richardwagner

The Akron Symphony will present Bruckner’s Fourth Symphony, nicknamed Romantic, on March 2 at EJ Thomas Hall.

Bruckner’s composition, his first to receive widespread acclaim, showcases the composer’s unique style and is filled with lyrical themes, expressive contrasts, splendid orchestration, glorious climaxes, and dramatic developments. 

In the second episode of this two-part series, Music Director Christopher Wilkins and Matthew Mauro, acting principal horn, take a deeper dive into Bruckner’s music. 

The Akron Symphony Orchestra will present Bruckner’s Fourth Symphony, along with Wagner’s Lohengrin Prelude, on March 2, 7:30 pm, at EJ Thomas Hall. The Preview from the Podium begins at 6:30 pm.

Tickets are available at akronsymphony.org.

The Akron Symphony will present Bruckner’s Fourth Symphony, nicknamed Romantic, on March 2 at EJ Thomas Hall. Bruckner’s composition, his first to receive widespread acclaim, showcases the composer’s unique style and is filled with lyrical themes, expressive contrasts, splendid orchestration, glorious climaxes, and dramatic developments. 

In the first episode of a two-part series, Music Director Christopher Wilkins and Matthew Mauro, acting principal horn, discuss Matt’s career, and Matt shares some of his experiences with the audition process for an orchestra.

The Akron Symphony Orchestra will present Bruckner’s Fourth Symphony, along with Wagner’s Lohengrin Prelude, on March 2, 7:30 pm, at EJ Thomas Hall. The Preview from the Podium begins at 6:30 pm. Tickets are available at akronsymphony.org.

ARTtoÙ
Traccia-partitura-montaggio

“...la musica...è accessibile soltanto attraverso il canto: suonare bene uno strumento significa...cantare bene sullo stesso strumento... Solo l’esatta comprensione del melos dà anche l’esatto movimento:...i nostri direttori non sanno nulla del tempo esatto per la ragione che non capiscono nulla di canto. Non mi sono ancora imbattuto in un Kappellmeister tedesco o altro direttore di musica che, con bella oppure brutta voce, sia veramente capace di cantare una melodia; per costoro la musica è una faccenda singolarmente astratta, un qualcosa di fluttuante tra grammatica, aritmetica e ginnastica, per cui si comprende molto bene che colui che in essa fu istruito, sia adatto come giusto insegnante in un conservatorio o un istituto di ginnastica musicale, non si può al contrario capire come costui sia in grado di infondere vita e anima ad un’esecuzione musicale.”*1

TITOLO: letto artù; come l’inglese “arte per” e dialettale italiana nominazione di Arturo:
Come colui che dà la sua arte per. La direzione d’orchestra - dell’opera - in questo senso musicale: opera; mette in opera l’arte per...

ARTtoÙ - MOMENTO 2: Durante il suo ultimo concerto nel ’54, Toscanini ebbe un mancamento, perdendo - o appunto mancando - il tempo...

“ quando Wagner buttò giù questo semplice accordo di la mag dato ai Violini e ai Legni, ho sempre immaginato che lui sia sparito dalla terra in momento di grande e sublime ispirazione...” *2

*1 R. Wagner - Scritti teorici e polemici: Del dirigere; p.105 - EDT
*2 A.Toscanini - Lettere: p.416 - Ed. Il Saggiatore

Introduzione/Montaggio: Lorenzo Fioravanti

Dal concerto del 4 Aprile 1954 presso la Carnegie Hall di New York: R. Wagner, Tannhauser - Overture
R. Wagner, Lohengrin, Atto I, Preludio

I’m really happy to introduce my guest today, Professor Johannes Menke. In 2004, he received his doctorate with a thesis on Giacinto Scelsi at the TU Berlin.

From 1999-2009 he taught music theory and ear training at the Musikhochschule Freiburg and was also active as a radio author, organist and choirmaster. Since 2007 he has been Professor of Historical Theory at the Schola Cantorum Basiliensis.

From 2008 to 2012 he was President of the Society for Music Theory (GMTH). He is co-editor of the book series Sinefonia (Wolke-Verlag) and the journal Musik & Ästhetik (Klett-Cotta). His numerous publications deal mainly with questions of music theory and analysis, especially with regard to history and didactics. His focus is on the music of the 16th and 17th centuries. These are the book publications counterpoint I: The music of the Renaissance and counterpoint II: The music of the Baroque.

His work at the Schola Cantorum Basiliensis includes subjects in the fields of Renaissance to Romantic music, Early Music, the History of Music Theory as well as supervising doctoral projects. He is also co-founder of the project series Klangwelt Renaissance and the Basel Forum for Music Aesthetics.

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1:02 When did the State of Germany come about?
2:03 Was it originally divided by religion or culture?
2:39 Siefried Dehn
3:52 How was Dehn trained?
4:17 Had generalbass existed in Germany at that time?
4:58 On parallels with Italian partimento and their differences
5:21 Adolf Bernhard Marx
6:36 How did Marx learn music?
7:00 Was his training similar to Dehn’s training?
8:05 What artist would represent the ancient regime?
8:29 Why would Marx say these things when many of old German masters studied generalbass?
9:16 What kind of music theory was Marx trying to promote to replace generalbass?
10:08 Does that include Roman Numerals?
10:31 Who came up with Roman Numerals?
10:50 Marx’s nationalist sentiments
11:37 Ferdinand Hiller
12:33 The reception of partimenti and Fenaroli in Germany
13:42 The perception that partimento was deficient because it appeared to lack chordal theory
14:28 Did Marx win the music theory wars?
14:59 Did Marx have successful students of note?
15:33 Was Dehn nationalistic as well?
16:05 Richard Wagner before Weinlig
17:09 Who was Christian Theodor Weinlig?
17:37 Weinlig called himself a Maestro, an Italian term
18:05 Wagner’s recollections in his autobiography about his lessons
19:41 Wagner being a grandchild of the Bologna tradition
20:07 Would Wagner have composed thinking more along the lines of generalbass?
21:27 How do we know that Wagner liked Bellini?
22:07 Did the love for Bellini stay with Wagner for his whole life?
23:14 What was the reception of Italian music, such as Opera, in Germany?
24:15 Is the word partimento mentioned in Germany in the 19th century?
25:08 Did the lack of figures in partimento influence generalbass or was it more like bologna, which had figures?
25:38 Is there an equivalent for the Rule of the Octave in Germany?
26:53 Was Partimento hard to be accepted because it was an oral tradition and lacked detailed treatises
27:54 What were the famous harmony books in Germany?
28:44 Gottfried Weber
30:03 How did Mendelssohn learn music?
30:49 Was Johann Georg Albrechtsberger familiar with the italian methods or was he more of a generalbass-ist?
31:46 On generalbass being thought of as just accompaniment rather than a complete method of composition and counterpoint.
33:03 If I was a student in the 19th century, how would I learn to be a composer?
33:31 Do different cities in Germany have different music theory traditions?
34:30 Did Germany have an equivalent to Italian Solfeggio and the study of melody?
35:46 How do you learn music in the generalbass way?
36:55 Franz Liszt being part of the generalbass tradition through Czerny
37:25 Where did the newer, progressive methods of music theory come from?
38:24 So do these ideas come from the new ideas of chordal thinking?
39:22 How do the traditional ideas of generalbass influence modern music education?
40:35 With so many music theory methods, what should the modern music student learn?
41:56 Would you use roman numerals to explain romantic music?
43:07 What music would be good to analyze with chord inversions and roman numerals?
44:26 Would you expect a student to learn all the tools?
45:22 Upcoming articles and projects for 2020
45:50 Where to find Professor Menke’s work
46:12 How would you reform music education?
46:52 Should everyone learn generalbass?
47:10 Wrapping Up

Retreat attendees watched the opera Das Rhinegold by Richard Wagner. This lecture explains why, while also explaining many important aspects of spiritual practice.

This is a lecture from the free online course Ring of the Nibelungen Explained

Course Description:

Discover the meaning of the esoteric mysteries and spiritual symbols hidden in The Ring of the Nibelungen, the famous set of operas by Richard Wagner, based on the Nordic mythology.

“It is evident by all means and with complete meridian clarity that Wagner was a great Initiate [of the secret knowledge], an insightful esotericist, an authentic Illuminated One… [...] It seems that he had scrutinized very ancient religious scriptures…” - Samael Aun Weor, Parsifal Unveiled

We strongly recommend that you watch the entire Ring cycle before you study this course, and do your best to see one that is authentic to Wagner's directions. There are regular performances all around the world, and seeing these operas live is a special experience to have in life. If this is not possible for you, there are numerous recordings available on DVD that you can purchase or rent, or even borrow from a local library.

A brief summary of the opera, followed by a discussion of the hidden meaning.

Read a synopsis of the opera.

Read a transcription of the lecture.

Quoted from the lecture:

"Gotterdammerung, “the twilight of the gods”: We are now arriving at the end of this great masterpiece that hides profound mysteries that only those who walk on the path of the self-realization of the being can understand. Friedrich Nietzsche talked about the superman but he was mistaken thinking that the man existed. He did not know that first the man has to be created in order for the super man to act in that man. And this is precisely what here, in this great opera, is hidden, which is that superior aspect that only those that walk on the path and who are already on the level of human being can understand. Remember that it is written that the man is only a bridge between the intellectual animal and the superman. But we don’t have to fall into the mistake of believing that the human being already exists, because it does not exist. The human being has the possibilities of existing within each on of us. And when we reach that level then we can walk on the path of the superman."

A brief summary of the opera, followed by a discussion of the hidden meaning.

Read a synopsis of the opera.

Read a transcription of the lecture.

Quoted from the lecture:

"Siegfried is the third opera in this series by Richard Wagner. And in this third part we penetrate even deeper into profound Initiatic mysteries whose true meaning and true content had never before been publicly revealed. In this story of Siegfried we see symbolized aspects of the Cosmic Drama that any initiate from any time or place has to live within their own consciousness. This Cosmic Drama is universal. It has always existed, and it will always exist. Very few have seen the Cosmic Drama for what it is, because very few have lived it."

A brief summary of the opera, followed by a discussion of the hidden meaning.

Read a synopsis of the opera.

Read a transcription of the lecture.

Quoted from the lecture:

"So, in this part of Wagner’s opera, Die Walkure, is hidden a marvelous doctrine of Alchemy, which is always shown through the different myths of different religions. The Nordics are precisely the descendants from the Hyperboreans, and the Hyperboreans are the manifestation of an ancient past, which in esotericism is called the Mahamanvantara of the Sun, or the Solar Round."

A brief summary of the opera, followed by a discussion of the hidden meaning.

Read a synopsis of the opera.

Read a transcription of the lecture.

Quoted from the lecture:

"This story of the Rhinegold is a prologue or a preface; it is the introduction to the main story. Das Rheingold is the archaic past upon which the remaining three operas are founded. So it is important for the audience of Das Rheingold to understand the point of the opera and to understand the conflicts that are expressed in it. It is these conflicts, related to Alberich and the Rhinegold and the Gods, that play out over the course of the remaining three operas."