Wagner chronological table. Richard Wagner brief biography

R. Wagner - the largest German composer XIX centurywho had a significant impact on the development of not only the music of the European tradition, but also world artistic culture as a whole. Wagner did not receive a systematic musical education and in its formation as a music master in a decisive extent owes himself. Comparely marked the interests of the composer, fully focused on the Opera genre. Starting from the earlier work - the romantic opera "Fairy" (1834) and up to the Mistereria Music Drama "Parsifal" (1882), Wagner remained a steady adherent of a serious musical theater, which was transformed and updated with his efforts.

Initially, Wagner did not think to reform the opera - he followed the established traditions of the musical performance, sought to master the conquest of his predecessors. If a German romantic opera became a model for imitation in the "faoney", such a brilliantly represented by the "magic shooter" K. M. Weber, then in the "Ban of Love" opera (1836), he was more focused on the traditions of the French comic opera. However, these early work Recognition did not bring him - Wagner led in those years the hard life of the theater musician, who killed in different cities of Europe. For some time he worked in Russia, in the German Theater of the city of Riga (1837-39). But Wagner ... Like many of his contemporaries, manila the cultural capital of the then Europe, which was already recognized by Paris everywhere. The rainbow hopes of the young composer flew when he came closely with an unsightly reality and was forced to lead the poor foreigner musician who interrupted by random earnings. The change for the better has arrived in 1842, when he was invited to the position of KapelMister in the famous opera house of the Capital of Saxony - Dresden. Wagner finally got the opportunity to introduce the theatrical public with his writings, and his third opera "Renzi" (1840) won strong recognition. And it is not surprising, since the model of the work served the French big opera, visident representatives Which was recognized masters of Spontini and J. Meyerber. In addition, the composer had the highest rank by the performing forces of the highest rank - such vocalists were in his theater, like tenor Y. Tikhachk and the Great Singer-actress V. Schröder-Devrite, who became famous at one time in the role of Leonora's only opera L. Beethoven "Fidelio".

3 Operas adjacent to the Dresden period connects a lot of common. So, in the endan on the eve of the move to Dresden, the old legend of the cursed for the previous atrocities, the sailor-Skaltar, begins, will come to life, to save only the devotee and pure love. In the opera "Tangayizer" (1845), the composer turned to the medieval legend of the singer-minnezinger, which saved the favor of the pagan goddess Venus, but he deserved for this curse of the Roman Church. Finally, in Loangrine (1848) - perhaps the most popular from the Wagner Opera - bright knight appears to land from the heavenly monastery - Holy Grail, in the name of the fight against evil, slander and injustice.

In these operas, the composer is still closely connected with the traditions of romanticism - his heroes are torn by contradictory motivations, when impaired and purity oppose the sinfulness of earthly passion, unlimited confidence - cunning and treason. With romanticism connected and non-sufficient narration, when there are not so many events themselves, how many feelings that they wake up in the shower lyrical hero. From here, it sits and such an important role of unfolded monologues and the dialogues of the acting persons who are exposing the internal struggle of their aspirations and motivations, a kind of "dialectic of the soul" of an outstanding human personality.

But in the years of work at the court service, Wagner had a new idea. The impetus to their implementation was a revolution that broke out in a number of European countries in 1848 and did not minimize Saxony. It was in Dresden who broke out an armed uprising, directed against the reactionary monarchical regime, which was headed by a friend of Wagner, Russian anarchist M. Bakunin. With his inherent passion, Wagner took an active part in this uprising and after his defeat was forced to flee into Switzerland. A difficult period began in the life of the composer, but very fruitful for his work.

Wagner re-thought out and comprehended his artistic positions, moreover, formulated the main tasks, which, in his opinion, stood before the art, in a number theoretical works (Among them is especially important Treaty "Opera and Drama" - 1851). He embodied his ideas in the monumental tetralogy "Ring Nibelung" - the main work of his life.

The basis of the Grand Creation, which in full takes 4 theatrical evenings in a row, was the tales and legends, ascending to the pagan antiquity - the German "Song of Nibelungha", the Scandinavian sagas included in the elder and younger EDU. But pagan mythology with its gods and heroes was for the composer to the means of knowledge and artistic analysis of problems and contradictions of the modern bourgeois reality.

The content of the tetralogia, which includes the musical drama "Gold Rhine" (1854), Valkiriya (1856), "Siegfried" (1871) and the "death of the gods" (1874), very multiple - in operations there are numerous characters entering each other in operations Complex relationships, sometimes even in a cruel, irreconcilable struggle. Among them, the evil dwarf Nibelung Alberyich, kidding the golden treasure among the subsidies of the Rhine; The owner of the treasure, who managed to throw a ring from it, promised power over the world. Alberich is opposed by the bright God Wotan, whose omnipotence is ghostly - he is the slave of the agreements themselves, on whom his dominion is based. Related by the Golden Ring at Nibelung, he brings against himself and his genus a terrible curse, from which he could only save him a mortal hero, not owed him. Such a hero becomes his own grandson - simple and fearless Siegfried. He wins the monstrous Dragon of Fafner, captives the cherished ring, awakens the sleeping girl to the warrior Bruunhild, surrounded by the fiery sea, but dies, fighting meanness and cunning. Together with him the old world, where deception was reigning, kingdom and injustice.

The grand ideas of Wagner demanded completely new, previously unheard of incarnation, new opera reform. The composer almost completely abandoned the dotole of the usual number structure - from the finished Aria, choirs, ensembles. In exchange, they sounded extended monologues and the dialogues of the actors deployed into an endless melody. The wide platform merged into them with the declamination in the vocal parties of the new type, in which the singer of cantilene and catchy speech characterity incomprehensibly united.

The main property of the Wagner opera reform is associated with a special role of the orchestra. It is not limited to supporting the vocal melody, but leads its own line, sometimes even speaking on the fore. Moreover, the orchestra becomes a carrier of the meaning of action - it is precisely in it most often the main music topics - leitmotifs that become symbols of characters, situations, and even abstract ideas. Leitmotives smoothly switch to each other, combined in simultaneous sound, are constantly modified, but each time they recognize the listener, firmly learned the semantic meaning assigned to us. In a larger scale, Wagner musical dramas are divided into deployed, relatively complete scenes where wide waves of emotional lifts and recession, voltage growth and its discharge occur.

Wagner began to exercise his great plan in the years of Swiss emigration. But the full inability to see the fruit on stage with its titanic, truly unparalleled on the power and revenue of work broke even such a great worker - the essay of the tetralogy was interrupted on long years. And only an unexpected turn of fate - the support of the young Bavarian king Ludwig breathed new forces in the composer and helped him complete, perhaps the most monumental of the art of music, which was the result of the efforts of one person. For the setting of tetralogia was built in the Bavarian city of Bairey, where he was first fulfilled in 1876. All the tetralogy was as planted by Her Wagner.

In addition to the "Ring of Nibelung", Wagner created in the second half of the XIX century. 3 more capital works. This is the Opera Tristan and Isolde (1859) - Enthusiastic Hymn eternal love, Scroll into medieval legends painted with alarming premonitions, permeated with the feeling of the inevitability of the fatal outcome. And along with such immersed in the darkness, the dazzling light of the national festival, who crowned the Opera "Nuremberg Masonzinger" (1867), where in the open contest, singers wins the dearer, marked with a true gift, and enforced and stupid and stupid-pedantic mediocreness. Finally, the last creation of the master - "Parsifal" (1882) - an attempt to musically and scenicly to imagine the utopian of the universal fraternity, where the uncomfortable power of evil is defeated so much clearly and reigns wisdom, justice and purity.

Wagner took a completely exceptional position in European music of the XIX century - it is difficult to call a composer who would not have experienced his influence. The opening of Wagner affected the development of the musical theater in the XX century. - Composers learned from them lessons, but then moved different paths, including those opposite to what the great German musician.

M. Tarakanov

The meaning of Wagner in the history of world musical culture. His ideological and creative appearance

Wagner belongs to the number of those great artists whose creativity has had a great influence on the development of world culture. His genius was universal: Wagner became famous not only as the author of outstanding musical creations, but also as a wonderful conductor, who, along with Berlioz, the founder of modern conducting art; He was a talented poet playwright - the creator of the libretto of his operas - and a gifted publicist, theorial of the musical theater. Such a versatile activity in combination with the boiler energy and titanic will, in approval of its artistic principles, has attracted everyone's attention to the person and music of Wagner: his ideological and creative achievements caused hot disputes and during the sifting of the composer and after his death. They did not subsigh up to this day.

"As a composer," said P. I. Tchaikovsky, - Wagner is undoubtedly one of the most remarkable personalities in the second half of this (that is, XIX. - MD) Century, and its impact on the music is huge. " This influence was multilateral: it spread not only to the music theater, where the Wagner worked most as the author of thirteen operas, but also to expressive means of musical art; The contribution of Wagner to the area of \u200b\u200bsoftware symphonism is also significant.

"... He is great as an opera composer," said N. A. Rimsky-Korsakov. "Opera him," A. N. Serov wrote, -... entered the people of Germanic, and became national Treasure In kind, no less than Weber Operas or Goethe or Schiller Creation. "He was gifted by the great gift of poetry, mighty creativity, his imagination was enormous, the initiative is strong, his artistic skill is great ..." - so characterized by V. V. Stasov, the best sides of the genius of Wagner. The music of this wonderful composer, on the thought of Serov, opened in the art of "unknown, immense horizons".

Having gave tribute to the genius of Wagner, his dorned courage of an artist-innovator, advanced figures of Russian music (first of all, Tchaikovsky, Roman-Korsakov, Stasov) criticized some trends of his creativity, distracted from the tasks of a real image of life. Particularly fierce criticism was subjected to general fractive principles of Wagner, its aesthetic views in applied to the musical theater. Tchaikovsky said briefly and metka: "I admire the composer, I feed a little sympathy for what is the cult of Wagner theories." Also the ideas were also bosyed by Wagner, images of his opera creativity, methods of their musical incarnation.

However, along with the species critical comments, the acute struggle for the approval of national identity russian musical theater so different from german Opera art, sometimes caused and bidding. In this regard, M. P. Mussorgsky very correctly noticed: "We are often swearing by Wagner, and Wagner is Silen and Silen in that it fades art and rubbing it ...".

An even more fierce struggle arose around the name and case of Wagner in foreign countries. Along with enthusiastic fans, those who have previously believed that from now on, the theater should be developed only on the Wagner Way, there were such musicians who thoroughly rejected the ideological and artistic value of Wagner's creations, seen only detrimental consequences for the evolution of musical art. Vagneryans and their opponents stood on irreconcilable hostile positions. Expressing fair thoughts and observations, they rather confused these questions with their obstenders, rather than helped them with resolution. Such extreme points of view were not divided by the largest overseas composers second halves XIX. century - Verdi, Biza, Brahms, - But they, recognizing the ingenious gifts of Wagner, not everyone accepted in his music.

Wagner's creativity gave the basis for disgraceful estimates, for not only its multifaceted activity, but also the personality of the composer was torn by the most severe contradictions. One-sidedly protruding any one of the sides of the complex appearance of the Creator and Man, the apologists, as well as Wagner's loans, gave a distorted idea of \u200b\u200bhis meaning in the history of world culture. In order to correct this value, it is necessary to understand the identity and the matter of Wagner's life in their entirety.

Double knot contradictions characterizes Wagner. On the one hand, these are contradictions between worldview and creativity. Of course, it is impossible to deny the connections that existed between them, but activities composer Wagner did not coincide with the activities of Wagner - Fruit publicist writerwho expressed a lot of reaction thoughts on politics and religion issues, especially in last period Life. On the other hand, and its aesthetic and social political Views Inside contradictory. Rebellious rebellion, Wagner Already to the revolution, 1848-1849 came with extremely confused worldview. It remains such and in the years of defeat the revolution, when the reactionary ideology poisoned the consciousness of the composer poison of pessimism, he gave rise to subjectivist sentiments, led to the approval of national-chauvinistic or clerical ideas. All this could not not affect the conflicting warehouse of his ideological and artistic quest.

But Wagner is truly great in that despite subjective Reaction loans, contrary to their ideological instability, objectively Reflected in artistic creativity the essential parties reality, opened - in an allegorical, figurative form - the contradiction of life, the decisions of the capitalist world of lies and deception, expressed the drama of large spiritual aspirations, mighty gusts to happiness and unsecidant heroic acts, broken hopes. No composer of the postbetchensky period in foreign countries of the XIX century failed to raise such big complex Zaguchi questions of our time as Wagner. Therefore, he became the "ruler of the DUM" of a number of generations, and his work has absorbed a large, increatible problematic culture.

Wagner did not give a clear answer to the supplied life questionsBut his historical merit is that he set them so acutely. He was able to do this because all the activities had penetrated by passionate, irreconcilable hatred for capitalist oppression. Whatever he expressed in theoretical articles, wagner in his musical work was always on the side of those who were looking for the active use of their strength in the approval of the sublime and humane beginnings in life, against those who are mired in a swamp Meshchansky well-being and selfishness. And, perhaps, anyone failed to anyone with such artistic persuasiveness and power to show the tragedy of modern life, poisoned by bourgeois civilization.

A sharply pronounced anti-capitalist orientation gives the work of Wagner a huge progressive value, although he failed to figure out the complexity of the phenomena depicted.

Wagner - Last the largest romantic artist XIX century. Romantic ideas, topics, images entrenched in his work back in the pre-revolutionary years; They were designed to them and later. After the revolution of 1848, many of the most prominent composers under the influence of new social conditions, as a result of the sharp exposure of class contradictions, switched to other topics, transferred in their lighting to realistic positions (the most bright example - Verdi). But Wagner remained a romantic, although his infertility peculiarly affected himself and in the fact that at different stages of activity he was actively talked to the traits of realism, on the contrary, reactionary romanticism.

This commitment to romantic topics and the means of its expression put him in a special position among many contemporaries. The individual properties of the personality of Wagner, forever dissatisfied, dishonestly, were affected.

His life is full of unusual attacks and falls, passionate hobbies and periods of limitless despair. We had to overcome innumerable obstacles to promoting their innovative ideas. Years, sometimes decades were held before he managed to hear the score of his own writings. It was necessary to have indestructible thirst for creativity so that in these harsh conditions work as Wagner worked. Serving art was the main incentive of his life. ("I don't exist to make money, but to create," Wagner stated with pride). That is why, despite the brutal ideological errors and breakdown, relying on progressive traditions german music, he achieved such outstanding artistic results: Following Beethoven, he fired the heroic of human twees, like Bahu, with the striking riches of shades revealed the world of human mental experiences and, going along the way of Weber, embodied in music images of German folk legends And ledges, created magnificent pictures of nature. Such a variety of ideological-art solutions and the commission is peculiar best works Richard Wagner.

Topics, images and plots of the Wagner Opera. Principles of musical dramaturgy. Music language features

Wagner as an artist has developed in the conditions of public lifting of pre-revolutionary Germany. During these years, he not only issued his aesthetic views and outlined ways to transform the musical theater, but also identified a circle of images and plots. It was in the 40s that, at the same time, with the "tanger" and "Loangrin", Wagner thought out the plans of all operas, over which he worked in the following decades. (The exception is "Tristan" and "Parsifal", the plan of which was ripe in the years of defeating the revolution; this explains the stronger than in other writings, the impact of pessimistic moods.). Material for these works It is preferably screaming from folk legends and legends. Their content, however, served him source point for independent creativity, but not finite purpose. In the desire to emphasize the closeness of the thoughts and moods Wagner subjected to people-poetic sources of free processing, modernized them, for, he said, each historical generation can detect in myth his topic. The sense of artistic measure and tact changed to him when the subjectivist ideas took the top over the objective meaning of folk legends, but in many cases, when modernizing the plots and images, the composer was able to preserve the vitality of popular poetry. In the mixture of such different trends, one of the most characteristic features of Wagner drama, both its strengths and weaknesses. However, referring to epic plots and images, Wagner threw to their purely psychological The interpretation is, in turn, caused an acute contradictory struggle "Siegfrid" and "attempting" in his work.

Wagner applied to the old legends and legendary images because they found large tragic plots in them. He was less interested in the real situation of a distant antiquity or historical past, although it sought a lot here, especially in Nuremberg Masonzingers, in which realistic trends have shown more. But first of all, Wagner sought to show the mental drama of strong characters. Modern epic struggle for happiness He consistently embodied in various images and plots of his opera. This is a persecution of fate, tormented by the Conscience Flying Dutchman, who is passionate about peace; This is a tangometer, tangible to the contradictory passion for sensual pleasure and to moral, harsh life; This and Loangrin, revolved, not understandable by people.

Wagner's wrestling is full of tragedy. Passion burns tristan and isold; Elsa (in Loengrine) dies, breaking the ban of her beloved. Tragic is a lackless figure Wotan, a lie and cunning of the achieping of the ghostly power, which brought people to Mount. But tragic fate and the most vital hero Wagner - Sigmund; And even Siegfried, far from the storms of life drama, is naive, the mighty child of nature is doomed to tragic death. Everywhere and everywhere - painful search for happiness, the desire for the accomplishment of heroic acts, but they are not given to them - a lie and deception, violence and deceit of life launched.

According to Wagner, saving from suffering caused by passionate desire for happiness is in selfless love: in it the highest manifestation of the human start. But love should not be passive - life is approved in a feat. So, the vocation of Lojangrin - Defender of the disseminated accused Elza - the struggle for the rights of virtue; The feat is the vital ideal of Siegfried, the love of Brungilda calls him to new heroic acts.

All Wagner Opera, starting with the mature works of the 40s, have features of ideological community and unity of a musical drama concept. The revolution of 1848-1849 launched an important roundabout in the ideological and artistic evolution of the composer, intensifying the inconsistency of creativity. But basically remained the constant essence of the claims of the implementation of a certain, sustainable circle of ideas, themes.

Wagner penetrated his operas unity of dramatic expressionFor which the action unfolded continuous, solid flow. Strengthening psychological principle, striving for the truthful transmission of processes mental life caused the need for such continuity. Wagner was not alone in such a quest. It was sought, each in their own way, the best representatives of the opera art XIX. century - Russian classics, Verdi, Biza, sour cream. But Wagner, continuing what was the direct predecessor in German music, Weber, most consistently developed the principles through development in the musical drama genre. Separate opera episodes, scenes, even the paintings he merged together in freely developing actions. Wagner enriched the means of opera expressiveness with forms of monologue, dialogue, large symphonic buildings. But paying increasing attention to the image of the inner world of heroes due to the outlines of external-stage, effective moments, he brought into his music a feature of subjectivism, psychological complication, which, in turn, gave rise to Multili, destroyed the shape, making it loose, amorphous. All this aggravated the contradiction of Wagner drama.

One of the important means of its expressiveness is the leitmotive system. Not Wagner invented it: musical motifs that caused certain associations with specific life phenomena or psychological processes, applied, and composers of the French revolution end of XVIII Century, and Weber, and Meyerber, and in the field of symphonic music - Berlioz, Sheet and others. But Wagner differs from its predecessors and contemporaries to be wider, more consistently using this system. (Fanatical Vagneryers who have tried to lend this issue pretty to study this issue, even the intonation turnover to give leitmotive importance and all leitmotifs, no matter how the briefs are laid, it is almost a comprehensive content.).

Any mature Wagner Opera contains twenty-five - thirty leitmotifs that permeate cloth score (However, in the operations of the 40s, the number of leitmotifs does not exceed ten.). The writing of the opera he began with the development of musical thematism. For example, in the first sketches of the "Rings of Nibelung", a mourning march was captured from the "death of the gods", in which, as stated, contains a complex of the most important heroic topics of tetralogia; Masonzingers were primarily written by Overture - the main topic of the opera is enshrined in it, etc.

The creative fantasy of Wagner is inexhaustible in the invention of wonderful beauty and plasticity in which many significant phenomena of life are reflected and summarized. Often in these topics gives an organic combination of expressive "and the visual began that it helps concretization musical Image. In the operations of the 40s, the melody is extended: different faces of phenomena are described in leading images. Such a method of music characteristic is preserved in later works, but Wagner's addiction to foggy philosophizing is sometimes boring impersonal leitmotifs that are designed to express distracted concepts. These brave motifs are deprived of heat of human breathing, they are not able to develop, do not have internal communications among themselves. So along with S. themes images arise themes symbols.

Unlike the latter, the best topics of the Wagner Opera do not live for the work apart, do not represent unchanged, disparate education. Rather, the opposite. In the leading motifs there are features of generality, and in the aggregate they form certain thematic complexes, expressing shades and gradation of feelings or details of a single picture. Wagner prompts different topics and motifs by barely notable changes, comparisons or combinations of them in simultaneity. "Composite work on these motifs is truly amazing," Pimsky-Korsakov wrote.

The dramatic method of Wagner, its principles of the symphony of the opera partnership had an undoubted effect on the art of subsequent time. The largest composers of the musical theater in the second half of the XIX and in the 20th century took advantage of this or that the artistic conquests of the Wagner leitmotive system, although they did not take its extremes (for example, sour cream and Roman-korsakov, Pucchini and Prokofiev).

The interpretation of the vocal start in Wagner operations is also noted.

Struggling against the superficial, uncharacteristic in the dramatic sense of the melody, he argued that vocal music It should be based on the reproduction of intonations, or, as Wagner said, speech accents. "The dramatic melody," he wrote, "finds a support in verse and language." In this statement there are no fundamentally new moments. Throughout the XVIII-XIX centuries, many composers turned to the embodiment of speech intonations in music in order to update the intonation system of their works (for example, glitch, muzorgsky). The sublime Wagner declamation made a lot of new to the music of the XIX century. From now on, it was impossible to return to the old opera melody templates. Unprecedented new creative tasks stood up and before singers - performers operas Wagner. But, on the basis of its abstract-speculative concepts, he sometimes has a one-way declaration elements in the detriment of the song, subordinate the vocal development of symphonic development.

Of course, many pages of the Wagner operas are saturated with full, a variety of vocal melodism transmitting the finest shades expressiveness. We are rich in such a melodism of the opera of the 40s, among which the "Flying Dutchman" is allocated by the People's Song Warehouse of Music, and "Loangrin" - Hallway, Heart Heat. But also in the subsequent works, especially in Valkyrie and Maessetzingers, the vocal party is endowed with great meaningfulness, acquires the leading importance. You can remind you the "spring song" Sigmund, a monologue about the sword of Nudung, a love duet, the dialogue of Brungilda and Sigmund, Farewell to Watna; In Masonzingers - Walter songs, Saks Monologists, His Songs about Eve and Angela Bashman, Quintet, Folk Choir; In addition to the songs of the forging sword (in Opera "Siegfried"); Siegfried's story on the hunt, the death monologue of Brungilda ("death of the gods"), etc. But the pages of partitions are also found, where the vocal party becomes an exaggeratedly pompous warehouse, then, on the contrary, it is reduced to the role of an optional appendage to the party of the orchestra. A similar violation of an artistic equilibrium between the vocal and instrumental principle is characteristic of internal contradictions Wagnerovskaya musical drama.

Unattended to the achievements of Wagner as a symphony, in their work consistently approved the principles of the program. His overtures and orchestral entry (Wagner created four opera supervisors (to Renzi operations, "Flying Dutchman", "Tangayizer", "Maistezinger") and three architective completed orchestral entry (Lorangery, Tristan, Parsifal).), symphonic intermission and numerous picturesque paintings were given, according to Roman Corsakov, "The richest material for visual music, and where the wagner's texture turned out to be suitable for this moment, it turned out to be, indeed, great and mighty of the plasticity of his images, thanks to the incomparable , ingenious tools and expression. " Tchaikovsky as highly regarded the symphonic music of Wagner, noting "unprecedented beautiful tool", the "striking wealth of harmonic and polyphonic fabric". V. Stasov, like Tchaikovsky or Roman-Korsakov for a lot of condemned the opera work of Wagner, wrote that his orchestra "New, rich, often dazzling on color, on poetry and charm the strongest, but also the most tender and sensual charming paints .. . ".

Already in the early works of the 40s, Wagner achieved brilliance, completeness and suitability of orchestral sound; introduced a triple composition (in the "Ring of Nibelung" - quadruple); wider used the range of strings, especially at the expense of the top register (a favorite reception - the high arrangement of the chords of the strings Divisi); There was a melodic purpose with copper brass instruments (such is the powerful unison three pipes and three trombones in the reprise of the tangeuser supervisors or uninsions of copper on the moving harmonious background of Strings in the "Walquer" and "Fire Spell", etc.). Mixing the sound of three main orchestra groups (string, wood, copper), Wagner sought flexible, plastic variability of symphonic fabric. High counterpunctic skill helped him in this. Moreover, the orchestra is not only colorful, but also characteristic, it is sensitive to the development of dramatic feelings and situations.

An innovator appears Wagner and in the field of harmony. In search of the strongest expressive effects, he strengthened the tension of the musical speech, satuned by her chromatisms, alterations, complex chord complexes, created a "multilayer" polyphonic texture, used bold, extraordinary modulation. These quest sometimes gave birth to the exquisite tension of the style, but never acquired the character of artistically unjustified experiments.

Wagner sharply opposed the search for "musical combinations for themselves, only for the sake of the inherent sharpness." Turning to the young composers, he tried them to "never turn harmonic and orchestral effects into itself." Wagner was an opponent of concerned dazenes, he fought for the truthful expression of deeply humane feelings and thoughts and in this respect retained with the progressive traditions of German music, becoming one of its most prominent representatives. But throughout his big and difficult life in art, he was sometimes fond of false ideas, deviated from the right path.

Not forgiving the wagneru of his delusions, noting the significant contradictions of his views and creativity, rejecting the reactionary features, we highly appreciate the genius German artist, in principle and convincingly defending their ideals that enriched world culture with wonderful musical creations.

M. Druskin

If we want to make a list of characters, scenes, costumes, items that are abundant in Wagner Operators will appear fabulous world. Dragons, dwarfs, giants, gods and demigods, spears, helmets, swords, pipes, rings, horns, harvesters, banners, storms, rainbow, swans, pigeons, lakes, rivers, mountains, fires, sea and ships on them, wonderful phenomena and disappearances, bowls with poison and magic beverages, dressing, flying horses, enchanted castles, fortresses, fights, unpleasant vertices, transcendental diles, underwater and earth abyss, blooming gardens, wizards, young heroes, disgusting evil creatures, immaculate and ever young beauties , priests and knights, passionate lovers, sly wise men, the mighty rulers and rulers who are terrible from the terrible spell ... It is possible not to say that magic, witchcraft reigns everywhere, and the constant background of everything is the struggle between good and evil, sin and salvation , darkness and light. To describe all this, the music should be magnificent, closed in luxurious clothes, full of small details, like a large realistic novel, a fantasy fantasy that feeds the adventure and knight novels in which everything can happen. Even when Wagner tells about ordinary events, commensurate with ordinary people, he always tries to get away from everyday life: to portray love, its charms, contempt for dangers, unlimited personal freedom. All adventures arise from him spontaneously, and the music is natural, pouring as if there is no obstacles on her way: there is power, impassively hugging all possible life and turning it into a miracle. She easily and externally proceeds from the pedantic imitation of music until the XIX century to the most amazing innovations, to the music of the future.

Richard Wagner (full name Wilhelm Richard Wagner, it. Wilhelm Richard Wagner). Born on May 22, 1813 in Leipzig - died on February 13, 1883 in Venice. German composer and theoretics of art. The largest opera reformer, Wagner had a significant impact on European musical culture, especially German.

Mysticism and ideologically painted anti-Semitism Wagner influenced the German nationalism of the beginning of the 20th century, and later on National Socialism, surrounding his creativity by the cult, which in some countries (especially in Israel) caused an "anti-karyan" reaction after World War II.

Wagner was born in the family of an official of Charles Friedrich Wagner (1770-1813). Under the influence of his stepfather, the actor Ludwig Geyer, Wagner, receiving education in the Holy Thoma Leipzig School, since 1828 he began to study music from the Cantor of the Church of St. Thomas Theodore Weinliga, in 1831 he began musical studies at the University of Leipzig. In 1833-1842, he had a restless life, often in great need in Würzburg, where he worked as theatrical choir, Magdeburg, then in Konigsberg and Riga, where he was a conductor of musical theaters, then in Norway, London and Paris, where he wrote an overture "Faust "And the opera" Flying Dutchman. " In 1842, the Triumphal Premiere of the Opera "Renzi, the last of the Tribunov" in Dresden laid the foundation of His Fame. A year later, he became a court dropletaster at the Royal Saxon Yard. In 1843, his summary sister of Cycilia was born the son of Richard, the future philosopher Richard Avena. Wagner became his godfather. In 1849, Wagner participated in the Dresden May uprising (there he met from) and after the defeat ran in Zurich, where he wrote a libretto of the tetralogy "Ring Nibelung", the music of her first two parts (Gold Rhine and Valkyrie) and Opera Tristan and Isolde. In 1858, Wagner attended Venice for a short time, Lucerne, Vienna, Paris and Berlin.

In much greater extent than all European composers XIX. Century, Wagner considered his art as a synthesis and as a way of expressing a certain philosophical concept. Its essence is clothed in the form of aphorism in the next passage from the Wagner article "Artwork of the Future": "As a person, until then, will not be released, until he adopt a joy, connecting it with nature and art will not be free until it disappears The reasons to be as follows with life. "

From this concept, there are two fundamental ideas: art should be done by the community of people and belong to this community; The highest form of art is a musical drama, understood as the organic unity of the word and sound. Baireit became the embodiment of the first idea, where the opera house first began to be interpreted as a temple of art, and not as an entertainment establishment; The embodiment of the second idea is the new opera form "Music drama" created by Wagner. It was its creation and became the goal of the creative life of Wagner. Separate elements were embodied in the early operations of the composer of the 1840s - "Future Dutchman", "Tangayizer" and "Loengrin". The most complete embodiment of the theory of the musical drama was obtained in the Swiss articles of Wagner ("Opera and Drama", "Art and Revolution", "Music and Drama", "Artwork of the Future"), and in practice - in his later operations: "Tristan and Isolde ", Nibelung's ring" Ring Nibelung "and Mystery" Parsifal ".

According to Vagneur, the musical drama is a work in which the romantic idea of \u200b\u200bthe synthesis of arts (music and drama) is carried out, the expression of the program in the opera. To implement this design, Wagner abandoned the traditions of the opera forms that existed at that time - first of all, Italian and French. He first criticized for the excesses, the second - for puff. With fierce criticism, he collapsed on the work of leading representatives of the classic opera (Rossini, Meyerber, Verdi, Ober), calling their music by "candy boredom."

Trying to bring the opera to life, he came to the idea of \u200b\u200bthrough dramaturgical development - from beginning to end not only one act, but also the whole work and even the cycle of works (all four opera "Ring Nibelung" cycle). In the classic opera Verdi and Rossini, individual rooms (arias, duets, ensembles with choir) divide a single musical movement on fragments. Wagner completely abandoned them in favor of large through vocal symphonic scenes, flowing alone to another, and the arias and duets replaced with dramatic monologues and dialogues. Overtures Wagner replaced preludes - short musical entry into each act, in the semantic level inextricably linked with action. Moreover, starting with the Opera "Loangrin", these preludes were performed not until the curtain was discovered, but already with the open stage.

External action in late Wagner Operators (especially in Tristan and Isolde) minimized, it was transferred to the psychological side, in the area of \u200b\u200bsense of characters. Wagner believed that the word was not able to express the entire depth and meaning of the internal experiences, therefore, the leading role in the musical drama is the orchestra, and not the Vocal Party. The latter is completely subordinate to orchestra and is considered by Wagner as one of the tools of the symphony orchestra. At the same time, the vocal party in the musical drama represents the equivalent of theatrical dramatic speech. It almost lacks a song, aryozyality. Due to the specifics of vocals in the opera music of Wagner (exclusive length, the mandatory requirement of dramatic skills, the unreacted operation of the votes of votes) in solo executive practices, new stereotypes of singing votes were established - Wagner Tenor, Wagner soprano, etc.

Wagner attached the exceptional value of orchestra and wider - Simphonism. The Wagner orchestra is compared with an antique choir, which commented on what was happening and passed the "hidden" meaning. Reforming the orchestra, the composer created the quartet of the tube, introduced the bass tube, the double bass trombone, expanded the string group, used six HDPs. In the entire history of the opera, before Wagner, no composer used the orchestra of this scale (for example, the "Ring of Nibelung" performs the quadruple composition of the orchestra with eight horn).

Richard Wagner - Valkyrie

Richard Wagner - the entry of the gods in Valhalu

Generally accepted innovation of Wagner and in the field of harmony. The tonality inherited from them from viennese classics And early romantics, he extremely expanded by the intensification of chromatism and lade alterations. Oslabiv (straightforward among the classics) The uniqueness of the ties of the center (tonic) and the periphery, intentionally avoiding the direct resolution of the dissonance in Connce, he gave modulation intensity, dynamism and continuity. Tristan-Accord is considered the visiting card of the Wagner harmony (from the prelude to the opera Tristan and Isolde) and the leitmotif of fate from the "Ring of Nibelung".

Wagner has introduced a developed system of leitmotifs. Each such leitmotif (short music characteristic) It is the designation of anything: a specific character or living creature (for example, the Litting of the Rhine in the Golden Rhine), items that are often as character characters (ring, sword and gold in the "Ring", a love drink in Tristan and Izolde "), places of action (graveyla leitmotifs in Loengrine and Valhalla in Golden Rhine) and even an abstract idea (numerous leitmotifs of fate and rock in the" Ring of Nibelung ", languor, a love look at Tristan and Isoldle). The most complete development of the Wagner system of the leitmotifs was obtained in the "Ring" - accumulating from the opera to the opera, intertwining each other, getting new development options every time, all the leitmotifs of this cycle as a result are combined and interact in the complex musical texture of the final opera "death of gods".

Understanding music as an impersonation of continuous movement, the development of feelings led Wagner to the idea of \u200b\u200bthe merger of these leitmotifs into a single stream of symphonic development, in the "endless melody" (Unendliche Melodie). The absence of a tonic support (throughout the Opera "Tristan and Isold"), the incompleteness of each topic (in the whole cycle "Nibelung Ring", with the exception of the climbing mourning march in the "death of the gods" opera) contribute to the continuous increase in emotions that does not receive permission, which allows Keep a listener in constant tension (as in Preludes to Tristan and Isolde Opera and Lojengrin).

The philosophical and aesthetic basis of Wagner creativity A. F. Losev determines as a "mystical symbolism". The key to understanding the ontological concept of Wagner is the tetraldogy "Ring of Nibelung" and the Opera Tristan and Isolde. First, in the "Ring" completely embodied the dream of Wagner about musical universalism.

"In the" Ring ", this theory was embodied by using leitmotifs when each idea and every poetic image is immediately organized with the help of a musical motive," writes loses. In addition, in the "Ring" fascination with the ideas of Schopenhauer fully affected. However, it should be remembered that the acquaintance with them occurred when the text of the tetralogy was ready and began working on music. Like Schopenhauer, Wagner feels the unfavorable and even meaninglessness of the foundation of the universe. The only meaning of the existence is thinking to renounce this worldwide and, immersed in the puchin of pure intelligence and inaction, find a genuine aesthetic pleasure in music. However, Wagner, unlike Schopenhauer, believes possible and even a predetermined world, in which people will not live in the name of a constant chase for gold, which in Wagner mythology and symbolizes the world will. Nothing is known about this world, but in his occurrence after the world catastrophe there is no doubt. The theme of the world catastrophe is very important for the ontology of "Rings" and, apparently, is a new rethinking of the revolution, which is no longer understood as a change in the social system, but a cosmological action, changing the very essence of the universe.

As for the "Tristan and Isolda", then the ideas embraced in it significantly affected Buddhism and at the same time dramatic story Love to Matilde Wendonk. Here is a long-desired Wagner merge the divided human nature. This compound occurs with the departure of tristan and isold in non-existence. Throwing as quite a Buddhist merger with an eternal and incredit world, it permits, according to Losev, a contradiction between the subject and the object on which European culture is based. The most important is the topic of love and death, which for Wagner is inextricably linked. Love is inherently peculiar to a person, completely subordinating himself, just as death is the inevitable end of his life. It is in that sense that the Wagner love drink should be understood. "Freedom, bliss, pleasure, death and fatalistic predestination - that's what a love drink is, so brilliantly depicted from Wagner," writes Losev.

The opera reform of Wagner had a significant impact on European and Russian music, denoting the highest stage of musical romanticism and at the same time laying the foundation for future modernist trends. Direct or mediated by the assimilation of the Wagner Operating Aesthetics (especially innovative "through" musical drama) a significant part of the subsequent opera works is marked. The use of the leitmotive system in operations after Wagner has become trivial and universal. No less significant was the influence of the innovative musical language of Wagner, especially his harmony, in which the composer revised the "old" (previously considered unshakable) canons of the tonality.

Among the Russian musicians, his friend A. N. Serov was an expert and propagandist Wagner. N. A. Rimsky-Korsakov, who publicly criticized Wagner, however, experienced (especially in late creativity) the influence of Wagner in harmony, orchestral letter, musical drama. Valuable articles about Wagner left a large Russian musical critic G. A. Laros. In general, "Wagnerovskoye" is more directly felt in the writings of the "pro-Western" composers of Russia of the XIX century (for example, A. G. Rubinstein) than among representatives of the National School. The influence of Wagner (musical and aesthetic) is noted in Russia and in the first decades of the 20th centuries, in the writings of A. N. Scriabin.

In the West, the center of the wagner cult was the so-called Weimar School (self-talent - a new German school), which pretended around F. Sheet in Weimara. Her representatives (P. Cornelius, the city of Buloves, I. Raff, etc.) supported Wagner, first of all, in his desire to expand the framework of musical expressiveness (harmony, orchestral letters, opera dramaturgia). Among the Western composers who experienced the influence of Wagner, Anton Brookner, Hugo Wolf, Claude Debussy, Gustav Malener, Richard Strauss, Bela Bartok, Karol Shimanovsky, Arnold Schönberg (in early creativity) and many others.

The reaction to the cult of Wagner was opposing his "Anti-Kagner" trend, the largest representatives of which were the composer Johannes Brahms and musical aesthetics E. Ganslik, defending immunence and self-sufficiency of music, unbound with external, extremisical "stimuli" (see Absolute Music). In Russia, antivagner moods are characteristic of the national wing of composers, first of all, M. P. Mussorgsky and A. P. Borodin.

Attitude towards the Vagneur of Nemizkants (which did not evaluate the music of Wagner, how many contradictory statements and its "aesthetizing" publications) ambiguously. So, in the article "Casus Wagner" wrote: "Was Wagner in general by a musician? In any case, he was more than another ... His place in some other region, and not in the history of music: with her great extreme representatives, it should not be mixed. Wagner and Beethoven are blasphemy ... "According to Thomas Mann, Wagner" saw a sacred saint secret in art, a panacea against all the ulcers of society ... ".

Music Creations Wagner in XX-XXI centuries continue to live on the most prestigious opera scenes, not only Germany, but in the whole world (with the exception of Israel).

Wagner wrote the "Ring of Nibelung", almost without hoping that the theater was deepened, able to put the wrong epic and convey to the listener of her idea. However, contemporaries managed to assess her spiritual necessity, and the epic found the way to the viewer. The role of "rings" in the formation of the German nationwide spirit can not be overestimated. IN mid XIX. century, when "Ring of Nibelung" was written, the nation remained divided; In memory, Germans had humiliation of Napoleonic campaigns and Viennese agreements; Recently, the revolution thundered, shook the thrones of the specific kings - when Wagner left the world, Germany was already united, became an empire, a carrier and a focus of all German culture. "Nibelung Ring" and the work of Wagner as a whole, although not it is one, appeared for the German people and for the German idea of \u200b\u200bthe mobilizing impetus, which enclosed politicians, intelligentsia, military and all society to rally.

The electronic Jewish encyclopedia noted that the essential part of Wagner's worldview was spontaneous, and Wagner himself was characterized as one of the predecessors of the anti-Semitism of the XX century.

The anti-Semitic speeches of Wagner caused protests and in his life; So, in 1850, the publication in the magazine "Neue Zeitschrift Für Musik" in the magazine "Neue Zeitschrift Für Musik" in the magazine "Neue Zeitschrift Für Musik" aroused protests from Professors of the Leipzig Conservatory; They demanded the suspension of the then editor of the magazine, Mr. F. Brendel, from the management of the magazine. In 2012, the article Wagner "Jewry in Music" (on the basis of the decision of the Velsky District Court of the Arkhangelsk Region dated 03/28/2012) was introduced in Federal list Extremist materials (No. 1204) and, accordingly, its seal or distribution in the Russian Federation is prosecuted by law.

Wagner was categorically against the premiere of ParsiFhala conducted the Jew Herman Levi, and since it was the choice of King (Levi was considered one of the best conductors of his time and, along with Hans, the Bullem, the best Wagner conductor), Wagner until the last moment required so that Levi is baptized. Levi refused.

In 1864, he, having achieved the favor of the Bavarian King Ludwig II, who paid his debts and supported him further, moved to Munich, where he wrote the comic opera Nuremberg Masonzinger and the last two parts of the Nibelung rings: "Siegfried" and "God's death". In 1872, the foundation of the foundation stone for the house of festivals was held in Bayreuth, which opened in 1876, where the premiere of the tetralogy Ring Nibelung was held on August 13-17, 1876. In 1882, Opera-Mystery "Parsifal" was delivered in Bayreyte. In the same year, Wagner left for health to Venice, where he died in 1883 from a heart attack. Wagner is buried in Bayreuth.

German composer Richard Wagner is an ambiguous personality. On the one hand, his political views contradict the principles of humanism (and it is still gently said). His creativity (not only music, but also philosophical articles) was inspired by ideologists of fascist Germany, which turned Wagner into a symbol of a nation. On the other hand, the contribution of the composer to the development of music is grandiose.

He changed the principles of opera art by entering into Opera through dramatic action and endless melody. His legacy inspires modern composers, continues to live in rock music, heavy metal and literature.

Childhood and youth

Wilhelm Richard Wagner was born on May 22, 1813 in Leipzig - the city, at that time belonged to the Rhine Union. Johanna Rosina's mother made nine children. Father Carl Friedrich Wagner, a police officer, died of Tifa on November 23, 1813. From this point on, the controversies of the composer biographers begin: some of them believes that the father of Richard was his stepfather, Ludwig Geyer.

Married to the actor Geyer a large widow came out three months after the death of the spouse. Be that as it may, this talented man influenced the choice of a career stepper. The second largest sister, Johanna Rosalia played the second largest role in the fate of Brother. A popular actress supported Richard in intention to become a musician.

Up to 13, Richard studied at the Saint Thoma School - the oldest humanitarian school of the city. At 15, the young man realized that his knowledge was not enough to write music (and the thrust had already arisen), and from 1828 he began to study the theory of music from Theodore Weinliga, the Cantor of the Church of St. Thoma. In 1831 he continued his studies at the University of Leipzig.

Music

As many celebrities, Wagneru often attribute other people's works. For example, in combination with his name in the network, "Requiem for a Dream" is mentioned. In fact, the soundtrack for the eponymous film was written by Clint Mansell in 2000. Although it is possible that Mansell was inspired by the Wagner composition "Path in Valchalla" from the Opera "Death of Gods"

With the name of the classic link and sinister "tango death". According to the legend, during the mass destruction of the Jews in fascist camps, the music of Wagner sounded. In fact, it is unknown that the camp orchestras played. But it is unlikely that it was his composition. Wagner worked with a scope and for the performance of his works need a large symphony orchestra.

In the XIX century, Wagner music was so revolutionary that, for the production of the "Ring of Nibelung", the Bayreuth Opera House was built on the composer's project. The acoustic effects of the concert hall thoughtfully thought out. For example, the orchestral pit was covered with a visor so that the music did not blow the voices of singers.

Wagner wrote 13 operas, 8 of them were classic, as well as somewhat less large-scale musical works, including libretto to operations, as well as 16 volumes of articles, letters and memoirs. Wagner operas are distinguished by long, pathos and epic.

Opera "Fairy", "Ban of love", "Renzi" belong to early period Creativity of the composer. The first mature work was the "Flying Dutchman" - an epic story about the ghost ship. Tangayizer tells the sad story of the love of Menestrel and the pagan goddess. "Loengrin" - Opera about the knight-swan and an unreasonable girl. Here, in full voice declares a genius.

Tristan and Isolde - record holder on the duration of individual numbers. The love duet of heroes in the second act lasts 40 minutes, the monologue of the wounded tristan in the third act - 45 minutes. To perform the Wagner compositions of the opera singers, it was necessary to train again. So the new opera school was born.

The story of the Ring of power Wagner composed for a hundred years before J.R. Tolkien. "Gold Rhine" opens the "Ring Nibelung" cycle. The second opera cycle, "Valkyrie" contains " business card"Wagner - the scene" Walkiry's flight ". "Siegfried" is the most positive opera in the cycle: the hero kills the dragon and takes love.

Everything completes the "death of gods", consisting of the leitmotifs of the previous operas of the cycle, includes the famous "mourning march to the death of Siegfried, which subsequently performed at the funeral of the composer.

Personal life

Despite the fact that Richard was low in growth (166 cm) and the ugly, most of the life was poor, did not possess titles or titles - he always attracted women. A variety of love intrigues with actors and fans are not known to anyone, but three women are forever inscribed in the biography of genius.

Minna Planer, first wife. Twenty-year-old pastrance beautiful artist He was crowned with a marriage in November 1836. The young wife was four years older than her husband, more experienced in everyday affairs and more pragmatic. The family moved from Königsberg to Riga, from there to St. Petersburg, Mitava and Paris. In a new place, Minne managed to quickly poison the cozy nest and provide her husband reliable rear for creativity.

Over the years, it was harder for her. After the collapse of the revolution in 1849, Wagner fled to Weimar K, and from there to Switzerland. In Zurich, Richard met a new Muse: Matilde Wendonk. Twenty-year-old Beauty and her husband Otto were hot fans of the composer's creativity. Rich Kommersant Wendonk organized Wagner concerts and presented that "quiet shelter" - a house near his own villa.

In this "refuge" written "Siegfried" and "Tristan". Matilda was the object of this passionate song of love and appreciated her to dignity. Muza composer also composed music and wrote poems and prose. Letters of Wagner remained to Matilde, published after her death. It is unknown that Richard and his patroness lovers, but most biographers believe that.

Love for Kosima Background Buloves Nastigla Wagner in 1864, in a period of sudden well-being. The young king Bavarian Ludwig II, in love with the work of Wagner (and in the opinion of some historians - in Richard himself), invited him to the court, in brilliant Munich. And not only paid with creditors, but also generously revealed the treasury to finance the Wagner projects.

Wagner invites you to the Orchestra conductor Hans Background Buloves, happily married father of two children. His spouse Kozim, the extramarital daughter of Ferenz Leaf, an old friend of Wagner, becomes a personal secretary of the composer. And, of course, the muse and sweetheart. I broke out between Richard and the goat passion for a long time remains a mystery for a deceived husband.

But instead of Hans, the scene of jealousy was a king, the king was arranged, the matter smelled to the scandal. The situation was aggravated by the fact that the wagner was spent by the colossal funds of the state treasury, and Catholic morality dominated in Bavaria. The adulteurs were dismissed into Switzerland.

Divorce in those times was so difficult that Ceta von Bulove could get it only seven years later. Over the years, Kozima gave birth to Richard daughters isold and Eve and son of Siegfried (the birth of the boy coincided with the completion of the Opera of the same name). Died from the heart disease Mina Wagner, and Ludwig suddenly changed the anger to mercy and asked Wagner to return to the yard.

In 1870, Kozima and Richard were married. From this point on, the life of the muse consists of serving the idol. Spouses together are building the theater in Bayreuth and work on the first stage of the "Ring of Nibelung". The premiere took place in 1876 from August 13 to 17, forever changed the submission of Europeans about opera art.

Death

In 1882, Wagner at the insistence of doctors moves to Venice, where he dies in 1883 from a heart attack. Former husband to last sigh Kozima takes care of the body transport to Bayreuth and funeral. She organized and headed the annual festival in Bayreuth, to devoting his memory of her husband.

In addition to the annual Wagner Festival, which has become a cult event in the world of music, another interesting monument to genius remained. This Neuschwanstein is a fabulous castle in the mountains of Bavaria, the Swan Castle, built by Ludwig II Bavarian in memory of a brilliant friend. The interior of the premises reflects the admiration of the king by the operators of Wagner.

Work

• 1834 - "Fairy"
• 1836 - "Ban of love"
• 1840 - "Renzi, the last of the Tribunov"
• 1840 - Faust (Overture)
• 1841 - "Flying Dutchman"
• 1845 - "Tangezer"
• 1848 - "Loangrin"
• 1854-1874 - "Nibelung Ring"
• 1859 - Tristan and Isolde
• 1868 - "Nurembern Meystrenzinger"
• 1882 - "PARSIFAL"

In the history of the opera, many significant names, but one of them serves as a landstand or, it is better to say, a watershed. Richard Wagner shared the whole history of the world opera - before him after. The work of this German composer brought revolutionary changes to the opera art. The Genre of Opera after Wagner will never be such as he was before.

"Not many musicians awarded so contradictory, polar estimates as Richard Wagner," said the writer and musicologist Eduard Schuré who knew the composer. "He suffered the fate of all major reformers. Opponents and enemies, who recognized the indomitable fighter mainly for those shocks, Which received from him, depicted him as a person of extremes, exorbitant pride and endless egoism, who considered people and objects only to the extent that they needed, and indifferent to everything else. "

"What I wrote about Wagner Nietzsche cannot give us the correct assessment of Wagner as a poet and thinker; what did Nordau said about him in his" degeneration ", we consider the vulgar and frivolous. That" to whom, as the newest historian of German literature says. Kuno-Franke, - german literature obligated the first energetic proclamation of art ideals of the future, ideals of collectivist pantheism, "worthy and we have more objective and more correct evaluation in Russia," said Richard Wagner as a poet and thinker in December 1904 in December 1904. Richard Wagner as a poet and thinker S. Solovyov. Perhaps it was a poet Sergey Mikhailovich Solovyov, the nephew of the philosopher and poet Vladimir Solovyov, a rosulid brother of Alexander Bloka. He complained as far as there are few books about Wagner in Russia.

And on the eve of the anniversary of Wagner, a Russian biography of a composer came out, which will fill many lacuna from the life of Wagner. Her author of Marina Zalesska writes: "There is still no disputes around the creativity of Wagner, which one causes a fanatical delight, and others have a persistent rejection. Do I need to say that the personality of the composer himself is as contradictory and ambiguous? On the one hand, it is The radiant knight in shining armor, chasing the beauty of eternal love. On the other - a man who trampled the holy bonds of friendship and devoid of an elementary sense of gratitude. Wagner is a brilliant composer, a reformer, a philosopher, "poet and thinker", on the member of the expression of a deep researcher His creativity Henri Leschtanbegers . And he is a petty squeak, greedy to money and forever rescued from his lenders. "

Born on May 22, 1813, the youngest child in the Wagner family was baptized in the Leipzig Church of St. Thoma, in which more than a quarter of a century served Kanner the great Johann Sebastian Bach. The father of Wilhelm Richard Wagner (Wilhelm Richard Wagner) died from Typha exactly six months after the appearance of his fourth son. In August 1814, his mother immediately married the old friend of the family, the actor and painter Ludwig Heinrich Christian Geyer, who actually replaced the father's wagger. Next year, the actor received an invitation to the Dresden Royal Theater and the family went from Leipzig. The boy was determined to school under the schuchima name. "Thus," Wagner wrote in the autobiography, "my Dresden childhood comrades knew me up to fourteen years under the name of Richard Geyer." And only six years after death, returned to his native city, Richard from Korshun (surname Geyer. Omophone of the word "Korshun" - Geier.) I turned into "Master's Kareny Affairs" (Wagner).

The famous German literary critic, in hardly official biography The composer, suggested that Heyer was not stepfather, but Richard's native father. The founder and head of the Wagner Society in Riga, Karl Friedrich, the Glashenapp did on the basis of one episode of the composer's life, when Richard, looking at the portrait of Geyer, hung in his office, suddenly caught the similarity between his son Siegfried and the likely "grandfather." The composer really had spiritual proximity with stepfather and Richard subconsciously sought to resemble Geyer.

Another person who had a huge impact on the future of the genius of music was Pastor Wetzel (Wetzel), who during the year was Mentor Richard (then heier). As for creativity, the young composer influenced, first of all, Beethoven, K. M. Weber, Mozart, and then G. A. Marshner. And, of course, it is impossible to forget how closest to the young Wagner writer and the musician Ernst Theodore Amadeus Gofman. If you take advantage of the expression of Goethe, "Ah, two souls live in my sore breast," in a healthy breast, Richard lived not alien to each other passions. To music I. literary creativity. The 15-year-old teenager Wagner, who received classical education, wrote a large tragedy "Loybald and Adelaide" (Leubald Und Adelaide). In it, researchers see the influence of Shakespeare and Goethe, especially his "Geza von Berlikhinger". The name of the heroine is borrowed from the "Adelaide" Beethoven.

Rode Richard his play did not have to do, and he decided to write music for her. But he has not yet had the necessary knowledge then, and he did not allow the mother's systematic music lessons. His first piano Sonata. d-Moll. (Re Minor) Wagner wrote in 1829, and then string quartet D-DUR. (D Major), no clear ideas about the laws of the composition. To finish with dilettantism in music, he made the failure of another overture. Richard began to take lessons the theory of music from Theodore Weinlich (Weinlich), the Kantor of the Church of St. Thomas, in which he was baptized. Relieving in music, Richard will start writing a libretto for his own opera. For the first time, it happened when a musical critic, a librettist, and later a friend of the composer, Heinrich Rudolf Constanz Laube, offered Wagnera his ready-made opera text - the heroic opera "Kostyushko". But the composer, according to his confession, "I immediately felt that Laube was mistaken relative to the nature of reproduction historical events"After a few overwear with Laube, Richard decided that all the libretto for his opera will be written only himself. At that time, PanTators Wagner replaced the fairy tale on the plot Carlo Gotsci "Snake Woman." He will call his opera "Fairy" (Die Feen).

Wagner (Wagner) Richard (22.5.1813, Leipzig - 13.2.1883, Venice; buried in Bairey), German composer, conductor, playwright, musical writer. The largest reformer of opera art. Love for the theater Him departed stepfather (perhaps father) - actor, artist and poet L. Geyer, to classic languages \u200b\u200band literature - Uncle, Theologian Adolf Wagner. In Dresden, where the family lived since 1814, Wagner was fucked by Opera (up to 1826 produced by K. M. von Weber), from 11 years he studied the game for piano. The authentic interest of Wagner to the music awakened symphony and overture "Egmont" L. Van Beethoven; He studied the composition at first on his own. In 1831 he was recorded by the University of Leipzig; Under the leadership of the Kantor of the Church of St. Thomas T. Weinliga for six months mastered the composition of the composition. From the writings of those years, overture was used and the final to Drama E. Roughha "King Enzio".

A trip in 1832 in Vienna and Prague laid the beginning of the artist's worshipings. Racing with Laube and the movement "Young Germany" influenced the formation of liberal views and romantic aesthetics of Wagner. He expressed his passion for the idea of \u200b\u200bthe revolutionary struggle in the "Poland" Overtool (1832, the final edition - 1836). In 1834 he made his debut as a conductor opera House in Magdeburg. In the article " German opera"(Published anonymously) expressed his first aesthetic judgments, in the Leipzig" New Music Journal "R. Shuman wrote about the need for opera reform. Composer and librettist in one person, Wagner at that time created the Opera "Fairy" (on the play-fairy tale "Female Snake" K. Gotszi, 1834; Standulation of 1888, Munich), "The ban of love, or a novice from Palermo" (by comedy "Measure to measure" W. Shakespeare; 1836, Magdeburg). In 1837, he moved to Königsberg, then in Riga, where he conducted in the German theater K. von Goltei; In 1839, London, finally, in Paris, where he met Berlioz, F. A. Khabenec, F. Sheet, with whom later became friends. In 1840-42, she collaborated with Paris "Gazette Musikal" (articles "On the essence of German music", "Artist and Public", Novella "Pilgrimage to Beethoven" and others. Later, they are united in the cycle "German musician in Paris"). The five -act opera "Renzi" ("Cola Rientsi, the last Tribune", Libretto of 1838 at the plot of the eponymous novel E. J. Bulver-Litton, Music 1840) is still predominantly in the pompous and heroic "Paris" style of the so-called big opera; All subsequent opera Wagner (except "Gold Rhine") trochete. The maturity of the style is demonstrated by the Faust Overture (according to I. V. Götte, 1840, final editorial office - 1855) and the romantic Opera "Flying Dutchman" on the popular story of European literature (Libretto of 1840 is based on an old legend, reworked in Novella Gaine " From the memoirs of Mr. von Schnabelopsky, music 1841), which reflected the impressions of the Wagner himself from swimming in London. This is the first Opera composer on the People's Mythological Plot and the first, in which the stage action develops continuously; Much attention is paid to the disclosure of the psychology of heroes, the role of leitmotifs increases. Dramatic, the characterity of the action is enhanced by the introduction of folk elements (in the songs of sailors and girls, in the Sents Ballad).

From 1843 Wagner - Dresden Opera Dresden. Successful productions "Renzi" (1842) and "Breaking Dutch" (1843; both - Dresden) stimulated the creative rise in the 1840s. The stage in the movement of Wagner to the reform conceived by him was two major operas - "Tangezer and Singers' competition in Wartburg" (Libretto 1843, Music 1845, Dresden) and Loengreen (Libretto 1845, Music 1848; Statement 1850, Weimar), Romantic Topics and The images of which (close "Evrianta" Weber) acquired a generalized ethical sound. Sources of plots - the Luggology book "Mount Venus", a legend of a tangomezer, anonymous epic on Loangrine - Knights of the Sacred Grail. In the "Tangayzer", as in the "flying Dutchman", a typical motive of the redempuitious victim is developed for Wagner drama. The entire drama permeates the conflict of sensual (scene in the Venus grotto) and the spiritual (ascetic chorus of pilgrims).

In Loengrine, as in the "Tangayzer", realistic recreated medieval life and culture: Antwerp 1st half of the 10th century, courtyard of the German king Henry I bird; In music, the dynamic and dramatic capabilities of the leitmotive principle are revealed, the musical tissue is saturated with flexible and complex thematic transformations. The image of Loangrin, according to Wagner, does not so much embodies the Christian ideal, how much reflects "Tragic position true artist In modern life. "

By the 1840s, the dramatic sketches of "Jesus of Nazareth", "Death of Siegfried" (the sample "Ring of Nibelung"), a chorus with the Bratskaya Tourza Apostles orchestra, a number of theoretical and journalistic works. Under the influence of the left hegelians and L. Feyerbach, opposition, the radicalism of the public and aesthetic principles of Wagner intensified. Having taken the revolutionary events of 1848 with the delight of revolutionary events, he uttered the universal eligible law, defended the naive utopia of the "Republican Kingdom", at the same time formulated the ideal of classless society, "Emancipation of mankind from power and money" (article "How are republican desires for the problem of royal power?" ). With the friends-revolutionary A. Rökel and M. A. Bakunin (the peculiarity of his personality influenced the formation of the image of Siegfried) was preparing the May armed uprising of 1849, during which the proclamation was expressed, signaled against the defenders of the barricades about the movements of Prussian troops. After the defeat of the uprising, he ran from Dresden to Weimar to F. List (his efforts with the support of Erzgeljogi Saxen-Weimar-Eisenak Mary Pavlovna, the sisters of Emperor Nikolai I, in 1850 the premiere of Loangrin took place; he also overturned the amnesty to Vagnera in 1860).

In 1849, a long-term "Swiss expulsion" of the composer began. In Zurich, his main theoretical piles were written: "Art and Revolution" (1849), "Artwork of the Future" (dedicated to L. Feyerbahu, 1850), Opera and Drama, autobiographical "appeal to friends" (both 1851). In the treatise "Opera and Drama" Wagner outlined his reformists. "The error in the artistic genre of the opera," he wrote, "it was the fact that the means of expression (music) was made target, and the purpose of the expression (drama) means. According to Vagneur, the meaning and purpose of the reform is the moral impact on the mass audience, the creation of a "cumulative artwork" (German Gesamtkunstwerk; see the synthesis of arts). Subjectively nihilistic assessments reflected mythologized view of Wagner on the history and modern state of music [Wagner believed that after the 9th Symphony of Beethoven, all instrumental music was outdated; According to him, the poetic image in the musical drama - the carrier of the "male" beginning, music - "woman"; Opera in It pure form - contrived conglomerate of arts disconnected by bourgeois egoism; Italian music - "Prostitute", French - "Coquette", German (except operas K. M. von Weber) - "Khanja"]; The article "Jewry in Music" (1850), who reflected the concern of Wagner on how it seemed to him, an increased Jewish influence in the European musical culture, subsequently was supplemented with odious preface containing personal attacks against real and imaginary Vagner's enemies (J. Meyerbera, etc.).

The desired synthesis was achieved in the grand tetralogy "Ring of Nibelung" by the artistic implementation of an ancient myth, in which Wagner saw the embodiment of eternal human struck. Unlike K. F. Hebbel, dramatizing the Austrian (Mediterrine) "Song of Nibelunga", Wagner relied on a more archaic (early) Scandinavian folklore (the epic songs of the "Senior Edenda", "Saga about Völsunghakh") and even stylized an allitational poem. The symbol of the universal evil is the ring, giving power over the world, but purchased by the price of renunciation from love. At the beginning of the tetralogy, the treasure stored by the Rhine Mermaids is still resting in the pristine natural chaos. The evil is born at the same time at the bottom where the dwarf-Nibelung Alberyich blues the love of mermaids, kidnates gold and enslaves his tribesmen, and at the top, where God's godan is hosted by the goddess of Love Frey. The ideal hero of Siegfried is intended to fight evil, according to Wagner, "Socialist Redeemer"; However, in the fatal logic of the plot, the heroic human deed leads to a crime and death. Tragic love of the parents of Siegfried (Sigmund and Sieglonds), turning into incets; Tragic the fate of Valkyrie Brynhildd, punished Wotan in the name of the "law", and then defined in his love for Siegfried; Siegfried himself, mastering the treasure, dies due to curses over him. "Twilight of the Gods" (literally the name of the name of the final part of the tetralogy is "Götterdämmerung"), Valchalla burns, Bunhilda rushes into the fire, the ring melts, and gold turns out again in the Rhine; Natural chaos triumphs over civilization. In November 1852, the text was completed; Music 4 Opero - "Gold Rhine" (1854, production 1869), "Valkyrie" (1856, production 1870), "Siegfried" (1851-1871), "death of the gods" (1869-74, both are delivered in 1876), - Combining psychologically saturated lyricism and deep drama with bright picture, created with long breaks for more than 20 years. Synthesis of philosophical poetic and musical principles Found an expression in an extensive system of leitmotifs, timbrees of timbres, a new vocal-symphonic type of musical thinking.

In 1854, Wagner discovered the philosophy of A. Schopenhauer; His influence is caused by the interest of Wagner to the history of Buddhism, which said in a dramatic outline "Winners" (from the life of Ananda). Friendship with High-detached Matilde Wender, wife of Zurich Kommersant and the Metsenite, grew into an enthusiastic and painful passion, forced self-denial attached to the autobiographical sharpness of the Opera Tristan and Isolde (Libretto 1857, Music 1859, Staging 1865, Munich; Plot, Roman Gottfried Silence Strasbourg, to the Celtic and StaroFronzus Hands, worried Wagner in Dresden). In the work of Wagner, the "Siegfrid" (heroic) and "trial" (sophisticated psychological, inspired by the pessimism of Schopenhauer) began. The approach to Tristan and Isolde was 5 poems to vote with piano on the text M. Weshendonk (1858), music material which partially entered the opera. The completeness of the feelings and the tragedy of the fate of Tristan and Isolde Wagner revealed not so much by an external action (it is minimized in the opera), how many unprecedented lyrical expression of music, drawing the stress inner state of heroes. In this gigantic poem of love and death, which became the banner of late romanticism, harmony is noticeably chromatized (the so-called Tristan-Accord is played by the formative role), the trend towards symphony is brought to the limit.

Living predominantly in Zurich, Wagner conducted with concerts, in 1855 toured in London. Concert tour of Europe (from 1859) brought Wagnera glory of one of the best conductors; He again visited Paris (where in 1861 the production of the "Tangayizer" failed), made a trip to Karlsruhe, Dresden, Vienna (where the Opera Tristan and Isolde was declared after 77 rehearsals), St. Petersburg and Moscow (1863), Budapest and Prague. In 1864, over the composer hung a threat of a debt prison; He was rescued by the help of 18-year-old Ludwig II (King Bavaria in 1864-86), a hot fan of Wagner art. In Munich, Wagner made a project of the People's Theater; Once by the Favorite of the King, tried to influence politics and entered into a conflict with the government, since 1865 was again forced to live in Switzerland (from 1866 in Tribeshus, near Lucerne). The Buntar artist was put in wine gap with his wife, a mine glider, and a connection with the goat background Bullea, daughter F. Lisa and his wife H. Von Bulov (from 1870 Wagner's wife).

In Munich, in addition to Tristan and Isolde, in 1868, the comic opera "Nuremberg Maistezinger", in the text (1862) and music (1867) of which were manifested by the features of realism. The actors are simple burghers and artisans of the 16th century. Unlike the "Tristan" with its exceptional unity of expression, "Maestezinger" were built by bubbanovo: along with the history of love Walter and Eve, the Line of Hans Saks plays an independent role. The national flavor, the colorful image of the life spawned the abundance of choral scenes and completed genre episodes, peace elements for the late Wagner (skillfully stylized Masonzang specific form bar).

In 1869, Wagner released a brochure "On conducting", in 1870 the book "Beethoven" and the 3-Tomny autobiography "My Life", the subjectivity and the acuteness of the judgment of which caused a sensation. Dreaming about the "Ring of Nibelung" as a whole, in 1874 he settled at Villa Wanfrid to Baire. The implementation of the "ideas of Bayreyt" - the stage implementation of the Wagner Reform - was the construction of the Bayrytsky Theater (with financial assistance to Ludwig II). In 1876, work was completed on the "Ring of Nibelung" (fully the tetralogy was delivered 13, 14, 16 and 17 of 1876). For Bayreit, Wagner created and crowded creativity solemn scenic Mystery (in-inhnenweihfestspiel) "Parsifal" (Libretto 1857-77 based on Roman "Parcifal" Tungsten von Eshenbach, music 1882). In it, Wagner returned to the legend of a graveyard, affected by him in Loengrine. Like the majority of romantics, Wagner went to the end of his life to the Christian ideal (even in the most atheistic-the Bunkers of Wagner attracted the idea of \u200b\u200bthe human fraternity in Christianity). In the center of the drama - amfortas, the master of the castle of Monsalvat, severely wounded by the infernal sorcerer Klingzor. Heal it, save the castle and stored the sacred bowl from the crop in it is called "wise in compassion" Knight Parsifal. Kunning Kundry, young and sinful slaves of Klingzor, opens love to him not only as joy, but also as an eternal tomorrow and grief (hence the stormy "trial" line, which is opposed to the prevailing style in opera ascetic). Culmination of the opera - "Miracle Good Friday"In the 3rd act (the baptism of the sinner, the transformation of nature and human souls).

According to T. Mann, Wagner "saw in the art of a sacred tension, a panacea against all the Ukrainian ulcers ...". His "Solemn Stage Representations" (Vühnenfestspiel - the term wagner preferred to call his reformists opera), designed to erase the line between art and life, marked the transition from a romantic mythology to the modernist (the idea of \u200b\u200bthe "theurgic act" A. N. Scriabin). The music of Wagner "turns out to be a means of analyzing the ancient myths, and those by the method of the figurative expression of universal collisions" (E. M. Meltellin). Bunuya against the existing "world of organized murder and robbery", Wagner visited the myth in the spirit of socialism and psychology of the 19th century: the central theme of "Rings of Nibelung" is a curse of private-capitalist property ("If we are imagined in the hands of Nibelung instead of the science ring of the exchange portfolio, then we get a finished picture terrible image of the ghostly lord of the world "); The image of the reflecting wow, which is not the exit of the created deadlock itself, is "the arch of all intelligence of our time."

The secret of the magnetic impact of Wagner's music is in the brightness and color of the harmonic language, saturated with soft dissonances and their unexpected permissions. Continuous modulation in distant tonality is the essence of the Wagner "endless melody". The closed numbers (arias and ensembles of the traditional opera) Wagner replaced freely built monologues and dialogues, paying increased attention to the expressiveness of the vocal declaration. Leitmotives (their number reaches 100 in the "Nibelung Ring"), the most important element of orchestral tissue, sometimes appear in the vocal parties; They characterize the heroes, objects, phenomena, reflect the causal relations between them, provide a musical unity of the work. Symphonizing Opera, Wagner expanded the composition of the orchestra, in a new way interpreted its capabilities and the role of individual groups (in particular, the copper brass instruments gave a melodic function); The orchestra has become an expressive of the dramatic undercite.

Creativity and aesthetics Wagner, defended by them, musical and dramatic principles have greatly influenced the development of world opera arts, European literature and philosophy (F. Nietzsche, M. Heidegger, etc.).

Among the Russian musicians, his friend A. N. Serov, insightful critics - N. A. Rimsky-Korsakov (Creatively completed some discoveries of Wagner in the field of harmony and orchestral letters), P. I. Tchaikovsky, and . Laros. Among the Russian friends Wagner - artist P. V. Zhukovsky. Wagner's creations, in many ways ahead of their time, in 20-21 centuries continue to live on the largest scenes of the world musical theater.

Note Ed.: Sämtliche Werke. / Hrsg. Von S. Dahlhaus u. but. Mainz, 1970-2004-. BD 1-30- Pointers: Verzeichnis Der Musikalischen Werke R. Wagners und iRer Quellen / HRSG. Von J. Deathridge, M. GECK, E. VOSS. Mainz, 1986; Breig W., Dürrer M., Mielke A. Chronolo-Gisches Verzeichnis Der Briefe von R. Wagner. Wiesbaden U.A., 1998.

Open: Opera and Drama. M., 1906; My life. Memoirs. Letters. Diaries. M., 1911-1912. 4.1-4; Vibelungi. Worldwide story on the basis of the legend. M., 1913; Selected articles. M., 1935; Sämtliche Werke. / Hrsg. Von S. Dahlhaus U.A. Mainz, 1970-; Articles and materials. M., 1974; Selected works / Sost. and comments. I. A. Barsoy and S. A. Osherov. Hitch Art. A. F. Losev. M., 1978; SÄMTLICHE BRIEFE. LPZ., 1979-2002-. BD 1-14-; [Music and aesthetic fragments] // Musical aesthetics of Germany XIX century. M., 1981. T. 2; Dichtungen und Schriften. FR./M., 1983. BD 1-10; Ring Nibelung. St. Petersburg; M., 2001; My life. M., 2003.

Lit.: Leschtanbegers A. R. Wagner as a poet and thinker. M., 1905 (Reprint - M., 1997); R. Wagner-Jahrbuch. LPZ., 1906-1913. BD 1-5; Glaasenapp S. F. Das Leben R. Wagners. 5.Aufl. LPZ., 1908-1923. BD 1-6; Kann Yu. R. Wagner. M., 1913; ISTEL E. DAS KUNSTWERK R. WAGNERS. Lpz.; V., 1918; ADLER G. R. WAGNER. 2. AUFL. Münch., 1923; Nietzsche F. Schriften Für Und Gegen Wagner. Lpz., 1924; Lorenz A. Das Geheimnis Der Form Bei R. Wagner. V., 1924-1933. BD 1-4; NEWMANN E. THE LIFE OF R. WAGNER. N. Y., 1933-1947. Vol. 1-4; Gruber R. R. Wagner. M., 1934; Serov A. N. R. Wagner and its reform in the field of opera // Serov A.N. Election articles. M., 1957.T. 2; Bertram J. Mythos, Symbol, IDee in R. Wagners Musikdramen. HAMB., 1957; Stein J. M. R. Wagner And The Synthesis of the Arts. Detroit, 1960; Mann T. Suffering and Majesty R. Wagner // Mann T. Satr. Essay M., 1961. T. 10; Stein N. von. Dichtung und Musik Im Werk R. Wagners. V., 1962; Rimsky-Korsakov N. A. Wagner. The cumulative work of two arts or musical drama // Rimsky-Korsakov N. A. Full. Cathedral Essay M., 1963. T. 2; Druskin M. R. Wagner. 2nd ed. M., 1963; Sollertinsky I. I. "Sailor-Skitalets" Wagner. About the "Ring Nibelung" Wagner // Sollertinsky I. I. Music and historical etudes. 2nd ed. L., 1963; Adorno th. W. Versuch Über Wagner. 2. AUFL. Münch.; Z., 1964; Krukhlis G. V. Opera Overture R. Wagner. M., 1964; Losev A. F. Problem R. Wagner in the past and present // Questions of aesthetics. M., 1968. Vol. eight; He is Philosophical commentary to the drama R. Wagner // He. Form - style - expression. M., 1995; Dahlhaus S.R. Wagners Musikdramen. Velber, 1971; IDEM. Wagners Konzeption Des Musikalischen Dramas. REGENSBURG, 1971; Kurt E. Romantic harmony and its crisis in Tristan Wagner. M., 1975; Muletinsky E. M. Poetics Myth. M., 1976; Levin B. V. R. Wagner. M., 1978; Westernhagen S. von. R. Wagner. SEIN WERK, SEIN WESEN, SEINE WELT. 2. AUFL. Z., 1979; Wagner S. Die Tagebücher. Münch., 1982.bd 1-4; Gal G. Brahms. Wagner. Verdi. Three masters - three worlds. M., 1986; R. Wagner. Sat Articles. M., 1987; Gozenpud A. R. Wagner and Russian Culture. L., 1990; Bauer N.J. R. Wagner. 25 ". Aufl V., 1995; Bartlett R. Wagner and Russia. Camb., 1995; GREGOR-DELLIN M. R. WAGNER. 2. AUFL. Münch.; Z., 1995; R. Wagner and his fate creative heritage. [Sat. Articles]. St. Petersburg, 1998; Nietzsche F. Casus Wagner ... M., 2001; [Nikolaeva N.S. and etc.]. R. Wagner // Music of Austria and Germany XIX century. M., 2003. KN. 3; Saponov M. Russian Diaries and Memoirs R. Wagner, L. Spur, R. Shuman. M., 2004; INTERNATIONALE WAGNER-BIBLIOGRAPHIE / HRSG. Von N. Barth. Bayreuth, 1956-1979. ; R. WAGNER-HANDBUCH / HRSG. Von U. Müller und R. Wapnewski. Stuttg., 1986.