Word: wagnerism
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Dates: during 1960-1969
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...Richard Wagner it was who in his own music sought to make the distinction between opera and what he called "music-drama." Opera was Verdi and those other florid Italians; but music-drama adhered strictly to a text, translating and absorbing it into music...
...Senate Subcommittee on Juvenile Delinquency had just seen an eye-opening display of hardware-machete, zip guns, revolvers, assorted shivs-liberated from Manhattan's juvenile delinquents and brought to Washington by New York's Mayor Robert Wagner. Then Arthur J. Rogers, a New York City Youth Board official, took the witness chair to tell what really gets the city's juvenile gangs into trouble. The most explosive weapon in the delinquents' arsenal, said Rogers, is the female of the species...
...heaving harmonies, its breast-beating emotionalism, its air of Teutonic mysticism, Gurrelieder has no style of its own, is almost a parody of the musical philosophy that Richard Wagner imposed upon whole generations and that survived in the more grandiose visions of Strauss and Gustav Mahler. Nevertheless, the composition is well worth an occasional hearing, if only because it preserves in a curiously suspended state all of the conventions of romanticism. At the end, the chorus launches into a hymn to the returning sun, with its suggestion of resurrection. A musical resurrection was certainly on the way when the work...
...British audiences that he was once said to be out-of-pocket by a million pounds ("When I heard it," said Sir Thomas, "I fainted and had to be revived with brandy"). Almost singlehanded, he forced British orchestras away from their slavish loyalty to the Germanic tradition (Beethoven, Brahms, Wagner), won recognition for native composers (Williams, Delius), and introduced such composers as Dvorak, Smetana and Strauss to British concert halls. Perhaps no other conductor of his time performed Mozart with comparable fluency and grace, and few could equal him in his communion with those other 18th century masters, Haydn...
...time to come. Both are done in Germany. Yale gave a magnificent performance of Part One in 1949, the bicentenary of Goethe's birth. They made one bad mistake; used a phonograph recording of Holst's The Planets, when they had to hand the rich fare of Faust music, Wagner's Overture, Liszt's Symphony, Berlioz's dramatic oratorio, and Boito's opera Meflstofele...