By William Kinderman, Katherine R. Syer
Richard Wagner's Parsifal continues to be an inexhaustible but hugely debatable paintings. This "stage consecration pageant play," because the composer defined it, represents the end result of his efforts to convey medieval fantasy and sleek song jointly in a dynamic courting. Wagner's engagement with religion--Buddhist in addition to Christian--reaches a climax right here, as he seeks via inventive capacity "to rescue the essence of faith via perceiving its legendary symbols . . . in accordance with their figurative worth, allowing us to determine their profound, hidden fact via idealized representation." The participants to this assortment holiday clean floor in exploring the textual content, the track, and the reception historical past of Parsifal. Wagner's borrowings-and departures-from the medieval resources of the Grail legend, Wolfram's Parzival and Chr?©tien's Perceval, are thought of intimately, and the tensional relation of the paintings to Christianity is probed. New views emerge that endure at the lengthy genesis of the textual content and song, its affinities to Wagner's past works, rather Tristan und Isolde, and the proper approach within which the song used to be composed. Essays deal with the work's daring, modernistic musical language and its extraordinary soundscape regarding hidden choruses and different unseen resources of sound. The turbulent, mind-blowing, and infrequently anxious background of Parsifal performances from 1882 until eventually 2004 is traced in shiny element for the 1st time, demonstrating the abiding fascination exerted by means of this uniquely not easy murals. individuals: Mary A. Cicora, James M. McGlathery, Ulrike Kienzle, Warren Darcy, Roger Allen. William Kinderman and Katherine Syer educate on the collage of Illinois at Urbana-Champaign, and sometimes lead research seminars in the course of the Wagner pageant in Bayreuth, Germany.
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Additional resources for A Companion to Wagner's Parsifal (Studies in German Literature Linguistics and Culture)
In Wagner’s work, details about Parsifal’s past are revealed to him, mainly by Kundry, and these exert an important psychological impact on Parsifal. Wolfram’s Parzival witnesses and participates in knightly adventures; in order to attain the position of Grail King, Wagner’s Parsifal must undergo an internal journey. Gurnemanz’s narration of the convoluted prehistory of the onstage action is particularly significant because it functions as a prompt for Parsifal’s psychological revelation. The internal is more important than the external.
Wagner was, like Wolfram, religious in a private, unconventional manner, one that resisted identification with organized religion or a particular faith or church. Both preferred to practice an individual piety, and questioned organized religion and learned theology. However, each of the two works under discussion here expresses its respective epoch, fulfilling the intentions of its creator while illustrating his particular Weltanschauung. Wagner vs. Wolfram: From Medieval Romance to Stage Consecration Festival Play Wagner’s Parsifal represents a distinctively modern interpretation of the Parzival legend.
Martin Gregor-Dellin (Munich: Paul List, 1963; Goldmann/Schott, 1983), 315. ]4 Peter Wapnewski has determined that these works were translations of the medieval originals. The Parzival translation of San Marte (Albert Schutz) first appeared in 1836, and his Titurel translation in 1841. 7 The reading that Wagner did in Marienbad thus established the foundation for all of his later works except for the Ring and Tristan — Lohengrin, Meistersinger, and Parsifal. The Grail legend obviously spans Wagner’s output, providing the scholar with apparent links between Lohengrin and Parsifal.
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