1.
Leipzig
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Leipzig is the largest city in the federal state of Saxony, Germany. With a population of 570,087 inhabitants it is Germanys tenth most populous city, Leipzig is located about 160 kilometres southwest of Berlin at the confluence of the White Elster, Pleisse, and Parthe rivers at the southern end of the North German Plain. Leipzig has been a city since at least the time of the Holy Roman Empire. The city sits at the intersection of the Via Regia and Via Imperii, Leipzig was once one of the major European centers of learning and culture in fields such as music and publishing. Leipzig became an urban center within the German Democratic Republic after the Second World War. Leipzig later played a significant role in instigating the fall of communism in Eastern Europe, through events which took place in, Leipzig today is an economic center and the most livable city in Germany, according to the GfK marketing research institution. Since the opening of the Leipzig City Tunnel in 2013, Leipzig forms the centerpiece of the S-Bahn Mitteldeutschland public transit system, Leipzig is currently listed as Gamma World City and Germanys Boomtown. Outside of Leipzig the Neuseenland district forms a lake area of approximately 300 square kilometres. Leipzig is derived from the Slavic word Lipsk, which means settlement where the linden trees stand, an older spelling of the name in English is Leipsic. The Latin name Lipsia was also used, the name is cognate with Lipetsk in Russia and Liepāja in Latvia. In 1937 the Nazi government officially renamed the city Reichsmessestadt Leipzig, the common usage of this nickname for Leipzig up until the present is reflected, for example, in the name of a popular blog for local arts and culture, Heldenstadt. de. Leipzig was first documented in 1015 in the chronicles of Bishop Thietmar of Merseburg as urbs Libzi and endowed with city, Leipzig Trade Fair, started in the Middle Ages, became an event of international importance and is the oldest remaining trade fair in the world. During the Thirty Years War, two battles took place in Breitenfeld, about 8 kilometres outside Leipzig city walls, the first Battle of Breitenfeld took place in 1631 and the second in 1642. Both battles resulted in victories for the Swedish-led side, on 24 December 1701, an oil-fueled street lighting system was introduced. The city employed light guards who had to follow a schedule to ensure the punctual lighting of the 700 lanterns. The Leipzig region was the arena of the 1813 Battle of Leipzig between Napoleonic France and a coalition of Prussia, Russia, Austria and Sweden. It was the largest battle in Europe prior to the First World War, in 1913 the Monument to the Battle of the Nations celebrating the centenary of this event was completed. The railway station has two entrance halls, the eastern one for the Royal Saxon State Railways and the western one for the Prussian state railways
2.
Germany
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Germany, officially the Federal Republic of Germany, is a federal parliamentary republic in central-western Europe. It includes 16 constituent states, covers an area of 357,021 square kilometres, with about 82 million inhabitants, Germany is the most populous member state of the European Union. After the United States, it is the second most popular destination in the world. Germanys capital and largest metropolis is Berlin, while its largest conurbation is the Ruhr, other major cities include Hamburg, Munich, Cologne, Frankfurt, Stuttgart, Düsseldorf and Leipzig. Various Germanic tribes have inhabited the northern parts of modern Germany since classical antiquity, a region named Germania was documented before 100 AD. During the Migration Period the Germanic tribes expanded southward, beginning in the 10th century, German territories formed a central part of the Holy Roman Empire. During the 16th century, northern German regions became the centre of the Protestant Reformation, in 1871, Germany became a nation state when most of the German states unified into the Prussian-dominated German Empire. After World War I and the German Revolution of 1918–1919, the Empire was replaced by the parliamentary Weimar Republic, the establishment of the national socialist dictatorship in 1933 led to World War II and the Holocaust. After a period of Allied occupation, two German states were founded, the Federal Republic of Germany and the German Democratic Republic, in 1990, the country was reunified. In the 21st century, Germany is a power and has the worlds fourth-largest economy by nominal GDP. As a global leader in industrial and technological sectors, it is both the worlds third-largest exporter and importer of goods. Germany is a country with a very high standard of living sustained by a skilled. It upholds a social security and universal health system, environmental protection. Germany was a member of the European Economic Community in 1957. It is part of the Schengen Area, and became a co-founder of the Eurozone in 1999, Germany is a member of the United Nations, NATO, the G8, the G20, and the OECD. The national military expenditure is the 9th highest in the world, the English word Germany derives from the Latin Germania, which came into use after Julius Caesar adopted it for the peoples east of the Rhine. This in turn descends from Proto-Germanic *þiudiskaz popular, derived from *þeudō, descended from Proto-Indo-European *tewtéh₂- people, the discovery of the Mauer 1 mandible shows that ancient humans were present in Germany at least 600,000 years ago. The oldest complete hunting weapons found anywhere in the world were discovered in a mine in Schöningen where three 380, 000-year-old wooden javelins were unearthed
3.
City wall
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A defensive wall is a fortification used to protect a city, town or other settlement from potential aggressors. In ancient to modern times, they were used to enclose settlements, beyond their defensive utility, many walls also had important symbolic functions – representing the status and independence of the communities they embraced. Existing ancient walls are almost always masonry structures, although brick, depending on the topography of the area surrounding the city or the settlement the wall is intended to protect, elements of the terrain may be incorporated in order to make the wall more effective. Walls may only be crossed by entering the city gate and are often supplemented with towers. Simpler defensive walls of earth or stone, thrown up around hillforts, ringworks, early castles, from very early history to modern times, walls have been a near necessity for every city. Uruk in ancient Sumer is one of the worlds oldest known walled cities, before that, the city of Jericho in what is now the West Bank had a wall surrounding it as early as the 8th millennium BC. The Assyrians deployed large labour forces to build new palaces, temples, some settlements in the Indus Valley Civilization were also fortified. By about 3500 B. C. hundreds of small farming villages dotted the Indus floodplain, many of these settlements had fortifications and planned streets. Mundigak in present-day south-east Afghanistan has defensive walls and square bastions of sun dried bricks, babylon was one of the most famous cities of the ancient world, especially as a result of the building program of Nebuchadnezzar, who expanded the walls and built the Ishtar Gate. Exceptions were few — notably, ancient Sparta and ancient Rome did not have walls for a long time, initially, these fortifications were simple constructions of wood and earth, which were later replaced by mixed constructions of stones piled on top of each other without mortar. In Central Europe, the Celts built large fortified settlements which the Romans called oppida, the fortifications were continuously expanded and improved. In ancient Greece, large stone walls had been built in Mycenaean Greece, in classical era Greece, the city of Athens built a long set of parallel stone walls called the Long Walls that reached their guarded seaport at Piraeus. Large tempered earth walls were built in ancient China since the Shang Dynasty, although stone walls were built in China during the Warring States, mass conversion to stone architecture did not begin in earnest until the Tang Dynasty. The large walls of Pingyao serve as one example, likewise, the famous walls of the Forbidden City in Beijing were established in the early 15th century by the Yongle Emperor. The Romans fortified their cities with massive, mortar-bound stone walls, the most famous of these are the largely extant Aurelian Walls of Rome and the Theodosian Walls of Constantinople, together with partial remains elsewhere. These are mostly city gates, like the Porta Nigra in Trier or Newport Arch in Lincoln, apart from these, the early Middle Ages also saw the creation of some towns built around castles. These cities were only protected by simple stone walls and more usually by a combination of both walls and ditches. From the 12th century AD hundreds of settlements of all sizes were founded all across Europe and these cities are easy to recognise due to their regular layout and large market spaces
4.
Baroque architecture
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It was characterized by new explorations of form, light and shadow, and dramatic intensity. Baroque architecture and its embellishments were on the one hand more accessible to the emotions and on the other hand, the new style manifested itself in particular in the context of the new religious orders, like the Theatines and the Jesuits who aimed to improve popular piety. The architecture of the High Roman Baroque can be assigned to the reigns of Urban VIII, Innocent X and Alexander VII. Dissemination of Baroque architecture to the south of Italy resulted in variations such as Sicilian Baroque architecture or that of Naples. To the north, the Theatine architect Camillo-Guarino Guarini, Bernardo Vittone and Sicilian born Filippo Juvarra contributed Baroque buildings to the city of Turin and the Piedmont region. A synthesis of Bernini, Borromini and Cortona’s architecture can be seen in the late Baroque architecture of northern Europe which paved the way for the more decorative Rococo style. During the 17th century, Baroque architecture spread through Europe and Latin America, michelangelos late Roman buildings, particularly St. Peters Basilica, may be considered precursors to Baroque architecture. Colonialism required the development of centralized and powerful governments with Spain and France, the initial mismanagement of colonial wealth by the Spaniards bankrupted them in the 16th century, recovering only slowly in the following century. While this was good for the industries and the arts, the new wealth created an inflation. Rome was known just as much for its new sumptuous churches as for its vagabonds, one of the first Roman structures to break with the Mannerist conventions exemplified in the Gesù, was the church of Santa Susanna, designed by Carlo Maderno. The dynamic rhythm of columns and pilasters, central massing, there is an incipient playfulness with the rules of classic design, but it still maintains rigor. These concerns are more evident in his reworking of Santa Maria della Pace. Probably the most well known example of such an approach is Saint Peters Square, the piazza, designed by Gian Lorenzo Bernini, is formed principally by two colonnades of free standing columns centred on an Egyptian obelisk. Berninis own favourite design was his church of SantAndrea al Quirinale decorated with polychome marbles. His secular architecture included the Palazzo Barberini based on plans by Maderno, Berninis rival, the architect Francesco Borromini, produced designs that deviated dramatically from the regular compositions of the ancient world and Renaissance. His building plans were based on geometric figures, his architectural forms were unusual and inventive. Borrominis architectural spaces seem to expand and contract when needed, showing some affinity with the style of Michelangelo. A later work, the church of SantIvo alla Sapienza, displays the same playful inventiveness and antipathy to the flat surface, following the death of Bernini in 1680, Carlo Fontana emerged as the most influential architect working in Rome
5.
History of the Jews in Germany
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Jewish settlers founded the Ashkenazi Jewish community in the Early and High Middle Ages. The community survived under Charlemagne, but suffered during the Crusades, accusations of well poisoning during the Black Death led to mass slaughter of German Jews, and they fled in large numbers to Poland. The Jewish communities of the cities of Mainz, Speyer, and this was a golden age as area bishops protected the Jews resulting in increased trade and prosperity. The First Crusade began an era of persecution of Jews in Germany, Entire communities, like those of Trier, Worms, Mainz, and Cologne, were murdered. The war upon the Hussite heretics became the signal for renewed persecution of Jews, the end of the 15th century was a period of religious hatred that ascribed to Jews all possible evils. The atrocities during the Khmelnytsky Uprising committed by Khmelnytskyis Cossacks drove the Polish Jews back into western Germany, with Napoleons fall in 1815, growing nationalism resulted in increasing repression. From August to October 1819, pogroms that came to be known as the Hep-Hep riots took place throughout Germany, during this time, many German states stripped Jews of their civil rights. As a result, many German Jews began to emigrate, from the time of Moses Mendelssohn until the 20th century, the community gradually achieved emancipation, and then prospered. In January 1933, some 522,000 Jews lived in Germany, however, following the growth of Nazism and its antisemitic ideology and policies, the Jewish community was severely persecuted. Over half emigrated during the first six years of the Nazi dictatorship, in 1933, persecution of the Jews became an active Nazi policy. In 1935 and 1936, the pace of persecution of the Jews increased, in 1936, Jews were banned from all professional jobs, effectively preventing them from exerting any influence in education, politics, higher education, and industry. The SS ordered the Night of Broken Glass to be carried out the night of November 9–10,1938, the storefronts of Jewish shops and offices were smashed and vandalized, and many synagogues were destroyed by fire. Increasing antisemitism prompted a wave of a Jewish mass emigration from Germany throughout the 1930s, only roughly 214,000 Jews were left in Germany proper on the eve of World War II. Beginning in late 1941, the community was subjected to systematic deportations to ghettos. In May 1943, Germany was declared judenrein, by the end of the war, an estimated 160,000 to 180,000 German Jews had been killed under the Nazi regime, by the Germans and their collaborators. A total of about 6 million European Jews were murdered under the direction of the Nazis, after the war, the Jewish community in Germany started to slowly grow again. Currently in Germany, denial of the Holocaust or that six million Jews were murdered in the Holocaust is a criminal act, violations can be punished with up to five years of prison. In 2007, the Interior Minister of Germany, Wolfgang Schäuble, pointed out the policy of Germany, We will not tolerate any form of extremism, xenophobia
6.
Fur trade
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The fur trade is a worldwide industry dealing in the acquisition and sale of animal fur. Since the establishment of a world fur market in the modern period, furs of boreal, polar. Historically the trade stimulated the exploration and colonization of Siberia, northern North America, today the importance of the fur trade has diminished, it is based on pelts produced at fur farms and regulated fur-bearer trapping, but has become controversial. Animal rights organizations oppose the fur trade, citing that animals are brutally killed, Fur has been replaced in some clothing by synthetic imitations, for example, as in ruffs on hoods of parkas. Before the European colonization of the Americas, Russia was a supplier of fur pelts to Western Europe. Its trade developed in the Early Middle Ages, first through exchanges at posts around the Baltic, the main trading market destination was the German city of Leipzig. Originally, Russia exported raw furs, consisting in most cases of the pelts of martens, beavers, wolves, foxes, squirrels and hares. Between the 16th and 18th centuries, Russians began to settle in Siberia, in a search for the prized sea otter pelts, first used in China, and later for the northern fur seal, the Russian Empire expanded into North America, notably Alaska. From the 17th through the half of the 19th century. The fur trade played a role in the development of Siberia, the Russian Far East. As recognition of the importance of the trade to the Siberian economy, the sable is a symbol of the Ural Sverdlovsk Oblast. Fur was relied on to make clothing, a critical consideration prior to the organization of coal distribution for heating. Portugal and Spain played major roles in fur trading after the 15th century with their business in fur hats and they began by establishing trading posts along the Volga and Vychegda river networks and requiring the Komi people to give them furs as tribute. Novgorod, the chief fur-trade center prospered as the easternmost trading post of the Hanseatic League, Novgorodians expanded farther east and north, coming into contact with the Pechora people of the Pechora River valley and the Yugra people residing near the Urals. Both of these native tribes offered more resistance than the Komi, as Muscovy gained more power in the 15th century and proceeded in the gathering of the Russian lands, the Muscovite state began to rival the Novgorodians in the North. During the 15th century Moscow began subjugating many native tribes, one strategy involved exploiting antagonisms between tribes, notably the Komi and Yugra, by recruiting men of one tribe to fight in an army against the other tribe. Campaigns against native tribes in Siberia remained insignificant until they began on a larger scale in 1483 and 1499. Besides the Novgorodians and the indigenes, Muscovites also had to contend with the various Muslim Tatar khanates to the east of Muscovy, at this point the phrase ruler of Obdor, Konda, and all Siberian lands became part of the title of the Tsar in Moscow
7.
Russia
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Russia, also officially the Russian Federation, is a country in Eurasia. The European western part of the country is more populated and urbanised than the eastern. Russias capital Moscow is one of the largest cities in the world, other urban centers include Saint Petersburg, Novosibirsk, Yekaterinburg, Nizhny Novgorod. Extending across the entirety of Northern Asia and much of Eastern Europe, Russia spans eleven time zones and incorporates a range of environments. It shares maritime borders with Japan by the Sea of Okhotsk, the East Slavs emerged as a recognizable group in Europe between the 3rd and 8th centuries AD. Founded and ruled by a Varangian warrior elite and their descendants, in 988 it adopted Orthodox Christianity from the Byzantine Empire, beginning the synthesis of Byzantine and Slavic cultures that defined Russian culture for the next millennium. Rus ultimately disintegrated into a number of states, most of the Rus lands were overrun by the Mongol invasion. The Soviet Union played a role in the Allied victory in World War II. The Soviet era saw some of the most significant technological achievements of the 20th century, including the worlds first human-made satellite and the launching of the first humans in space. By the end of 1990, the Soviet Union had the second largest economy, largest standing military in the world. It is governed as a federal semi-presidential republic, the Russian economy ranks as the twelfth largest by nominal GDP and sixth largest by purchasing power parity in 2015. Russias extensive mineral and energy resources are the largest such reserves in the world, making it one of the producers of oil. The country is one of the five recognized nuclear weapons states and possesses the largest stockpile of weapons of mass destruction, Russia is a great power as well as a regional power and has been characterised as a potential superpower. The name Russia is derived from Rus, a state populated mostly by the East Slavs. However, this name became more prominent in the later history, and the country typically was called by its inhabitants Русская Земля. In order to distinguish this state from other states derived from it, it is denoted as Kievan Rus by modern historiography, an old Latin version of the name Rus was Ruthenia, mostly applied to the western and southern regions of Rus that were adjacent to Catholic Europe. The current name of the country, Россия, comes from the Byzantine Greek designation of the Kievan Rus, the standard way to refer to citizens of Russia is Russians in English and rossiyane in Russian. There are two Russian words which are translated into English as Russians
8.
Fur
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Fur is used in reference to the hair of non-human mammals, particularly those with extensive body hair coverage that is generally soft and thick, as opposed to the stiffer bristles on most pigs. The term pelage – first known use in English c.1828 – is sometimes used to refer to the hair of an animal as a complete coat. Fur is also used to refer to animal pelts which have been processed into leather with the still attached. The words fur or furry are also used, more casually, to refer to hair-like growths or formations, particularly when the subject being referred to exhibits a dense coat of fine, soft hairs. If layered, rather than grown as a coat, it may consist of short down hairs, long guard hairs. Mammals with reduced amounts of fur are called naked, as with the naked mole-rat, or hairless. An animal with commercially valuable fur is known within the fur industry as a furbearer and its principal function is thermoregulation, it maintains a layer of dry air next to the skin and repels water, thus providing thermal insulation. Guard hair — the top consisting of longer, generally coarser. The distal ends of the guard hairs provide the externally visible layer of the coat of most mammals with well-developed fur and this layer of the coat displays the most marked pigmentation and gloss, including coat patterns adapted to display or camouflage. It is also adapted to shedding water and blocking sunlight, protecting the undercoat and skin from external factors such as rain, many animals, such as domestic cats, erect their guard hairs as part of their threat display when agitated. Mammals with well-developed down and guard hairs also usually have numbers of awn hairs. These begin their growth much as guard hairs do, but change their mode of growth and this portion of the hair is called awn. The rest of the growth is thin and wavy, much like down hair, in many species of mammals, the awn hairs comprise the bulk of the visible coat. Hair is one of the characteristics of mammals, however. These are often called naked or hairless, some mammals naturally have reduced amounts of fur. Some semiaquatic or aquatic mammals such as cetaceans, pinnipeds and hippopotamuses have evolved hairlessness, the naked mole-rat has evolved hairlessness, perhaps as an adaptation to their subterranean life-style. Two of the largest extant mammals, the elephant and the rhinoceros, are largely hairless. The hairless bat is mostly hairless but does have short bristly hairs around its neck, on its front toes, most hairless animals cannot go in the sun for long periods of time, or stay in the cold for too long
9.
Nazi Germany
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Nazi Germany is the common English name for the period in German history from 1933 to 1945, when Germany was governed by a dictatorship under the control of Adolf Hitler and the Nazi Party. Under Hitlers rule, Germany was transformed into a fascist state in which the Nazi Party took totalitarian control over all aspects of life. The official name of the state was Deutsches Reich from 1933 to 1943, the period is also known under the names the Third Reich and the National Socialist Period. The Nazi regime came to an end after the Allied Powers defeated Germany in May 1945, Hitler was appointed Chancellor of Germany by the President of the Weimar Republic Paul von Hindenburg on 30 January 1933. The Nazi Party then began to eliminate all opposition and consolidate its power. Hindenburg died on 2 August 1934, and Hitler became dictator of Germany by merging the powers and offices of the Chancellery, a national referendum held 19 August 1934 confirmed Hitler as sole Führer of Germany. All power was centralised in Hitlers person, and his word became above all laws, the government was not a coordinated, co-operating body, but a collection of factions struggling for power and Hitlers favour. In the midst of the Great Depression, the Nazis restored economic stability and ended mass unemployment using heavy military spending, extensive public works were undertaken, including the construction of Autobahnen. The return to economic stability boosted the regimes popularity, racism, especially antisemitism, was a central feature of the regime. The Germanic peoples were considered by the Nazis to be the purest branch of the Aryan race, millions of Jews and other peoples deemed undesirable by the state were murdered in the Holocaust. Opposition to Hitlers rule was ruthlessly suppressed, members of the liberal, socialist, and communist opposition were killed, imprisoned, or exiled. The Christian churches were also oppressed, with many leaders imprisoned, education focused on racial biology, population policy, and fitness for military service. Career and educational opportunities for women were curtailed, recreation and tourism were organised via the Strength Through Joy program, and the 1936 Summer Olympics showcased the Third Reich on the international stage. Propaganda minister Joseph Goebbels made effective use of film, mass rallies, the government controlled artistic expression, promoting specific art forms and banning or discouraging others. Beginning in the late 1930s, Nazi Germany made increasingly aggressive territorial demands and it seized Austria and Czechoslovakia in 1938 and 1939. Hitler made a pact with Joseph Stalin and invaded Poland in September 1939. In alliance with Italy and smaller Axis powers, Germany conquered most of Europe by 1940, reichskommissariats took control of conquered areas, and a German administration was established in what was left of Poland. Jews and others deemed undesirable were imprisoned, murdered in Nazi concentration camps and extermination camps, following the German invasion of the Soviet Union in 1941, the tide gradually turned against the Nazis, who suffered major military defeats in 1943
10.
Visual arts
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The visual arts are art forms such as ceramics, drawing, painting, sculpture, printmaking, design, crafts, photography, video, filmmaking, literature, and architecture. Many artistic disciplines involve aspects of the arts as well as arts of other types. Also included within the arts are the applied arts such as industrial design, graphic design, fashion design, interior design. Current usage of the visual arts includes fine art as well as the applied, decorative arts and crafts. The distinction was emphasized by artists of the Arts and Crafts Movement, Art schools made a distinction between the fine arts and the crafts, maintaining that a craftsperson could not be considered a practitioner of the arts. The increasing tendency to painting, and to a lesser degree sculpture. The Western hierarchy of genres reflected similar attitudes, training in the visual arts has generally been through variations of the apprentice and workshop systems. Visual arts have now become a subject in most education systems. Drawing is a means of making an image, using any of a variety of tools. Digital tools that simulate the effects of these are also used, the main techniques used in drawing are, line drawing, hatching, crosshatching, random hatching, scribbling, stippling, and blending. An artist who excels in drawing is referred to as a draftsman or draughtsman, drawing goes back at least 16,000 years to Paleolithic cave representations of animals such as those at Lascaux in France and Altamira in Spain. In ancient Egypt, ink drawings on papyrus, often depicting people, were used as models for painting or sculpture, drawings on Greek vases, initially geometric, later developed to the human form with black-figure pottery during the 7th century BC. Painting taken literally is the practice of applying pigment suspended in a carrier, like drawing, painting has its documented origins in caves and on rock faces. The finest examples, believed by some to be 32,000 years old, are in the Chauvet, in shades of red, brown, yellow and black, the paintings on the walls and ceilings are of bison, cattle, horses and deer. Paintings of human figures can be found in the tombs of ancient Egypt, in the great temple of Ramses II, Nefertari, his queen, is depicted being led by Isis. The Greeks contributed to painting but much of their work has been lost, one of the best remaining representations are the hellenistic Fayum mummy portraits. Another example is mosaic of the Battle of Issus at Pompeii, Greek and Roman art contributed to Byzantine art in the 4th century BC, which initiated a tradition in icon painting. Apart from the manuscripts produced by monks during the Middle Ages
11.
Richard Wagner
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Wilhelm Richard Wagner was a German composer, theatre director, polemicist, and conductor who is primarily known for his operas. Unlike most opera composers, Wagner wrote both the libretto and the music for each of his stage works and he described this vision in a series of essays published between 1849 and 1852. Wagner realised these ideas most fully in the first half of the four-opera cycle Der Ring des Nibelungen and his advances in musical language, such as extreme chromaticism and quickly shifting tonal centres, greatly influenced the development of classical music. His Tristan und Isolde is sometimes described as marking the start of modern music, Wagner had his own opera house built, the Bayreuth Festspielhaus, which embodied many novel design features. The Ring and Parsifal were premiered here and his most important stage works continue to be performed at the annual Bayreuth Festival, until his final years, Wagners life was characterised by political exile, turbulent love affairs, poverty and repeated flight from his creditors. His controversial writings on music, drama and politics have attracted extensive comment, notably, since the late 20th century, where they express antisemitic sentiments. The effect of his ideas can be traced in many of the arts throughout the 20th century, his influence spread beyond composition into conducting, philosophy, literature, Richard Wagner was born to an ethnic German family in Leipzig, where his family lived at No. 3, the Brühl in the Jewish quarter and he was baptized at St. Thomas Church. He was the child of Carl Friedrich Wagner, who was a clerk in the Leipzig police service, and his wife, Johanna Rosine. Wagners father Carl died of typhus six months after Richards birth, afterwards his mother Johanna lived with Carls friend, the actor and playwright Ludwig Geyer. In August 1814 Johanna and Geyer probably married—although no documentation of this has found in the Leipzig church registers. She and her family moved to Geyers residence in Dresden, until he was fourteen, Wagner was known as Wilhelm Richard Geyer. He almost certainly thought that Geyer was his biological father, Geyers love of the theatre came to be shared by his stepson, and Wagner took part in his performances. In his autobiography Mein Leben Wagner recalled once playing the part of an angel, in late 1820, Wagner was enrolled at Pastor Wetzels school at Possendorf, near Dresden, where he received some piano instruction from his Latin teacher. He struggled to play a scale at the keyboard and preferred playing theatre overtures by ear. Following Geyers death in 1821, Richard was sent to the Kreuzschule, at the age of nine he was hugely impressed by the Gothic elements of Carl Maria von Webers opera Der Freischütz, which he saw Weber conduct. At this period Wagner entertained ambitions as a playwright and his first creative effort, listed in the Wagner-Werk-Verzeichnis as WWV1, was a tragedy called Leubald. Begun when he was in school in 1826, the play was influenced by Shakespeare
12.
Theodor Uhlig
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Theodor Uhlig was a German violin-player, composer and music critic. Orphaned at an age, Uhlig showed such musical talent that he was singled out for musical training. In the following year, Richard Wagner came to Dresden for the premiere of his opera, Rienzi, although originally opposed to Wagner, Uhlig quickly became a passionate convert. A tangible sign of his devotion was his arrangement of Wagners opera Lohengrin for piano, during the early years of Wagners exile from Germany Uhlig remained one of his most important contacts and the source of an extensive correspondence until Uhligs early death in 1853. Although Uhligs letters to Wagner have not survived, there are nearly 100 letters from Wagner to Uhlig from 1849 to 1853, Wagner picked up on this phrase as an excuse to launch his virulent attack Jewishness in Music. Uhlig was involved in the negotiations for the publication of this pamphlet, Wagner later dedicated to Uhlig his major essay Opera and Drama. It was also to Uhlig that he first wrote of his intentions to create his Ring Cycle as a series of four operas, in this letter Wagner asks Uhlig to borrow for him a book that he needs about the Volsunga saga from the Dresden Royal library. Uhligs compositions, which are now forgotten, were extensive. They included orchestral and chamber works, songs and Singspiele and he also wrote thoughtfully about other musical topics, including the music of Ludwig van Beethoven and Franz Liszt, and on phrase structure in music. Wagner, Richard, tr. J. Shedlock, Richard Wagners Letters to his Dresden Friends, London,1870 Warrack, John and James Deaville, Uhlig, Theodor in Oxford Music Online, Weiner, Marc A. Richard Wagner and the Anti-Semitic Imagination, Lincoln, Nebraska,1997 Pederson, Sanna, Uhlig, Theodor, in The Cambridge Wagner Encyclopedia, ed. N. Vazsonyi, 608-9
13.
Das Judenthum in der Musik
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Das Judenthum in der Musik, is an essay by Richard Wagner which attacks Jews in general and the composers Giacomo Meyerbeer and Felix Mendelssohn in particular. It was published under a pseudonym in the Neue Zeitschrift für Musik of Leipzig in September 1850 and was reissued in an expanded version under Wagner’s name in 1869. It is regarded by some as an important landmark in the history of German anti-semitism, the first version of the article appeared in the NZM under the pseudonym of K. Freigedank. In an April 1851 letter to Franz Liszt, Wagner gave the excuse that he used a pseudonym to prevent the question being dragged down by the Jews to a personal level. At the time Wagner was living in exile in Zurich, on the run after his role in the 1849 revolution in Dresden and his article followed a series of essays in the NZM by his disciple Theodor Uhlig, attacking the music of Meyerbeer’s opera Le prophète. Wagner was also emboldened by the death of Mendelssohn in 1847 and this, he says, debars them from any possibility of creating song or music. There is little novelty in these ideas, which are lifted from the theories of language. They also follow on from ideas expressed in Wagners earlier essay The Artwork of the Future, the music produced by composers such as Mendelssohn, whom Wagner damns with faint praise, is sweet and tinkling without depth. Meyerbeer, who was alive at the time of publication, is attacked savagely for his music. The essay is riddled with the typical of many Judeophobic publications of the previous few centuries. Only when a body’s inner death is manifest, do outside elements win the power of lodgement in it—yet merely to destroy it. Then, indeed, that body’s flesh dissolves into a colony of insect life. Wagner gives some convoluted near-endorsements of the Jewish-born writers Heinrich Heine and Ludwig Börne and it could thus be represented by a Jew, who understood from his very nature its cultural inauthenticity, but who also excoriated its corruption. In this, he was the conscience of Judaism, just as Judaism is the conscience of our modern civilisation. Wagner then goes on to refer to Börne, a Jewish writer and he tells Jews to follow his example, recommending that they follow Börne by helping to redeem German culture by abandoning Judaism. Without once looking back, take ye your part in this work of deliverance through self-annulment, then are we one. But bethink ye, that one thing can redeem you from your curse. NZM had a very small circulation—no more, in JM Fischer’s estimate, apart from Moscheles letter, Fischer has found virtually no other substantial response
14.
Meyerbeer
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Giacomo Meyerbeer was a German opera composer of Jewish birth who has been described as perhaps the most successful stage composer of the nineteenth century. With his 1831 opera Robert le diable and its successors, he gave the genre of grand opera decisive character, Meyerbeers grand opera style was achieved by his merging of German orchestra style with Italian vocal tradition. These were employed in the context of sensational and melodramatic libretti created by Eugène Scribe and were enhanced by the up-to-date theatre technology of the Paris Opéra and they set a standard which helped to maintain Paris as the opera capital of the nineteenth century. Born to a very wealthy Berlin family, Meyerbeer began his career as a pianist but soon decided to devote himself to opera. His 1824 opera Il crociato in Egitto was the first to bring him Europe-wide reputation and he was at his peak with his operas Les Huguenots and Le prophète, his last opera was performed posthumously. His operas made him the most frequently performed composer at the leading opera houses in the nineteenth century. He was a supporter of Richard Wagner, enabling the first production of the latters opera. He was commissioned to write the patriotic opera Ein Feldlager in Schlesien to celebrate the reopening of the Berlin Royal Opera House in 1844, apart from around 50 songs, Meyerbeer wrote little except for the stage. Meyerbeers works are infrequently performed today. Meyerbeers birthname was Jacob Liebmann Beer, he was born in Tasdorf, near Berlin, then the capital of Prussia, to a Jewish family. His father was the wealthy financier Judah Herz Beer and his mother, Amalia Wulff, to whom he was particularly devoted. Their other children included the astronomer Wilhelm Beer and the poet Michael Beer and he was to adopt the surname Meyerbeer on the death of his grandfather Liebmann Meyer Wulff and the first name Giacomo during his period of study in Italy, around 1817. Judah Beer was a leader of the Berlin Jewish community and maintained a synagogue in his house which leaned towards reformist views. Jacob Beer wrote a cantata for performance at this synagogue. The brothers Alexander von Humboldt, the renowned naturalist, geographer and explorer, beers first keyboard instructor was Franz Lauska, a pupil of Johann Georg Albrechtsberger and a favoured teacher at the Berlin court. Beer also became one of Muzio Clementis pupils while Clementi was in Berlin, the boy made his public debut in 1801 playing Mozarts D minor Piano Concerto in Berlin. Beer, as he named himself, studied with Antonio Salieri. Louis Spohr organised a concert for Beer at Berlin in 1804 and continued his acquaintance with the lad later in Vienna, beers first stage work, the ballet Der Fischer und das Milchmädchen was produced in March 1810 at the Court Opera in Berlin
15.
Dresden
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Dresden is the capital city and, after Leipzig, the second-largest city of the Free State of Saxony in Germany. It is situated in a valley on the River Elbe, near the border with the Czech Republic, Dresden has a long history as the capital and royal residence for the Electors and Kings of Saxony, who for centuries furnished the city with cultural and artistic splendour. The city was known as the Jewel Box, because of its baroque, the controversial American and British bombing of Dresden in World War II towards the end of the war killed approximately 25,000, many of whom were civilians, and destroyed the entire city centre. After the war restoration work has helped to reconstruct parts of the inner city, including the Katholische Hofkirche, the Zwinger. Since German reunification in 1990 Dresden is again a cultural, educational and political centre of Germany, the Dresden University of Technology is one of the 10 largest universities in Germany and part of the German Universities Excellence Initiative. The economy of Dresden and its agglomeration is one of the most dynamic in Germany and it is dominated by high-tech branches, often called as “Silicon Saxony”. The city is one of the most visited in Germany with 4,3 million overnight stays per year. The royal buildings are among the most impressive buildings in Europe, main sights are also the nearby National Park of Saxon Switzerland, the Ore Mountains and the countryside around Elbe Valley and Moritzburg Castle. The most prominent building in the city of Dresden is the Frauenkirche, built in the 18th century, the church was destroyed during World War II. The remaining ruins were left for 50 years as a war memorial, the church was rebuilt from 1994 to 2005. Although Dresden is a relatively recent city of Germanic origin followed by settlement of Slavic people, Dresdens founding and early growth is associated with the eastward expansion of Germanic peoples, mining in the nearby Ore Mountains, and the establishment of the Margraviate of Meissen. Its name etymologically derives from Old Sorbian Drežďany, meaning people of the forest, Dresden later evolved into the capital of Saxony. Around the late 12th century, a Slavic settlement called Drežďany had developed on the southern bank, another settlement existed on the northern bank, but its Slavic name is unknown. It was known as Antiqua Dresdin by 1350, and later as Altendresden, dietrich, Margrave of Meissen, chose Dresden as his interim residence in 1206, as documented in a record calling the place Civitas Dresdene. After 1270, Dresden became the capital of the margraviate and it was given to Friedrich Clem after death of Henry the Illustrious in 1288. It was taken by the Margraviate of Brandenburg in 1316 and was restored to the Wettin dynasty after the death of Valdemar the Great in 1319, from 1485, it was the seat of the dukes of Saxony, and from 1547 the electors as well. The Elector and ruler of Saxony Frederick Augustus I became King Augustus II the Strong of Poland in personal union and he gathered many of the best musicians, architects and painters from all over Europe to the newly named Royal-Polish Residential City of Dresden. His reign marked the beginning of Dresdens emergence as a leading European city for technology, during the reign of Kings Augustus II the Strong and Augustus III of Poland the Zwinger Royal Palace, the Hofkirche and the Frauenkirche were built
16.
Gluck
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Christoph Willibald Gluck was a composer of Italian and French opera in the early classical period. With a series of new works in the 1760s, among them Orfeo ed Euridice and Alceste. The strong influence of French opera in these works encouraged Gluck to move to Paris, fusing the traditions of Italian opera and the French national genre into a new synthesis, Gluck wrote eight operas for the Parisian stages. One of the last of these, Iphigénie en Tauride, was a success and is generally acknowledged to be his finest work. Gluck was born on 2 July 1714 in Erasbach near Neumarkt and his father Alexander was a forester in Erasbach, and after 1717 head forester in Reichstadt, Kreibitz and Eisenberg, all in northern Bohemia. According to some biographers, it was here, in the middle of Lusatian Mountains, in 1727 the family moved to Eisenberg, where his father was admitted to the service of Prince Philip Hyazinth von Lobkowitz. The Alsatian painter Johann Christian von Mannlich says it was as a Bohemian schoolboy that Gluck received his first musical training. Mannlich relates in his memoirs, written in French and published in 1810 and he quotes Gluck as saying, My father was forestmaster at M. in Bohemia and he planned that eventually I should succeed him. In my homeland everyone is musical, music is taught in the schools, as I was passionate about the art, I made rapid progress. I played several instruments and the schoolmaster, singling me out from the other pupils, I no longer thought and dreamt of anything but music, the art of forestry was neglected. Most now claim that the object of Glucks travels was not Vienna but Prague, at the time the University of Prague boasted a flourishing musical scene that included performances of both Italian opera and oratorio. Gluck eventually left Prague without taking a degree, and vanishes from the record until 1737. According to the music historian Daniel Heartz, there has been considerable controversy concerning Glucks native language, Glucks first biographer, Anton Schmid, accepted that Gluck spoke Czech, but thought Salieri incorrect, proposing instead that Gluck learned Czech in Prague. Heartz writes, More devious manoeuvres have been attempted by Glucks German biographers of this century, while the French ones have, without exception, hans Joachim Moser wanted a lyric work in Czech as proof. In fact, the music theorist Larent Garcin, writing in 1770 before Gluck arrived in Paris, in 1737 Gluck arrived in Milan, where he studied under G. B. Sammartini, who, according to Carpani, taught Gluck practical knowledge of all the instruments, apparently this relationship lasted for several years. Set to a libretto by Metastasio, the opera opened the Milanese Carnival of 1742, according to one anecdote, the public would not accept Glucks style until he inserted an aria in the lighter Milanese manner for contrast. Nearly all of his operas in this period were, like Artaserse, set to Metastasios texts, in 1745 Gluck accepted an invitation to become house composer at Londons Kings Theatre, probably travelling to England via Frankfurt and in the company of Georg Christian, Fürst von Lobkowitz
17.
Mozart
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Wolfgang Amadeus Mozart, baptised as Johannes Chrysostomus Wolfgangus Theophilus Mozart, was a prolific and influential composer of the Classical era. Born in Salzburg, he showed prodigious ability from his earliest childhood, already competent on keyboard and violin, he composed from the age of five and performed before European royalty. At 17, Mozart was engaged as a musician at the Salzburg court, while visiting Vienna in 1781, he was dismissed from his Salzburg position. He chose to stay in the capital, where he achieved fame, during his final years in Vienna, he composed many of his best-known symphonies, concertos, and operas, and portions of the Requiem, which was largely unfinished at the time of his death. The circumstances of his death have been much mythologized. He was survived by his wife Constanze and two sons and he composed more than 600 works, many acknowledged as pinnacles of symphonic, concertante, chamber, operatic, and choral music. He is among the most enduringly popular of classical composers, Ludwig van Beethoven composed his own early works in the shadow of Mozart, and Joseph Haydn wrote, posterity will not see such a talent again in 100 years. Wolfgang Amadeus Mozart was born on 27 January 1756 to Leopold Mozart and Anna Maria, née Pertl and this was the capital of the Archbishopric of Salzburg, an ecclesiastic principality in what is now Austria, then part of the Holy Roman Empire. He was the youngest of seven children, five of whom died in infancy and his elder sister was Maria Anna Mozart, nicknamed Nannerl. Mozart was baptized the day after his birth, at St. Ruperts Cathedral in Salzburg, the baptismal record gives his name in Latinized form, as Joannes Chrysostomus Wolfgangus Theophilus Mozart. He generally called himself Wolfgang Amadè Mozart as an adult, Leopold Mozart, a native of Augsburg, Germany, was a minor composer and an experienced teacher. In 1743, he was appointed as fourth violinist in the establishment of Count Leopold Anton von Firmian. Four years later, he married Anna Maria in Salzburg, Leopold became the orchestras deputy Kapellmeister in 1763. During the year of his sons birth, Leopold published a textbook, Versuch einer gründlichen Violinschule. When Nannerl was 7, she began lessons with her father. Years later, after her brothers death, she reminisced, He often spent much time at the clavier, picking out thirds, which he was ever striking, and his pleasure showed that it sounded good. In the fourth year of his age his father, for a game as it were, began to teach him a few minuets and he could play it faultlessly and with the greatest delicacy, and keeping exactly in time. At the age of five, he was composing little pieces
18.
Cherubini
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Luigi Cherubini was an Italian composer who spent most of his working life in France. His most significant compositions are operas and sacred music, Beethoven regarded Cherubini as the greatest of his contemporaries. Cherubini was born Maria Luigi Carlo Zenobio Salvatore Cherubini in Florence in 1760, there is uncertainty about his exact date of birth. Although 14 September is sometimes stated, evidence from baptismal records, perhaps the strongest evidence is his first name, Maria, which is traditional for a child born on 8 September, feast-day of the Nativity of the Virgin. His instruction in music began at the age of six with his father, Bartolomeo, considered a child prodigy, Cherubini studied counterpoint and dramatic style at an early age. By the time he was thirteen, he had composed several religious works, in 1780, he was awarded a scholarship by the Grand Duke of Tuscany to study music in Bologna and Milan. Cherubinis early opera serie used libretti by Apostolo Zeno, Metastasio and his music was strongly influenced by Niccolò Jommelli, Tommaso Traetta, and Antonio Sacchini, who were the leading composers of the day. The first of his two works, Lo sposo di tre e marito di nessuna, premiered at a Venetian theater in November 1783. Feeling constrained by Italian traditions and eager to experiment, Cherubini traveled to London in 1785 where he produced two opere serie and an opera buffa for the Kings Theatre. In the same year, he made an excursion to Paris with his friend the violinist Giovanni Battista Viotti, Cherubini received an important commission to write Démophoon to a French libretto by Jean-François Marmontel that would be his first tragédie en musique. Performances of Démophon were favorably received at the Grand Opéra in 1788, with Viottis help, the Théâtre de Monsieur in the Tuileries appointed Cherubini as its director in 1789. Three years later, after a move to the rue Feydeau and the fall of the monarchy and this position gave Cherubini the opportunity to read countless libretti and choose one that best suited his temperament. Cherubinis music began to show more originality and daring and his first major success was Lodoïska, which was admired for its realistic heroism. This was followed by Elisa, set in the Swiss Alps, Les deux journées, in which Cherubini simplified his style, was a popular success. These and other operas were premièred at the Théâtre Feydeau or the Opéra-Comique, feeling financially secure, he married Anne Cécile Tourette in 1794 and began a family of three children. The fallout from the French Revolution affected Cherubini until the end of his life, politics forced him to hide his connections with the former aristocracy and seek governmental appointments. Although Napoléon found him too complex, Cherubini wrote at least one work per year for more than a decade. He was appointed Napoléons director of music in Vienna for part of 1805 and 1806, in 1808 Cherubini was elected an associated member of the Royal Institute of the Netherlands
19.
Spontini
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Gaspare Luigi Pacifico Spontini was an Italian opera composer and conductor. Born in Maiolati, Papal State, he spent most of his career in Paris and Berlin, during the first two decades of the 19th century, Spontini was an important figure in French opera. As a youth, Spontini studied at the Conservatorio della Pietà de Turchini, working his way from Italian city to city, he got his first break in Rome, with his successful comedy Li puntigli delle donne. In 1803, he went to Paris, where, on February 11,1804, debuted his comic opera La finta filosofa and its premiere at the Opéra in Paris established Spontini as one of the greatest Italian composers of his age. His contemporaries Cherubini and Meyerbeer considered it a masterpiece, and later such as Berlioz. During the Peninsular War, Napoleon promoted works such as Gasparo Spontinis Fernand Cortez, in 1811 he married Celeste Erard, the niece of the Parisian maker of pianos and harps Sebastien Erard, it was a happy marriage, though childless. He was made a chevalier of Napoleons Legion of Honor, its Maltese cross hangs round his neck in the portrait by Nicolas-Eustache Maurin, there he became Kapellmeister and chief conductor at the Berlin Hofoper, and in this period he composed the Prussian National Anthem Borussia. There he also met the young Mendelssohn, and deprecated the 17 -year olds opera Die Hochzeit des Camacho, in 1842 the disillusioned Spontini, chagrined at the success of Giacomo Meyerbeer and others in Germany, returned to Italy, where he died in 1851. Perhaps the most famous production was the revival of La vestale with Maria Callas at La Scala at the opening of the 1954 season. The stage director was famed cinema director Luchino Visconti and that production was also the La Scala debut of tenor Franco Corelli. Callas recorded the arias Tu che invoco and O Nume tutelar from La vestale in 1955, in 1969, conductor Fernando Previtali revived the opera, with soprano Leyla Gencer and baritone Renato Bruson. In 1993, conductor Riccardo Muti recorded it in the original French language with Karen Huffstodt, Denyce Graves, Anthony Michaels-Moore, Fernand Cortez was revived in 1951, with a young Renata Tebaldi, at the San Carlo in Naples, conducted by Gabriele Santini. The premiere of the version of the work took place at the Erfurt opera house. Li puntigli delle donne was performed at the Putbus Festival 1998, Spontini, Gaspare, in Grove Music Online, accessed 13 September 2014. Silke Leopold, The Idea of National Opera, c.1800 in Unity and Diversity in European Culture c,1800, Tim Blanning and Hagen Schulze New York, Oxford University Press. Todd, R. Larry, Mendelssohn, A Life in Music, fondazione Pergolesi Spontini of Jesi Herbermann, Charles, ed. Gasparo Luigi Pacifico Spontini. Free scores by Gaspare Spontini at the International Music Score Library Project
20.
Neumarkt (Dresden)
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The Neumarkt in Dresden is a central and culturally significant section of the Dresden inner city. The historic area was almost completely wiped out during the Allied bomb attack during the Second World War, after the war Dresden fell under Soviet occupation and later the communist German Democratic Republic who rebuilt the Neumarkt area in socialist realist style and partially with historic buildings. However huge areas and parcels of the place remained untilled, after the fall of Communism and German reunification the decision was made to restore the Neumarkt to its pre-war look. However, it was not actually located within the city walls until the city was expanded in 1530, from which point on, the square located around the Kreuzkirche was renamed Altmarkt, and the square surrounding the Frauenkirche was named the Neumarkt. After damage sustained to buildings through artillery fire in the Seven Years War, during the bomb attack on Dresden in February 1945, the area around the Neumarkt was almost entirely destroyed in the resulting firestorm. The main structure of the Frauenkirche survived the bombing and firestorm. The two squares were separated by the widened Wilsdruffer Strasse, then from 1969 by the Palace of Culture, the completion of the reconstructed Dresden Frauenkirche in 2005 marked the first step in rebuilding the Neumarkt. Quarter I and the front section of Quarters II, III, IV and V have since been completed, there has also been extensive debate as to what extent contemporary architecture should be present on the rebuilt Neumarkt. Panorama images of the Neumarkt, updated hourly since June 2005
21.
Wayback Machine
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The Internet Archive launched the Wayback Machine in October 2001. It was set up by Brewster Kahle and Bruce Gilliat, and is maintained with content from Alexa Internet, the service enables users to see archived versions of web pages across time, which the archive calls a three dimensional index. Since 1996, the Wayback Machine has been archiving cached pages of websites onto its large cluster of Linux nodes and it revisits sites every few weeks or months and archives a new version. Sites can also be captured on the fly by visitors who enter the sites URL into a search box, the intent is to capture and archive content that otherwise would be lost whenever a site is changed or closed down. The overall vision of the machines creators is to archive the entire Internet, the name Wayback Machine was chosen as a reference to the WABAC machine, a time-traveling device used by the characters Mr. Peabody and Sherman in The Rocky and Bullwinkle Show, an animated cartoon. These crawlers also respect the robots exclusion standard for websites whose owners opt for them not to appear in search results or be cached, to overcome inconsistencies in partially cached websites, Archive-It. Information had been kept on digital tape for five years, with Kahle occasionally allowing researchers, when the archive reached its fifth anniversary, it was unveiled and opened to the public in a ceremony at the University of California, Berkeley. Snapshots usually become more than six months after they are archived or, in some cases, even later. The frequency of snapshots is variable, so not all tracked website updates are recorded, Sometimes there are intervals of several weeks or years between snapshots. After August 2008 sites had to be listed on the Open Directory in order to be included. As of 2009, the Wayback Machine contained approximately three petabytes of data and was growing at a rate of 100 terabytes each month, the growth rate reported in 2003 was 12 terabytes/month, the data is stored on PetaBox rack systems manufactured by Capricorn Technologies. In 2009, the Internet Archive migrated its customized storage architecture to Sun Open Storage, in 2011 a new, improved version of the Wayback Machine, with an updated interface and fresher index of archived content, was made available for public testing. The index driving the classic Wayback Machine only has a bit of material past 2008. In January 2013, the company announced a ground-breaking milestone of 240 billion URLs, in October 2013, the company announced the Save a Page feature which allows any Internet user to archive the contents of a URL. This became a threat of abuse by the service for hosting malicious binaries, as of December 2014, the Wayback Machine contained almost nine petabytes of data and was growing at a rate of about 20 terabytes each week. Between October 2013 and March 2015 the websites global Alexa rank changed from 162 to 208, in a 2009 case, Netbula, LLC v. Chordiant Software Inc. defendant Chordiant filed a motion to compel Netbula to disable the robots. Netbula objected to the motion on the ground that defendants were asking to alter Netbulas website, in an October 2004 case, Telewizja Polska USA, Inc. v. Echostar Satellite, No.02 C3293,65 Fed. 673, a litigant attempted to use the Wayback Machine archives as a source of admissible evidence, Telewizja Polska is the provider of TVP Polonia and EchoStar operates the Dish Network
22.
Geographic coordinate system
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A geographic coordinate system is a coordinate system used in geography that enables every location on Earth to be specified by a set of numbers, letters or symbols. The coordinates are chosen such that one of the numbers represents a vertical position. A common choice of coordinates is latitude, longitude and elevation, to specify a location on a two-dimensional map requires a map projection. The invention of a coordinate system is generally credited to Eratosthenes of Cyrene. Ptolemy credited him with the adoption of longitude and latitude. Ptolemys 2nd-century Geography used the prime meridian but measured latitude from the equator instead. Mathematical cartography resumed in Europe following Maximus Planudes recovery of Ptolemys text a little before 1300, in 1884, the United States hosted the International Meridian Conference, attended by representatives from twenty-five nations. Twenty-two of them agreed to adopt the longitude of the Royal Observatory in Greenwich, the Dominican Republic voted against the motion, while France and Brazil abstained. France adopted Greenwich Mean Time in place of local determinations by the Paris Observatory in 1911, the latitude of a point on Earths surface is the angle between the equatorial plane and the straight line that passes through that point and through the center of the Earth. Lines joining points of the same latitude trace circles on the surface of Earth called parallels, as they are parallel to the equator, the north pole is 90° N, the south pole is 90° S. The 0° parallel of latitude is designated the equator, the plane of all geographic coordinate systems. The equator divides the globe into Northern and Southern Hemispheres, the longitude of a point on Earths surface is the angle east or west of a reference meridian to another meridian that passes through that point. All meridians are halves of great ellipses, which converge at the north and south poles, the prime meridian determines the proper Eastern and Western Hemispheres, although maps often divide these hemispheres further west in order to keep the Old World on a single side. The antipodal meridian of Greenwich is both 180°W and 180°E, the combination of these two components specifies the position of any location on the surface of Earth, without consideration of altitude or depth. The grid formed by lines of latitude and longitude is known as a graticule, the origin/zero point of this system is located in the Gulf of Guinea about 625 km south of Tema, Ghana. To completely specify a location of a feature on, in, or above Earth. Earth is not a sphere, but a shape approximating a biaxial ellipsoid. It is nearly spherical, but has an equatorial bulge making the radius at the equator about 0. 3% larger than the radius measured through the poles, the shorter axis approximately coincides with the axis of rotation
23.
List of works for the stage by Wagner
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Richard Wagners works for the stage, representing more than 50 years of creative life, comprise his 13 completed operas and a similar number of failed or abandoned projects. His first effort, begun when he was 13, was a drama, Leubald. Wagners musical education began in 1828, and a later he was producing his earliest compositions, writing words and music, since lost, for his first opera attempt. During the subsequent decade he began several opera projects, none of which was successful although two were completed and one was staged professionally. After accepting the post of Kapellmeister at the Dresden court of the King of Saxony in February 1843, Wagner continued to compose operas and his political activities forced him to flee the city in 1849, beginning a long period of exile. In Zurich, his first refuge, he wrote the essay Die Kunst und die Revolution, in which he introduced the concept of Gesamtkunstwerk and this idea was developed in the extended discourse Oper und Drama, 1850–51. According to Wagner historian Robert Gutman, The orchestra with its many tongues would take over the traditional operatic tasks of the chorus, from his first attempt in the opera genre, Die Laune des Verliebten, Wagner became his own librettist and remained so throughout his creative career. His practice was to music and text simultaneously, in biographer Robert Gutmans words. Unlike the works of composers, those of Richard Wagner were not identified by opus numbers. In 1983 the Wagner scholar John Deathbridge, in an article in The Musical Times, each of Wagners known works, whether finished or unfinished, is listed in a number sequence running from 1 to 113. The list includes all compositions and all prose drafts where the music is either lost or unwritten, translation, Bayreuth canon List of compositions by Richard Wagner Bassett, Peter, The Nibelungs Ring, Wakefield Press, Adelaide. ISBN 1-86254-624-X Retrieved on 25 March 2009 Borchmeyer, Dieter, Drama, ISBN 0-691-11497-8 Retrieved on 25 March 2009 Elschek, Oskár, A History of Slovak Music, Veda, Bratislava. ISBN 80-224-0724-0 Gutman, Robert W. Laura Macy, Retrieved on 26 March 2009 Richard Wagner in Harvard Biographical Dictionary of Music. Harvard University Press, Cambridge, Massachusetts Retrieved on 24 March 2009 Saffle, Michael, Richard Wagner, A Guide to Research, Taylor and Francis, ISBN 0-8240-5695-7 Retrieved on 25 March 2009 Wagner Rarities, MusicalCriticism. com. Retrieved 25 March 2009 Die Feen, Piano and vocal score K Ferd, Retrieved on 5 April 2009 Das Liebesverbot, Piano and vocal score ed. Otto Singer. Retrieved on 5 April 2009 Rienzi, Piano and vocal score ed. Gustav Kogel, Retrieved on 6 April 2009 Die fliegende Holländer, Piano and vocal score eds John Troutbeck and Theodore Baker. Retrieved on 6 April 2009 Tannhauser, Piano and vocal score arr, Retrieved on 6 April 2009 Lohengrin, Piano and vocal score G. Schirmer, New York 1897. Retrieved on 6 April 2007 Das Rheingold, Piano and vocal score arr, Retrieved on 6 April 2009 Die Walküre, Piano and vocal score arr
24.
Die Feen
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Die Feen is an opera in three acts by Richard Wagner. The German libretto was written by the composer after Carlo Gozzis La donna serpente, Die Feen was Wagners first completed opera, but remained unperformed in his lifetime. It has never established itself firmly in the operatic repertory although it receives occasional performances, on stage or in concert, the opera is available on CD and in a DVD. The overture has been separately recorded, although the music of Die Feen shows the influences of Carl Maria von Weber and other composers of the time, commentators have recognised embryonic features of the mature Wagnerian opera. The fantasy plot also anticipates themes such as redemption that were to reappear in his later works, Die Feen was Wagners first completed opera, composed in 1833, when he was 20 years old and working as a part-time chorus master in Würzburg. He gave it the description of Grosse romantische Oper, the year before he started composition, Wagner had abandoned his first attempt at writing an opera, Die Hochzeit. There were a number of facing new German-language opera in the 1830s. First there was deemed to be a lack of good quality libretti to set and this may have influenced Wagners decision to write the libretto for Die Feen himself. Second, there was a fear among the authorities in Germany and Austria that the performance of operas in German would attract nationalist and this would have added to the difficulties faced by a novice composer seeking an opportunity for his new opera to be performed. Although Gozzis La donna serpente was the source for Wagners plot, the libretto also introduced a fantastic theme that was not in the original play. The libretto displays themes and patterns that were to recur in Wagners more mature works and these include redemption, a mysterious stranger demanding that their lover not ask their name, and long expository narratives. Wagner revised the score of Die Feen in 1834, when he hoped for a production, among the changes in the 1834 version was the rewriting from scratch of Adas grand scene Weh mir, so nah die fürchterliche Stunde. However, it remained unperformed during his lifetime, Wagner personally gave the original manuscript of Die Feen to King Ludwig II of Bavaria. The manuscript was given as a gift to Adolf Hitler. A draft, in Wagners hand, of dialogue he wrote to substitute for some of the recitatives, is in the Stefan Zweig Collection at the British Library. Die Feen was premiered in Munich on 29 June 1888 with a cast including several singers who had created roles in Wagners later operas and it is the only Wagner opera that has not been recorded for broadcast television or video. There are some recordings, the one with the best known performers being a live performance conducted by Wolfgang Sawallisch as part of the celebrations of the centenary of the composers death. The English premiere was in Birmingham on 17 May 1969 and the American concert premiere was at the New York City Opera on 24 February 1982, in 1981 Friedrich Meyer-Oertel staged Die Feen at the Opernhaus Wuppertal
25.
Das Liebesverbot
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Das Liebesverbot, is an early opera in two acts by Richard Wagner, with the libretto written by the composer after Shakespeares Measure for Measure. Described as a Große komische Oper, it was composed in 1834 and it was never performed again in Wagners lifetime. Restrained sexuality versus eroticism plays an important role in Das Liebesverbot, themes recur throughout much of Wagners output, most notably in Tannhäuser, Die Walküre. In each opera, the self-abandonment to love brings the lovers into mortal combat with the social order. In Das Liebesverbot, because it is a comedy, the outcome is a happy one, Wagners second opera, and his first to be performed, has many signs of an early work, the style is modelled closely on contemporary French and Italian comic opera. It is also referred to as the comedy, in that only two of Wagners works are comedies, the other being Die Meistersinger von Nürnberg. The opera was performed in the following hundred years. In the United Kingdom, the first performance was given on 16 February 1965 at the Collegiate Theatre of the University of London, the cast was led by Mark Schnaible as Friedrich and Claudia Waite as Isabella, Corrado Rovaris conducted. In 1994 Das Liebesverbot was performed at the Wexford Opera Festival, the first fully staged performance in the United States was at Glimmerglass Opera in Cooperstown, NY, in the summer of 2008. In 2009, a production was presented at the International Festival of Young Singers at the Kammeroper Schloss Rheinsberg plus a staged production at the Staatstheater Braunschweig in October. In 2013,200 years after the birth, it was performed in Bayreuth for the first time. A production of the Oper Leipzig was shown in the Oberfrankenhalle and it was staged by Aron Stiehl with elements of operetta and revue, Constantin Trinks conducted the Gewandhausorchester. Since 2011 a production of work has formed part of the repertoire of Helikon Opera Moscow. In Romania it was staged at the Cluj-Napoca Hungarian Opera, in 2016 it was staged by the Teatro Real, Madrid. The synopsis is Wagners own description of his scenario, in a translation by William Ashton Ellis published in 1898, Luzio promises to go at once to Isabella in the cloister of the Elisabethans, where she has lately entered her novitiate. A convent Within the quiet cloister walls we make the acquaintance of this sister, in confidential converse with her friend Marianne, Marianne discloses to her friend, from whom she has long been parted, the sad fate that has brought her hither. Isabellas horror finds vent in a tempest of wrath, only to be allayed by the resolve to leave a world where such monstrosities can go unpunished. Her violence unwittingly exhibits her to Luzio in the most seductive light, fired by sudden love, he implores her to leave the nunnery for ever and take his hand
26.
Rienzi
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Rienzi, der Letzte der Tribunen is an early opera by Richard Wagner in five acts, with the libretto written by the composer after Edward Bulwer-Lyttons novel of the same name. The title is shortened to Rienzi. Written between July 1838 and November 1840, it was first performed at the Hofoper, Dresden, on 20 October 1842, in the end the populace burns the Capitol, in which Rienzi and a few adherents have made a last stand. Each act ends with an extended finale ensemble and is replete with solos, duets, trios, there is also an extended ballet in act 2 according to the accepted Grand Opera format. Hans von Bülow was later to joke that Rienzi is Meyerbeers best opera, Wagner began to draft the opera in Riga in 1837, after reading Lyttons novel. In 1839, meeting Meyerbeer by chance in Boulogne, he was able to read the latter the first three acts of the libretto, and to gain his interest. Meyerbeer also introduced Wagner to Ignaz Moscheles, who was staying at Boulogne, as Ernest Newman comments. When the opera was completed in 1840, Wagner had hoped for it to be premiered at the Paris Opéra, several circumstances, including his lack of influence, prevented this. The full score of Rienzi was completed on 19 November 1840 and this, with the proposed staging of The Flying Dutchman in Berlin, also supported by Meyerbeer, persuaded Wagner to return to Germany in April 1842. No one suspected that what was a joke for them was the means of buying an extra morsel of sorely-needed food. The premiere of Rienzi took place on 20 October in the new Dresden Opera House, designed by the architect Gottfried Semper and opened on 14 April 1841. Semper and Wagner were later to friends in Dresden, a connection which eventually led to Semper providing designs which became a basis of Wagners Festspielhaus in Bayreuth. The first performance of Rienzi was well received in Dresden despite running over six hours, one legend is that, fearful of the audience departing, Wagner stopped the clock above the stage. In his later memoirs, Mein Leben, Wagner recalled, No subsequent experience has given me feelings even remotely similar to those I had on this day of the first performance of Rienzi, the initial success of Rienzi was no doubt assured beforehand. But the uproarious way in which the public declared its partiality for me was extraordinary, the public had been forcibly predisposed to accept it, because everyone connected with the theatre had been spreading such favourable reports. That the entire population was looking forward to what was heralded as a miracle, in trying to recall my condition that evening, I can remember it only as possessing all the features of a dream. Subsequently, Wagner experimented with giving the opera over two evenings, and making cuts to enable a more reasonable performance in a single evening, despite Wagners reservations, Rienzi remained one of his most successful operas until the early 20th century. The Paris premiere of Rienzi finally took place on 6 April 1869 at the Théâtre Lyrique under the baton of Jules Pasdeloup
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The Flying Dutchman (opera)
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The Flying Dutchman, WWV63, is a German-language opera, with libretto and music by Richard Wagner. Wagner claimed in his 1870 autobiography Mein Leben that he had been inspired to write the following a stormy sea crossing he made from Riga to London in July. In his 1843 Autobiographic Sketch, Wagner acknowledged he had taken the story from Heinrich Heines retelling of the legend in his 1833 satirical novel The Memoirs of Mister von Schnabelewopski, the central theme is redemption through love. Wagner conducted the premiere at the Semper Oper in Dresden in 1843 and this work shows early attempts at operatic styles that would characterise his later music dramas. In Der fliegende Holländer Wagner uses a number of associated with the characters. The leitmotifs are all introduced in the overture, which begins with an ocean or storm motif before moving into the Dutchman. By the beginning of 1839, the now 26-year-old Richard Wagner was employed as a conductor at the Court Theatre in Riga. His extravagant lifestyle plus the retirement from the stage of his actress wife, Minna, Wagner was writing Rienzi and hatched a plan to flee his creditors in Riga, escape to Paris via London and make his fortune by putting Rienzi on to the stage of the Paris Opéra. Boarding the ship Thetis, whose captain had agreed to them without passports, their sea journey was hindered by storms. The ship at one point took refuge in the Norwegian fjords at Tvedestrand, Wagners experience of Paris was also disastrous. He was unable to get work as a conductor, and the Opéra did not want to produce Rienzi, the Wagners were reduced to poverty, relying on handouts from friends and from the little income that Wagner could make writing articles on music and copying scores. Wagner hit on the idea of an opera on the theme of the Flying Dutchman. Wagner wrote the first prose draft of the story in Paris early in May 1840, in Heines tale, the narrator watches a performance of a fictitious stage play on the theme of the sea captain cursed to sail forever for blasphemy. In Heines version, this is presented as a means for ironic humour, however, Wagner took this literally and in his draft. By the end of May 1841 Wagner had completed the libretto or poem as he preferred to call it and these were composed for an audition at the Paris Opéra, along with the sketch of the plot. Wagner actually sold the sketch to the Director of the Opéra, Léon Pillet, for 500 francs, but was unable to convince him that the music was worth anything. Wagner composed the rest of the Der Fliegende Holländer during the summer of 1841, with the Overture being written last, while this score was designed to be played continuously in a single act, Wagner later divided the piece into a three-act work. In doing so, however, he did not alter the music significantly, in his original draft Wagner set the action in Scotland, but he changed the location to Norway shortly before the first production staged in Dresden and conducted by himself in January 1843
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Lohengrin (opera)
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Lohengrin, WWV75, is a Romantic opera in three acts composed and written by Richard Wagner, first performed in 1850. It is part of the Knight of the Swan tradition, the opera has inspired other works of art. King Ludwig II of Bavaria named his fairy-tale castle New Swan Castle, or Neuschwanstein and it was King Ludwigs patronage that later gave Wagner the means and opportunity to compose, build a theatre for, and stage his epic cycle The Ring of the Nibelung. The most popular and recognizable part of the opera is the Bridal Chorus, better known as Here Comes the Bride, the literary figure of Lohengrin first appeared as a supporting character in the final chapter of the middle-age epic poem Parzival of Wolfram von Eschenbach. The Grail Knight Lohengrin, son of the Grail King Parzival, is sent to the duchess of Brabant to defend her and his protection comes under the condition that she must never ask his name. If she violates this requirement, he will be forced to leave her, Wagner attempted at the same time to weave elements of Greek tragedy into the plot. He wrote the following in Mitteilungen an meine Freunde about his Lohengrin plans, Who doesnt know Zeus, the god is in love with a human woman and approaches her in human form. The lover finds that she cannot recognize the god in this form, Zeus knows that she would be destroyed by the sight of his real self. He suffers in this awareness, suffers knowing that he must fulfill this demand and he will seal his own doom when the gleam of his godly form destroys his lover. Is the man who craves for God not destroyed, in composing Lohengrin Wagner created a new form of opera, the through-composed music drama. The composition is not divided into numbers, but is played from act to act without any interruption. This style of composition contrasts with that of the conventional number opera, which is divided into arias, recitatives, Lohengrin still contains lengthy performances—for example, Elsas Alone in dark days and Lohengrins Grail aria—which harken back to the classical solo aria form. Wagner made extensive use of leitmotives in his composition and these motives allowed Wagner to precisely narrate the inner thoughts of the characters on stage, even without speech. The first production of Lohengrin was in Weimar, Germany, on 28 August 1850 at the Staatskapelle Weimar under the direction of Franz Liszt, Liszt chose the date in honour of Weimars most famous citizen, Johann Wolfgang von Goethe, who was born on 28 August 1749. Despite the inadequacies of the lead tenor Karl Beck, it was a popular success. Wagner himself was unable to attend the first performance, having been exiled because of his part in the 1849 May Uprising in Dresden. Although he conducted various extracts in concert in Zurich, London, Paris and Brussels, the operas first performance outside German-speaking lands was in Riga on 5 February 1855. The Austrian premiere took place in Vienna at the Theater am Kärntnertor on 19 August 1858, the work was produced in Munich for the first time at the National Theatre on 16 June 1867, with Heinrich Vogl in the title role and Mathilde Mallinger as Elsa
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Tristan und Isolde
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Tristan und Isolde is an opera, or music drama, in three acts by Richard Wagner to a German libretto by the composer, based largely on the romance by Gottfried von Strassburg. It was composed between 1857 and 1859 and premiered at the Königliches Hof- und Nationaltheater in Munich on 10 June 1865 with Hans von Bülow conducting. Wagner referred to the not as an opera, but called it eine Handlung. Wagners composition of Tristan und Isolde was inspired by the philosophy of Arthur Schopenhauer, widely acknowledged as one of the peaks of the operatic repertoire, Tristan was notable for Wagners unprecedented use of chromaticism, tonality, orchestral colour and harmonic suspension. Other composers like Claude Debussy, Maurice Ravel and Igor Stravinsky formulated their styles in contrast to Wagners musical legacy. Many see Tristan as the beginning of the move away from common practice harmony and tonality, both Wagners libretto style and music were also profoundly influential on the Symbolist poets of the late 19th century and early 20th century. Wagner was forced to abandon his position as conductor of the Dresden Opera in 1849 and he left his wife, Minna, in Dresden, and fled to Zürich. There, in 1852, he met the wealthy silk trader Otto Wesendonck, Wesendonck became a supporter of Wagner and bankrolled the composer for several years. Wesendoncks wife, Mathilde, became enamoured of the composer, though Wagner was working on his epic Der Ring des Nibelungen, he found himself intrigued by the legend of Tristan and Iseult. The story of Tristan and Isolde is a romance of the Middle Ages. Several versions of the story exist, the earliest dating to the middle of the 12th century, gottfrieds version, part of the courtly branch of the legend, had a huge influence on later German literature. It was some such mood that inspired the conception of a Tristan und Isolde. I have devised in my mind a Tristan und Isolde, the simplest, yet most full-blooded musical conception imaginable, by the end of 1854, Wagner had sketched out all three acts of an opera on the Tristan theme, based on Gottfried von Strassburgs telling of the story. On 20 August he began the prose sketch for the opera, Wagner, at this time, had moved into a cottage built in the grounds of Wesendoncks villa, where, during his work on Tristan und Isolde, he became passionately involved with Mathilde Wesendonck. Whether or not this relationship was platonic remains uncertain, one evening in September of that year, Wagner read the finished poem of Tristan to an audience including his wife, Minna, his current muse, Mathilde, and his future mistress, Cosima von Bülow. By October 1857, Wagner had begun the composition sketch of the first Act, during November, however, he set five of Mathildes poems to music known today as the Wesendonck Lieder. This was a move by Wagner, who almost never set to music poetic texts other than his own. But Wagner resolved to write Tristan only after he had secured a deal with the Leipzig-based firm Breitkopf & Härtel
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Der Ring des Nibelungen
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Der Ring des Nibelungen, WWV86, is a cycle of four German-language epic music dramas composed by Richard Wagner. The works are based loosely on characters from the Norse sagas, the composer termed the cycle a Bühnenfestspiel, structured in three days preceded by a Vorabend. It is often referred to as the Ring Cycle, Wagners Ring, Wagner wrote the libretto and music over the course of about twenty-six years, from 1848 to 1874. The first performance as an opened the first Bayreuth Festival in 1876, beginning with Das Rheingold on 13 August. Wagners title is most literally rendered in English as The Ring of the Nibelung, the Nibelung of the title is the dwarf Alberich, and the ring in question is the one he fashions from the Rhine Gold. The title therefore denotes Alberichs Ring, Nibelungen is occasionally mistaken as a plural, but the Ring of the Nibelungs is incorrect. The cycle is a work of extraordinary scale, the first and shortest work, Das Rheingold, typically lasts two and a half hours, while the final and longest, Götterdämmerung, takes up to five hours, excluding intervals. The cycle is modelled after ancient Greek dramas that were presented as three tragedies and one satyr play, the Ring proper begins with Die Walküre and ends with Götterdämmerung, with Rheingold as a prelude. Wagner called Das Rheingold a Vorabend or Preliminary Evening, and Die Walküre, Siegfried and Götterdämmerung were subtitled First Day, Second Day and Third Day, respectively, the scale and scope of the story is epic. It follows the struggles of gods, heroes, and several mythical creatures over the magic ring that grants domination over the entire world. The drama and intrigue continue through three generations of protagonists, until the final cataclysm at the end of Götterdämmerung, the music of the cycle is thick and richly textured, and grows in complexity as the cycle proceeds. Wagner wrote for an orchestra of gargantuan proportions, including a greatly enlarged brass section with new instruments such as the Wagner tuba, bass trumpet and contrabass trombone. Remarkably, he uses a chorus only relatively briefly, in acts 2 and 3 of Götterdämmerung and he eventually had a purpose-built theatre constructed, the Bayreuth Festspielhaus, in which to perform this work. The theatre has a stage that blends the huge orchestra with the singers voices. The result was that the singers did not have to strain themselves vocally during the long performances. The plot revolves around a ring that grants the power to rule the world. Wotans schemes to regain the ring, spanning generations, drive much of the action in the story, Hagen is drowned as he attempts to recover the ring. In the process, the gods and Valhalla are destroyed, details of the storylines can be found in the articles on each music drama
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Das Rheingold
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Das Rheingold, WWV 86A, is the first of the four music dramas that constitute Richard Wagners Der Ring des Nibelungen, or in English, The Ring of the Nibelung. Das Rheingold premiered at the National Theatre Munich on 22 September 1869, with August Kindermann in the role of Wotan, Heinrich Vogl as Loge, and Karl Fischer as Alberich. Wagner wanted this work to premiere as part of the entire cycle, the work was first performed as part of the complete cycle on 13 August 1876, in the Bayreuth Festspielhaus. Although Das Rheingold comes first in the sequence of Ring operas, so in August 1851, Wagner wrote in Eine Mittheilung an meine Freunde, I propose to produce my myth in three complete dramas. However, by October, he had decided that this required a prelude. To the sentence quoted above he added the words, which will be preceded by a great prelude, a letter Wagner wrote to Theodor Uhlig confirms that at this time the opera was intended to have three acts. Wagner continued to develop the text and storyline of the prelude in parallel with those of Die Walküre, the prose draft of Das Rheingold was completed between 21 March and 23 March 1852 and its verse draft between 15 September and 3 November. A fair copy of the text was finished by 15 December, during the early years of the 1850s Wagner produced some musical sketches for parts of the Ring and noted down various motifs that were to be used in the work. There also exist three sets of isolated musical sketches for Das Rheingold which were composed between 15 September 1852 and November 1853. The first of these was entered into the draft of the text, the second into Wagners copy of the 1853 printing of the text. All three were used by Wagner. Proper sequential development of the score started on 1 November 1853, by 14 January, Wagner had completed the first draft of the opera on between two and three staves. The next stage involved the development of a detailed draft that indicated most of the vocal and instrumental details. This was completed by 28 May, in parallel with this, Wagner started work on a fair copy of the score on 15 February, a task he completed on 26 September 1854, by which time he had also started work on the sketches of Die Walküre. Das Rheingold was first performed at Munich on 22 September 1869 and its first performance as part of the complete Ring cycle took place at Bayreuth on 13 August 1876. It continues to be performed on a regular basis both in Bayreuth and elsewhere, Das Rheingold, considerably shorter than its three successors, consists of four scenes performed without a break. It has been noted as one of the best-known drone examples in the concert repertory, the curtain rises to show, at the bottom of the Rhine, the three Rhine maidens, Woglinde, Wellgunde, and Flosshilde, playing together. The key shifts to A flat as Woglinde begins an innocent song whose melody is used to characterise the Rhine maidens later in the cycle
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Siegfried (opera)
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Siegfried, WWV 86C, is the third of the four music dramas that constitute Der Ring des Nibelungen, by Richard Wagner. It premiered at the Bayreuth Festspielhaus on 16 August 1876, as part of the first complete performance of The Ring cycle, the musical composition was commenced in 1856, but not finally completed until 1871. Having grappled with his text for Siegfrieds Tod, and indeed having undertaken some musical sketches for it during 1851, at this point he conceived that the prefatory opera, Der junge Siegfried, could act as a comic foil to the tragedy of Siegfrieds Tod. Its all growing out of the ground as if it were wild, shortly afterwards he wrote to Uhlig that he was now planning to tell the Siegfried story in the form of three dramas, plus a prologue in three acts—a clear prefiguring of the Ring cycle. The composition of Acts 1 and 2 was completed by August 1857, Wagner then left off work on Siegfried to write the operas Tristan und Isolde and Die Meistersinger. He did not resume work on Siegfried until 1869, when he composed the third act, the final revision of the score was undertaken in February 1871. Performance was withheld until the first complete production of the Ring cycle, elements of the plot of Siegfried come from a variety of sources. In a letter to Uhlig, Wagner recounted The Story of the Youth Who Went Forth to Learn What Fear Was and it concerns a boy so stupid he had never learned to be afraid. Wagner wrote that the boy and Siegfried are the same character, the boy is taught to fear by his wife, and Siegfried learns it when he discovers the sleeping Brünnhilde. Siegfrieds ability in Act Two to see through Mimes deceitful words seems to have derived from a 19th-century street theatre version of the story of Faust. Some elements of the story are derived from legends of Sigurd, notably the Völsunga saga, scene 1 of Act 3 has a parallel in the Eddic poem Baldrs draumar, in which Odin questions a völva about the future of the gods. A cave in rocks in the forest, as the curtain rises, Alberichs brother, the dwarf Mime, is forging a sword. Mime is plotting to obtain the ring of power created by his brother Alberich. Mime needs a sword for Siegfried to use, but the youth has contemptuously broken every sword Mime has made, Siegfried returns from his wanderings in the forest with a wild bear in tow, and immediately breaks the new sword. Mime is forced to explain how he took in Siegfrieds mother, Sieglinde and he shows Siegfried the broken pieces of the sword Nothung, which Mime had obtained from her. Siegfried orders him to reforge the sword, Mime, however, is unable to accomplish this, Siegfried departs, leaving Mime in despair. An old man arrives at the door and introduces himself as the Wanderer, in return for the hospitality due a guest, he wagers his head on answering any three questions of Mime. The dwarf asks the Wanderer to name the races that live beneath the ground, on the earth and these are the Nibelung, the Giants, and the Gods, as the Wanderer answers correctly
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Parsifal
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Parsifal is an opera in three acts by German composer Richard Wagner. It is loosely based on Parzival by Wolfram von Eschenbach, a 13th-century epic poem of the Arthurian knight Parzival, Wagner first conceived the work in April 1857 but did not finish it until twenty-five years later. It was Wagners last completed opera and in composing it he took advantage of the acoustics of his Bayreuth Festspielhaus. Parsifal was first produced at the second Bayreuth Festival in 1882, the Bayreuth Festival maintained a monopoly on Parsifal productions until 1903, when the opera was performed at the Metropolitan Opera in New York. Wagner described Parsifal not as an opera, but as Ein Bühnenweihfestspiel, at Bayreuth a tradition has arisen that there be no applause after the first act of the opera. Wagner first read von Eschenbachs poem Parzival while taking the waters at Marienbad in 1845, after encountering Arthur Schopenhauers writings in 1854, Wagner became interested in oriental philosophies, especially Buddhism. Out of this interest came Die Sieger a sketch Wagner wrote for an opera based on a story from the life of Buddha, the themes which were later explored in Parsifal of self-renouncing, reincarnation, compassion, and even exclusive social groups were first introduced in Die Sieger. The composer and his wife Minna had moved into the cottage on 28 April, full of this sentiment, I suddenly remembered that the day was Good Friday, and I called to mind the significance this omen had already once assumed for me when I was reading Wolframs Parzival. The work may indeed have been conceived at Wesendoncks cottage in the last week of April 1857, but Good Friday that year fell on 10 April, when the Wagners were still living at Zeltweg 13 in Zürich. If the prose sketch which Wagner mentions in Mein Leben was accurately dated, it could settle the issue once and for all, Wagner did not resume work on Parsifal for eight years, during which time he completed Tristan und Isolde and began Die Meistersinger von Nürnberg. But once again the work was dropped and set aside for another eleven, during this time most of Wagners creative energy was devoted to the Ring cycle, which was finally completed in 1874 and given its first full performance at Bayreuth in August 1876. Only when this task had been accomplished did Wagner find the time to concentrate on Parsifal. By 23 February 1877 he had completed a second and more extensive prose draft of the work, in September 1877 he began the music by making two complete drafts of the score from beginning to end. The first of these was made in pencil on three staves, one for the voices and two for the instruments, the second complete draft was made in ink and on at least three, but sometimes as many as five, staves. This draft was more detailed than the first and contained a considerable degree of instrumental elaboration. The Gesamtentwurf of act 3 was completed on 16 April 1879, the full score was the final stage in the compositional process. It was made in ink and consisted of a copy of the entire opera, with all the voices. The prelude of act 1 was scored in August 1878, the rest of the opera was scored between August 1879 and 13 January 1882
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Die Hochzeit
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Die Hochzeit is an unfinished opera by Richard Wagner which predates his completed works in the genre. Wagner completed the libretto, then started composing the music in the half of 1832 when he was just nineteen. He abandoned the project after his sister Rosalie, who was the main supporter, today, only three pieces survive from the opera. What is still known of the story is that it concerns the events surrounding the marriage of a young woman, Ada. This is a marriage, not one of love. On the eve of the wedding, Adas lover, Cadolt and she rejects his advances, preferring to defend her honour but, in the process, pushes him over the balcony to his death. Ada still loves Cadolt and collapses and dies at the next to his body. The only printed version of the musical score is the edition by Michael Balling. Very little musicological study has been carried out relating to Die Hochzeit, Ada and Arindal were later used as the names of the two principal characters in Die Feen, Wagners first completed opera. As there appear to be some textual commonalities with Die Feen, Die Hochzeit Leipzig, Breitkopf und Härtel
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Die Laune des Verliebten
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Die Laune des Verliebten was Richard Wagners first attempt at an opera project. Written in about 1830, when Wagner was 17, the libretto was based on a play of the name by Johann Wolfgang Goethe. Wagner wrote a scene for three voices and a tenor aria before abandoning the project. There is no performance history for these fragments, and neither words nor music have survived
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Ride of the Valkyries
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The Ride of the Valkyries is the popular term for the beginning of act 3 of Die Walküre, the second of the four operas by Richard Wagner that constitute Der Ring des Nibelungen. As a separate piece, the Ride is often heard in an instrumental version. Together with the Bridal Chorus from Lohengrin, the Ride of the Valkyries is one of Wagners best-known pieces, the main theme of the Ride, the leitmotif labelled Walkürenritt, was first written down by the composer on 23 July 1851. The preliminary draft for the Ride was composed in 1854 as part of the composition of the entire opera, which was fully orchestrated by the end of the first quarter of 1856. As they are joined by the four, the familiar tune is carried by the orchestra, while, above it. Apart from the song of the Rhinemaidens in Das Rheingold, it is the ensemble piece in the first three operas of Wagners Ring cycle. The complete opera Die Walküre was first performed on 26 June 1870 in the National Theatre Munich against the composers intent, however, the piece was still printed and sold in Leipzig, and Wagner subsequently wrote a complaint to the publisher Schott. Once the Ring had been given in Bayreuth in 1876, Wagner lifted the embargo and he himself conducted it in London on 12 May 1877, repeating it as an encore. Uses in film include the score for The Birth of a Nation. The Ride is the quick march of the British Parachute Regiment. Within the concert repertoire, the Ride of the Valkyries remains a popular encore, apart from where the Ride is included in the recordings of the Walküre opera, it is a very popular piece, included in various popular classics anthologies. Edited and annotated by Martin Gregor-Dellin and Dietrich Mack, translated by Geoffrey Skelton, Ride of the Valkyries, Scores at the International Music Score Library Project Ride of the Valkyries at Project Gutenberg Fantasie from Die Walkure, WWV 86B on Musopen
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Parsifal (1982 film)
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Parsifal is a 1982 West German-French opera film directed by Hans-Jürgen Syberberg, based on the opera of the same name by Richard Wagner. It was shown out of competition at the 1982 Cannes Film Festival, the soundtrack is a complete performance of the opera, however the imagery used is a melange including medieval costume, puppetry, Nazi relics and a giant death mask of Richard Wagner. The Confessions of Winifred Wagner had upset the descendants of Wagner, a production was instead arranged specifically for the film, with Armin Jordan as conductor. The film was entirely in studio in 35 days, in Bavaria Atelier in Munich. The budget was just above three million Deutsche Mark, Mr. Syberbergs work represents not only the summation of his career thus far, but is as gripping, strange and, in the end, devotionally faithful a staging as any Wagner opera has received in our time. Rockwell continued, Just why Mr. Syberbergs scenic innovations dont seem as disturbing as other modern directorial innovations - Patrice Chéreaus Bayreuth Ring, nstead of their shocking us away from the romantic spell of the music, they reinforce that spell. Its as if Wagners hypnotic allure and Brechts intellectualized alienation have been somehow mystically united, hans Jürgen Syberberg and His Film of Wagners Parsifal, by Solveig Olsen, University Press of America,2006. ISBN 0-7618-3376-5 Parsifal at the Internet Movie Database About the Film
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Polonia (Wagner)
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Polonia is a concert overture written by Richard Wagner. Wagner completed Polonia in 1836, although it may have been drafted as early as 1832 and it was premiered in Magdeburg, with the composer conducting, on March 29,1836. Wagners biographer Ernest Newman wrote that the overture was shapeless and frothy. the oddest mixture of a pseudo-Polish idiom, the critic Adrian Courleonis has commented that Polonia s coarse-grained excitement, which may at first seem audacious, looms as merely clumsy. According to her, Wagner wrote Polonia after hearing Polish patriotic songs for a May 3 Constitution Day celebration, the composers manuscript of his piano arrangement of the score is in the Stefan Zweig Collection at the British Library. Zweig acquired the manuscript from a dealer in Vienna in 1937
Brühl (help·info) is a street in Leipzig, Germany, just within the former city wall.
