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X-WR-CALDESC:Events for The Wagner Society
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DTSTART:20220101T000000
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BEGIN:VEVENT
DTSTART;TZID=UTC:20231011T193000
DTEND;TZID=UTC:20231011T210000
DTSTAMP:20260513T124304
CREATED:20230803T150608Z
LAST-MODIFIED:20230812T104056Z
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SUMMARY:Wagner's Early Works (to 1842)
DESCRIPTION:Wagner’s earliest attempts at opera were often uncompleted. Abandoned works include a pastoral opera based on Goethe’s Die Laune des Verliebten (The Infatuated Lover’s Caprice)\, written at the age of 17\, Die Hochzeit (The Wedding)\, on which Wagner worked in 1832\, and the singspiel Männerlist größer als Frauenlist (Men are More Cunning than Women\, 1837–1838). Die Feen (The Fairies\, 1833) was not performed in the composer’s lifetime and Das Liebesverbot (The Ban on Love\, 1836) was withdrawn after its first performance. Rienzi (1842) was Wagner’s first opera to be successfully staged. The compositional style of these early works was conventional—the relatively more sophisticated Rienzi showing the clear influence of Grand Opera à la Spontini and Meyerbeer—and did not exhibit the innovations that would mark Wagner’s place in musical history. Later in life\, Wagner said that he did not consider these works to be part of his oeuvre; and they have been performed only rarely in the last hundred years\, although the overture to Rienzi is an occasional concert-hall piece. Die Feen\, Das Liebesverbot\, and Rienzi were performed at both Leipzig and Bayreuth in 2013 to mark the composer’s bicentenary. \nIn this virtual talk with leading scholar John Doe\, we examine Wagner’s early works and the foundation he laid for his later evolution as a composer.
URL:https://wagnersoc.myco-development.com/event/wagners-early-works-to-1842/
ATTACH;FMTTYPE=image/jpeg:https://wagnersoc.myco-development.com/wp-content/uploads/2023/08/486px-Young_richard_wagner.jpeg
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BEGIN:VEVENT
DTSTART;TZID=UTC:20230913T193000
DTEND;TZID=UTC:20230913T210000
DTSTAMP:20260513T124304
CREATED:20230727T174227Z
LAST-MODIFIED:20230812T104016Z
UID:1371-1694633400-1694638800@wagnersoc.myco-development.com
SUMMARY:Wagner and Schopenhauer
DESCRIPTION:Schopenhauer’s Influence\nOne source of inspiration for Tristan und Isolde was the philosophy of Arthur Schopenhauer\, notably his The World as Will and Representation\, to which Wagner had been introduced in 1854 by his poet friend Georg Herwegh. Wagner later called this the most important event of his life. His personal circumstances certainly made him an easy convert to what he understood to be Schopenhauer’s philosophy\, sometimes categorized as “philosophical pessimism”. He remained an adherent of Schopenhauer for the rest of his life. \nContradictions\nOne of Schopenhauer’s doctrines was that music held a supreme role in the arts as a direct expression of the world’s essence\, namely\, blind\, impulsive will. This doctrine contradicted Wagner’s view\, expressed in “Opera and Drama”\, that the music in opera had to be subservient to the drama. Wagner scholars have argued that Schopenhauer’s influence caused Wagner to assign a more commanding role to music in his later operas\, including the latter half of the Ring cycle\, which he had yet to compose. Aspects of Schopenhauerian doctrine found their way into Wagner’s subsequent libretti. \nA discussion with John Doe\nIn this talk by leading scholar John Doe\, we will examine Schopenhauer’s influence on Wagner’s thinking and music. Refreshments will be available and a Q+A will follow the talk.
URL:https://wagnersoc.myco-development.com/event/wagner-and-schopenhauer/
LOCATION:Saddler’s Hall\, 40 Gutter Ln\, London\, EC2V 6BR\, United Kingdom
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