by several facsimiles of Wagner's sketches, transcriptions, analytical graphs, and music examples. The study indicates that the "melancholy, disjointed polytonal" idiom of the Prelude is coordinated with a framework of associated tonalities reaching across vast stretches of musical time. These include not only the Bb-minor idiom of Titurel's burial, but also the associated tonality of Parsifal's Prophecy motive. The structural background of the Prelude to act III of Parsifal is not simply a diminished-seventh prolongation, but a tensional framework of motivic combinations and rotational cycles that effectively convey the bleak wandering and promise of deliverance that lie at the core of the drama.

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Werr, Sebastian. "Bayreuther Festspiele - eine "jüdische Angelegenheit"?" Die Musikforschung 65, no. 3 (September 22, 2021): 254–65. http://dx.doi.org/10.52412/mf.2012.h3.160.

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Obwohl Hitler selbst bekanntermaßen Wagnerianer war und letzterer mit Unterstützung seiner Familie für die NS-Propaganda nutzbar gemacht worden ist, muss die Rolle Wagners und seiner Musik für die gesamte NS-Bewegung differenzierter untersucht werden, denn seine Person selbst, aber mehr noch seine Musikdramen boten auch Anlass zu Unverständnis und ideologischen Distanzierungen. Unterstützte Hitler selbst die auf Initiative Winifred Wagners erfolgte Gründung der Richard-Wagner-Forschungsstätte im Mai 1938, hielt jedoch sein Büroleiter, Reichsminister Hans Heinrich Lammers, dem die Stelle unterstellt wurde, die Unterstützung weitestgehend gering. Auch die Bayreuther Festspiele erfreuten sich nur geringer Beliebtheit unter den Funktionären, sodass Hitler für das Füllen des Auditoriums nicht selten selbst verantwortlich zeichnen musste. Ablehnende Tendenzen gipfelten im gezielten Streuen antiwagnerianischer Gerüchte innerhalb der Würzburger SS um eine vermeintlich jüdische Abstammung Richards selbst bzw. Cosimas. Nach Aufklärung dieser Vorfälle, welche Himmler persönlich anordnete, wurde Winifred Wagners Bitte nach einer Möglichkeit, seitens der Richard-Wagner-Forschungsstelle Zensur betreiben zu dürfen, von Hitler persönlich abgelehnt. bms online (Sarah Grossert)

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Nattiez, Jean-Jacques. "L’antisémitisme de Wagner et les différentes formes sémiotiques." Semiotica 2020, no. 234 (October 25, 2020): 271–76. http://dx.doi.org/10.1515/sem-2019-0014.

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AbstractIn his essay “La judéité dans la musique,” Richard Wagner’s horrid portrayal of a Jew by way of physical, economical, linguistic and musical description exposed his anti-Semitic convictions. Much of this aspect has either been forgotten or softened, however, when evoking Wagner, it is in fact the relationship between his anti-Semitism and his work that is the most problematic. This paper proposes to consider three symbolic forms through which this reticence is expressed by looking at the the theoretical writings, opera booklets and their music. Using the Beckmesser character in Les Maîtres Chanteurs de Nuremberg, although Beckmesser is not introduced as a Jew but rather a good German bourgeois, one cannot deny the allegory positioning him as a Jew. First element of demonstration: the analogical resemblance between Beckmesser and the Viennese music critic Eduard Hanslick to whom Wagner accused of hiding his Jewishness. Second element: it has already been proven that Beckmesser’s serenade sung during the second act to the Master Singers was a mockery of a Jewish prayer. Third element: in Cosima’s, Wagner’s wife, diary she explains that this particular piece generated at that time a strong reaction by the Jewish community in Vienna, thus supporting the claim that his antisemitism was already known and problematic to his contemporaries.

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Bruni, Claudia, James Gibert, Giacomo Frulla, Enrico Cestino, and Pier Marzocca. "Energy harvesting from aeroelastic vibrations induced by discrete gust loads." Journal of Intelligent Material Systems and Structures 28, no. 1 (July 28, 2016): 47–62. http://dx.doi.org/10.1177/1045389x16642533.

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This article evaluates the amount of energy that can be extracted from a gust using an aeroelastic energy harvester composed of a flexible wing with attached piezoelectric elements. The harvester operates in a subcritical flow region. It is modeled as a linear Euler–Bernoulli beam sandwiched between two piezoceramics. The extended Hamilton’s principle is used to derive the harvester’s equations of motion and an eigenfunction expansion is used to form a three-degree-of-freedom reduced-order model. The degrees of freedom retained in the model are two flexural degrees for the in-plane and out-of-plane displacements, and a torsional degree for the rotational displacement. Wagner and Küssner functions are used to represent the unsteady aerodynamic and gust loading, respectively. The amount of energy extracted from the system is then compared for two different deterministic gust profiles, 1-COSINE and two sharp-edged gusts forming a square gust, for various magnitudes and durations. The results show that the harvester is able to extract more energy from the square gust profile, although for both profiles the harvester extracts more power after the gust has subsided.

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"Cosima Wagner: the lady of Bayreuth." Choice Reviews Online 48, no. 04 (December 1, 2010): 48–1975. http://dx.doi.org/10.5860/choice.48-1975.

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16

Borchmeyer, Dieter. "Nietzsche und Cosima Wagner – Geschichte einer Verblendung." Nietzscheforschung 19, no. 1 (January 2012). http://dx.doi.org/10.1524/nifo.2012.0012.

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17

Timmermans, Matthew. "The Bayreuth Festspielhaus: The Metaphysical Manifestation of Wagner's Der Ring des Nibelungen." Nota Bene: Canadian Undergraduate Journal of Musicology 8, no. 1 (July 26, 2015). http://dx.doi.org/10.5206/notabene.v8i1.6601.

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This essay explores how the architectural design of the Bayreuth Festspielhaus effects the performance of Wagner’s later operas, specifically Der Ring des Nibelungen. Contrary to Wagner’s theoretical writings, which advocate equality among the various facets of operatic production (Gesamtkuntswerk), I argue that Wagner’s architectural design elevates music above these other art forms. The evidence lies within the unique architecture of the house, which Wagner constructed to realize his operatic vision. An old conception of Wagnerian performance advocated by Cosima Wagner—in interviews and letters—was consciously left by Richard Wagner. However, I juxtapose this with Daniel Barenboim’s modern interpretation, which suggests that Wagner unconsciously, or by a Will beyond himself, created Bayreuth as more than the legacy he passed on. The juxtaposition parallels the revolutionary nature of Wagner’s ideas embedded in Bayreuth’s architecture. To underscore this revolution, I briefly outline Wagner’s philosophical development, specifically the ideas he extracted from the works of Ludwig Feuerbach and Arthur Schopenhauer, further defining the focus of Wagner’s composition and performance of the music. . The analysis thereby challenges the prevailing belief that Wagner intended Bayreuth and Der Ring des Nibelungen, the opera which inspired the house’s inception, to embody Gesamtkunstwerk; instead, these creations internalize the drama, allowing the music to reign supreme. From this research I hope to encourage scholars to critically examine the connections between theatre design, composition and performance so that we may better understand the process by which works are manifested in performance.

18

Kaden, Christian. "Análisis de sistemas como análisis de textos. Richard Wagner visto desde los Diarios de Cosima Wagner." methaodos revista de ciencias sociales 4, no. 1 (April 17, 2016). http://dx.doi.org/10.17502/m.rcs.v4i1.100.

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SALAQUARDA, JÖRG. "NOCH EINMAL ARIADNE - DIE ROLLE COSIMA WAGNERS IN NIETZSCHES LITERARISCHEM ROLLENSPIEL." Nietzsche-Studien 25, no. 1 (January 31, 1996). http://dx.doi.org/10.1515/9783110244441.99.

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"»Alles dort morsch, treulos. Und so roh.« Richard und Cosima Wagners Blick auf Wien." Österreichische Musikzeitschrift 69, no. 6 (January 1, 2014). http://dx.doi.org/10.7767/omz-2014-0616.

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Journal articles on the topic 'Cosima Wagner'

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