By William Kinderman, Katherine R. Syer
Richard Wagner's Parsifal continues to be an inexhaustible but hugely debatable paintings. This "stage consecration competition play," because the composer defined it, represents the end result of his efforts to deliver medieval delusion and sleek tune jointly in a dynamic dating. Wagner's engagement with religion--Buddhist in addition to Christian--reaches a climax the following, as he seeks via creative capacity "to rescue the essence of faith via perceiving its legendary symbols . . . based on their figurative price, allowing us to determine their profound, hidden fact via idealized representation." The members to this assortment holiday clean floor in exploring the textual content, the track, and the reception historical past of Parsifal. Wagner's borrowings-and departures-from the medieval assets of the Grail legend, Wolfram's Parzival and Chr?©tien's Perceval, are thought of intimately, and the tensional relation of the paintings to Christianity is probed. New views emerge that undergo at the lengthy genesis of the textual content and tune, its affinities to Wagner's prior works, quite Tristan und Isolde, and the ideal means during which the tune used to be composed. Essays handle the work's daring, modernistic musical language and its unheard of soundscape concerning hidden choruses and different unseen resources of sound. The turbulent, wonderful, and occasionally annoying heritage of Parsifal performances from 1882 till 2004 is traced in bright aspect for the 1st time, demonstrating the abiding fascination exerted through this uniquely not easy murals. members: Mary A. Cicora, James M. McGlathery, Ulrike Kienzle, Warren Darcy, Roger Allen. William Kinderman and Katherine Syer educate on the college of Illinois at Urbana-Champaign, and sometimes lead research seminars throughout the Wagner competition in Bayreuth, Germany.
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Extra resources for A Companion to Wagner's Parsifal (Studies in German Literature Linguistics and Culture)
Upon entering the Grail Castle at Munsalvaesche, he watches the ceremony of the Grail. The king, Anfortas, suffers from a wound, yet Parzival does not inquire as to why the Grail King is ailing, as he has been taught not to ask inappropriate questions. During the ceremony, a lance is placed on Anfortas’s wound in hopes of relieving the pain. Parzival spends a restless night in the Grail Castle; the next morning, it is empty, and he leaves. He enters Arthur’s court once more, but this time, the Grail messenger, Cundrie, arrives and reproaches him for not asking about Anfortas’s ailment, and expels him from courtly society for this.
The closing music then becomes the primary means of conveying this enhanced integration as a communal experience. 60 Bermbach, Der Wahn des Gesamtkunstwerks: Richard Wagners politisch-ästhetische Utopie (Frankfurt am Main: Fischer, 1994), 311; Küng, “Was kommt nach der Götterdämmerung? Über Untergang und Erlösung im Spätwerk Richard Wagners,” in Programmhefte der Bayreuther Festspiele: Parsifal (1989), 49. Also see Küng’s centenary essay “Wagner’s Parsifal: A Theology for Our Time,” originally published in the Bayreuth Programmheft for the 1982 production and reissued in revised form in the Michigan Quarterly Review 23 (1984), 311–33.
13 The second prose sketch dates from January/February 1877. The first version of the dramatic text was written March/April 1877. The second version was undated. Schott published the dramatic text in Mainz in December of 1877. The progress of the work is well documented in Wagner’s letters 12 13 CT 2:335. Bergfeld, Das braune Buch, 53–70. 34 MARY A. CICORA and notebooks, and in Cosima’s diaries. These sources also provide valuable statements about Wagner’s thoughts concerning the project, the special problems that it posed and how he solved them, and at least hints at, if not clear statements of, his intended meanings.