Acc1 responsables
Acc1 responsables
Accueil
Acc2a tatin
Cont1 secrétariat
Cont1 secrétariat
Cont1 achats 3
Rev14 haendel
Rev15 Theatralite
Rev14 haendel
Rev13 hennin
Rev12 wagner
Rev11 debussy
Rev10 noverre
Rev9 gluck
Rev8 prokofiev
Rev7 haydn
Rev6 chabanon
Rev5 livret
Rev4 texte
Rev3 representations
Rev2 interpretation
Rev1a preface
aNn1 activites
AaNn1a numeros
P1 Publicité
Cr1 Compte rendu
Rev12 wagner
Rev12b buschinger
Rev12c piontek
Rev12d gier
Rev12e abels
Rev12f tschorner
Rev12g stollberg
Rev12h pachl
Rev12i leblanc
Rev12j pappel
Rev12k nystrom
Rev12a preface

At its first performance in 1868 The Mastersingers was already explicitly perceived as a German national opera by part of the press and in Wagner’s environment. This was probably the composer’s own intention, since Wagner obviously tried, through the texts which accompanied this new theatrical work, to lead the opinion in the process of the political unification of Germany. If his hopes were first directed towards Louis II of Bavaria, the much-hated Prussia was considered later, after the victory of Austria. Not only was a sense of political realism influential in that, but also, more importantly, the idea that if it aimed at a new foundation of the realm, Germany had to restructure itself in the spirit of Protestantism and not of Roman Catholicism. Lutheran hymns served as the musical emblems of this tendency, notably the reinterpreted chorale Eine feste Burg ist unser Gott, which Wagner quoted in the middle of the Kaiser March he composed in 1871 for the coronation of William I after the victory over France. The article defends the thesis that the music for The Mastersingers derives from the Protestant parish chorale which is to be heard at the beginning of the first act, and that this chorale is not only a stylistic imitation, but also melodically related to Eine feste Burg.

  

N° 12g

Richard Wagner, Die Meistersinger von Nürnberg

Arne Stollberg

Universität Basel

Die Geburt der deutschen Nationaloper aus dem Geiste des Chorals.

Wagners Kaisermarsch und die „protestantische“ Musik der Meistersinger

Retour

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