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In 1848 Richard Wagner began what would become the largest stage work of his career, the Ring of the Nibelung. In preparation for the task he composed an overview of the Nibelung myth designed to lead to a drama; he then composed the verse "libretto" Siegfried's Death. Although he abandoned the idea of a single opera on Siegfried in favor of the huge project that developed out of it in the succeeding years -- the Ring cycle -- he did consider the two early documents important enough to include them in his collected works. The present volume seeks to inform the English-speaking reader in three ways: by providing modern, reliable translations of the two Wagner texts, which are otherwise not available (the German original is provided on facing pages); by furnishing an overview of German scholarship available to Wagner and others working on the Nibelung legend in the first half of the nineteenth century; and by making available a bibliography of further reading. The volume will be useful to students of musicology, to students and historians of myth and legend, and to all Wagnerians interested in the genesis of the Ring cycle. Accessible to the general reader, it maintains scholarly rigor and provides information about materials not available in English. Edward R. Haymes is Professor in the Department of Modern Languages at Cleveland State University.
Richard Wagner’s Ring Cycle is one of the most ambitious musical projects ever undertaken. Composed over a period of over twenty-five years between 1848-1874 the four operas of Das Rheingold, Die Walkurie, Siegfried and Gotterdammerung total fifteen hours. Whilst each opera is often performed as a work in its own right, Wagner’s intention was that a full understanding of the Ring cycle required attendance at all four operas. The Story of the Ring is a wonderful retelling in English by acclaimed film producer Michael Birkett with illustrations from Elizabeth Bury and a foreword by Sir Peter Hall.
Wagner’s Ring is one of the greatest of all artworks of Western civilization, but what is it all about? The power and mystery of Wagner’s creation was such that even he felt he stood before his work ‘as though before some puzzle’. A clue to the Ring’s greatness lies in its multiple avenues of self-disclosure and the corresponding plethora of interpretations that over the years has granted ample scope for directors, and will no doubt do so well into the distant future. One possible interpretation, which Richard Bell argues should be taken seriously, is the Ring as Christian theology. In this first of two volumes, Bell considers, among other things, how the composer’s Christian interests may be detected in the ‘forging’ of his Ring, in his appropriation of sources (whether they be myths and sagas, writers, poets, or philosophers), and in works composed around the same time, especially his Jesus of Nazareth.
'The ideal interpreter of the Ring ... a fascinating and valuable study ... absorbing and convincing' Sunday Times The Ring of the Nibelung is one of the greatest works of art created in modern times. Roger Scruton's brilliant and passionate exploration of the drama, music, symbolism and philosophy of Wagner's masterpiece - with its themes of love, death, sacrifice and freedom - shows how, ultimately, it expresses the truth about the human condition. 'Highly original and penetrating ... tremendous' Tim Blanning, Literary Review 'A rich, historical account ... After reading this book, only the most unadventurous reader would turn down the chance to see Wagner's masterpiece' Economist 'A brilliant gallop through the master's religious, musical and philosophical contexts' Sue Prideaux, Spectator 'Scruton is one of the finest philosopher-musicians since Schopenhauer' Jonathan Gaisman, Standpoint
Beyond Reason relates Wagner’s works to the philosophical and cultural ideas of his time, centering on the four music dramas he created in the second half of his career: Der Ring des Nibelungen, Tristan und Isolde, Die Meistersinger von Nürnberg, and Parsifal. Karol Berger seeks to penetrate the “secret” of large-scale form in Wagner’s music dramas and to answer those critics, most prominently Nietzsche, who condemned Wagner for his putative inability to weld small expressive gestures into larger wholes. Organized by individual opera, this is essential reading for both musicologists and Wagner experts.
(Vol 1.) Wagner's Ring is one of the greatest of all artworks of Western civilization, but what is it all about? The power and mystery of Wagner's creation was such that he himself felt he stood before his work "as though before some puzzle." A clue to the Ring's greatness lies in its multiple avenues of self-disclosure and the corresponding plethora of interpretations that over the years has granted ample scope for directors and will no doubt do so well into the distant future. One possible interpretation, which Richard Bell argues should be taken seriously, is the Ring as Christian theology. In this first of two volumes, Bell considers, among other things, how the composer's Christian interests may be detected in the "forging" of his Ring, looking at how he appropriated his sources (whether they be myths and sagas, writers, poets, or philosophers) and considering works composed around the same time, especially his Jesus of Nazareth. -- back cover.
It portrays the existential struggles and downfall of an entire people, the Burgundians, in a military conflict with the Huns and their king."--Jacket.
The Rhinegold and the Valkyrie by Richard Wagner with illustrations by Arthur Rackham, translated by Margaret Armour, 1910. The Ring of the Niblung Volume 1. This edition is a paperback republishing of The Rhinegold and the Valkyrie by Richard Wagner first published in 1910, illustrated in color. Der Ring des Nibelungen (The Ring of the Nibelung), is a cycle of four German-language epic music dramas composed by Richard Wagner. The works are based loosely on characters from the Norse sagas and the Nibelungenlied. It is often referred to as the Ring Cycle, Wagner's Ring, or simply The Ring. Wagner wrote the libretto and music over the course of about twenty-six years, from 1848 to 1874. The four parts that constitute the Ring cycle are, in sequence: Das Rheingold (The Rhinegold) Die Walkure (The Valkyrie) Siegfried Gotterdammerung (Twilight of the Gods)
The Ring of the Niblung Siegfried and the Twilight of the Gods Richard Wagner Translated By Margaret Armour With Illustrations by Arthur Rackham Der Ring des Nibelungen (The Ring of the Nibelung), WWV 86, is a cycle of four epic operas by the German composer Richard Wagner. The works are based loosely on characters from the Norse sagas and the Nibelungenlied. The composer termed the cycle a "Buhnenfestspiel" (stage festival play), structured in three days preceded by a Vorabend ("ante-evening"). It is often referred to as the Ring Cycle, Wagner's Ring, or simply The Ring. Wagner wrote the libretto and music over the course of about twenty-six years, from 1848 to 1874. The four operas that constitute the Ring cycle are, in sequence: Das Rheingold (The Rhine Gold) Die Walkure (The Valkyrie) Siegfried Gotterdammerung (Twilight of the Gods) Although individual operas of the sequence are sometimes performed separately, Wagner intended them to be performed in series. The first performance as a cycle opened the first Bayreuth Festival in 1876, beginning with Das Rheingold on 13 August and ending with Gotterdammerung on 17 August.