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„Vergebens gelebt und gearbeitet“. Wie Berthold Auerbach am Anti-semitismus seines Ex-Freundes Richard Wagner zerbrach

100%
Oesterle K.
Germanica Wratislaviensia
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2013
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vol. 137
141 - 157
EN
As a storyteller Berthold Auerbach (1812–1882) is almost forgotten, as a witness of the liberal era in Germany, which came to an end after the foundation of the Reich, he is just being discovered. In the middle of this discovery are Auerbach’s writings on the emerging German antisemitism, unpu­blished during his lifetime. One of the pioneers of this German antisemitism was the composer Richard Wagner, in former times a friend of Auerbach. Auerbach rightly identified Wagner’s sorry effort “Das Judentum in der Musik” (1869) as the manifesto of a new form of antisemitism which went far beyond the old, mainly Christian antijudaism. After several vain attempts to fight Wagner, he wearily gave up an considered his life work – and thus, too, the German-Jewish symbiosis, in which he firmly believed – as to be ins ruins.
2
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Book review : Rowden, Claire (2020). Opera and Parody in Paris 1860-1900. Turnhout: Brepols.

88%
Clements P.
The European Journal of Humour Research
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2022
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vol. 10
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issue 2
155-158
3
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Opera narodowa w orbicie wpływów Wagnera na przykładzie Libuszy Bedřicha Smetany

75%
Andrzejewski M.
Aspekty Muzyki
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2011
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vol. 1
11-34
EN
The article focuses on the influence of Wagnerian ideas on the concept of 19th-century Czech national opera. This can be partly explained by the fact that Czech culture was strongly connected with German culture. However, early Czech operas, and even some of Smetana’s, were quite influenced by the German singspiel — a genre with predominantly lyrical and comic elements. Their national character was manifested mainly by folk elements within the action and the music (countryside scenery, national dances, adaptations of folk melodies). The ideal of this type of national opera is Smetana’s The Bartered Bride. The same composer created a work that presents a completely different understanding of the national style and opera. In Libuše, he tried to use the Wagnerian idea of musical drama for transforming the concept of the Czech national opera. In the article, there are quotations of the composer’s statements about Libuše as a work that has a “unique importance in our [Czech] history”. Wagner’s influences are apparent on a few levels in this operatic work. The libretto is based on the mythical story about Queen Libuše, the legendary founder of Prague, and in the opera she is a symbol of the Czech nation. Wagnerian influences are found in the formal structure (unendliche Melodie), as well as in the musical language of Libuše. Smetana used a system of leitmotifs consequently, connecting them with the characters (Libuše, Přemysl) and ideas (motifs of the nation, motif of authority). Perhaps it was under the influence of the idea of Bühnenfestpiel that Smetana designed Libuše as a slavnostni zpěvohra for special celebrations in the life of the Czech nation.
4
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Akord à rebours. O muzyce i „duchowej inteligencji” w filmie Interstellar Christophera Nolana

65%
Lisiecka K.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2020
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vol. 28
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issue 37
177-205
EN
The essay aims to reveal the role of music in the movie Interstellar by Christopher Nolan and its significance in creating an artistic message that relates to the love myths characteristic of European culture and art. The orientation point is the Tristanic myth and the project of musical dramaturgy by Richard Wagner, the founder of the concept of music being the significant layer in a Gesamtkunstwerk, a synthesis of the arts, which strongly inspires i.a. cinema. The article ponders possible messages to be decoded from the music in Nolan’s movie: as a “form of a lover’s discourse” (R. Barthes), “significant form” (Suzanne K. Langer), “symbolic form” (E. Cassirer), responsible for shaping the ambience that constitutes an inherent structural part of the movie in the metaphysical cinema genre. The musical solutions applied by Hans Zimmer in the soundtrack to Nolan’s movie do more than merely imply inspiration from Wagner. They also allow for recognition of the polyphonic way of constructing formal and thematic relations between musical themes and the verbal-visual layer of the movie. This refined artistic project aims at a subtly directed confrontation with the nihilistic picture of love that is representative of melancholic-pessimistic images of the condition of human relationships in the modern culture. The analysed main musical theme, called the “à rebours chord” (i.e. anti-Tristan chord), turns out to be an overt musical manifestation of such a counterpunch and becomes a starting point to telling a story that refers to the concept of love which assumes taking action and fighting for the good of your loved ones, as well as the concept of Caritas and unconditional love. The way that the music and sound of the movie are orchestrated is therefore tightly coupled with its semantic and symbolic message, which allows for perceiving the music as a specific “libration point” of the movie structure. Its function might also be interpreted as a semantic attribute of “a spiritual intelligence”, referring to that which is binding and crucial for the axiological and metaphysical message of the movie.
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