HULDIGUNGSMARSCH WAGNER PDF

He postulated his own artistic credo, the principle of the total work of art which must be based on a superior dramatic concept or a programme. This is a conviction which he shares with Franz Liszt, for example. He came from a lower middle-class background. His father, the police clerk Carl Friedrich Wagner, died six months after his birth in Leipzig. Wagner had nine siblings altogether.

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He postulated his own artistic credo, the principle of the total work of art which must be based on a superior dramatic concept or a programme. This is a conviction which he shares with Franz Liszt, for example. He came from a lower middle-class background. His father, the police clerk Carl Friedrich Wagner, died six months after his birth in Leipzig. Wagner had nine siblings altogether. He began to attend school in under the name of Richard Geyer. From to he returned to Leipzig and attended St.

Richard Wagner himself suffered from an identity problem all his life as a result of his dubitable parentage. Despite the difficult circumstances of his early life, Wagner obtained a thorough education. As a youth he wavered in his choice of profession between poet and musician, although his own demands and aims could in both cases, as he declared himself, only be of the highest.

After brief musical studies with Theodor Weinlig , the cantor of St. Immediately after acceding to the throne, Ludwig II supplied Wagner with , florins to enable suitable performances of his operas in Munich.

A first personal meeting between Ludwig and Wagner took place in early May, A first performance in the presence of the King did not take place, however, until October 5th in Munich, after a series of circumstances including the sudden death of the leader of the Munich Military Band, Peter Streck two days before the birthday cancelled the performance.

According to one obituary, Streck appears to have suffered a heart attack under pressure of the preparations for the concert, with the copying of parts immediately before the performance, the organisation of rehearsals and the journey to Hohenschwangau with a total of 80 musicians, and the enormous musical demands made by Wagner.

The piece is a formal work of genius, unusually lush in sound and instrumentation, but appears on the whole a little too routine. The performance does not seem to have made a lasting impression on Ludwig II either, as no royal comments of any consequence on the work have remained on record. The wind instrumentation originally required by Wagner is interesting, as it would no longer be realisable nowadays.

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