Word: wagnerities
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...Sagas and the Edda. Let me give you an idea of how close it is. That evening these same peasants were cooking their supper over a fire of twigs on a raised, open hearth. The hearth was like the one you see on the stage in Act I of Wagner's Die Walkiire...
...often appears in his photographs. He was in high spirits and conversation was lively. It was about history, literature, music, philosophy, ethics, the demonic element in the creative process, and a good deal else which I have never felt at liberty to repeat. He also talked of Goethe, Byron, Wagner, Ibsen, Emerson, Brahms, of his own preference in working hours, of what to do when the spring refusesto flow, and about his relationship with his publishers...
...Tonal Thinking in the Works of Claude Debussy, was completed in 1965, and he was awarded his Ph.D. that June. He feels that "Debussy was the final rupture from classical tonal thinking, although this break was prefigured and prepared by nineteenth century practice as far back as Beethoven. Wagner didn't make it the way Debussy did. While the concise structures of eighteenth century tonality seem almost irrelevant to the Wagnerian rhetoric, Wagner still relies on the concept of smooth progressions. Debussy's progressions are classical period. Nevertheless, Debussy does not deny tonality in the larger sense, but devises harmonic...
...time it seemed that Ludwig did have a business heir: William W. Wagner, vice president of National Bulk Carriers. But Wagner died unexpectedly in March. Said one insider: "Wagner must have had 40 people reporting to him directly. When he went, we were suddenly missing two full levels of management." With unexpected room at the top, there is now competition for power. The leading aspirant is John Notter, 35, president of American-Hawaiian Steamship. Notter, however, is not a shipping man, as Wagner was, but a real estate expert. "What Ludwig needs," says a banker who knows him well...
...result is a building of genuine architectural distinction that also poses some provocative suggestions for the shape of museums in the future. Its designers are three San Francisco architects, Mario Ciampi, 63, Richard Jorasch, 34, and Ronald Wagner, 31. Says Ciampi: "We are people willing to trust our irrational side. There was a lot of trusting of instincts in this building." There was also a bow in the direction of Frank Lloyd Wright's Guggenheim Museum. As in the Guggenheim, visitors move from level to level in a flow of curving space. But the tyranny Wright imposed with...