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By Stephen McClatchie

The paintings of the Wagnerian theorist and analyst Alfred Lorenz (1869-1939) has had a profound impact upon either Wagnerian scholarship and tune research within the 20th century, and but it hasn't ever been correctly evaluated. interpreting Wagner's Operas outlines the origins and improvement of the expressive aesthetic in writings via Wagner and others, in addition to in early-twentieth-century theories of musical shape, and it considers Lorenz's paintings and contributions during this mild. The publication additionally hopes to teach, to the level attainable, the place Lorenz's paintings acted as a kind of "musical metaphor" for German nationalist ideology throughout the Nazi period.

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Extra info for Analyzing Wagner's Operas: Alfred Lorenz and German Nationalist Ideology (Eastman Studies in Music)

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Rosenberg's passage juxtaposes two seemingly contradictory impulses. On the one hand, there is the noble ideal of German philosophy, an influential and respected part of nineteenth-century thought which calls to mind the Germany of Weimar and Goethe, the Germany of thinkers and scholars. On the other hand, Rosenberg's "nordic soul" recalls the dark side of that very idealism: a tendency to mysticism and fuzzy speculation, and an antirational elevation of "experience" over thought that was to be embodied by the Germany of Nazism and Hitler.

Paul Egert, "Alfred Lorenz 70 Jahre alt: zum 11. Juli 1938," Die Musik 30 (1938): 65256; Max von Millenkovich-Morold, "Alfred Lorenz: Zu seinem 70. , "Der Entdecker der Wagnerschen Formprinzipien: Zum 70. Geburtstag von Alfred Lorenz am 11. Juli 1938," Neues Münchener Tagblatt, 8 July 1938. 64. The Deutsche Akademie was founded in 1925 in Munich as a private cultural organization with a particular interest in cultivating German culture and interests abroad. It remained apolitical until its upper ranks were gradually taken over by party members.

Kater, The Twisted Muse: Musicians and Their Music in the Third Reich (New York: Oxford, 1997), which is a vast improvement on both Michael Meyer, The Politics of Music in the Third Reich (New York: Peter Lang, 1991) and Erik Levi, Music in the Third Reich (New York: St. Martin's, 1994). 78. See, for example, Marc-André Roberge, "Le périodique Die Musik (19011944) et sa transformation à travers trois périodes de l'histoire allemande," Revue de musicologie 78 (1992): 10944. Potter also discusses this issue.

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