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Danielle Buschinger summarises the genesis of the work and lists its various sources: Hans Sachs’s poems, his biography, the modern reception after Goethe, Wagenseil’s book (1697) and an essay by Jacob Grimm on the Meistersang. With the help of a song by Sachs, she illustrates the structure of a Meisterlied as the basis of Stolzing’s Preislied. Wagner found his information on the mastersingers’ art, the organisation of their “schools,” etc., in Wagenseil. The libretto combines elements from a short story by E.T.A. Hoffmann, Meister Martin der Küfner und seine Gesellen, from Deinhardstein’s play and from Lortzing’s opera. In Hoffmann, Wagner also found the romantic image of Nuremberg. As a conclusion, the author emphasises that The Mastersingers are a bittersweet epilogue to Tristan, in the same way that they are a “heiteres Satyrspiel” to Tannhäuser.

  

N° 12b

Richard Wagner, Die Meistersinger von Nürnberg

Danielle Buschinger

Université de Picardie Jules Vernes, Amiens

Richard Wagners Meistersinger von Nürnberg und der historische Meistersang

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Danielle Buschinger
Danielle Buschinger - Der historische Meistersang

Frank Piontek
Frank Piontek - Zur verhinderten Nürnberger Uraufführungder

Albert Gier
Albert Gier - Komëdie als ideendrama

Norbert Abels
Norbert Abels - Hohn und Lohn

Sylvia Tschörner
Sylvia Tschörner - „Bliebst du im Paradies, / da gab es keinen Kies“

Arne Stollberg
Arne Stollberg - die „protestantische“ Musik der Meistersinger

Peter P. Pachl
Peter P. Pachl - Frühe Meistersinger-Rezeption

Cécile Leblanc
Cécile Leblanc - L'Ardoise de Beckmesser

Kristel Pappel
Kristel Pappel - Netzwerk in den Ostseeprovinzen Russlands

Esbjörn Nyström
Esbjörn Nyström - Zieltext als Dichtung?

Préface