Richard Wagner Boeken

Longfellow, the bravest and noblest weiner dog in the world... As our story begins, Longfellow is a puppy learning how to be a good friend to his human companions, Old Henry and Henry's nurse Miss O'weeza Tuffy. By the end, he has grown old himself, but is still ready for one final adventure. What happens in between is an unforgettable and heartwarming tale that throws a tender light on the difficult truths of loss and longing as well as on our greatest hopes.

A master of mystery and paradox, Wagner dedicated his life to both composing music and shaping German culture. The essays, written between 1864 and 1878, reflect his frustration with Germany's embrace of cheap theater and inferior art forms. In "What Is German?", he argued for a cultural elevation beyond mediocrity, citing Johann Sebastian Bach as a pivotal influence. Wagner believed that German culture had a historic destiny primarily defined by music. Amidst defending his operas and personal reputation, he recognized that support would not come from "Franco-Judaico-German democracy," but rather from the monarchy, which he viewed as a fundamental law. His fortunes changed in 1864 when King Ludwig II of Bavaria provided financial backing, intensifying the jealousy of his adversaries. Despite public scorn, Wagner continued to work on significant operas, including Tristan und Isolde and Parsifal, while exploring the connections between religion and art. He described art as a "kindly Life-saviour," elevating human experience. These essays encapsulate his artistic philosophy and knowledge of German literature, underscoring his commitment to enhancing the quality of German opera. This edition features the complete text of volume 4 of the translation of Wagner's works, commissioned by the London Wagner Society in 1895.

The scale and grandeur of Wagner's The Ring of the Nibelung has no precedent and no successor. It preoccupied Wagner for much of his adult life and revolutionized the nature of opera, the orchestra, the demands on singers and on the audience itself. The four operas-The Rhinegold, The Valkyrie, Siegfried and Twilight of the Gods - are complete worlds, conjuring up extraordinary mythological landscapes through sound as much as staging. Wagner wrote the entire libretto before embarking on the music. Discarding the grand choruses and bravura duets central to most operas, he used the largest musical forces in the context often of only a handful of singers on stage. The words were essential: he was telling a story and making an argument in a way that required absolute attention to what was said. The libretto for The Ring lies at the heart of nineteenth century culture. It is in itself a work of power and grandeur and it had an incalculable effect on European and specifically German culture. John Deathridge's superb new translation, with notes and a fascinating introduction, is essential for anyone who wishes to get to grips with one of the great musical experiences.

A word-for-word translation of Wagners epic masterwork with the full German text. schovat popis

This ancient Chinese manual of spiritual alchemy was brought to the West in translation by missionary and theologian Richard Wilhelm who is assisted in this book by Carl Jung. Averse to the blind aping of oriental ways, Jung suggests that Eastern treasures are best used to enrich our understanding of the work we have to do on ourselves and our culture.

Set in a futuristic world, the novella features a philosophical dialogue between Edward and his robot valet, Brent. As Edward teaches Brent various human skills, their interactions spark profound reflections on humanity. Brent's journey toward becoming a renowned philosopher leads to unexpected adventures and cultural fame. With engaging characters, intriguing plot twists, and explorations of knowledge, the story appeals to both science fiction fans and those interested in technology.

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Despite the growing global interest in Wagner, particularly around the bicentenary of his birth in 2013, his prose writings have not received much scholarly attention. His essay on Beethoven, written for the centenary of Beethoven's birth in 1870, primarily reflects Wagner's own views rather than those of Beethoven. It is seen as a key aesthetic statement of Wagner's later years, revisiting concepts from his earlier Zurich writings, particularly Oper und Drama, in light of his experiences with compositions like Tristan und Isolde and Der Ring des Nibelungen. The essay provides Wagner's most thorough interpretation of Schopenhauer's philosophy and its impact on his later works, influencing thinkers like Nietzsche. This text is crucial for understanding Wagnerian thought and late nineteenth-century musical aesthetics. Previously, English readers had to rely on two Victorian translations, but this new edition offers the German original alongside a fresh English translation on facing pages. It includes a substantial introduction that situates the essay within Wagner's later intellectual development and the political backdrop of the 1870s German Empire, along with comprehensive annotations and a bibliography. This edition is essential for historians, musicologists, and those interested in Wagner's philosophy and musical aesthetics.