By William Kinderman, Katherine R. Syer
Richard Wagner's Parsifal continues to be an inexhaustible but hugely debatable paintings. This "stage consecration competition play," because the composer defined it, represents the end result of his efforts to carry medieval delusion and sleek song jointly in a dynamic dating. Wagner's engagement with religion--Buddhist in addition to Christian--reaches a climax right here, as he seeks via creative ability "to rescue the essence of faith through perceiving its legendary symbols . . . in response to their figurative price, permitting us to determine their profound, hidden fact via idealized representation." The members to this assortment holiday clean floor in exploring the textual content, the tune, and the reception heritage of Parsifal. Wagner's borrowings-and departures-from the medieval assets of the Grail legend, Wolfram's Parzival and Chr?©tien's Perceval, are thought of intimately, and the tensional relation of the paintings to Christianity is probed. New views emerge that undergo at the lengthy genesis of the textual content and track, its affinities to Wagner's prior works, relatively Tristan und Isolde, and the suitable means within which the track was once composed. Essays tackle the work's daring, modernistic musical language and its extraordinary soundscape regarding hidden choruses and different unseen assets of sound. The turbulent, marvelous, and infrequently irritating heritage of Parsifal performances from 1882 till 2004 is traced in brilliant element for the 1st time, demonstrating the abiding fascination exerted by means of this uniquely demanding murals. members: Mary A. Cicora, James M. McGlathery, Ulrike Kienzle, Warren Darcy, Roger Allen. William Kinderman and Katherine Syer train on the collage of Illinois at Urbana-Champaign, and infrequently lead learn seminars in the course of the Wagner pageant in Bayreuth, Germany.
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Extra resources for A Companion to Wagner's Parsifal (Studies in German Literature Linguistics and Culture)
The basic outline of Wagner’s drama is the same as that of previous Grail tradition. The symmetrical nature of the drama is established by Parsifal’s two visits to the Grail Temple, in the first and the third acts. As in Wolfram’s work, Wagner’s Parsifal must somehow cure the Grail King, who is ailing from a wound that seems to defy all attempts at healing. In order for Parsifal to do this, it is essential that he undergo a process of development or arrive at some insight into himself and the world in which he lives.
Göppingen Arbeiten zur Germanistik, no. 304 (Göppingen: Kümmerle, 1980), 479–502. I have based my discussion substantially on these sources; more specific references will be given when needed. 3 Richard Wagner, Mein Leben, ed. Martin Gregor-Dellin (Munich: Paul List, 1963; Goldmann/Schott, 1983), 315. ]4 Peter Wapnewski has determined that these works were translations of the medieval originals. The Parzival translation of San Marte (Albert Schutz) first appeared in 1836, and his Titurel translation in 1841.
Other minor elements of Wagner’s drama offer glimpses into the source. Kundry’s balsam from Arabia is reminiscent of the exotic episodes of Wolfram’s Parzival and the elaborate medieval concoctions of substances that are applied in a futile attempt to cure Anfortas’s wound. Gurnemanz’s mention of the blood on the snowy white feathers of the swan that Parsifal shoots down upon his entrance onstage may be inspired by the episode in Parzival in which a transfixed Parzival sinks deep into thoughts of Condwiramurs when he has a vision of drops of blood in the snow.