![]() ![]() improvising was closer to his heart, and he handled this with virtuosity" (Richter, p. Otto Stresser, the former head of the Vienna Philharmonic said, "He hated rehearsals. In fact, some remarked that he even disliked the process of rehearsals for this very reason. Knappertsbusch's was known to prefer the sponataneity of the moment to predetermining expression in rehearsal. His career continued at the opera houses in Leipzig and Münich, and in the latter city, Knappertsbusch also conducted symphonic literature. The performance was such a success that Knappertsbusch was immediately offered a conducting position in Elberfeld. In 1914, he substituted for an ill conductor in a performance of Parsifal at his home town of Elberfeld. Later, at the 19 Bayreuth Festivals, he learned from conductors Hans Richter and Richard Wagner's son, Siegfried. He studied conducting at the Cologne Conservatory with Fritz Steinbach, where Fritz Busch was a fellow student. Hans Knappertsbusch (1888-1965) was a German conductor, and began his studies at Bonn University in musicology and philosophy. Odeon Streichorchester (conductor unlisted) Leopold Stokowski, conductor, Philadelphia OrchestraĮduard Möricke, conductor, Orchester des Deutschen Operahauses Hans Knappertsbusch, conductor, Berlin Philharmonic what we are dealing with is the principle conditioning the very life of music" (Wagner 66). He writes, "When I now turn to consider more closely this principle, summed up in the phrase, modification of tempo - a thing our conductors are so ignorant of that they stupidly denounce it as a heresy. In another quotation, Wagner describes the importance of flexibility in tempi throughout a work: such flexibility is a recurring expressive characteristic in early sound recordings of Wagner's music. I never used the metronome again" (Wagner 58). ![]() ![]() This brought home how unsafe it was to apply mathematics to music. ![]() The result was that when I had cause to complain of a stupid tempo in, for example, Tannhäuser, the defense was invariably made that my metronome-mark had been scrupulously observed. In another instance, Wagner comments unfavorably on the use of a metronome to ensure the proper use of tempo: "I supplied my early operas with lavish tempo indications and employed a metronome in order to exclude (so I supposed) any possibility of mistake. In his essay, "On Conducting," he remarks: "Above all the tempo must be handled with a delicacy matching the delicacy of the web of motives, which in the nature of the case declare their character through their motion" (Wagner 69). In many instances, Wagner comments on the question of tempo. Through opera, Wagner intended to create a comprehensive Gesamtkunstwerk, incorporating dance, music and poetry into a total work of art.Īs an outgrowth of the composer's activity as a conductor and musical thinker, Richard Wagner wrote about his ideals of interpretation. All throughout his work as a conductor, Wagner was also composing orchestral and choral works, along with his operas. Wagner's early professional appointments were as a conductor, first as a chorus master for an opera house in Würzburg (1833) and later on as Kappelmeister in Dresden (1843), where he conducted orchestral and operatic performances. Among his musical influences, the works of Beethoven also served as an important resource: Wagner made a piano transcription of Beethoven's Ninth Symphony and composed his own Symphony in C, which is largely in the style of Beethoven. He then enrolled at Leipzig University to study music, also undertaking studies with the Kantor of the Thomaskirche, Christian Theodor Weinlig. Wagner began his musical studies in Dresden, learning harmony privately with Christian Gottlieb Müller. Richard Wagner (1813-1883) was a German composer and conductor, and was one of the most important musicians in the history of 19th century opera. ![]()
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