By Stephen McClatchie
The paintings of the Wagnerian theorist and analyst Alfred Lorenz (1869-1939) has had a profound effect upon either Wagnerian scholarship and song research within the 20th century, and but it hasn't ever been correctly evaluated. reading Wagner's Operas outlines the origins and improvement of the expressive aesthetic in writings by way of Wagner and others, in addition to in early-twentieth-century theories of musical shape, and it considers Lorenz's paintings and contributions during this mild. The publication additionally hopes to teach, to the level attainable, the place Lorenz's paintings acted as a kind of "musical metaphor" for German nationalist ideology throughout the Nazi period.
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Additional info for Analyzing Wagner's Operas: Alfred Lorenz and German Nationalist Ideology (Eastman Studies in Music)
For example, his discussion of Guido Adler's Wagner lectures is uniformly laudatory. On the subject of anti-Semitic stereotyping in Wagner in general, see Marc A. Weiner, Richard Wagner and the Anti-Semitic Imagination (Lincoln: University of Nebraska Press, 1995). 107 It is also worth noting that Lorenz's political beliefs did not always compromise his scholarly objectivity (or, put the other way, when Lorenz does make a political comment, it is clear that he has thought carefully about its inclusion).
68 As we have seen, he did not hesitate to exploit his ties to the party in connection with his position at Munich. Lorenz's connection to the National Socialist movement and its precursors stretches back much further than this, however. "71 The Nazi party proper was founded in Munich in April 1920, and Lorenz was a supporter from the very beginning. "72 On his Karteiblatt from Munich University, Lorenz indicated that he had voted for the National Socialists since 1920. Although he did not officially join the party until 1931, he allowed his son, Ottokar, to join on 4 April 1925 (Pg.
The following extract from Nietzsche's text establishes the necessary balance between the Apollinian and the Dionysian, and offers us a glimpse of the nascent expressive aesthetic position whereby form is predetermined by and is a necessary consequence of the content. . [T]he Apollinian tears man from his orgiastic self-annihilation and blinds him to the universality of the Dionysian process, deluding him into the belief that he is seeing a single image of the world (Tristan und Isolde, for instance), and that through music, he is merely supposed to see it still better and more profoundly.
Analyzing Wagner's Operas: Alfred Lorenz and German Nationalist Ideology (Eastman Studies in Music) by Stephen McClatchie