Richard Wagner as He LivedHarper & brothers, 1925 - 313 |
Inne wydania - Wyświetl wszystko
Kluczowe wyrazy i wyrażenia
able accepted affairs appeared arrived artistic audience become born Bülow called CHAPTER character composer concerts conduct conductor Cosima Court dates death drama Dresden Dutchman edition Ellis entered fact Flying Dutchman followed four French gave German give given Glasenapp Greek hand idea influence interest kind King known later least leave Leipzig less letter light lines Liszt living Lohengrin London look Ludwig March matter means ment mind Minna months Napoleon never Nietzsche once opera Paris passed performance perhaps period person play present published quoted reference Richard Rienzi Ring score season seen sense side stage taken Tannhäuser theater things third thought tion took translation Tristan Wagner wife writing wrote
Popularne fragmenty
Strona 235 - Not unto us, O Lord, not unto us, But unto thy name give glory. For thy mercy, and for thy truth's sake.
Strona 265 - For the first time I now mastered AEschylus with real feeling and understanding. Droysen's eloquent commentaries in particular helped to bring before my imagination the intoxicating effect of the production of an Athenian tragedy, so that I could see the Oresteia with my mind's eye, as though it were actually being performed, and its effect upon me was indescribable. Nothing, however, could equal the sublime emotion with which the Agamemnon trilogy inspired me, and to the last word of the Eumenides...
Strona 274 - Carmine qui tragico vilem certavit ob hircum, 220 Mox etiam agrestes Satyros nudavit, et asper Incolumi gravitate jocum tentavit : eo quod Illecebris erat et grata novitate morandus Spectator functusque sacris et potus et exlex.
Strona 103 - Of: being an Authorised English Version, by WM. ASHTON ELLIS, of CF Glasenapp's "Das Leben Richard Wagner.
Strona 265 - My delight in the comedies of Aristophanes was boundless, when once his Birds had plunged me into the full torrent of the genius of this wanton favourite of the Graces, as he used to call himself with conscious daring. Side by side with this poet I read the principal dialogues of Plato, and from the Symposium I gained such a deep insight into the wonderful beauty of Greek life that I felt myself more truly at home in ancient Athens than in...
Strona 281 - The chief thing is that the manuscript shall be given to the printers exactly as it is. I have already gone through it, after a fashion, in getting it ready for our friend (Frau von Bulow) to make a copy for the king...
Strona 279 - ... rescue of Wagner's mother in the early days of her widowhood, and married her some nine months afterwards. For the last generation or two a certain number of people have been going about the world shaking their heads mysteriously and darkly hinting at what they could tell if their lips were not sealed. The root of the legend is a notorious remark of Nietzsche's. That philosopher had seen one of the privately printed copies of the Autobiography about 1870, and his query in the postscript to Der...
Strona 112 - Wagner ever came under the influence of this nebulous writer [Feuerbach] on social and religious topics, as it led him to speculate and write on various abstruse subjects in the old-fashioned German metaphysical style, which is anything but entertaining or instructive, as it deals chiefly with conjectures, theories, and random assertions, concrete facts being scornfully ignored.
Strona 265 - ... trilogy inspired me, and] to the last word of the Eumenides I lived in an atmosphere so far removed from the present day that I have never since been able to reconcile myself with modern literature. My ideas about the whole significance of the drama and of the theatre were, without a doubt, moulded by these impressions. I worked my way through the other tragedians, and finally reached Aristophanes.
Strona 18 - Wagner himself has described a performance of the same symphony at which the conductor, Polenz, when he started to conduct the first movement, was ordered by the double-bass to sit down, and did not resume the beat till the choral part. Could it be, then, that the reaction which has been referred to was produced by a shockingly bad performance (on the presumption, of course, that it was the music and nothing else that had the disturbing effect), or was this an early indication of Wagner's susceptibility...