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And he unflinchingly confronts the Wagner whose paranoia, egocentricity, and anti-Semitism are as repugnant as his achievements are glorious."--Jacket.
2019 Walter Scott Prize Academy recommendation 'Succeeds brilliantly ... a gripping and disturbing portrait of the young Hitler' Simon Mawer, author of the Man Booker-shortlisted The Glass House Salzburg, 1945: Eugen Reczek, a middle-aged Austrian desk clerk, is interned by the American occupiers. The reason: he is Hitlers Jugendfreund – ‘The Friend of the Führer’s Youth’. Linz, 1905: An upholstery apprentice by day and fledgling violist by night, Eugen meets fifteen-year-old Adolf Hitler at the local opera, and for the next four years they see each other almost daily. Eugen is captivated but also troubled by Hitler: his almost complete isolation, his morbid preoccupation with his dead father, and his obsession with a young woman to whom he has never said a word. They move together to Vienna – Adolf to study art; Eugen to study music – but as Adolf’s money runs low, he becomes increasingly drawn to the racist gutter press of Vienna, and so to hatred: of women, of sex, of all things sensual. When Eugen begins a relationship with the Jewish mother of one of his piano students, it is only a matter of time before their suppressed conflict will ignite. Now, with the Third Reich in ashes, Eugen sits in a barren room writing his memoir. In a voice by turns intelligent, sceptical, pained, nostalgic and appalled, he tries to come to terms with the course of his own life and with the unfathomable criminality of his boyhood friend – his Hitler.
How does musical harmony engage listeners in relations of desire? Where does this desire come from? Author Kenneth Smith seeks to answer these questions by analyzing works from the turn of the twentieth- century that are both harmonically enriched and psychologically complex. Desire in Chromatic Harmony yields a new theory of how chromatic chord progressions direct the listener on intricate journeys through harmonic space, mirroring the tensions of the psyche found in Schopenhauer, Freud, Lacan, Lyotard, and Deleuze. Smith extends this mode of enquiry into sophisticated music theory, while exploring philosophically engaged European and American composers such as Richard Strauss, Alexander Skryabin, Josef Suk, Charles Ives, and Aaron Copland. Focusing on harmony and chord progression, the book drills down into the diatonic undercurrent beneath densely chromatic and dissonant surfaces. From the obsession with death and mourning in Suk's asrael Symphony to an exploration of "perversion" in Strauss's elektra; from the Sufi mysticism of Szymanowski's Song of the Night to the failed fantasy of the American dream in Copland's The Tender Land, Desire in Chromatic Harmony cuts a path through the dense forests of chromatic complexity, revealing the psychological make-up of post-Wagnerian psychodynamic music.
A contribution to the literature of 19th-century culture, this is a study of the close links between Wagner and the philosophy of his age. The author tries to make sense of both the man and his music by placing Wagner in the context of 19th-century thought. His sympathy for Wagner's music is tempered by an independence of mind which allows him to rethink much of the hostility towards Wagner. Revealing his anti-Semitism as virulent, but certainly not unusual, Magee argues that there is no reason to regard him as a proto-fascist and that an opinion of his politics should not cloud the judgment of his music.
Seven leading international writers discuss the genesis, libretto and music, and performance and reception history of Wagner's Tristan.
Alex Ross, renowned New Yorker music critic and author of the international bestseller and Pulitzer Prize finalist The Rest Is Noise, reveals how Richard Wagner became the proving ground for modern art and politics—an aesthetic war zone where the Western world wrestled with its capacity for beauty and violence. For better or worse, Wagner is the most widely influential figure in the history of music. Around 1900, the phenomenon known as Wagnerism saturated European and American culture. Such colossal creations as The Ring of the Nibelung, Tristan und Isolde, and Parsifal were models of formal daring, mythmaking, erotic freedom, and mystical speculation. A mighty procession of artists, including Virginia Woolf, Thomas Mann, Paul Cézanne, Isadora Duncan, and Luis Buñuel, felt his impact. Anarchists, occultists, feminists, and gay-rights pioneers saw him as a kindred spirit. Then Adolf Hitler incorporated Wagner into the soundtrack of Nazi Germany, and the composer came to be defined by his ferocious antisemitism. For many, his name is now almost synonymous with artistic evil. In Wagnerism, Alex Ross restores the magnificent confusion of what it means to be a Wagnerian. A pandemonium of geniuses, madmen, charlatans, and prophets do battle over Wagner’s many-sided legacy. As readers of his brilliant articles for The New Yorker have come to expect, Ross ranges thrillingly across artistic disciplines, from the architecture of Louis Sullivan to the novels of Philip K. Dick, from the Zionist writings of Theodor Herzl to the civil-rights essays of W.E.B. Du Bois, from O Pioneers! to Apocalypse Now. In many ways, Wagnerism tells a tragic tale. An artist who might have rivaled Shakespeare in universal reach is undone by an ideology of hate. Still, his shadow lingers over twenty-first century culture, his mythic motifs coursing through superhero films and fantasy fiction. Neither apologia nor condemnation, Wagnerism is a work of passionate discovery, urging us toward a more honest idea of how art acts in the world.
For centuries, the augmented sixth sonority has fascinated composers and intrigued music analysts. Here, Dr Mark Ellis presents a series of musical examples illustrating the 'evolution' of the augmented sixth and the changing contexts in which it can be found. Surprisingly, the chord emerged from one of the last remnants of modal counterpoint to survive into the tonal era: the Phrygian Cadence. This book will appeal to music analysts by providing a chronological framework for further stylistic and harmonic analysis. To ensure its accessibility in graduate classes, the author provides a straightforward introduction to the augmented sixth and its theoretical background. The book concludes with a discussion of the role of the chord in the decay of the tonal system, and its 'afterlife' in the post-tonal era.
Though his image is tarnished today by unrepentant anti-Semitism, Richard Wagner (1813–1883) was better known in the nineteenth century for his provocative musical eroticism. In this illuminating study of the composer and his works, Laurence Dreyfus shows how Wagner’s obsession with sexuality prefigured the composition of operas such as Tannhäuser, Die Walküre, Tristan und Isolde, and Parsifal. Daring to represent erotic stimulation, passionate ecstasy, and the torment of sexual desire, Wagner sparked intense reactions from figures like Baudelaire, Clara Schumann, Nietzsche, and Nordau, whose verbal tributes and censures disclose what was transmitted when music represented sex. Wagner himself saw the cultivation of an erotic high style as central to his art, especially after devising an anti-philosophical response to Schopenhauer’s “metaphysics of sexual love.” A reluctant eroticist, Wagner masked his personal compulsion to cross-dress in pink satin and drench himself in rose perfumes while simultaneously incorporating his silk fetish and love of floral scents into his librettos. His affection for dominant females and surprising regard for homosexual love likewise enable some striking portraits in his operas. In the end, Wagner’s achievement was to have fashioned an oeuvre which explored his sexual yearnings as much as it conveyed—as never before—how music could act on erotic impulse.
This useful chord book, developed for mandolin players, features clear, readable chord diagrams to help you explore and master your instrument. Chords are helpfully grouped by key, to allow for easy songwriting prompts, offering a variety of options and variants to whatever you create! Perfect for beginners or more advanced players alike, this is the perfect reference guide to accompany your mandolin.