Acc1 responsables
Acc2a tatin
Acc1 responsables
Cont1 secrétariat
Cont1 secrétariat
Cont1 achats 3
Rev20 Comedy
Rev20 Comedy
Rev19 Chabanon
Rev18 Mal
Rev17 Querelles
Rev16 Oratorio
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
Rev1 melanges
M1 Communications
M1 Communications
M1 Communications
M1 Communications
Rev12 wagner
Rev12b buschinger
Rev12c piontek
Rev12d gier
Rev12e abels
Rev12f tschorner
Rev12g stollberg
Rev12h pachl
Rev12i leblanc
Rev12j pappel
Rev12k nystrom
Rev12a preface

There are many functions of parody in Wagner‘s Meistersinger, parodying itself in its music and stage actions. Probably that was the reason why poets of the 19th century neglected writing parodies on Die Meistersinger von Nürnberg. In the score Wagner also cited his own previous opera. At the beginning of the 20th century some composers produced kinds of Meistersinger parodies in their operas. They rejected the term „comic opera“ as a genre for their compositions, as Wagner did, and also cited their own previous operas. A figure like the Night watchman served a specific function of parody in Hans Pfitzner‘s Cafe Lohengrin. Wendelin Weissheimer made E.T.A. Hoffmann‘s novella the forerunner of operatic courtship competitions in his opera Meister Martin und seine Gesellen (Master Martin and his Apprentices). The Meistersinger‘s influence is obvious in certain turns of speech, the instrumental use of the hammer, bar form and the opera‘s finale in praise of the handworker. The libretto of Anton Urspruch‘s Das Unmoeglichste von Allem (The most impossible thing of all) is compared with Lope de Vega‘s drama and its early translations. The humor of the opera and its delimitation from Wagner are analyzed. In Der Pfeifertag (The Pipers‘ Festival), libretto by Ferdinand Graf Sporck, Max von Schillings cites his own previous opera, implementing medieval melodies and leitmotif technique. Ludwig Thuille‘s number opera Lobetanz and the through-composed Gugeline (librettos by Otto Julius Bierbaum) embrace taboos and symbols in a manner representative of Jugendstil. Siegfried Wagner in Herzog Wildfang (Duke Tomboy), libretto by the composer, and Richard Strauss in Feuersnot (In Want of fire), libretto by Ernst von Wolzogen, cite Richard Wagner‘s use of insults in Meistersinger in the libretto and reference musical themes of their own previous operas. Thus the two composers established themselves as individuals through conflict and conformation with Meistersinger. A rather late example of Meistersinger‘s influence is seen in Die Schneider von Schoenau (The tailors of Schoenau) by Jan Brandts-Buys. Squirrely masters and apprentices, as well as a lusted-after married woman, are brought to life with counterpoint and musical caricature. Bruno Warden and Ignaz Michael Welleminsky included in their libretto the breaking of taboo and the insulting of tailors with „Meck-Meck“.


N° 12h

Richard Wagner, Die Meistersinger von Nürnberg

Peter P. Pachl


Frühe Meistersinger-Rezeption und ihre Auswirkungen

auf die komische Oper in der Wagner-Nachfolge


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?