Richard Wagner for the New Millennium STUDIES IN EUROPEAN CULTURE AND HISTORY edited by Eric D. Weitz and Jack Zipes University of Minnesota Since the fall of the Berlin Wall and the collapse of communism, the very meaning of Europe has been opened up and is in the process of being redefined. European states and societies are wrestling with the expansion of NATO and the European Union and with new streams of immigration, while a renewed and reinvigorated cultural engage- ment has emerged between East and West. But the fast-paced transformations of the last fifteen years also have deeper historical roots. The reconfiguring of contemporary Europe is entwined with the cataclysmic events of the twentieth century, two world wars and the Holocaust, and the processes of modernity that, since the eighteenth century, have shaped Europe and its engagement with the rest of the world. Studies in European Culture and History is dedicated to publishing books that explore major issues in Europe’s past and present from a wide variety of disciplinary perspectives. The works in the series are interdisciplinary; they focus on culture and society and deal with significant developments in Western and Eastern Europe from the eighteenth century to the present within a social historical context. With its broad span of topics, geography, and chronology, the series aims to publish the most interesting and innovative work on modern Europe. Published by Palgrave Macmillan: Fascism and Neofascism: Critical Writings on the Radical Right in Europe by Eric Weitz Fictive Theories: Towards a Deconstructive and Utopian Political Imagination by Susan McManus German-Jewish Literature in the Wake of the Holocaust: Grete Weil, Ruth Klüger, and the Politics of Address by Pascale Bos Turkish Turn in Contemporary German Literature: Toward a New Critical Gram- mar of Migration by Leslie Adelson Terror and the Sublime in Art and Critical Theory: From Auschwitz to Hiroshima to September 11 by Gene Ray Transformations of the New Germany edited by Ruth Starkman Caught by Politics: Hitler Exiles and American Visual Culture edited by Sabine Eckmann and Lutz Koepnick Legacies of Modernism: Art and Politics in Northern Europe, 1890–1950 edited by Patrizia C. McBride, Richard W. McCormick, and Monika Zagar Police Forces: A Cultural History of an Institution edited by Klaus Mladek Richard Wagner for the New Millennium: Essays in Music and Culture edited by Matthew Bribitzer-Stull, Alex Lubet, and Gottfried Wagner Richard Wagner for the New Millennium Essays in Music and Culture Edited by Matthew Bribitzer-Stull Alex Lubet Gottfried Wagner RICHARDWAGNERFORTHENEWMILLENNIUM Copyright © Matthew Bribitzer-Stull, Alex Lubet, and Gottfried Wagner, eds. 2007. Softcover reprint of the hardcover 1st edition 2007 978-1-4039-7321-4 All rights reserved. No part of this book may be used or reproduced in any manner whatsoever without written permission except in the case of brief quotations embodied in critical articles or reviews. First published in 2007 by PALGRAVE MACMILLAN™ 175 Fifth Avenue, New York, N.Y. 10010 and Houndmills, Basingstoke, Hampshire, England RG21 6XS. Companies and representatives throughout the world. PALGRAVE MACMILLAN is the global academic imprint of the Palgrave Macmillan division of St. Martin’s Press, LLC and of Palgrave Macmillan Ltd. Macmillan® is a registered trademark in the United States, United Kingdom and other countries. Palgrave is a registered trademark in the European Union and other countries. ISBN 978-1-349-53445-6 ISBN 978-0-230-60717-0 (eBook) DOI 10.1057/9780230607170 A catalogue record of the book is available from the British Library. Design by Scribe Inc. First edition: September 2007 CONTENTS List of Illustrations vii Acknowledgments xi Introduction: Lingering Dissonances in Wagner Scholarship xiii Matthew Bribitzer-Stull and Alex Lubet Keynote Article 1 Chapter 1 On the Need to Debate Richard Wagner 3 in an Open Society: How to Confront Wagner Today Beyond Glorification and Condemnation Gottfried Wagner Part 1: Wagner’s Music 25 f Chapter 2 Tracing Mathilde’s A Major 27 Robert Gauldin Chapter 3 Glenn Gould and Richard Wagner 43 Timothy Maloney Chapter 4 Subverting the Conventions of Number 71 Opera from Within: Hierarchical and Associational Uses of Tonality in Act I ofDer fliegende Holländer William Marvin Chapter 5 Naming Wagner’s Themes 91 Matthew Bribitzer-Stull Chapter 6 In Search of C Major: Tonal Structure 111 and Formal Design in Act III of Die Meistersinger Warren Darcy VI CONTENTS Part 2: Wagner and Society 129 Chapter 7 Lingering Discourses: Critics, Jews, and 131 the Case of Gottfried Wagner Marc Weiner Chapter 8 Wagner’s Emblematic Role: The Case of 157 Holocaust Commemoration in Israel Na’ama Sheffi Chapter 9 Richard Wagner and Disability Studies 175 Alex Lubet Chapter 10 Anti-Semitism in Music: Wagner and the 189 Origins of the Holocaust Paul Lawrence Rose Index 209 LIST OF ILLUSTRATIONS Figure 1.1: Richard Wagner, 1880 by Joseph Albert 4 Figure 1.2: Friedrich Nietzsche in Basel, 1873 7 Figure 1.3: Kaiser Wilhelm I and his sister, Alexandrie 10 von Mecklenburg-Schwerin in Bad Ems, 1976 Figure 1.4: Wagner receives Kaiser Wilhelm I in 11 Die Bombe, Vienna 1876 Figure 1.5: Front cover, Bayreuther Blätter, 1878 12 Figure 1.6: Front cover, “Jewishness in Music,” 1850 14 Figure 1.7: The First Kundry in Parsifal, Anna Bahr in 16 Bayreuth, 1882 Figure 1.8: Dali and the sacrifice of a woman, 1974 17 Figure 2.1: Reductive comparison of similar passages in 31 Album Sonateand “Träume” A.Sonate(mm. 23–44) vs. “Träume” (mm. 1–14) B.Sonate(mm. 240–44) vs. “Träume” (mm. 62–64) Table 2.1: Structural comparison of “Träume” with Tristan 31 Act II “O sink” love duet Figure 2.2: The “So stürben wir” gesture 32 A. Comparison of opening of Sonate(mm. 1–2) with opening of “So stürben wir” Act II Duet inTristan(177/5/5–178/1/1–2) f B. Isolde’s “searching” for her A major to commence the “Transfiguration” (291/2/2–4, 292/1/2–4, 293/3/1–3, and 293/4/4–5) VIII LIST OF ILLUSTRATIONS Figure 2.3: Bacchanal revisions in 1861 Paris Tannhäuser 33 A. Venus’s aria theme over Tristan chord (Dover: 460, mm. 1–4) B. Tristan motif (Dover: 436, mm. 3–4) C. Tristan motif (Dover: 440, mm. 2–3) D. Tristan motif with “correct harmonies” (Dover: 442, mm. 2–3) f Figure 2.4: A scene between Sachs and Eva in 35 MeistersingerAct II, Scene 4 A. Use of Bacchanal/Tristan motif (Schirmer: 218/2/1–2) B. Use of primal “Love” motif (219/1/3–2/2) C. Use of last three-note Bacchanal gesture (219/3/1) Figure 2.5: Scene between Sachs and Eva in 36 MeistersingerAct III, Scene 4 A. Use of Tristan motif (Schirmer: 450/4/1–2) B. Transposed quotation from opening of Tristan Prelude (452/1/1–4) f C. Opening of G quintet, echoing motifs that open TristanPrelude (458/4/1–2) f Figure 2.6: Contradictory associative use of A major 37 inParsifal f A. A “Grail” motif associated with spirituality (Schirmer: 2/3/2–4) f B. A “Flowermaiden” motif associated with sensuality (147/1/1–4) Figure 2.7: Wagner’s titles for principal motifs in 38 ParsifalPrelude A. “Love” motif (Schirmer: 1/3/2–2/3/1) B. “Faith” motif (4/4/7–5/5) LIST OF ILLUSTRATIONS IX Figure 2.8: Use of Tristan harmonies and motifs in 39 Parsifal/Kundry scene (Act II) A. Enharmonic Tristan chord supporting Parsifal motif (Schirmer: 166/3–4) B. Paraphrased passage from TristanPrelude at the “kiss” (184/1/5–2/1) Figure 3.1: Wagner’s score to Siegfried Idyll, pp. 1–2 47 Figure 3.2: Reproduction of the holograph manuscript 49 of the second draft of Glenn Gould’s piano arrangement of Siegfried Idyll, pp. 1–2 Figure 3.3: Reproduction of the holograph manuscript 51 of the second draft of Gould’s piano reduction of the Prelude to Die Meistersinger, pp. 12–13 Figure 3.4: Reproduction of the holograph manuscript 53 of page 17A from the second draft of Gould’s piano reduction of “Siegfried’s Rhine Journey” in the Prelude to Götterdämmerung Table 4.1: Numbers in W.A. Mozart’s Die Zauberflöte 74 Figure 4.1: “Der Dreimalige Accord” from Mozart’s 75 Die Zauberflöte Table 4.2: Stage works rehearsed or conducted by Wagner, 76 1833–39 (list adapted from Thomas Grey) Figure 4.2: Die Zauberflöte,No. 21 Finale 77 Table 4.3: Summary of tonality in numbers from Act I 79 ofDer fliegende Höllander Figure 4.3: Conclusion of Dutchman’s aria 81 Figure 4.4: Linking cadence between Duet and Chorus 82 f Figure 4.5: Associative tonal relations: B major 83 and the Norwegians A. The opening of Act I B. The Steuermann’s Lied C. Choral reprise of the Steuermann’s Lied