Wagner and Wagnerism in Nineteenth-Century Sweden, Finland, and the Baltic Provinces: Reception, Enthusiasm, Cult (Eastman Studies in Music) (Eastman Studies in Music)

Although Richard Wagner is, of course, a figure of world importance, he and his work have had a particularly distinctive impact within the Baltic Sea region--in Sweden, Finland, and the cities of what are today Poland, Russia, Estonia, Latvia, and Lithuania. This story--or, rather, these overlapping stories--are here told for the first time in all their richness, starting with Wagner's own years as an apprentice conductor in K?nigsberg (in East Prussia, now the Russian city Kaliningrad) and Riga (Latvia) as well as his eventful concert tour to Russia in 1863. Wagner and Wagnerism in Nineteenth-Century Sweden, Finland, and the Baltic Provinces explores how Wagner's operas were performed and received in the theaters of Stockholm and other cities of the region and how excerpts from them were arranged for amateur performances in private homes. Wagner's music and his polemical writings aroused lively discussion around the Baltic, as it did everywhere else in the western world. Thanks to detailed accounts in newspapers, journals, contemporary literature, and writings of music historians (including some by Sibelius's teacher and friend Martin Wegelius), we are privileged, in Hannu Salmi's book, to "listen in" on these debates, which often deal with crucial questions of national self-determination and of cultural independence from Europe (especially Germany, in this case) and imperial Russia. Finally, Wagner and Wagnerism in Nineteenth-Century Sweden, Finland, and the Baltic Provinces reveals the surprising extent to which music lovers and operagoers from the various countries, many of them women, traveled to Wagner's Bayreuth Festival to attend performances. It also reconstructs the imaginative and patient efforts by which confirmed Wagnerians established Wagner societies in order to promote an understanding of the composer's work. Each country, each city, each local composer and conductor shows a distinctive approach--welcoming, resistant, or some of each--to the challenge of Wagner. In the process, we see music history and cultural history in the making. Hannu Salmi is professor of cultural history at the University of Turku, author of Imagined Germany: Richard Wagner's National Utopia, and an editorial board member of wagnerspectrum. 00000___682bb661f58cb062b33bb43d06ca0a54......Page 1 00001___39179e3a3f9abd325d5fcb7bdcb8363d......Page 2 00002___597cb3d12474101dcda023ed06ecae27......Page 3 00003___a6bd4e00eca423fa7cf3943e106a8d3d......Page 4 00004___c47345f01070127f1e9885f765707dcb......Page 5 00005___83a689a2a2d1a2bba31c77e76e06c5fb......Page 6 00006___791315077f309d85c44217af889f5955......Page 7 00007___6c8be790d09d0c3647f1179cde6e33d1......Page 8 00008___de47021e63274d0d87989061b95f4c86......Page 9 00009___c3f37fd705f710bc13925c8fac6fbf8d......Page 10 00010___a7b95d4ba94c732d15f92e12fb923f53......Page 11 00011___fc0680906765d92f1cc6250375c3cec8......Page 12 00012___a8b888c42add1bf78fc542aa85f314a0......Page 13 00013___103a77503583f7a0fdcee06ff173935b......Page 14 00014___c49ab1330b0c798bd34c6558ffd14e72......Page 15 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00321___267f949f96b0e069a5a69cd06868421b......Page 322 00322___c3a10f1136a06700aff93abcfc6037ed......Page 323 00323___ea78fa7e4b6776dcae7d42961aded610......Page 324 00324___87a760192c2ad7d159f9b783382ae1ae......Page 325 00325___448fe9d8f015507049971b7a8c6f8df8......Page 326 00326___d0328de41eca537b0a4d2dd419c635d3......Page 327 00327___c76de056707fa6cf44146c19029b77f4......Page 328 Although Richard Wagner is, of course, a figure of world importance, he and his work have had a particularly distinctive impact within the Baltic Sea region--in Sweden, Finland, and the cities of what are today Poland, Russia, Estonia, Latvia, and Lithuania. This story--or, rather, these overlapping stories--are here told for the first time in all their richness, starting with Wagner's own years as an apprentice conductor in Konigsberg (in East Prussia, now the Russian city Kaliningrad) and Riga (Latvia) as well as his eventful concert tour to Russia in 1863. Wagner and Wagnerism in Nineteenth-Century Sweden, Finland, and the Baltic Provinces explores how Wagner's operas were performed and received in the theaters of Stockholm and other cities of the region and how excerpts from them were arranged for amateur performances in private homes. Wagner's music and his polemical writings aroused lively discussion around the Baltic, as it did everywhere else in the western world. Thanks to detailed accounts in newspapers, journals, contemporary literature, and writings of music historians (including some by Sibelius's teacher and friend Martin Wegelius), we are privileged, in Hannu Salmi's book, to "listen in" on these debates, which often deal with crucial questions of national self-determination and of cultural independence from Europe (especially Germany, in this case) and imperial Russia. Finally, this text reveals the surprising extent to which music lovers and operagoers from the various countries, many of them women, traveled to Wagner's Bayreuth Festival to attend performances. It also reconstructs the imaginative and patient efforts by which confirmed Wagnerians established Wagnersocieties in order to promote an understanding of the composer's work. Each country, each city, each local composer and conductor shows a distinctive approach--welcoming, resistant, or some of each--to the challenge of Wagner. In the process, we see music history and cultural history in the making. Hannu An exploration of how Wagner's operas were performed and received in the theaters of Stockholm and other cities of the region.Wagner and Wagnerism in Nineteenth-Century Sweden, Finland, and the Baltic Provinces explores how Wagner's operas were performed and received in the theaters of Stockholm and other cities of the region and how excerpts fromthem were arranged for amateur performances in private homes. Wagner's music and his polemical writings aroused lively discussion around the Baltic, as they did everywhere else in the Western world. Thanks to detailed accounts innewspapers, journals, contemporary literature, and writings of music historians [including some by Sibelius's teacher and friend Martin Wegelius], we are privileged, in Hannu Salmi's book, to'listen in'on these debates, which often deal with crucial questions of national self-determination and of cultural independence from Europe. This text reveals the surprising extent to which music lovers and operagoers from the various countries, many of them women, traveled to Wagner's Bayreuth Festival to attend performances. It also reconstructs the imaginative and patient efforts by which confirmed Wagnerians established Wagner societies in order to promote an understanding of the composer's work. Each country, each city, each local composer and conductor shows a distinctive approach -- welcoming, resistant, or some of each -- to the challenge of Wagner. In the process, we see music history and cultural history in the making. Hannu Salmi is Professor of Cultural History at the University of Turku, author of Imagined Germany: Richard Wagner's National Utopia, and an editorial board member of wagnerspectrum. An exploration of how Wagner's operas were performed and received in the theaters of Stockholm and other cities of the region. Wagner and Wagnerism in Nineteenth-Century Sweden, Finland, and the Baltic Provinces explores how Wagner's operas were performed and received in the theaters of Stockholm and other cities of the region and how excerpts fromthem were arranged for amateur performances in private homes. Wagner's music and his polemical writings aroused lively discussion around the Baltic, as they did everywhere else in the Western world. Thanks to detailed accounts innewspapers, journals, contemporary literature, and writings of music historians [including some by Sibelius's teacher and friend Martin Wegelius], we are privileged, in Hannu Salmi's book, to "listen in" on these debates, which often deal with crucial questions of national self-determination and of cultural independence from Europe. This text reveals the surprising extent to which music lovers and operagoers from the various countries, many of them women, traveled to Wagner's Bayreuth Festival to attend performances. It also reconstructs the imaginative and patient efforts by which confirmed Wagnerians established Wagner societies in order to promote an understanding of the composer's work. Each country, each city, each local composer and conductor shows a distinctive approach -- welcoming, resistant, or some of each -- to the challenge of Wagner. In the process, we see music history and cultural history in the making. Hannu Salmi is Professor of Cultural History at the University of Turku, author of Imagined Richard Wagner's National Utopia, and an editorial board member of wagnerspectrum. Wagner and Wagnerism in Nineteenth-Century Sweden, Finland, and the Baltic Provinces explores how Wagner's operas were performed and received in the theaters of Stockholm and other cities of the region and how excerpts fromthem were arranged for amateur performances in private homes. Wagner's music and his polemical writings aroused lively discussion around the Baltic, as they did everywhere else in the Western world. Thanks to detailed accounts innewspapers, journals, contemporary literature, and writings of music historians [including some by Sibelius's teacher and friend Martin Wegelius], we are privileged, in Hannu Salmi's book, to "listen in" on these debates, which often deal with crucial questions of national self-determination and of cultural independence from Europe.
This text reveals the surprising extent to which music lovers and operagoers from the various countries, many of them women, traveled to Wagner's Bayreuth Festival to attend performances. It also reconstructs the imaginative and patient efforts by which confirmed Wagnerians established Wagner societies in order to promote an understanding of the composer's work. Each country, each city, each local composer and conductor shows a distinctive approach -- welcoming, resistant, or some of each -- to the challenge of Wagner. In the process, we see music history and cultural history in the making.

Hannu Salmi is Professor of Cultural History at the University of Turku, author of Imagined Germany: Richard Wagner's National Utopia, and an editorial board member of wagnerspectrum. Wagner and Wagnerism in Nineteenth-Century Sweden, Finland, and the Baltic Provinces explores how Wagner's operas were performed and received in the theaters of Stockholm and other cities of the region and how excerpts fromthem were arranged for amateur performances in private homes. Wagner's music and his polemical writings aroused lively discussion around the Baltic, as they did everywhere else in the Western world. Thanks to detailed accounts innewspapers, journals, contemporary literature, and writings of music historians [including some by Sibelius's teacher and friend Martin Wegelius], we are privileged, in Hannu Salmi's book, to "listen in" on these debates, which often deal with crucial questions of national self-determination and of cultural independence from Europe. This text reveals the surprising extent to which music lovers and operagoers from the various countries, many of them women, traveled to Wagner's Bayreuth Festival to attend performances. It also reconstructs the imaginative and patient efforts by which confirmed Wagnerians established Wagner societies in order to promote an understanding of the composer's work. Each country, each city, each local composer and conductor shows a distinctive approach — welcoming, resistant, or some of each — to the challenge of Wagner. In the process, we see music history and cultural history in the making. Hannu Salmi is Professor of Cultural History at the University of Turku, author of Imagined Germany: Richard Wagner's National Utopia , and an editorial board member of wagnerspectrum . Richard Wagner, the wandering musician. Around the Baltic Sea ; "The Siberia of Prussia" ; The Riga years Wagner as an orchestral and drawing room composer. Musical networks ; Commodifying Wagner's innovations ; Entering the concert scene The first steps in the cultural struggle. Riga as a Wagner center ; Lohengrin in Livonia ; "Living in the past" : Estonian responses ; Alone in the temple of Thalia : Tannhäuser in Helsinki Ent'racte : Wagner's promotional tour in Russia (1863). Concerts and controls ; "Adieu, charmant pays!" Cries and whispers : early Swedish encounters with Wagner. "Oh! Wagner, Wagner! I must cry out!" ; Rienzi as Zukunftsmusik Institutionalizing a composer. "The emperor of new German music" ; The mastersingers of Riga ; "Shrieks and signals" ; History writing and legitimation Pilgrimage to Wagner. The founding of the Bayreuth Festival ; Tourists on the Green Hill ; The cultural and social boundaries of Wagnerism The campaigners for Bayreuth. Patrons, agents, societies ; Almost a relative : Fredrik Vult von Steijern ; The representatives of Finland : Richard Faltin and Martin Wegelius ; Carl Friedrich Glasenapp and the Riga Wagner Society Conclusion : the final chord "Wagner and Wagnerism in Nineteenth-Century Sweden, Finland, and the Baltic Provinces reveals the surprising extent to which music lovers and operagoers from the various countries, many of them women, traveled to Wagner's Bayreuth Festival to attend performances. It also reconstructs the imaginative and patient efforts by which confirmed Wagnerians established Wagner societies in order to promote an understanding of the composer's work."--Jacket