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

At first glance It’s generally agreed that in France at the time, The Master singers was the least studied than the more popular, Tristan or Parsifal. On closer examination, we discover in fact, The Master singers was a favorite opera amongst artists such as Alfred Bruneau, Emmanuel Chabrier, Vincent d’Indy and Reynaldo Hahn. Suprisingly, Reynaldo Hahn, (who, for the record was normally known as being the  most antiwagnerian), was a close friend of the pianist Edouard Risler , who, often played The Master singers in the salon Polignac, Saint-Marceaux, Grefuhle. These salons were quiet popular haunt at the turn of the century where, Proust and Hahn would frequent to listen to this music. There is no denying that The Master singers, for whom Wagner had  music critics in mind, was a great subject of discussions and debates between the two. Further more, The Master singers became the genesis of the most important questions: Who is the critic? and consequently, how can music be written within the literary form? Proust and Hahn were the first to explore these questions, as it was the major theme of their works: the title of Hahn’s chronicals in Le Figaro was « L’Ardoise de Beckmesser » and Proust cited The Master singers from his first novel Les Plaisirs et les jours to Sodome et Gomorrhe: the main objective of this article is to illustrate that from this sole opéra would be the begininngs from which of Proust and Hahn’s would develop their musical criticism style in literature.


N° 12i

Richard Wagner, Die Meistersinger von Nürnberg

Cécile Leblanc


L’Ardoise de Beckmesser, la critique musicale des Maîtres Chanteurs,

autour de Reynaldo Hahn et Marcel Proust


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?