Wagnerian Satoshi Akima <[log in to unmask]> wrote:

>The only way to listen to mature Wagner is to listen symphonically.
>Certain sections function like expositions, others are developmental
>in character and others take over the function of a recapitulation.

I thank Mr. Akima wholeheartedly for his post.  I hated that discussion
that occurred some years ago, the discussion wether Wagner had been a great
symphonist or not if he had written large symphonies instead of operas.
To me the obvious answer is:  Wagner was a "could be" great symphonist;
Wagner WAS a great symphonist.  The finest example on this (and forget
the youthful symphony in C now, that is not what I am talking about), is
"Die Meistersinger von Nuernberg".  When I understood what a fantastic
work this, besides just beutiful music and a good story, and the opera
litteratures most charmig person (Sachs), is, I cried of joy having
discovered something so beautiful!  When listening carefully you will
find that everything in this opera, from the very smallest clusters to the
larger forms, are built after a sheme I would like to try to describe like
this:

   The first sentence ends with this word
   Sentence number two ends with another
   The third sentence is sung by the first bird
   Sentence number four, the second doesn't bother
   The fifth sentence however goes its own way

Look how the sentences are connected to each other:  Sentence nr.  2 and
4 starts and endryhmes the same way.  Sentences 1,3 and 5 begins the same
way.  Sentence 1 and 2 are similar in the middle, so are sentences 3 and 4.
Sentence 1 & 3 endryhmes while the 5 ends different.  Scheme is A, B, A, B,
A'.

This way of creating homogenity and unity of the work with system
"same form, different content" (which differs from the Beethovenian way
of creating unity with "same content, different form"), makes the work
absoutely fantastic for me, with its strict following and breaking of this
ubiquitous rule.  Notice that this sheme has the German 15-16th century
"Buergerlied" as model, and Wagner besides having it as form for the work,
also uses it for humoristic effects in the music for example.  Beckmessers
songs (which is a kick to the conservative critic represented by the
masters archenemy Hanslick) are ridiculously strict and slavish following
the sheme, so a parodical effect occurs, while Walter von Stolzings (who
playes Wagners own role from his wiewpoint in the musical life) songs
carefully and genially extends the limits of the song for finally blow
them.

But I say; listen now to "Die Meistersinger von Nuernberg" and realize
that Wagner was in fact, among much else, the Sierpinski of music!!!

Mats Norrman
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