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In this article, Albert Gier contends that Wagner uses the conventions of traditional comedy to illustrate his own aesthetic theories. His libretto is based on characters and details found in Deinhardstein, Lortzing or Hoffmann. However, also he gives them different functions in turning Hans Sachs into the central character and in making him lead the game. Pogner, Stolzing, Beckmesser and even Eva act inconsiderately. Sachs makes the happy end possible in summoning Stolzing, who is not allowed to take part in the competition, to appear. At the same time, he presents the inhabitants of Nuremberg with a new type of song, more spontaneous and authentic than the masters’. In overcoming the “will-to-live” (Wahn) and in indulging in aesthetic contemplation, Sachs follows the precepts of Schopenhauer’s philosophy.


N° 12d

Richard Wagner, Die Meistersinger von Nürnberg

Albert Gier

Otto-Friedrich-Universität Bamberg

Die Meistersinger von Nürnberg, Komödie als Ideendrama


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?