Wagner had the idea of composing already The main singers of Nuremberg in 1845, when it was in Marienbad. Meanwhile many other things happened: Lohengrin, a the majority of The ring of the Nibelungo, Tristán and Isolda. In spite of everything, Wagner already mentions the plan when in 1851 he publishes in Zurick, Eine Mitteilung an meine Freunde...
Between the works of ripeness of Wagner, his only comedy is The main singers of Nuremberg, as well as his only work based on elements purely human, without added supernatural or legendary.
Richard Wagner stopped composing Parsifal on January 13, 1882 and the premiere was celebrated during the second Bayreuth festival, on July 26 of the same year. It directed Hermann Levi, Hermann Winkelmann sang the role of Parsifal, Amalia Materna that of Kundry, Emil Scaria that of Gurnemanz, Theodor Reichmann that of Amfortas; the work represented sixteen times that summer.
The multiple origin of the material raises the question of the source that could have known and used Wagner. And with it we touch an ambience very difficult to clarify: the Wagner relation with «secret doctrines» of all kinds and with the occultism (of which it was at least in the periphery) and his role like poet of the supernatural thing, as simbolista, as «initiated«. As all the big Wagner poems, Parsifal admits many interpretations...
But the music exists and raises the comedy of the words to the brilliant, only exploit in the sense of the musical drama. The main singers of Nuremberg there is the only comedy of Wagner (if it passes for high place You Give Liebesverbot, which has so little importance in the life of Wagner like A giorno I gave regno in that of Verdi). It is also one of the most extensive operatic scores, since his execution (like that of Tristán and Isolda, The west of the gods and Parsifal) it exceeds five hours...
Hans Sachs is a historical figure. The «shoemaker and also poet» (since it was referring to itself) lived in Nuremberg between 1494 and 1576, and approximately in 1555 there was designated president of the local union of main singers. Of his numerous works there have survived poetry, farces of carnival and pieces of theater that demonstrate a big poetical and dramatic capacity.
With Parsifal, Wagner reaches a climax in the poetical - dramatic ambience. Is it this one also the case of the music? Also in this respect the opinions are very divergent. It might affirm that Parsifal represents the most transfigured music of Wagner, perhaps the most mature, the purest, but these words in themselves do not mean very much.
It is possible that Richard Wagner was basing first of all on Wolfram von Eschenbach, which was one of his favorite poets and which it introduced in his opera Tannhauser as to one of the adversaries of this one. Wolfram described Parsifal's life, of that it is necessary to believe that it is a historical personality.
On February 17, 1653: Arcangelo Corelli, musician and Italian composer is born. Grosso contributed to the crystallization of the concerto. Author of numerous instrumental works (Concert of Christmas, The Follia, sonatas), father of the sonata for violin and inspirer of a group of composers of this instrument like Varacini, Germiniani and Viotti.
On February 13, 1883: Richard Wagner dies in Venice. Composer of German origin, renovator of the romantic opera. His inclination towards the music did not wake up up to knowing the works of Weber and Beethoven. After a life lax and invested in the game and the women, he married and traveled to Paris and then to Dresden, where his work was recognized. The transfer of his remains was comparable to the funeral procession of a big sovereign one.
On February 13, 1976: the soprano Lily Pons dies. A voice crystalline and extended towards the sharp one, joined a graceful figure and personal friendliness, they constitute the props of the formidable success of Lily Pons. An exceeded publicity helped to do of her almost a sacred monster of the singing; so much it was so in the decade of '40 went so far as to consider her to be the best singer of the world.
On February 12, 1924: there is released "Rhapsody In Blue" of George Gershwin. Gershwin managed to unite in this work three fundamental elements of the music of his country: the piano popular tradition, the harmonic treatment of the music of the theater of varieties and all the ambience of the African American blues.
On February 10, 1881: I release in Paris of "The Stories of Hoffmann" of Jacques Offenbach. The opera is an adaptation of Jules Barbier and Michel Carré of several stories of writer Ernst T.A. Hoffmann. The first one takes place with a mechanical doll, the second one with the victim of the conjuration of a magician, and the third one with a moribund sick person. The history begins with a prologue ambientado in a bar.
"The director does not have physical contact with the music that his instrumentalists produce and at most he can correct the phrasing or the rhythm of the score but his gesture does not exist if it does not find a band that is receiving"
"It would give everything what I have as a little of the genius that Schubert needed to compose his Ave Maria"
"When the work turns out to be a success, when a problem has been solved, we forget the difficulties and the perturbations and feel richly rewarded"
"When one is inspired by something good, the musician is born fluently, the melodies sprout; really this is a big satisfaction"
"With the help and the God's grace, I will be a Mozart in the composition and a Liszt in the skill"
Piazzolla represents one of the rarest cases in which an author is unrolled of extraordinary form so much in the world of the popular music, with his tangos of Buenos Aires, as in that of the refined or classic music. Called symphonic tango created a new genre renewing this way of decisive form the tango. If it is considered that the work of Piazzolla begins in 1946 with The desbande and concludes in 1990, with Him grand tango and with Five tango sensations, that the same year records with the quartet of ropes Kronos, it is deduced that it covers 46 years, space in which it produced not less than eight hundred works.
Carlos Gardel is perhaps the biggest myth of the Argentina. His artistic skill, his incomparable talent as singer of the suburbs of Buenos Aires, his musical instinct to compose some of the biggest tangos of all the times, his marvelous character, his fanaticism for the careers, have led him to being equalled perhaps only by another legend of the country of the south of the Silver: Eva Perón. Nevertheless, while all political activity can be worth of objections, comments and mistrust on the part of certain sectors of the population, the figure of Carlos Gardel is erected as universally for all the Argentinians and the followers of the tango across the world.
The music and the dance of the River Plate came to the margins of the Seine more than one century ago, seducing the French, but Juan José Mosalini lives through the tango now a real explosion in France, of the hand of some of his contemporary teachers, like the bandoneonista. In an interview with the AFP in Paris, before traveling to Argentina, where it will offer two concerts, and from which it will set off then in the direction of China, Mosalini evoked "passionate and unconditional" relation between Paris and the tango and between he and the bandoneón, which came to his hands when it was a chiquilín.
75 anniversary of the death of the singer and tanguista Carlos Gardel will lead XXII edition of the International Festival of Tango of Granada, which also will organize several parallel activities between which there are holidays of trasnoche, tango in the university or an exhibition. Between the artists who will take part in three forms of the festival - dance, set of instruments and sung - there is Leo Sujatovich, Cristian Zárate and the Japanese couple of dance Kyoto and Hiros Yamao.
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