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By Stephen McClatchie

The paintings of the Wagnerian theorist and analyst Alfred Lorenz (1869-1939) has had a profound impression upon either Wagnerian scholarship and track research within the 20th century, and but it hasn't ever been appropriately evaluated. examining Wagner's Operas outlines the origins and improvement of the expressive aesthetic in writings via Wagner and others, in addition to in early-twentieth-century theories of musical shape, and it considers Lorenz's paintings and contributions during this mild. The booklet additionally hopes to teach, to the level attainable, the place Lorenz's paintings acted as a kind of "musical metaphor" for German nationalist ideology throughout the Nazi period.

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Extra resources for Analyzing Wagner's Operas: Alfred Lorenz and German Nationalist Ideology (Eastman Studies in Music)

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110 In his typically tortuous style, Rosenberg evokes a strong tradition of German idealism deriving principally (but not exclusively) from philosophers such as Kant, Schopenhauer, and Nietzsche. That is, the "essence" of Western art revealed in Wagner is its transcendence of the here-and-now; Schopenhauer argues that only through losing oneself in the pure experience (really, experiencing) of works of art can one silence the endless strivings of the will and hence of the ego: one is "lifted-out" of oneself.

Thomas S. Grey, Wagner's Musical Prose: Texts and Contexts (Cambridge: Cambridge University Press, 1995), 1820. < previous page page_27 next page > < previous page page_28 next page > Page 28 dominant among many German-speaking writers about music, especially Wagnerians, at least until the end of the Second World War. It provides the background out of which Lorenz emerged and against which he must be understood. The Expressive Aesthetic While the notion that expression is the essence of music is something of a commonplace throughout music history, it had rather a specific connotation for certain late nineteenth- and early twentieth-century writers about music.

86. "Das Heldische in Richard Wagners Parsifal," Bayreuther Festspielführer (1931): 102109. 87. Geheimnis IV. preface. See also "Die Religion des Parsifal," Die Musik 25 (1933): 34247; "Richard Wagners 'Parsifal' und der Nationalsozialismus," Deutsches Wesen (July 1933): 68. "Richard Wagners 'neue Religion'," Allgemeine Musikzeitung 66 (1939): 45962. 88. For a survey see Potter, "Trends in German Musicology," 5989. 89. Zeitschrift für Musik 105 (1938): 137273. See also his "Die Ahnentafel in der Musikerbiographie," Aligemeine Musikzeitung 65 (23 December 1938): 782, and what seems to be his last published article, "Musikwissenschaft und Erbbiologie," Deutsche Militär-Musiker-Zeitung 62 (1940): 16566.

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