An exploration of how Wagner’s operas were performed and received in the theaters of Stockholm and other cities of the region.
Wagner and Wagnerism in Nineteenth-Century Sweden, Finland, and the Baltic Provinces explores how Wagner’s operas were performed and received in the theaters of Stockholm and other cities of the region and how excerpts fromthem were arranged for amateur performances in private homes. Wagner’s music and his polemical writings aroused lively discussion around the Baltic, as they did everywhere else in the Western world. Thanks to detailed accounts innewspapers, journals, contemporary literature, and writings of music historians [including some by Sibelius’s teacher and friend Martin Wegelius], we are privileged, in Hannu Salmi’s book, to ‘listen in’ on these debates, which often deal with crucial questions of national self-determination and of cultural independence from Europe.
This text reveals the surprising extent to which music lovers and operagoers from the various countries, many of them women, traveled to Wagner’s Bayreuth Festival to attend performances. It also reconstructs the imaginative and patient efforts by which confirmed Wagnerians established Wagner societies in order to promote an understanding of the composer’s work. Each country, each city, each local composer and conductor shows a distinctive approach — welcoming, resistant, or some of each — to the challenge of Wagner. In the process, we see music history and cultural history in the making.
Hannu Salmi is Professor of Cultural History at the University of Turku, author of
Imagined Germany: Richard Wagner’s National Utopia, and an editorial board member of
wagnerspectrum.
Wagner and Wagnerism in Nineteenth-Century Sweden, Finland, and the Baltic Provinces explores how Wagner’s operas were performed and received in the theaters of Stockholm and other cities of the region and how excerpts fromthem were arranged for amateur performances in private homes. Wagner’s music and his polemical writings aroused lively discussion around the Baltic, as they did everywhere else in the Western world. Thanks to detailed accounts innewspapers, journals, contemporary literature, and writings of music historians [including some by Sibelius’s teacher and friend Martin Wegelius], we are privileged, in Hannu Salmi’s book, to ‘listen in’ on these debates, which often deal with crucial questions of national self-determination and of cultural independence from Europe.
This text reveals the surprising extent to which music lovers and operagoers from the various countries, many of them women, traveled to Wagner’s Bayreuth Festival to attend performances. It also reconstructs the imaginative and patient efforts by which confirmed Wagnerians established Wagner societies in order to promote an understanding of the composer’s work. Each country, each city, each local composer and conductor shows a distinctive approach — welcoming, resistant, or some of each — to the challenge of Wagner. In the process, we see music history and cultural history in the making.
Hannu Salmi is Professor of Cultural History at the University of Turku, author of
Imagined Germany: Richard Wagner’s National Utopia, and an editorial board member of
wagnerspectrum.
€28.99
Tabella dei contenuti
PreludeRichard Wagner, the Wandering Musician
Wagner as an Orchestral and Drawing Room Composer
The First Steps in the Cultural Struggle
Ent’racte: Wagner’s Promotional Tour in Russia (1863)
Cries and Whispers: Early Swedish Encounters with Wagner
Institutionalizing a Composer
Pilgrimage to Wagner
The Campaigners for Bayreuth
Conclusion: The Final Chord
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Lingua Inglese ● Formato PDF ● Pagine 327 ● ISBN 9781580466493 ● Dimensione 3.3 MB ● Casa editrice Boydell & Brewer Ltd ● Città Rochester ● Paese US ● Pubblicato 2005 ● Scaricabile 24 mesi ● Moneta EUR ● ID 8379409 ● Protezione dalla copia Adobe DRM
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