Abstracts and Biographies - fimt - Universität Bayreuth

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Abstracts and Biographies - fimt - Universität Bayreuth

Donnerstag, 12. Dezember 2013, 15 Uhr – Universität Bayreuth, TheaterraumKonferenzeröffnungGrußworteProf. Dr. Martin Huber, Vizepräsident der Universität BayreuthProf. Dr. Jürgen E. Müller, Dekan der Sprach- und LiteraturwissenschaftlichenFakultät der Universität BayreuthKai Weßler, Staatstheater NürnbergEinführungProf. Dr. Anno Mungen, Universität BayreuthProf. Dr. Nicholas Vazsonyi, University of South CarolinaProf. Dr. Ivana Rentsch, Universität HamburgProf. Dr. Arne Stollberg, Universität BaselEröffnungsvortragProf. Dr. Dr. h.c. Dieter Borchmeyer“ich schreib’s euch auf, diktirt ihr mir! ” –Richard Wagners medienästhetische Kritik der Schrift3


Freitag, 13. Dezember 2013, 18:30 Uhr – Schloss Thurnau, AhnensaalFestaktGründung Interdisziplinärer Richard-Wagner-Arbeitskreisfür Musiktheater an der Universität BayreuthundVergabe Thurnauer Preis für Musiktheaterwissenschaft 2013Musikalische Umrahmung: Peter Cervenec, Klavier--- --- ---MusikBegrüßung (und Moderation)Prof. Dr. Anno Mungen, Leiter des Forschungsinstituts für Musiktheater (fimt)GrußworteDietmar Hofmann, Bürgermeister von ThurnauProf. Dr. Stefan Leible, Präsident der Universität BayreuthRichard-Wagner-Arbeitskreis für MusiktheaterGründung durch Prof. Eva Märtson, Präsidentin desRichard-Wagner-Verbandes InternationalVorstellung der Initiative: Frederike Krüger (Studierende Bachelor of ArtsMusiktheaterwissenschaft, 3. Semester), Björn Dornbusch und Bernd Hobe(Promotionsprogramm Musik und Performance), Prof. Dr. Anno MungenMusikThurnauer Preis für Musiktheaterwissenschaft 2013Preisverleihung durch Landrat Klaus Peter SöllnerLaudatio: Prof. Dr. Arne Stollberg, Mitglied der JuryGrußwort der Preisträgerin Dr. Jelena NovakMusikanschließend Empfang im Schlosshotel (für geladene Gäste)5


www2013:KonferenzprogrammWagnerWorldWide:Reflections12.-15. Dezember 2013 in Bayreuth, Thurnau und NürnbergWissenschaftliche Leitung:Prof. Dr. Anno Mungen (Bayreuth/Thurnau), Prof. Dr. Ivana Rentsch (Hamburg),Prof. Dr. Arne Stollberg (Basel, Schweiz), Prof. Dr. Nicholas Vazsonyi (Columbia, USA)Übersicht TagungEröffnungDonnerstag, 12. Dezember, 15 UhrSektion “Globalization/Markets” Freitag, 13. Dezember, 9 bis 10 Uhr, 15 bis 16 Uhr,Sonntag, 15. Dezember, 12.30 bis 17.30 UhrSektion “Media/Film”Freitag, 13. Dezember, 10.30 bis 13 UhrSektion “Environment/Nature” Freitag, 13. Dezember, 16.30 bis 17.30 UhrSektion “Gender/Sexuality”Samstag, 14. Dezember, 9 bis 10.30 UhrSektion “History/Nationalism” Samstag, 14. Dezember 11 bis 18 UhrSonntag, 15. Dezember 11 bis 12 UhrÜbersicht RahmenprogrammStadtrundfahrt Bayreuth/Besuch Villa Wahnfried und Festspielhaus,Donnerstag, 12. Dezember, 17-19 UhrFinissage der Ausstellung www2013:Irre?! – Richard Wagner. Eine Würdigung desWahnsinns im Haus Steingraeber, Donnerstag, 12. Dezember, 19 UhrVergabe Thurnauer Preis für Musiktheaterwissenschaft 2013 und Gründung desInterdisziplinären Richard-Wagner-Arbeitskreises für Musiktheater an der UniversitätBayreuth, Schloss Thurnau/Ahnensaal, Freitag, 13. Dezember, 18.30 Uhr;anschließend Empfang im Schlosshotel (geladene Gäste)“Hacking Wagner” – Olaf A. Schmitt im Gespräch mit Saar Magal zu ihrer Performance(Bayerische Staatsoper München, vom Juli 2012), Samstag, 14. Dezember, 18.15-19.15 UhrStadtführung Alt-Nürnberg, Sonntag, 15. Dezember, 9.30-10.30 UhrStaatstheater Nürnberg “Das Rheingold”, Sonntag, 15. Dezember, 19 Uhr7


Detailliertes ProgrammDonnerstag, 12. Dezember (Bayreuth, Campus/Theaterraum)15.00-15.30 Eröffnung (siehe S. 3)15.30-16.30 Eröffnungsvortrag: Prof. Dr. Dr. h.c. Dieter Borchmeyer:“ich schreib’s euch auf, diktirt ihr mir!“ –Richard Wagners medienästhetische Kritik der Schrift17.00-19.00 Stadtrundfahrt Bayreuth, Besuch Villa Wahnfried und Festspielhaus19.00-20.00 Finissage im Steingraeber Haus: www2013: Irre?! - Richard Wagner.Eine Würdigung des Wahnsinns – ein studentischesAusstellungsprojektFreitag, 13. Dezember (Thurnau, Schloss/Ahnensaal)Sektion “Globalization/Markets” I (Chair: Ivana Rentsch)9.00-9.30 Barry Millington: Wagner 200 – Image, Reception, Legacy9.30-10.00 Dr. Yaël Hêche: Commemorating Richard Wagner for Children:“Siegfried-Idyll” dramatizedKaffeepauseSektion: “Media/Film” (Chair: Julie Hubbert)10.30-11.00 Dr. David Trippett: Facing reality: on simulcast technology andthe transfer of Wagner's music between digital platforms11.00-11.30 Dr. Wendy Ligon Smith: Wagner and Fortuny:Designs for the Bayreuth TheatreKaffeepause12.00-12.30 Frithwin Wagner-Lippok: #occupy wagner! – PerformativeAesthetics, Wagner’s Postdramatic legacy?(Chair: Nicholas Vazsonyi)12.30-13.00 Prof. Dr. Julie Hubbert: Not So “Loathsome Deutschtum”: Wagner,Propaganda and American Documentary Films of the 1930s and 40sMittagspause8


Sektion “Globalization/Markets” II (Chair: Ivana Rentsch)15.00-15.30 Prof. Dr. Gouzhong Sun: Wagner Research in China:Text and Context15.30-16.00 Prof. Dr. Barbara Mittler: Wagner Goes East (and Back Again):Operatic Performance between Europe and ChinaKaffeepauseSektion: “Environment/Nature” (Chair: Arne Stollberg)16.30-17.00 Dr. Joachim Junker: Luigi Nono’s Analytical Remarks on “Tristanund Isolde” and the Manifestation of Nature in Wagner’s Music17.00-17.30 Prof. Dr. Thomas Grey: Musical Landscapes in the “Ring”:An Eco-Musicological Perspective18.30-19.30 Festakt (siehe S. 5)Vergabe des Thurnauer Preises für Musiktheaterwissenschaft 2013und Gründung des Interdisziplinären Richard-Wagner-Arbeitskreisesfür Musiktheater an der Universität Bayreuthab 20:00Empfang im Schlosshotel (geladene Gäste)Samstag, 14. Dezember (Thurnau, Schloss/Ahnensaal)Sektion: “Gender/Sexuality” (Chair: Anno Mungen)9.00-9.30 Dr. Anke Charton: “Wunschmädchen” and “Hehrste Helden”:Vocal Gender, Sexual Politics and the Embodiment of theHeroic in Wagner’s “Ring”9.30-10.00 PD Dr. Gregor Herzfeld: Is it a Men’s World? The Constructionof Masculinities in Wagner10.00-10.30 Dr. Mauro Fosco Bertola: Death Drive versus “Liebestod”?Slavoj Žižek on Wagner’s “Tristan und Isolde”KaffeepauseSektion: “History/Nationalism” I (Chair: Nicholas Vazsonyi)11.00-11.30 Gero Tögl: The Bayreuth Enterprise as a 19th Century Network12.00-12.30 Gwen D’Amico: Opera and Politics: “Die Meistersinger” at theIntersection of New York City and World War IIMittagspause14.00-14.30 Dr. Anna Stoll Knecht: Beckmesser in a New Light: “DieMeistersinger” in Gustav Mahler’s Seventh Symphony14.30-15.00 Dr. Brooke McCorkle: Twilight of an Empire: Staging Wagnerin Wartime TokyoKaffeepause9


Abstracts and BiographiesDr. Mauro Fosco BertolaDeath Drive versus “Liebestod”? Slavoj Žižek on Wagner’s “Tristan und Isolde”Over the last two decades the Slovenian philosopher Slavoj Žižek has become one of themost popular intellectuals in western society: His numerous appearances on talk showsand TV programmes, as well as his idiosyncratic and humorous way of explaining his mainideas with references to Hitchcock movies or to the banalities of everyday life have madehim, as Tony Myers put it, an “MTV philosopher”. But one of the most common sources ofexamples in Žižek’s writings are Wagner’s operas and in the course of his prolific career hehas dedicated various essays and an entire book to Wagner’s music, by focussing hiscritical attention particularly on the Ring, Parsifal and Tristan und Isolde.Quite astonishing in the face of the conspicuous literature about Žižek’s philosophical andpolitical thinking is however the lack of critical reception of his writings on Wagner,despite their stimulating insights. In my paper I intend to discuss Žižek’s interpretation ofWagner’s Tristan und Isolde and his Lacanian use of Freud’s concept of the death drive inorder to explore new levels of meaning in Wagner’s work. In particular I will point outhow, on the basis of Isolde’s Liebestod, Žižek offers a new and highly interesting reading ofthe link between Wagner’s reflections on sexuality and his political project.Mauro Fosco Bertola is an Assistant Lecturer in Musicology at Heidelberg University. Aftercompleting his Master’s Thesis in Philosophy in Italy, where he wrote on NicolasMalebranche, he studied Musicology in Heidelberg. In his PhD, which has recently beenpublished by Böhlau (Die List der Vergangenheit. Musikwissenschaft, Rundfunk undDeutschlandbezug in Italien, 1890-1945), he considered the role of music traditions forconstructing national and fascist identities in Italian and German musicology and radiobroadcasting. His supervisor is Prof. Dr. Silke Leopold. Mauro Fosco Bertola has been aFellow of the Landesgraduiertenförderung Baden-Württemberg, of the DeutschesHistorisches Institut in Rome and of the Richard-Wagner-Verband. He has publishedarticles on the subject of the emergence of Italian musicology at the end of the 19 th century,the role of ancient music in Italian and German radio broadcasting before World War II,and the links between fascist ideology and music.11


Prof. Dr. Dr. h.c. Dieter Borchmeyer“ich schreib’s euch auf, diktirt ihr mir! ”– Richard Wagners medienästhetische Kritik derSchriftFür Richard Wagner stand die Schrift stets im Schatten der klingenden Rede. Damit fügt ersich in die Tradition des abendländischen Phonozentrismus ein. In seinen ZüricherReformschriften, besonders in Oper und Drama, hat er gegen die Künste polemisiert, diebloß “Literatur” sind, d.h. sich in reiner Lesbarkeit erschöpfen und der sinnlichenRealisierung entziehen. So nennt er das nur erzählende, sich “nicht an die Sinne, sondernan die Einbildungskraft sich kundgebende Literaturgedicht” den lediglich “dürftigenTodesschatten” des wahren, “sinnlich dargestellten” Kunstwerks, eben des dramatischen.Sein Ideal ist in seinen späten Schriften das improvisierte, vor-schriftliche Kunstwerk.Freilich muß die Improvisation “fixiert”, in die Schriftform überführt werden, aber so, daßder improvisatorische Ursprung immer erkenn- und spürbar bleibt. Die große Parabel desso entstehenden “Kunstwerks der Zukunft” findet sich in den “Meistersingern vonNürnberg”, wo am Beispiel des Preislieds von Walther von Stolzing der Weg vomimprovisatorischem Einfall über dessen ,Diktat' und Aufzeichnung zu neuer, wiederumimprovisationsgeprägter Aus- und Aufführung in eine Opernhandlung überführt wird.Dieter Borchmeyer war 1988-2006 Ordinarius für Neuere deutsche Literatur undTheaterwissenschaft an der Universität Heidelberg, seit 2007 ist er Honorarprofessor fürNeuere deutsche Literatur an der Universität Graz und hält im Rahmen einerStiftungsdozentur für Kulturtheorie (Manfred-Lautenschläger-Stiftung) weiterVorlesungen an der Universität Heidelberg. Von 2004 bis 2013 war er Präsident derBayerischen Akademie der Schönen Künste und Stiftungsratsvorsitzender der Ernst vonSiemens Musikstiftung. 2000 erhielt er den Bayerischen Literaturpreis (Karl Vossler-Preis). Im Oktober 2005 wurde ihm von der Universität Montpellier III (Paul Valéry) derEhrendoktor verliehen. Er war und ist Gastprofessor an Universitäten in Frankreich(Montpellier), Österreich (Graz) und besonders in den USA. Sein hauptsächlichesArbeitsfeld ist die deutsche Literatur vom 18. bis 20. Jahrhundert und das Musiktheater,mit dem Schwerpunkt auf Goethe, Schiller, Mozart, Richard Wagner und Thomas Mann.Jüngste Buchveröffentlichungen: Goethe. Der Zeitbürger (1999), Richard Wagner.Ahasvers Wandlungen (2002, amerikanische Ausgabe: Drama and the World of RichardWagner, 2003), Macht und Melancholie. Schillers Wallenstein (überarbeitete Neuauflage2003), Mozart oder die Entdeckung der Liebe (2005) und: Nietzsche – Cosima - Wagner.Porträt einer Freundschaft (2008). Seine neueste Publikation, zum 200. GeburtstagWagners erschienen: Richard Wagner – Werk, Leben, Zeit (2013).Dr. Anke Charton“Wunschmädchen” and “Hehrste Helden”: Vocal Gender, Sexual Politics and theEmbodiment of the Heroic in Wagner’s “Ring”Through the examination of various stagings of the “Ring” performed for the bicentenary –including Frank Castorf in Bayreuth and Robert Lepage at the MET/New York – againstthe backdrop of historical positions regarding gender politics in opera, this paper centers12


on both historical and current presentations of gender in voice and performance and on itsties to the heroic in the “Ring”. Special attention is being paid to the intersection of theconstruction of vocal gender and the gendered idea of the hero(ine).Viewed through this lens, the analysis of current Wagner staging is revealing both visualand aural tropes, the history of which also implies delving into a broader concept of howcontemporary readings of Wagner for the stage are linked to a (gendered) performancehistory. This includes a look at sexual politics in Wagner’s writing itself and especially tothe way these politics are being read and adapted for the stage today.Anke Charton (Leipzig, Institute for Theatre Studies) earned her MA degree studyingTheatre Theory, Literature and Lingustics at the universities of Leipzig, Bologna andBerkeley. She obtained her doctorate degree through a study of gender representation inopera, applying an interdisciplinary approach in between Theatre Studies, Musicology andGender Studies. Charton has published and taught extensively on musical theatre, EarlyModern performance practice and especially the intersection of Gender Studies and theArts. Grants include two full scholarships by the Evangelisches Studienwerk Villigst and aPhD commendation by the Mariann Steegmann Foundation. Current research projectsencompass Spanish theatre history, the gendered voice and the history of singing, andearly 19th century musical theatre.Gwen D’AmicoOpera and Politics: “Die Meistersinger” at the Intersection of New York City and WorldWar IIIn 1945, after a five-year hiatus, the Metropolitan Opera returned Richard Wagner’s DieMeistersinger von Nürnberg to its stage. It had been the only work of Wagner that hadbeen banned, and it was so treated ostensibly owing to its German nationalism andassociation with the Third Reich. But was it the German nationalism or Wagner’s ownanti-Semitism that caused the unease? What resounded with the audiences? World WarII stands at an historic cross roads in the reception of Die Meistersinger in America. Thisis where the “problem” with this work begins. As well, this episode has broaderimplications for Wagnerism today. The Metropolitan Opera’s decision created a space thatallowed others to follow suit. In effect, the Metropolitan Opera’s cancellation tacitlyupheld and affirmed all that is perceived as negative within Die Meistersinger.This study will examine the interior politics of Die Meistersinger and the environment atthe Metropolitan Opera in order to determine why the work was performed to acclaim inNew York from 1886 until World War I, but subsequently banned during both wars.Cultural and political factors of 1940s New York will also be considered in order tounderstand the response of audiences to what some perceived as a very “German” operawithin the larger context of American Wagnerism and, indeed, Wagnerism today. In theend, this study will be “political history” of Die Meistersinger viewed through the prism ofwartime New York City.Gwen D’Amico is a Doctoral Candidate in Musicology at the Graduate Center, CityUniversity of New York and is currently an adjunct lecturer at the Conservatory of Music at13


Brooklyn College, City University of New York. She is finishing her dissertation, “RichardWagner’s Die Meistersinger von Nürnberg and World War II: The intersection of thepolitics of war and opera in New York City, 1936-1945.” She is the current recipient of theMartin E. Segal Dissertation Fellowship and has published in the Journal of theInternational Alliance for Woman in Music. She has presented her work at the McGillMusic Symposium and the University of Leeds Conference, Richard Wagner’s Impact onHis World and Ours. Her areas of research include Richard Wagner, American receptionand gender issues; opera and politics; and American popular music.Prof. Dr. Gouzhong SunWagner Research in China: Text and ContextIn present-day China, Wagner research seems in a marginal state. In last decades,however, a few Chinese musicologists kept studying Richard Wagner, the man and themusic, and made some notable achievements, dealing with Wagner’s compositionaltechniques, operatic ideas, practice of music dramas, and the aesthetic value of themusical-theatrical work. The future of Wagner research in China may have expectingpossibilities: deeper analysis and interpretations of Wager’s works, a close reading ofmusic dramas with a comparative study of Chinese and Western musical-theatricalsystems, and reflection on the cultural significance of Wagner and his creation under thecontext of contemporary globalization.Guozhong Sun received his education at Shanghai Conservatory of Music and theUniversity of California at Los Angeles, where he earned his Ph.D. in Musicology. He isProfessor of Musicology at Shanghai Conservatory of Music, where he has taught for manyyears, and has held an appointment at Shanghai Normal University. He has written widelyon Mahler, Elgar, Chinese contemporary music and music historiography. He is currentlyworking on a book on music bibliography.Hermann GramppBayreuth and the GDRBefore 1961, many musicians coming from theatres of the German Democratic Republic(GDR) were working at the Bayreuth Festival. Both Wieland and Wolfgang Wagner made aspecial effort to establish ties with artists from East Germany in order to continue culturalrelations in a politically divided country. As from the year the Berlin wall was built (in1961), and iron curtain also went down on the Bayreuth Festival house, preventing almostall East German musicians from working for the Bayreuth Festival. This paper tries toexamine the exact relationship between the administration of the Bayreuth Festival andGDR artists/the GDR state level between 1951 and 1990. There were well-knowninternational stars such as Theo Adam and Harry Kupfer who are known to have workedfor the Bayreuth Festival even though they were citizens of the GDR and thus, living“behind the Berlin Wall”. However, looking at the matter in detail, one becomes aware thatthere were a lot more GDR artists present in Bayreuth, before and after the building of the14


Berlin Wall. In examining this phenomenon, a completely new political aspect of theBayreuth Festival history becomes apparent which can be read as an “Cultural history ofthe two Germanys”.Hermann Grampp studied History, Economics and Political Science at the Free Universityof Berlin, the University of Cambridge and the Sorbonne in Paris, holding Master degreesfrom any of these institutions. In his historical research, he has focused on music historyand written on a variety of subjects, with a special emphasis on Wagner reception inEurope. In 2013, he published his first book dedicated to Wagner, together with DorianAstor (in French: Comprendre Wagner, Max Milo Éditions). He occasionally works as anopera critic, among others for altamusica.com and Opernwelt. Hermann Grampp lives inBerlin and is currently finishing a PhD on the topic: “Social History of French Wagnerismfrom 1860 to 1914”.Prof. Dr. Thomas GreyMusical Landscapes in the “Ring”: An Eco-Musicological PerspectiveThe representational affinity of music for myth and nature has been a constant throughoutthe history of opera, culminating in the works of Richard Wagner, above all the Ring cycle.While landscape scenery on painted backdrops or flats was generic in character andnecessarily static, the musical score infuses these fixed, generic representations with adynamic, imaginative dimension, elevating techniques developed in the realm of popularpanoramas and dioramas, as Anno Mungen has shown (BilderMusik, 2006).Modern productions of the Ring have typically deconstructed Wagner’s mythical landscapeto convey the threat posed by industrial technology (symbolized by the Ring) to the naturalorder. Is it possible, however, to view the natural environment as an agent in the drama,not merely a fixed, generic backdrop? Does Wagner transform “wilderness” from a neutralor hostile environment to a positive force, to be valued and defended? Does the Ring posita symbiosis of utopian socialism and utopian pastoral? Drawing on Lawrence Buell (TheEnvironmental Imagination, 1995) and subsequent eco-critical scholarship, this paperreconsiders the status of the natural landscape in Wagner’s Ring cycle and its modernreception.Thomas Grey is Professor of music at Stanford University. He is the author of Wagner'sMusical Prose: Texts and Contexts (1995), as well as editor and co-author of theCambridge Opera Handbook on Wagner's Flying Dutchman (2000), the CambridgeCompanion to Wagner (2008), and Wagner and his World (Princeton University Press,2009). He has also written on Beethoven, Mendelssohn, and history of 19th-centuryopera. Recent projects include the painting of Hans Makart in relation to Wagnerreception in the late 19 th century, essays on the idea of “absolute music,” eco-criticalperspectives on landscape and nature in 19 th century music, and the entry on RichardWagner for Oxford Bibliographies Online. Other new fields of interest are Americanmusical theater and relations between music and the “Gothic” in theater and fiction.15


Dr. des. Golan GurRichard Wagner and Jewish/Israeli Identity in MusicAlready a major cultural figure in his own life time, the significance of Richard Wagner’sphilosophical, political, and social views can hardly be exaggerated. The paper addressesrelatively little-explored aspects of Wagner’s reception history outside Germany, focusingon the writings of selected musicologists and ethnomusicologists active around 1900. Theaim of the paper is to show how Wagner inspired thoughts about national and racialidentity in music, and, secondly, to investigate the ramifications of these to more recenthistory. Of particular interest is Wagner’s contribution to the discourse about the nature ofGerman music vis-à-vis other national traditions as well as music by Jewish composers.The paper will open by exploring Wagner’s positions in ‘Was ist Deutsch?’, ‘DasJudenthum in der Musik’ and other pertinent essays. Following this, I will discuss theinfluence of his aesthetic and historical convictions to the work of two Viennese scholars,Richard Wallasche and Robert Lach, and the Jewish ethnomusicologist Abraham ZviIdelsohn. With regard to the latter, I will show that some Wagnerian ideas provedsurprisingly useful to the study of Jewish music at exactly the time of the Jewish nationalrevival. No less intriguing is the dialectical relationship between Wagner and early Israelicomposers of art music who ruminated about Semitism in music.Golan Gur completed his doctoral studies in musicology at the Humboldt University ofBerlin. Born in Israel, he attended Tel Aviv University where he earned his B.A. (2004) andM.A. (2007) degrees. Between 2003 and 2006, he was a teaching and research assistant inthe Department of Musicology at the same institution. Between 2007 and 2008, hepursued further graduate studies at LMU Munich. His research has been supported byfellowships and grants from the Minerva Foundation (Max Planck Society), the GermanNational Academic Foundation, the Paul Sacher Stiftung and more. He taught at Tel AvivUniversity, the Humboldt University of Berlin and, as of year 2013, at Berlin University ofArts. His work has been published in collections of essays and peer-reviewed journals. Hisresearch interests include aesthetics and cultural history of music, second Viennese School,Jewish/Israeli ethnomusicology, Critical Theory and Marxist aesthetics, and historicaltheory and methodology.Dr. Yaël HêcheCommemorating Richard Wagner for Children: “Siegfried-Idyll” dramatizedHow can Richard Wagner, a composer known for symphonic operas lasting several hours,be introduced to children by a chamber orchestra? Siegfried-Idyll is an answer: the score isone of the few that can be played by such an orchestra and one of the shortest. It is alsodirectly linked to Der Ring des Nibelungen and has a “fairytale” component as Wagnercomposed it in secret as a gift for his wife Cosima. Therefore the chamber orchestra ofLausanne (OCL) organized a concert for a young audience around Siegfried-Idyll inNovember 2012. Wagner's score was played and a comedian performed a text written bythe author of this paper. In the form of a narration, the concert presented some facts aboutthe composer, Siegfried-Idyll and the background of its composition, doing links with the16


hero Siegfried through thematic examples. The children were also actively involved, as theyhad learned and sang with the orchestra the lullaby “Schlaf, Kindchen, schlafe” composedin 1868 and used as a secondary theme in the Idyll. This paper will present in detail thisway of dramatizing Siegfried-Idyll. The result, with his successful but also moreproblematical aspects, will allow a reflexion and discussion about the way of presenting thecomposer to young listeners.Yaël Hêche studied musicology with Professors Jean-Jacques Eigeldinger in Geneva andAnselm Gerhard in Bern. His dissertation “Französische und italienische Anklänge zuvermeiden gab ich mir nicht die geringste Mühe.” Entre opéra-comique et tragédielyrique: Richard Wagner et ses modèles français (Südwestdeutscher Verlag fürHochschulschriften, 2010) studies the dramatic and musical influences of GaspareSpontini and French comic opera on Richard Wagner. Yaël Hêche is contributor to theDictionnaire encyclopédique Wagner (Actes Sud, 2010) and was during several yearsprofessor for history of music at the “Institut de Ribaupierre” in Lausanne. He is lectureras well as redactor for the Chamber Orchestra of Lausanne (OCL) and for other musicalinstitutions and festivals. In 2013, he presented a paper at the international conferences“Wagner et la France” in Paris and “The staging of Verdi and Wagner Operas” in Pistoia(Italy).PD Dr. Gregor HerzfeldIs it a Men’s World? The Construction of Masculinities in WagnerAlthough Masculinity Studies have boomed to a degree which makes it difficult to keeptrack, historical musicology very slowly enters this domain of academic research. This isastonishing considering the richness of results that Women’s and Gender Studies havebrought to the discipline; and it is especially surprising with regard to the works of RichardWagner, whose thoughts circled around the images of gender, in his writings – rangingfrom the Zürich essays to the late fragment Über das Männliche u. Weibliche in Kultur u.Kunst – as well as in his musical dramas. Aside from Jean-Jacques Nattiez’s path breakingWagner Androgyne, in scholarly research relatively little attention has been paid to hisconstruction of masculinities. This is a desideratum, not only because – as Wagner himselfand the latest gender-oriented studies understand it – the gender discourse is as much anissue of women as of men, and above all of their mutual relation. Masculinity cannot beconsidered as “natural”, but as an acquired cultural practice. As a consequence, the malecharacters in Wagner’s operas should be interpreted as representations of very differentroles or masks of masculinity. Another central question of this paper will be, if, havingWagner’s idea of “Aufhebung” of the gender difference in mind, his view on masculinitywas subversive as it opposed the concept of male hegemony, and preceded and preparedthe “crisis of masculinity” in the culture of fin-de-siècle.Gregor Herzfeld studied musicology and philosophy in Heidelberg and Cremona. Hegraduated with a master’s thesis on the shaping of time in works by Morton Feldman andElliott Carter. His doctoral dissertation from 2006 deals with time as process and epiphanyin American experimental music, and was completed after an academic year as Visiting17


Assistant in Research at Yale University. Since 2007 he is research assistant at theDepartment of Musicology of Freie Universität Berlin and copy editor (Schriftleiter) of theArchiv für Musikwissenschaft. In 2012 he qualified for a professorship (Habilitation) witha study of Edgar Allan Poe’s influence on music history. During the winter semester2012/13 he was visiting professor at Ludwig-Maximilians-Universität’s Department ofMusicology in Munich. His latest publications include the book Poe in der Musik. Eineversatile Allianz (Münster et. al 2013) and the essays Carter, le quatuor à cordes et lanotion de caractère musical (in: Hommage à Elliott Carter. Textes réunis, traduits etintroduits par Max Noubel, Paris 2013 [= Collection Pensée Musicale], 29-38),Atmospheres at Play: Aesthetical Considerations of Game Music (in: Peter Moormann[ed.], Music and Game, Wiesbaden 2013, 147-157), and Verführung – Vereinnahmung –Verderben. Musik bei Søren Kierkegaard, Richard Wagner und Thomas Mann (in: Musik& Ästhetik 59, 2011, 79-96).Prof. Dr. Julie HubbertNot So “Loathsome Deutschtum”: Wagner, Propaganda and American DocumentaryFilms of the 1930s and 40sThe appropriation of Wagner’s music in contemporary media in the last century has beenprofuse. No composer’s music has been quoted more than Wagner’s. While scholars haveanalyzed these appropriations, particularly in Hollywood film scores and particularly inconnection with films about Nazis or a general “loathsome Deutschtum,” as CarolynAbbate describes it, little attention has been paid to the use of Wagner’s music in filmsoutside of Hollywood. Within the much greater world of non-narrative filmmaking in theU.S. — newsreels, documentaries, industrial and educational films, the appropriation ofWagner, even in the 1930s, was often neither Germanic nor loathsome. The criticallyacclaimed,feature-length documentary film sponsored by the American car companyChevrolet, Master Hands (1936) is a good example. While aspects of the film’s visualdepiction of the American automobile industry borrows heavily from Riefenstahl’sTriumph of the Will, the film’s score, a compilation full of Wagner excerpts, arranged bycomposer Samuel Benavie and performed by the Detroit Symphony Orchestra, is equallypropagandistic. By considering the music for this neglected documentary film, this paperwill not only reexamine the reception of Wagner in the U.S. between the World Wars, itwill examine the use of his music in the creation of American films of persuasion. It willexplore the appropriation of Wagner by U.S. filmmakers as an audible signifier not forNazi ideology but for American democracy, industry and capitalism.Julie Hubbert is an Associate Professor in both the Film and Media Studies Departmentand the School of Music at the University of South Carolina. She has written numerousarticles on a variety of film music and media topics. Her book, Celluloid Symphonies: Textand Contexts in Music History was published in 2011 by the University of California Press.She is currently working on a book on compilation scoring practices in post-classical andpost-modern film.18


Dr. Joachim JunkerLuigi Nono’s Analytical Remarks on “Tristan und Isolde” and the Manifestation of Naturein Wagner’s MusicLuigi Nono's analytical remarks on Wagner's Tristan und Isolde have often beeninterpreted as an explanation for his own way of thinking and composing music in the1980s. However, it has rarely been discussed if his thoughts can be seen as a contributionto a new comprehension of Wagner's music. In his remarks Nono develops three analyticalcategories of particular interest. Firstly he speaks about the relationship of sound andsilence in nature and in Wagner's music. Secondly he creates an analogy between the nonidentical,slightly varied perception of musical repetitions and natural processes. Thirdlyhe focuses on new sounds in Wagner's opera. His observations are influenced by the ideaof the “Naturlaut” in Gustav Mahler's First symphony and are related to sounds withparticular timbres and to chords whose structure is close to the overtone row. In theirnatural appearance these chords convey the impression to have always existed and cantherefore be perceived as fragments of a hidden totality. In the lecture these key aspects ofNono's composing in the last decade of his life (especially important for his “Tragediadell'ascolto” Prometeo from 1984/85) shall be transferred to Wagner's music. At thebeginning Nono's analytical categories shall be introduced. Thereafter their relevance forWagner's music shall be reflected in an exemplary analysis of a selected passage of thethird act of Tristan und Isolde. In this context it will be of particular interest to discuss therelationship of music and nature. To summarize: Based on Nono's remarks on Tristan undIsolde the lecture aims at showing a new approach to Wagner's way of understanding andcomposing nature.Joachim Junker finished his studies in Saarbrücken (at the University and the Universityof Music) with the “Erstes Staatsexamen” and a diplom in music theory. In Bonn hepassed the “Zweites Staatsexamen” and at the University of Cologne he obtained hisdoctorate with a thesis about Luigi Nono's string quartet Fragmente – Stille, An Diotima.Currently he teaches music and German literature at the Hohenstaufen-Gymnasium inKaiserslautern. He has published several studies on music of the 17th and 20th centuryand performs regularly piano music composed after 1945.Ann-Christine KarcherDie Marke “Richard Wagner“ im Jubiläumsjahr 2013Brands provide unique added value to products and serve to guide customers throughwidespread and highly differentiated markets. Therefore, it is important to create andmaintain strong brands to realize profits. This study assumes that the brand “RichardWagner” expresses values which can be used economically by labelling products with thecomposer’s name. The analysis of the commercial production related to Wagner in theanniversary year 2013 shows characteristic traits of the brand identity. Since thatproduction is not confined to marketing of music itself (e.g. phonograms, performances,scores), the brand’s role for extramusical products (e.g. tourism, merchandise) is alsoinvestigated. Central questions are: Who uses the brand “Richard Wagner”, in which19


manner, and with which purpose? The historical dimension of the brand still plays animportant role in its image today. Against this background, the study points out thehistorical aspects of the brand Wagner which are particularly highlighted or concealed inits identity in 2013. In the Web 2.0 age, there are many new opportunities for innovativeWagner experiences. Therefore, the tension between tradition and innovation is anotherimportant analysis aspect.Born in 1988, Ann-Christine Karcher studied musicology and economy at the JohannesGutenberg-University in Mainz and the University of Palermo (2008/09). In 2013, shegraduated in Mainz with an interdisciplinary Master’s thesis on Richard Wagner as a brandin the anniversary year 2013. Since July 2013, Karcher has been working with thepublisher Schott Music in the Concert Opera Media Division, where scores andperformance rights of mostly contemporary music are supervised.Dr. des. Melanie KleinschmidtRichard Wagner’s Anti-Semitism as Misconstrued NationalismNoticing the fact that it has become widely common to connect Wagner's own attitude withmodern nationalism will hardly surprise anybody. Due to this circumstance the attempt todisentangle the variety of threads, which finally lead to something that is today more orless reduced to a “nationalistic anti-Semitism” of Wagner, still plays a minor role. Neithershould nor may there be an approach to justify Wagner's invectives as less influential or –considering the composer's historical environment – as “normal” but it is still necessary totake a closer look at something that established as the connection of Wagner's anti-Semitism and modern nationalism. It is a well known fact that Wagner's anti-Semitismimpresses with inconsistency. But also the alleged closeness of this attitude to nationalismis even more unstable if all sources are regarded thoroughly. Wagner's rejection ofcosmopolitism must not be misinterpreted as nationalism, on the contrary: Analogous tohis longing for the perfect “Weib” there has always been a great desire for “Heimat” whichranks verifiably beyond any nationality and does not touch the question of anti-Semitismat all. Processing this illumination of Wagner's anti-Semitism one will soon find that it arehis hostile attitude to capitalism and his socialistic ideals and not any nationalistictendencies that provide the composer's anti-Semitism with arguments (at least from hispoint of view). It must also be kept in mind that Wagner's infamous essay would probablynever have been written without the encouragement of Theodor Uhlig, who is rarelymentioned in this context. If Wagner's anti-Semitism is today too thoughtlessly mixed withmodern nationalism one must oppose this theory with documentary material. I would liketo illustrate the correlation between Wagner's anti-Semitism and his (supposed)nationalism, his philosophical view of the world and his critique of capitalism – which arefinally and paradoxically only parts of Wagner's agonizing search for “Eigentlichkeit”.Melanie Kleinschmidt, Studium der Schulmusik, Stimmbildung und Musikwissenschaftenan der HfM Weimar “Franz Liszt”, 2012 Abschluss des Promotionsverfahrens (Titel derDissertation: “Der hebräische Kunstgeschmack. Zur Entwicklung des20


Authentizitätsproblems in der deutsch-jüdischen Musikkultur”), Publikationsschwerpunktauf musikästhetischen/musikphilosophischen Fragestellungen.Dr. Wendy Ligon SmithWagner and Fortuny: Designs for the Bayreuth TheatreWorking in Venice, one of Wagner’s beloved cities, the Spanish-born artist MarianoFortuny y Madrazo was a lifelong Wagnerite. After seeing Wagner’s operas performed atthe Bayreuth Theatre in 1891, many of Fortuny’s paintings, drawings, and costume designswere devoted to these works. But the most profound result of this visit was how itprovoked Fortuny to invent a system of indirect lighting that could be used for theatre.The atmospheric lighting and colouring effects produced by his new electric system were aradical change that he felt necessary to express the metaphysical aspects of Wagner’s work.Echoing the line from Parsifal that “time changes here to space”, Fortuny claimed thatnow “[…] theatrical scenery will be able to transform itself in tune with music, within thelatter’s domain, that is to say in ‘time’, whereas hitherto it has only been able to develop in‘space.’ This […] is of supreme importance for the staging of the works of Richard Wagner.”In 1903 Fortuny constructed a model of the Bayreuth Theatre that utilizes hisrevolutionary system for stage design. I will argue that Fortuny’s model uses newtechnology to match vision and sound, more fully embracing Wagner’s Gesamtkunstwerk.As part of my paper I propose, in conjunction with Museo Fortuny, producing andpresenting original film footage of the model that demonstrates the colour changes andspecial effects of its refurbished electrical lighting system. Fortuny’s Bayreuth model is animportant and captivating object in the history of Wagner performances.Wendy Ligon Smith is in the final year of writing her PhD thesis titled, “Reviving Fortuny’sPhantasmagorias”, supervised by Dr. Carol Mavor in Art History and Visual Studies at TheUniversity of Manchester, England. Her thesis examines the themes of revivalism,memory, light, shadows, magic, and secrecy that run throughout Mariano Fortuny’s (1871-1949) wide-ranging oeuvre. For this thesis Wendy has undertaken original archivalresearch in Venice, London, and Manchester. In Manchester Wendy has taughtundergraduate courses in the history of art interpretation, museum display and collecting,and on Marcel Proust. Last spring she co-organised a museum event with live musicalperformances and a guided tour at the Manchester Art Gallery to honour the centennialanniversary of the publication of Proust's Swann's Way. Wendy also designed andconvened an international, interdisciplinary academic conference on the study offashion/dress, Roland Barthes, and Walter Benjamin at The University of Manchester(June 2013). Wendy has presented papers at the Courtauld Institute, Oxford University,and for the Renaissance Society of America and the Art History and Visual StudiesResearch Seminar Series at The University of Manchester. She has also written two essayson Fortuny and his work that will be published in edited volumes in 2014.21


Dr. Brooke McCorkleTwilight of an Empire: Staging Wagner in Wartime TokyoAdolf Hitler’s fondness for Richard Wagner’s music is legendary. Yet the Nazi ethos echoedelsewhere in the world, and nowhere more profoundly than in Germany’s WWII ally,Japan. Did the Japanese, who also listened to Wagner, listen in the same way? By 1942, thewar was going badly in Japan-bombers had appeared over Tokyo. And Wagner’s music wasmustered to enhearten the populace. Lohengrin premiered on the Tokyo stage inNovember of that year. Conductor Manfred Gurlitt, a German expatriate andReichsmusikkammer member collaborated with the Japanese tenor Fujiwara Yoshie instaging the production. This paper will center on this mélange of German and Japaneseaesthetics, recreating the performance and how it was heard as far as possible fromcontemporary documents. But more than this, it interrogates the cultural work theperformance accomplished in wartime Japan. For that work must have been deemedimportant: Given Wagnerian opera’s prohibitive costs, the impetus that drove theproducers and their backers to stage Lohengrin during times of disastrous scarcity musthave served a purpose beyond mere profit. I argue that the opera served as an ideologicalstate apparatus that was understood by the Japanese as expressing their aspirations andassuaging their anxieties.A Benjamin Franklin Fellow, Brooke McCorkle is an accomplished double bassist,Japanologist, and music historian. She earned undergraduate degrees from the Universityof Oklahoma in International Relations in East Asia (2004) and Double Bass Performance(2008). At the University of Pennsylvania, she acquired a Master's Degree in East AsianLanguages and Civilizations in 2012 while working on her PhD in Musicology. Brooke iscurrently completing her dissertation, Searching for Wagner in Japan, under theguidance of Carolyn Abbate. In her dissertation, Brooke composes a cultural history thatexamines the heretofore unexplored relationship between modernity, national ideology,and Wagner reception in Japan from 1868 to 1952. In addition to opera, Brooke also has astrong interest in film music, as exemplified by her articles on Japanese and Hong Kongcinema sound. In the future, she looks forward to working on several projects that havegrown out of her current work, including a history of Japanese film music, aninterpretation of Wagner's Parsifal via the writings of Jean-luc Nancy, and an analysis ofRobert Black's upcoming multi-media piece, Possessed.Barry MillingtonWagner 200 – Image, Reception, LegacyThe paper will examine the extent to which stereotypical ideas about Wagner have beenframed by contemporary assessments, how far by political and ideological developmentssince his death, and how far by our own psychosocial needs. It will reappraise receivedideas about Wagner and his works and offer reflections on the extent to which thebicentenary year has either challenged or reinforced those ideas.22


Barry Millington is Chief Music Critic for the London Evening Standard andfounder/editor of The Wagner Journal. He is the author and editor or co-editor of eightbooks on Wagner, including Wagner, The Wagner Compendium, The Ring of theNibelung: A Companion and Selected Letters of Richard Wagner, and also contributed thearticles on Wagner and his operas to The New Grove Dictionary of Music and Musiciansand The New Grove Dictionary of Opera. His latest Wagner book, The Sorcerer ofBayreuth, was published by Thames & Hudson/OUP in 2012. He was the founder andartistic director of the Hampstead & Highgate Festival (1999–2003), has acted asdramaturgical adviser at international opera houses, and recently co-founded the ensembleCounterpoise. He is co-director of Wagner 200, a wide-ranging series of events celebratingthe bicentenary of Wagner’s birth in 2013, and is known also as a broadcaster and lecturer.Prof. Dr. Barbara MittlerWagner Goes East (and Back Again): Operatic Performance between Europe and ChinaIn drawing on evidence from some 150 years of operatic exchanges between China andEurope, this paper will trace how the performance of European opera has been introducedto China, what its function was and how it was understood over time. I will argue that theperformance of European opera in China was never innocent. Political and commercialmotivations inevitably played into it. In trying to understand the complexities and manydifferent levels of European opera’s reception in China, i.e. in trying to understand how the“Other” receives European opera, we have to always bear in mind our own reception of thatvery “Other”, its culture, its politics, and, last but not least, its music. The presentation thusalso deliberates the transcultural qualities of music and music-making between China andEurope in the long 20 th century.Barbara Mittler holds a Chair in Chinese Studies at the Institute of Chinese Studies,University of Heidelberg and is Director of the Cluster of Excellence at the University ofHeidelberg “Asia and Europe in a Global Context.” She began her studies of Sinology at theUniversity of Oxford (MA Oxon 1990), and has spent research periods in Taiwan, thePeople’s Republic of China, Hong Kong and at Harvard University. Her PhD (1994) andher habilitation (post-doctoral thesis, 1998) are both from Heidelberg. In 2000 shereceived the Heinz-Maier-Leibnitz-Prize for young and outstanding scholars by theGerman Research Foundation and the German Ministry of Culture. Between 2002-2004she was a recipient of a Heisenberg Fellowship awarded by the German ResearchFoundation. In 2008 she was elected member of the National Academy of SciencesLEOPOLDINA and, more recently, in 2013, the Heidelberg Academy of Sciences. In 2009she won the Henry Allen Moe Prize in the Humanities, American Philosophical Society,and most recently, in 2013, her book-length study of the Chinese Cultural Revolution haswon the Fairbank Prize by the American Historical Association.Her research focuses on cultural production in (greater) China covering a wide range oftopics from music to (visual) and (historical) print media in China's long modernity. Shehas published numerous research papers and three book-length studies: DangerousTunes: The Politics of Chinese Music in Hong Kong, Taiwan and the People's Republic of23


China since 1949, Harrassowitz 1997; A Newspaper for China? Power, Identity andChange in China’s News-Media, 1872-1912, Harvard University Press, 2004; A ContinuousRevolution: Making Sense of Cultural Revolution Culture, Harvard University Press,2012.Prof. Dr. Anno MungenWagner, Nürnberg, and “Die Meistersinger von Nürnberg”How is Wagner present in the City of Nürnberg in 2013? What are the traces of his workand biography to be found here today? The idea of cultural topography may be applied tothe Wagner topic to understand an urban space as constructed through its cultural eventsand heritage. The first section of the paper takes into account historical aspects ofWagner’s relationship with Nürnberg in the 19th century: the place as a romantic spaceand the city with its tradition of festival culture. The second part is looking at 20threception history. It will investigate the city as a place where Wagner’s opera “DieMeistersinger von Nürnberg” is situated and has its presence within performances. Themedia of opera and festival gain the quality of a mirror, where the self representationbecomes intrinsic to the construction of identity, propaganda and power. Especially thetime of Hitler’s Nürnberg will be taken into consideration looking at the function of“Meistersinger”-performances within Nürnberg.Anno Mungen is Full Professor of music theater studies and director of the Institute forMusic Theater Studies (Forschungsinstitut für Musiktheater), Schloss Thurnau, at theUniversity of Bayreuth. Prior to this appointment in october 2006 he was Professor ofmusicology at Bonn University. From 1995 until 2002 he was affiliated with the musicdepartment of Mainz University, where he completed his post-doctoral thesis(Habilitation) An ‚Archaeology‘ of Film Music. Panoramas, Dioramas, and TableauxVivants in Multimedia Performances in the 19th and Early 20th Centuries, which waspublished in 2006 and involved a one year scholarship in the US (New York City, Boston,Washington D.C.). Mungen received his doctorate in 1995 with a dissertation on GaspareSpontini and German opera of the 1820s (published in 1997) from Technische Universität,Berlin, where he studied musicology with Carl Dahlhaus and others. He also has a degreein flute from Folkwang Hochschule für Musik, Duisburg. Major publications are on operahistory, on the visual arts and music, film music, 1920-1950s German music history, aswell as music and gender studies. He is also the editor of ACT, an academic online journalon music and performance. He initiated the project www2013: with its events inBayreuth/Germany, Bern/Switzerland, Shanghai/China and Columbia (SC)/USA. Also heis spearheading a research project on Music – Voice – Gender at Thurnau.24


Prof. Dr. Paul Lawrence RoseThe Problem of Anti-Semitism in the Wagner OperasSince Adorno’s pioneering essays of the late 1930’s, debates on the extent to whichWagner’s operas are impregnated with expressions of the composer’s existentialantisemitism have been conducted on various levels. These levels have included theencoding of antisemitism in the plots and allegories of the operas, the embedding ofantisemitism in their political and philosophical programs, the personification ofantisemitism in the characters (notably Alberich, Mime and Beckmesser), and so on.Most recently the debate has moved to the level of how the antisemitism is expressedmusically, for example in Beckmesser’s high tessitura as a signifier of his “Jewish”characteristics. This presentation develops the concept of a “musical antisemitism” andillustrates some of the musical techniques which Wagner used to suggest the Jewishness ofsuch characters as Alberich, Mime, Hagen and Klingsor. These techniques were inspired byWagner’s notion of specifically Jewish modes and scales, as well by his desire to parody themusical idiosyncrasies of such Jewish composers as Meyerbeer and Offenbach.In a less crudely antisemitic way, Wagner’s desire to distance himself from “Jewish” musiccould also inspire him to transform into an elevated expressiveness numerous loftymusical and poetic themes which he felt Jewish composers – above all, Meyerbeer - andwriters (preeminently Heine) had trivialized or misunderstood.Paul Lawrence Rose, born Glasgow, Scotland; BA, MA, Oxford; MA stat. Cambridge;Doctorat en Histoire, Paris I-Sorbonne; Fellow of the Royal Historical Society; Member,Institute for Advanced Study, Princeton. Has taught in England, Australia, Israel, Canadaand the USA. Currently Mitrani Professor of European History and Jewish Studies at thePennsylvania State University and Adjunct Professor of the Graduate Institute of LiberalStudies, Emory University, Atlanta USA. Books include: Wagner - Race and Revolution;German Question/Jewish Question, Revolutionary Antisemitism in Germany from Kantto Wagner; Heisenberg and the Nazi Atomic Bomb Project - A Study in German Culture;and other books on intellectual history and the history of antisemitism. His books onAntisemitisms: Cultural, Emotional and National Histories of Antisemitism, and Wagner- Antisemitism in Music are due to appear next year.Dr. Anna Stoll KnechtBeckmesser in a New Light: “Die Meistersinger” in Gustav Mahler’s Seventh SymphonyThe Finale of Mahler’s Seventh Symphony clearly alludes to Wagner’s Die Meistersingervon Nürnberg. While the fact has been widely acknowledged since the symphony’spremiere in 1908, the function and broader implications of this connection have not beenexplored in depth. I first suggest that references to Meistersinger may be heard at variouslevels throughout the symphony, as well as in the sketches; and, second, that theysignificantly crystallize around Beckmesser.I highlight two moments from the beginning and the end of Meistersinger. In the first,Beckmesser-the-Critic condemns Walther’s trial song as “meaningless” because it has “nobeginning nor end” (I, 3) while at the end, Beckmesser-the-Composer distorts Walther’s25


poem to such an extent that it sounds meaningless to his audience (III, 5). Mahler’sSeventh echoes both of these, as introductory and concluding gestures borrowed fromMeistersinger undergo transformations challenging their traditional function. In a way,Mahler and Beckmesser both “borrow” material from another composer and radicallytransform its original meaning. The technique of musical allusion, considered as a generalcharacteristic of Mahler’s style, was cited by his detractors (often with strong anti-Semiticundertones) to demonstrate his supposed lack of originality. I conclude that Mahler’streatment of Wagnerian material in the Seventh tells us something about his owninterpretation of the opera, and particularly about his perception of Beckmesser.Anna Stoll Knecht, Ph.D. candidate in musicology at New York University, recentlydefended her dissertation on Mahler's Seventh Symphony (“The Genesis of Mahler’sSeventh Symphony,” adv. Michael Beckerman). She obtained her M.A. in musicology andancient Greek at the University of Geneva in 2006, and a Diploma of Music Theory at theConservatory of Music of Geneva (2005), where she was hired as a Professor ofcounterpoint for four years. In 2007, she received a Fulbright scholarship that allowed herto start her Ph.D. at New York University. She has given several pre-concert lectures ontwentieth-century music in Switzerland and in New York (at the Lincoln Center for aperformance of Mahler's Seventh under Valery Gergiev). Her publications include anarticle on Mahler's Seventh Symphony and Wagner's Meistersinger (in RethinkingMahler, ed. Jeremy Barham, Oxford University Press, forthcoming); and a study of thevariation process in Henri Dutilleux's Métaboles (Annales Suisses de Musicologie, 2006).Her next research project will explore Mahler’s interpretation of Wagner both as aconductor and as a composer.Gero TöglThe Bayreuth Enterprise as a 19th Century NetworkThe aesthetic and political discourse Wagner established from 1848 onwards, theorganizational structures established throughout the 1870s and 1880s, as well as theeconomic, legal, and political dynamics that continuously reframed the conditions underwhich the Bayreuth enterprise was operating before WWI, characterize the RichardWagner Festival as a project engaged in the re-mapping of society. Exemplary for manysimilar modernizing artistic, scientific, and political movements, it engaged in processes ofinternational circulation, constructed a specific transnational public sphere, andreconnected them to Wahnfried as its nodal point. My paper discusses how Wagner’s andhis fellows’ ideas materialized into chains of consumption, webs of entrepreneurial control,and legal frameworks using the concept of ‘Networks’. It is the idea of re-constructingtransnational networks that allows subsuming these heterogeneous elements under theumbrella ‘enterprise’, both unique and typical of 19 th century companies, societies, orinstitutions dedicated to social reform.Gero Tögl graduated (2009) in Dramaturgy, Comparative Literature, Communication,LMU Munich, after being Socrates/Erasmus Exchange Student at King’s College London,UK in 2006/07. Recently (2012-2013) he was Research Fellow in the Theatre Studies26


Department, LMU Munich, as well as a Visiting Student Researcher at UC Berkeley,California (October 2013). His current PhD-project focuses on “The Bayreuth Enterprise.Social Construction, Artistic Expansionism, Modern Economy (1848-1914)” (Supervisor:Prof. Dr. Christopher Balme, LMU Munich).Dr. David TrippettFacing reality: on simulcast technology and the transfer of Wagner's music betweendigital platformsWagner’s vaunted model of artistic synthesis persists in scholarly assessments of his work.But at its centre, the composer argued the media of voice and orchestra do not mix: theyretain their identities as separate channels of sound that can neither duplicate norsubstitute for oneanother. Taking as a starting point Wagner’s claims for the nonadaptabilityof media, this paper addresses the adaptation of Wagner’s music to themodern digital technologies of HD cinema and video game. Drawing on a circle of writers,from Baudrillard to second-generation media theorists, it interrogates the concept of“reality” within live acoustic performance, both historically, as a discursive concept, andtechnologically, via the sensory realism of digital simulcasting and telepresence. Thephilosophical opposition of appearance and reality fails when reality is defined by theintimate simulation of a sensory event as it is registered on the body. And by contrastingthe traditions of high fidelity in (classical) sound recording with that of rendering sound incinema, I suggest ways in which seemingly unmixable media appear to have an afterlife inmodern technologies. This raises questions—in a post-Benjamin, post-McLuhan context—about our definition of “liveness,” the concept of authenticity within mediatized andacoustic sounds, and our vulnerability to the technological effects of media.David Trippett is lecturer in Music at Bristol University. His first book, Wagner’s Melodies(Cambridge University Press, 2013) examines the intersecting discourses of Germanmelodic theory, Wagner’s shifting aesthetics, and the presence of the natural scienceswithin public intellectual debate; this received the Donald Tovey Memorial Prize of theUniversity of Oxford.His broader research on opera, German intellectual history, and the intersection ofEuropean aesthetics with philosophies of technology has appeared in a range of books andjournals, including: Journal of History and Philosophy of Science, 19 th -Century Music,Journal of Musicology, Musical Quarterly, The Wagner Journal, and Musiktheorie. In2009 Trippett’s research received the Alfred Einstein Award of the AMS, and in 2013, anASCAP Deems Taylor award. He is also editor and translator of Carl Stumpf, The Originsof Music (OUP, 2012), which received the 2013 Bruno Nettl Prize of the Society forEthnomusicology. And in recent years he has served as guest-editor for the journalsMusiktheorie and The Wagner Journal.Currently, he is embarking on a new research project on music and materialism; in fleetingwindows of time he also performs as a collaborative pianist.27


Elfi VombergWagnerianer heuteImagine the scene: While the “Simili-Original-Partitur des Tristan feierlich zuschwermutsvoll-ironischem Kult” is arranged in Thomas Manns study, the writer tries torelax on his chaise lounge to the sounds of his beloved Wagner. This is for Mann theperfect way to discover Leitmotifs – equiped with pencil and score. This was how aWagnerian experienced the music 85 years ago. But how is this group of Wagnerianspreceived today? Taking a look on media reports reflects also the privalent cliché on theWagnerian as an expert on Wagner and conservative adept. But is the prevailing image ofthe Wagnerian true? Are they sitting in their winged chair prepared with pen and score onthe hunt for Leitmotifs while they are studying Wagner’s theoretical papers? How well dothey really know Wagner’s works? The lecture focusses on the literary discourse about thephenomenon of Wagnerians. It also examines the group on sociocultural aspects and theirperception in public.Elfi Vomberg, born in 1986, study of musicology, German studies, and sociology at theUniversity of Cologne, subsequently traineeship at the newspaper “Rheinische Post”.Activity as culture-journalist for the Cologne Opera and the Gürzenich Orchestra. Radiohostess, author, and press aide for the West German Broadcasting Corporation Cologne.PhD student at the University of Bayreuth within the programme “Musik undPerformance”. Lectureship at the research institute for musical theatre in Bayreuth.Lectures and publications on Richard Wagner and focused on Wagnerians and Wagnerassociations.Frithwin Wagner-Lippok#occupy wagner! – Performative Aesthetics, Wagner’s Postdramatic legacy?Text, music, and artistic self-image of Richard Wagner refer less to the outside world thanto themselves; instead of an external reality, they bring themselves “into appearance”.Wagner’s theatre art, from this perspective, is not representative but an “art of presence”:It constitutes its own presence, converging herein with characteristics of “pre-” and “postdramatic”theatre. Wagner’s librettos, “Leitmotive”, and livestyle disclose recursive,postmodern elements of self-reference which, besides of their own theatralicity, are hardlylinked to external references. Wagner also transforms myths ideosyncraticly and tightlyjoint to his own œuvre. In spite of his early revolutionary period it’s not about actualizationof real life but about the theatrical event (Ereignis) itself in the very moment of itsappearance. Thus Wagner’s works have something remarkable in common with thephenomena presence and emergence – leading concepts in theorization of “postdramatic”theatre. Do these main features of “esthetics of performativity” as developped by theatrestudies in opposition to traditional “representative” theatre as well turn up ascharacteristics in Wagner’s librettos, compositions, and artistic self-image? In what sensecan Wagner be regarded as early esthetical vanguard of post-dramatic theatre?The lecture adventures to answer these questions calling up practical experiences from myown work on performativity in theatre esthetics and from the preparation of a project28


#occupy wagner! – lectures2go between science and performance and wishing to enrichhereby the connectivity between artistic and theoretical engagement with postdramatictheatre and the phenomenon Wagner.Frithwin Wagner-Lippok, theatre director, actor, translator and teacher in workshops andprojects combining theory and practice of postdramatic and performative theatre issues inBerlin, Barcelona, Rio de Janeiro. Master of biology, psychology, and philosophy. Theatreeducation at Brock University, Ontario, Canada. Opera experiences in Valletta (Malta) andStaatstheater Karlsruhe. Direction of more than fifteen plays in Germany and Spain.Polylingual adaptations of German dramatists for Spanish/Catalan theatres and festivals.Investigative creational projects on contemporanean theatre focussing the relationshipreality-fiction in society and on stage. In Barcelona, performatic theatrical internetexperiments on the poetic implications of theory and the theatricality of social events.Collaboration in workshops and projects with postdramatic trendsetter groups like She ShePop, Rimini Protokoll, andcompany&Co. and deufert&plischke creating and organizingperformative experiments such as the internet lecture series lecturas2go performáticas enBerlín /Barcelona. Publications in Spanish or Brasilian theatre journals Estudis Escenics,Pausa, O Perceveijo, GRAE I. International Congress.Dr. Matthew WerleyWagners Ästhetik von Stadt und Staat: “Die Meistersinger von Nürnberg” und das Erbedes Historismus in der deutschen OperWhat are anniversary celebrations other than performed memorials? The call for criticalreflection during anniversary years provides scholars with occasions for contemplating thepast and its potential meaning for the future. Such historical reflection not onlycharacterises the academic engagement with Richard Wagner in 2013, it also parallels asimilar “double perspective” at the core of the composer’s only mature historical opera, DieMeistersinger von Nürnberg (1868). In this work Wagner adopted a specific historicalsetting and historicist compositional technique to construct an ideological vision ofGerman politics for a yet undefined nation-state. Whilst these aspects have long beendiscussed (Groos 1992; Borchmeyer 2002), it is not clear what impact Die Meistersingerhad on subsequent composers who sought to engage constructively with historical subjectson the operatic stage. This paper provides the first critical investigation of the legacy ofhistoricism in German opera after Die Meistersinger, focusing especially on the 1890s, adecade when notions of statehood and empire developed in ways that proved decisive forinterest in Wagner’s opera. By examining historical operas by Schillings, Strauss andothers, one can trace Meistersinger’s influential reception and ultimately demonstrate howsome concepts in Wagner’s artistic and political projects remain insufficiently explained.Matthew Werley studied theology and music in the United States (Philadelphia) beforeundertaking postgraduate studies in musicology in the United Kingdom (Oxford) andGermany (Garmisch-Partenkirchen). His research focuses on opera studies, with a specialinterest in the emergence of historicism in nineteenth- and twentieth-century music. HisDAAD-funded doctoral dissertation at the University of Oxford explored questions related29


to politics and historicism in the late operas of Richard Strauss. He is currently at work ona new critical edition of the correspondence between Strauss and Stefan Zweig for a Britishacademic publisher. Other projects include a large-scale monograph on Strauss and therise of historicism in German opera after Wagner, and another on the musicalcollaborations of the Viennese expressionist dancer Grete Wiesenthal. Matthew haspresented talks on a wide range of topics at conferences and universities throughoutEurope, North America and Australia. Upcoming engagements in Germany include a paperon Strauss and the poet Josef Weinheber at the Bayerische Akademie der Wissenschaftenin June 2014. Matthew lectured in music history and theory at the University of EastAnglia (Norwich) from 2011 to 2012, and has tutored undergraduates in musicology at theUniversity of Cambridge since 2009.30


INHALTSeiteProgramm Konferenzeröffnung 3Programm Verleihung des Thurnauer Preises 2013 5Konferenzprogramm 7Abstracts und Kurzbiographien der ReferentInnen 11Interdisziplinärer Richard-Wagner-Arbeitskreis für Musiktheateran der Universität Bayreuth31Inhaltsverzeichnis und Impressum 32Impressum:Book of Abstracts der Konferenz "WagnerWorldWide:Reflections" vom 12. bis15. Dezember 2013 in Bayreuth, Thurnau und NürnbergHerausgeber: Forschungsinstitut für Musiktheater der Universität Bayreuth(Leiter: Prof. Dr. Anno Mungen)Redaktion: Silvia Bier, Magda-Lena Grunert, Bernd Hobe, Anno MungenGestaltung Titelseite: Renate PaulsenGrafik Richard-Wagner-Arbeitskreis für Musiktheater (S. 31 und Rückseite): Nick SternitzkeRedaktionsschluss: 6. Dezember 2013http://artsandsciences.sc.edu/www2013http://www.youtube.com/WagnerWorldWidehttp://annomungen.blogspot.dehttp://www.fimt.uni-bayreuth.deFind us on32

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