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contained therein may
Titurel himself, now aged and very feeble, live on. Amfortas is overcome with shame and suffering ("Wehvolles Erbe, dem ich verfallen"). He, the chosen guardian of the holiest of relics, has succumbed to sin and lost the Holy Spear, suffering an ever-bleeding wound in the process; uncovering the Grail causes him great pain. The young man appears to suffer with him, clutching convulsively at his heart. The knights and Titurel urge Amfortas to reveal the Grail ("Enthüllet den Gral!"), and he finally does. The dark hall is illuminated by its radiant light and the round table of the knights is miraculously filled with wine and bread. Slowly all the knights and squires disappear, leaving Gurnemanz and the youth alone. Gurnemanz asks the youth if he has understood what he has seen. As the boy is unable to answer the question, Gurnemanz dismisses him as just an ordinary fool after all and angrily exiles him from the realm with a warning to let the swans in the Grail Kingdom live in peace.
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1390:), who had loved him and tried to shield him from his father's fate, the mother he had abandoned and who had finally died of grief. She reveals many parts of Parsifal's history to him and he is stricken with remorse, blaming himself for his mother's death. Kundry tells him that this realization is a first sign of understanding and that, with a kiss, she can help him understand the love that had once united his parents, wanting thus to awake in Parsifal the first pangs of desire. However, as she kisses Parsifal, the youth suddenly recoils in pain and cries out Amfortas' name: having just felt for the first time material desire with Kundry's kiss, Parsifal finds himself in the same position in which Amfortas had been seduced and he feels the wounded king's pain and suffering of evil and sin burning in his own soul. Only now does Parsifal understand Amfortas' passion during the Grail Ceremony (
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Klingsor and has fallen under his yoke. The curse condemns her to never be able to die and find peace and redemption. She cannot weep, only jeer diabolically. Longing for deliverance, she has been waiting for ages for a man to free her from her curse and yearns to once more meet the
Saviour's forgiving gaze, but her search for her redeemer in the end only ever turns into a desire to find her salvation in earthly desire with those who fall for her charms. All her penitent endeavours eventually transform into a renewed life of sin and a continued unredeemed existence in bondage to Klingsor. When Parsifal still resists her, Kundry curses him through the power of her own accursed being to wander without ever finding the Kingdom of the Grail again, and finally calls on her master Klingsor to help her.
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1987:). Wagner first suggested that Levi should convert to Christianity, which Levi declined to do. Wagner then wrote to King Ludwig that he had decided to accept Levi despite the fact that (he alleged) he had received complaints that "of all pieces, this most Christian of works" should be conducted by a Jew. When the King expressed his satisfaction at this, replying that "human beings are basically all brothers", Wagner wrote to the king angrily: "If I have friendly and sympathetic dealings with many of these people, it is only because I consider the Jewish race as the born enemy of pure humanity and all that is noble about it (sic)". Seventy-one years later, the Jewish bass-baritone
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subsequent performances some believed that Wagner had wanted no applause until the very end, and there was silence after the first two acts. Eventually it became a
Bayreuth tradition that no applause would be heard after the first act, but this was certainly not Wagner's idea. In fact, during the first Bayreuth performances, Wagner himself cried "Bravo!" as the flowermaidens made their exit in the second act, only to be hissed by other members of the audience. At some theatres other than Bayreuth, applause and curtain calls are normal practice after every act. Program notes until 2013 at the Metropolitan Opera in New York asked the audience not to applaud after act 1.
1516:). He touches Amfortas' side with the Holy Spear and both heals the wound and absolves him from sin. The spear, now reunited with the Holy Grail, starts to bleed with the same divine blood that is contained within the sacred chalice. Extolling the virtue of compassion and blessing Amfortas' suffering for making a pure fool knowing, Parsifal replaces Amfortas in his kingly office and orders to unveil the Grail, which is never to be hidden again. As the Grail glows ever brighter with light and a white dove descends from the top of the dome and hovers over Parsifal's head, a
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1510:). The knights desperately urge Amfortas to keep his promise and at least once more, for the very last time uncover the Grail again, but Amfortas, in a frenzy, says he will never again show the Grail, as doing so would just prolong his unbearable torment. Instead, he commands the knights to kill him and end with his suffering also the shame he has brought on the brotherhood. At this moment, Parsifal appears and declares only one weapon can help here: only the same spear that inflicted the wound can now close it (
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1381:), yet the boy in his childlike innocent naïveté doesn't comprehend their temptations and shows only little interest in them. The flowermaidens soon fight and bicker among themselves to win his devotion, to the point that he is about to flee, but a different voice suddenly calls out "Parsifal!". The youth finally recalls this name is what his mother called him when she appeared in his dreams. The flowermaidens back away from him and call him a fool as they leave him and Kundry alone.
1923:) hero who overcomes Klingsor, who is perceived as a Jewish stereotype, particularly since he opposes the quasi-Christian knights of the Grail. Such claims remain heavily debated, since there is nothing explicit in the libretto to support them. Wagner never mentions such ideas in his many writings, and Cosima Wagner's diaries, which relate in great detail Wagner's thoughts over the last 14 years of his life (including the period covering the composition and first performance of
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opera, and find correspondences with antisemitic passages found in Wagner's writings and articles of the period, while others deny such claims, seeing for example the opposition between the realm of the Grail and
Klingsor's domain as portraying a conflict between the sphere embodying the world-view of Wagner's Schopenhauerian Christianity and a pagan sphere more generally.
1800:, the enjoying of the suffering of another living being; it is precisely this sin of which Kundry is guilty when she maliciously laughs in mocking pride at the sufferings of the Redeemer and as a result of which she falls under Klingsor's curse (recounted in act 2, scene 2), broken only at the moment when she is again capable to weep and thus express compassion during the
1786:, and overcoming sexual temptation is in particular a strong form of negation of the Will. Schopenhauer also claims that compassion should be extended to non-human sentient beings as well, supporting this claim by the lives of Christian saints and mystics and the Indian religions of Hinduism and Buddhism. This worldview finds in
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he imagined that the stage decorations were still to come. Knappertsbusch was particularly upset by the omission of the dove that appears over
Parsifal's head at the end of the opera, which he claimed inspired him to give better performances. To placate his conductor Wieland arranged to reinstate the
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The
Bayreuth authorities allowed unstaged performances to take place in various countries after Wagner's death (London in 1884, New York City in 1886, and Amsterdam in 1894) but they maintained an embargo on stage performances outside Bayreuth. On 24 December 1903, after receiving a court ruling that
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exclusively for the
Bayreuth stage. First, he wanted to prevent it from degenerating into 'mere amusement' for an opera-going public. Only at Bayreuth could his last work be presented in the way envisaged by him—a tradition maintained by his wife, Cosima, long after his death. Second, he thought that
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Klingsor appears on the castle rampart and hurls the Holy Spear at
Parsifal to destroy him. He seizes the spear in his hand and makes with it the sign of the Cross, banishing Klingsor's dark sorcery. The whole castle with Klingsor himself suddenly sinks as if by terrible earthquake and the enchanted
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staged the complete opera, using many
Bayreuth-trained singers. Cosima barred anyone involved in the New York production from working at Bayreuth in future performances. Unauthorized stage performances were also undertaken in Amsterdam in 1905, 1906 and 1908. There was a performance in Buenos Aires,
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was also present in 1883 and he wrote to a friend; "I can hardly describe my present state to you. When I came out of the
Festspielhaus, completely spellbound, I understood that the greatest and most painful revelation had just been made to me, and that I would carry it unspoiled for the rest of my
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gave his opinion that "The Third act may be counted the most unified and the most atmospheric. It is not the richest musically," going on to note "And Wagner's creative powers? For a man of his age and his method they are astounding ... It would be foolishness to declare that Wagner's fantasy, and
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The second draft was begun on 25 September 1877, just a few days after the first; at this point in his career Wagner liked to work on both drafts simultaneously, switching back and forth between the two so as not to allow too much time to elapse between his initial setting of the text and the final
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in the work. However, a number of orchestral excerpts from the opera were arranged by Wagner himself, and remain in the concert repertory. The prelude to act 1 is frequently performed either alone or in conjunction with an arrangement of the "Good Friday" music which accompanies the second half of
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and Max Nordbeck, present at the world premiere, noted in their reviews how the work accorded with Wagner's anti-Jewish sentiments. Similar interpretive conflict continues even today; some of the more recent commentators continue to highlight the perceived antisemitic or anti-Judaic nature of the
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had already been completed by 1877, and the original drafts of the story even date back to 1857. Besides the question of chronology, an eventual meeting in person between Wagner and Gobineau was also accompanied by mutual disagreements and quarrels; e.g., on 3 June 1881 Wagner is reported to have
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as Wagner's last great espousal of Schopenhauerian philosophy. Parsifal can heal Amfortas and redeem Kundry because he shows compassion, which Schopenhauer saw as the highest manifestation of human morality. Moreover, Parsifal displays compassion in the face of sexual temptation (act 2, scene 2);
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The voice of the retired king Titurel resounds from a vaulted crypt in the background, demanding that his son Amfortas uncover the Grail and serve his kingly office ("Mein Sohn Amfortas, bist du am Amt?"). Only through the immortality-conferring power of the sacred chalice and the Saviour's blood
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Parsifal enters, carrying a swan which he has killed. Shocked, Gurnemanz speaks sternly to the lad, saying that this land is a holy place, not to be defiled by murder. Remorsefully the young man breaks his bow in agitation and casts it aside. Kundry tells him that she has seen that his mother has
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I awoke to find the sun shining brightly for the first time in this house: the little garden was radiant with green, the birds sang, and at last I could sit on the roof and enjoy the long-yearned-for peace with its message of promise. Full of this sentiment, I suddenly remembered that the day was
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because of what many scholars see as the presence of themes such as compassion, Schopenhauerian negation of the will, renunciation of desires, asceticism and even non-violence and anti-militarism in the work's libretto. Some of the Nazi officials and leaders may have had certain doubts about the
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Furious that her ploy has failed, Kundry tells Parsifal that if he can feel compassion for Amfortas, then he should also be able to feel it for her. In a distant past, she saw the Redeemer and mockingly laughed at His pains in malice. As a punishment for this sin she has been cursed and bound by
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Kundry arrives in a frenzy, with soothing balsam from Arabia. The squires eye Kundry with mistrust and question her. They believe Kundry to be an evil pagan witch. Gurnemanz restrains them and defends her. He relates history of Amfortas and the spear; it was stolen from him by the failed knight
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R today recalled the impression which inspired his "Good Friday Music"; he laughs, saying he had thought to himself, "In fact it is all as far-fetched as my love affairs, for it was not a Good Friday at all – just a pleasant mood in Nature which made me think, 'This is how a Good Friday ought to
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The scene takes place many years later. Gurnemanz is now aged and bent, living alone as a hermit. It is Good Friday. He hears moaning near his hut and finds Kundry lying unconscious in the brush, similarly as he had many years before ("Sie! Wieder da!"). He revives her using water from the Holy
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dove, which descended on a string. What Knappertsbusch did not realise was that Wieland had made the length of the string long enough for the conductor to see the dove, but not for the audience. Wieland continued to modify and refine his Bayreuth production of Parsifal until his death in 1966.
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until the end of the performance. This confused the audience, who remained silent at the end of the opera until Wagner addressed them again, saying that he did not mean that they could not applaud. After the performance Wagner complained, "Now I don't know. Did the audience like it or not?" At
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At Bayreuth performances audiences do not applaud at the end of the first act. This tradition is the result of a misunderstanding arising from Wagner's desire at the premiere to maintain the serious mood of the opera. After much applause following the first and second acts, Wagner spoke to the
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again and made a prose draft of the work; this contains a fairly brief outline of the plot and a considerable amount of detailed commentary on the characters and themes of the drama. But once again the work was dropped and set aside for another eleven and a half years. During this time most of
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was published in 1882) named, wrote about and made references to these motifs, and they were highlighted in piano arrangements of the score. Wagner's own reaction to such naming of motifs in the score was one of disgust: "In the end people believe that such nonsense happens by my suggestion."
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affecting nature and humanity's relation towards nature (act 3, scene 1). Wagner himself in his older age became an advocate of vegetarianism and an opponent of vivisection, participating in an anti-vivisectionist petition to the Reichstag in 1879; he also professed what might be called early
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he presented a radical move away from literal representation of the hall of the Grail or the flowermaiden's bower. Instead, lighting effects and the bare minimum of scenery were used to complement Wagner's music. This production was heavily influenced by the ideas of the Swiss stage designer
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have explored the importance of certain pitches and harmonic progressions both in structuring and symbolizing the work. The unusual harmonic progressions in the leitmotifs which structure the piece, as well as the heavy chromaticism of act 2, make it a difficult work to parse musically.
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this season was, from the purely musical point of view, as far as the principal singers were concerned, simply an abomination. The bass howled, the tenor bawled, the baritone sang flat and the soprano, when she condescended to sing at all and did not merely shout her words, screamed..."
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Spring, but she will only speak the word "serve" ("Dienen"). Looking into the forest, Gurnemanz sees a figure approaching, armed and in full armour. The stranger removes his helmet and Gurnemanz recognizes the lad who shot the swan; to his amazement the knight also bears the Holy Spear.
379:, I had never occupied myself again with that poem; now its noble possibilities struck me with overwhelming force, and out of my thoughts about Good Friday I rapidly conceived a whole drama, of which I made a rough sketch with a few dashes of the pen, dividing the whole into three acts.
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cast ever conducted by Knappertsbusch. Pierre Boulez (1971) and James Levine (1985) have also made recordings of the opera at Bayreuth that were released on Deutsche Grammophon and Philips. The Boulez recording is one of the fastest on record, and the Levine one of the slowest.
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Despite this attack on the subject matter, he also admitted that the music was sublime: "Moreover, apart from all irrelevant questions (as to what the use of this music can or ought to be) and on purely aesthetic grounds; has Wagner ever done anything better?" (Letter to
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Kundry washes Parsifal's feet and Gurnemanz anoints him with water from the Holy Spring, recognizing him as the pure fool, now enlightened by compassion and freed from guilt through purifying suffering, and proclaims him the foretold new king of the knights of the Grail.
617:. The production boasted an orchestra of 107, a chorus of 135 and 23 soloists (with the main parts being double cast). At the last of these performances, Wagner took the baton from Levi and conducted the final scene of act 3 from the orchestral interlude to the end.
2495:. The film exists in two versions: (1) a complete version running 116 minutes and officially approved by Domingo, and (2) an 88-minute version, with cuts of passages regarded by the German distributor as being too "political", "uncomfortable", and "irrelevant".
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did not make the offensive impression on me that others and I had been led to expect from reading the libretto. They are religious situations – but for all their earnest dignity they are not in the style of the church, but completely in the style of the opera.
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conducted excerpts from the opera at Bayreuth. These are still considered some of the best performances of the opera on disc. They also contain the only sound evidence of the bells constructed for the work's premiere, which were melted down for scrap during
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its expression in the holy status of animals within the Kingdom of the Grail, in the shocked response to Parsifal's "murder" of the swan (act 1, scene 1), which awakens in the youth the first unaware throb of compassion, or in Gurnemanz's "sermon" about the
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there is a hermit named Gurnemanz who stands on the stage in one spot and practices by the hour, while first one and then another of the cast endures what he can of it and then retires to die." Performance standards may have contributed to such reactions;
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and gongs. However, the bell was used with the tuba, four tam-tams tuned to the pitch of the four chime notes and another tam-tam on which a roll is executed by using a drumstick. In modern-day performances, the Parsifal bell has been replaced with
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Gurnemanz's squires ask how it is that he knew Klingsor. Gurnemanz tells them that Klingsor was once a respected knight, but, unable to cleanse himself of sin, castrated himself in an effort to attain purity, but instead became an evil monstrosity.
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When religion becomes artificial, art has a duty to rescue it. Art can show that the symbols which religions would have us believe literally true are actually figurative. Art can idealize those symbols, and so reveal the profound truths they
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after World War II. These historic performances were recorded and are available on the Teldec label in mono sound. Knappertsbusch recorded the opera again for Philips in 1962 in stereo, and this release is often considered to be the classic
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found that: "The flowermaidens' costumes showed extraordinary lack of taste, but the singing was incomparable... When the curtain had been rung down on the final scene and we were walking down the hill, I seemed to hear the words of
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was regarded by Wagner as little more than a routine task which could be done whenever he found the time. The prelude of act 1 was scored in August 1878. The rest of the opera was scored between August 1879 and 13 January 1882.
1727:(the Grail, the spear, references to the Redeemer) together with its restriction to Bayreuth for almost 30 years sometimes led to performances being regarded almost as a religious rite. However, Wagner never actually refers to
523:) was the final stage in the compositional process. It was made in ink and consisted of a fair copy of the entire opera, with all the voices and instruments properly notated according to standard practice. Wagner composed
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Within the Castle of the Grail, Titurel's funeral is to take place. Mourning processions of knights bring the deceased Titurel in a coffin and the Grail in its shrine, as well as Amfortas on his litter, to the Grail hall
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is a work of perfidy, of vindictiveness, of a secret attempt to poison the presuppositions of life – a bad work. The preaching of chastity remains an incitement to anti-nature: I despise everyone who does not experience
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created a "complex, tortured Kundry in Wieland Wagner's revolutionary production of Parsifal during the festival's first postwar season", and would remain the company's exclusive Kundry for the remainder of the decade.
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I have ever seen and heard, but one of the three or four most moving spiritual experiences of my life". Others were appalled that Wagner's stage directions were being flouted. The conductor of the 1951 production,
1532:). Kundry, also at the very last released from her curse and redeemed, slowly sinks lifeless to the ground with her gaze resting on Parsifal, who raises the Grail in blessing over the worshipping knighthood.
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motivated by the "will to nothingness," as opposed to the self-affirming and earthly master morality of pre-Christian ruling classes and the strong motivated by the "will to power." An extended critique of
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is a recurring musical theme within a particular piece of music, associated with a particular character, object, event or emotion. Wagner is the composer most often associated with leitmotifs, and
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to see the work. Stravinsky was repulsed by the "quasi-religious atmosphere" of the festival. Stravinsky's repulsion is speculated to be due to his agnosticism, of which he recanted later in life.
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was not performed at Bayreuth during World War II, a significant omission in view of the fact that the work, with the exception of one year, had been an annual fixture of the Festival since 1882.
498:) was made in ink and on at least three, but sometimes as many as five, staves. This draft was much more detailed than the first and contained a considerable degree of instrumental elaboration.
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Klingsor's castle and enchanted garden. Waking her from her sleep, Klingsor conjures up Kundry, now transformed into an incredibly alluring woman. He calls her by many names: First Sorceress (
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The work may indeed have been conceived at Wesendonck's cottage in the last week of April 1857, but Good Friday that year fell on 10 April, when the Wagners were still living at Zeltweg 13 in
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2043:, particularly about what he called its "Christian mystical style". Despite this, there were in fact 26 performances at the Bayreuth Festival between 1934 and 1939 and 23 performances at the
1927:) never mention any such intention. Having met Gobineau for the first time very briefly in 1876, it was nonetheless only in 1880 that Wagner read Gobineau's essay. However, the libretto for
1359:, Gundryggia and, lastly, Kundry. She mocks his self-castrated condition but cannot resist his power. He resolves to send her to seduce Parsifal and ruin him as she ruined Amfortas before.
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The youth walks into a wondrous garden, surrounded by beautiful and seductive flowermaidens. They call to him and entwine themselves about him while chiding him for wounding their lovers (
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251:(a sacred festival stage play). At Bayreuth a tradition has arisen that audiences do not applaud at the end of the first act. The autograph manuscript of the work is preserved in the
1610:, visiting the Festival in 1894, said: "Nothing in the world has made so overwhelming an impression on me. All my innermost heart-strings throbbed... I cannot begin to tell you how
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specifically his musical invention, has retained the freshness and facility of yore. One cannot help but discern sterility and prosaicism, together with increasing longwindedness."
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Gurnemanz wonders if Parsifal might be the predicted "pure fool"; he invites Parsifal to witness the Ceremony of the Uncovering of the Grail, which renews the knights' immortality.
630:) during the transition from scene 1 to scene 2 in act 1 meant that Wagner's existing orchestral interlude finished before Parsifal and Gurnemanz arrived at the hall of the Grail.
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performances of 1882 were artistic events of supreme interest and it is my pride and joy that I participated in them." Many contemporary composers shared Weingartner's opinion.
634:, who was assisting the production, provided a few extra bars of music to cover this gap. In subsequent years this problem was solved and Humperdinck's additions were not used.
2109:. These two, and Parsifal's own motif, are repeated during the course of the opera. Other characters, especially Klingsor, Amfortas, and "The Voice", which sings the so-called
2089:(any more than he did in any other of his scores), although his wife Cosima mentions statements he made about some of them in her diary. However, Wagner's followers (notably
764:, the venue for which Wagner conceived the work (except eight private performances for Ludwig II at Munich in 1884 and 1885). Wagner had two reasons for wanting to keep
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Wagner conceived the work in April 1857, but did not finish it until 25 years later. In composing it he took advantage of the particular acoustics of his newly built
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suburb of Enge, which Wesendonck – a wealthy silk merchant and generous patron of the arts – had placed at Wagner's disposal, through the good offices of his wife
1243:, an elder knight of the Grail, wakes his young squires and leads them in morning prayer ("He! Ho! Waldhüter ihr"). Their king, Amfortas, has been stabbed by the
449:. By 23 February 1877 he had completed a second and more extensive prose draft of the work, and by 19 April of the same year he had transformed this into a verse
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The related question of whether the opera contains a specifically antisemitic message is also debated. Some of Wagner's contemporaries and commentators (e.g.
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The bells that draw the knights to the Grail ceremony at Monsalvat in acts 1 and 3 have often proved problematic to stage. For the earlier performances of
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was accurately dated (and most of Wagner's surviving papers are dated), it could settle the issue once and for all, but unfortunately it has not survived.
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twice. He emerged overwhelmed: "Colossal – Wagner's most inspired, sublimest creation." He reiterated this view in a postcard from Bayreuth in 1883: "
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thought the characters and plot ludicrous, but nevertheless in 1903 wrote that musically it was: "Incomparable and bewildering, splendid and strong.
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Parsifal wonders if the whole Garden is but a dream and asks how it is that Kundry knows his name. Kundry tells him she learned it from his mother (
797:. Some opera houses began their performances at midnight between 31 December 1913 and 1 January. The first authorized performance was staged at the
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should really be withheld from all theatres and limited to... Bayreuth was naturally on all tongues... I must state here that the church scenes in
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marked a weakening of Wagner's abilities, many others saw the work as a crowning achievement. The famous critic and Wagner's theoretical opponent
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In September 1877 he began the music by making two complete drafts of the score from beginning to end. The first of these (known in German as the
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was sponsoring the production, much of the orchestra was drawn from the ranks of the Munich Opera, including the conductor. Wagner objected to
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as the ground for his breach with Wagner. Nietzsche took the work as an exemplar of the self-denying, life-denying, and otherworldly Christian
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and recommended the recording by the Symphonieorchester des Bayerischen Rundfunks, Rafael Kubelik (conductor), as the best available choice.
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1932:"exploded in favour of Christian theories in contrast to racial ones". Despite this, Gobineau is sometimes cited as an inspiration for
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environmentalist sentiments. As the exact opposite of compassion and therefore as the ultimate moral evil Schopenhauer sees the act of
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Schopenhauerian philosophy suggests that the only escape from the ever-present temptations of human life is through negation of the
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anything that might with confidence be called rhythm or tune or melody... Singing! It does seem the wrong name to apply to it... In
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by name in the opera, only to "The Redeemer". In his essay "Religion and Art", Wagner described the use of Christian imagery thus:
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Good Friday, and I called to mind the significance this omen had already once assumed for me when I was reading Wolfram's
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the opera would provide an income for his family after his death if Bayreuth had the monopoly on its performance.
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to produce the desired notes. The thunder machine is used in the moment of the destruction of Klingsor's castle.
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Thorau, Christian (2009). "Guides for Wagnerites: leitmotifs and Wagnerian listening". In Thomas S. Grey (ed.).
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in August 1876. Only when this gargantuan task had been accomplished did Wagner find the time to concentrate on
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Thematic Guide Through the Music of Parsifal: with a preface upon the legendary material of the Wagnerian drama
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is one of the loveliest monuments of sound ever raised to the serene glory of music." He was later to write to
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which Wagner had visited in 1880, while Klingsor's magic garden was modelled on those at the Palazzo Rufolo in
4490:(1996). "Maximally smooth cycles, hexatonic systems, and the analysis of Late-Romantic triadic progressions".
1548:, the first presentation in 1882 was attended by many notable figures. Reaction was varied. Some thought that
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at Bayreuth in the post-war years, and the performances under his baton in 1951 marked the re-opening of the
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and many of the most famous recordings of the opera come from live performances on that stage. In the pre-
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to represent the Grail, this motif being a sequence of notes he would have known since his childhood in
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5212:. A comprehensive website featuring photographs of productions, recordings, librettos, and sound files.
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later reported on 22 April 1879, this account had been colored by a certain amount of poetic licence:
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recording. There are also many "unofficial" live recordings from Bayreuth, capturing virtually every
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864:, on being asked how he could conduct such a disgraceful travesty, declared that right up until the
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makes liberal use of them. Wagner did not specifically identify or name leitmotifs in the score of
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was a student at the time of the 1882 Festival, yet still managed to find money for tickets to see
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by Nora London, volume 9 of the "Great Voices" series, published by Baskerville Publishers, p. 37.
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represents a church-influenced enfeeblement in favour of the value of renunciation". According to
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was composed such that each act was a continuous flow of music; hence there are no free-standing
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1822:("yearning"). Indeed, Wagner originally considered including Parsifal as a character in act 3 of
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in 1854, and this deeply affected his thoughts and practice on music and art. Most writers (e.g.
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that it was presented in more than 50 European opera houses between 1 January and 1 August 1914.
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Parsifal looks about and comments on the beauty of the meadow. Gurnemanz explains that today is
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Zelinsky, Hartmut (1982). "Rettung ins Ungenaue: zu M. Gregor-Dellins Wagner-Biographie". In
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2379:) have been widely praised. The Karajan recording was voted "Record of the Year" in the 1981
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already embodied all the compositional details of the full score, the actual drafting of the
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because he had discovered in the music for it "the ghost of old Klingsor, alias R. Wagner".
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garden withers. As Parsifal leaves, he tells Kundry that she knows where she can find him.
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Wikisource:Selected Letters of Friedrich Nietzsche#Nietzsche To Peter Gast – January, 1887
1880:
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Gurnemanz and the squires, act 1, scene 1, in the 1903 performance of the work in New York
838:
to this day. Among the more significant post-war productions was that directed in 1951 by
581:
On 12 November 1880, Wagner conducted a private performance of the prelude for his patron
301:. The themes of self-renunciation, rebirth, compassion, and even exclusive social groups (
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is an opera, call it a 'stage festival' or 'consecrational stage festival' if you will."
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However, some notable guests of the Festival took a more acerbic view of the experience.
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is without doubt by far the most beautiful and sublime work in the whole field of Art."
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1959:
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601:, who took their lead from Wagner himself. The Grail hall was based on the interior of
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59:
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Lohengrin, ein altteutsches Gedicht, nach der Abschrift des Vaticanischen Manuscriptes
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The opening prelude introduces two important leitmotifs, generally referred to as the
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was written in support of the ideas of the French diplomat and racial theorist Count
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at length, make no mention of any antisemitic interpretations. However the critics
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performances in the United States could not be prevented by Bayreuth, the New York
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The correct spelling of Parzival is Parsi-wal. ... the word means Persian flower.
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as Kundry. She made her unexpected debut in the role in 1912 at the New York Met.
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at the Court Theatre in Munich. The premiere of the entire work was given in the
283:'s writings in 1854, Wagner became interested in Indian philosophies, especially
5244:, gallery of historic postcards with visual motives from Richard Wagner's operas
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3457:
Dokumente zur Entstehung und ersten Aufführung des Bühnenweihfestspiels Parsifal
6098:
6053:
6005:
5747:
5469:
5306:
4957:. Documenta musicologica. Vol. II, 55. Kassel: Bärenreiter. pp. I–X.
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1837:, who was originally a champion of Wagner and Schopenhauer, chose later to use
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4953:(2020). "Through compassion, knowing: the pure fool". In Ulrich Konrad (ed.).
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originally made for Deutsche Grammophon, now reissued on Arts & Archives.
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at Bayreuth I was fifteen. I cried for two weeks and then became a musician."
870:
441:, which was finally completed in 1874 and given its first full performance at
297:, 1856), a sketch Wagner wrote for an opera based on a story from the life of
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3682:(2007). "Strange love; or, How we learned to stop worrying and love Wagner's
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2173:") is occasionally performed in concert, as is Amfortas' lament from act 1 ("
1944:
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Wagner had been greatly impressed with his reading of the German philosopher
1723:
has been both influential and controversial. The use of Christian symbols in
1656:, a committed Wagnerite, commented in 1894 that: "The opening performance of
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1247:, once bequeathed to him into his guardianship, and the wound will not heal.
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For the first twenty years of its existence, the only staged performances of
478:, one for the voices and two for the instruments. The second complete draft (
475:
384:
235:
5074:. Camden House Companion Volumes. New York: Camden House. pp. 277–338.
4628:
Richard Wagners Politische Theologie: Kunst zwischen Revolution und Religion
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1818:, where Schopenhauer's influence is perhaps more obvious, with its focus on
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A dark orchestral interlude leads into the solemn gathering of the knights.
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2005:
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Gurnemanz singing "Titurel, der fromme Held", excerpt from a 1942 recording
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4430:
Wagner's Parsifal: An Appreciation in the Light of His Theological Journey
2547:
he had used up to 1877 was informed by one of the theories about the name
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visited Bayreuth in 1891: "I was not able to detect in the vocal parts of
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has transported me. Everything I do seems so cold and feeble by its side.
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2113:("Fool's motive"), have their own particular leitmotifs. Wagner uses the
1952:
1774:
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End of act 3 in the original 1882 production (according to a painting by
1455:
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886:
609:. In July and August 1882 sixteen performances of the work were given in
490:
361:
344:(German: "Asylum"), the small cottage on Otto Wesendonck's estate in the
335:
146:
55:
34:
5247:
5145:
Complete German and English libretti and Wagner's own stage descriptions
1299:: Design for the hall of the Grail (second scenes of acts 1 and 3), 1882
192:
6268:
5949:
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4868:. Princeton, New Jersey: Princeton University Press. pp. 133–150.
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4645:
Kienzle, Ulrike. "Parsifal and Religion: A Christian Music Drama?". In
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died. Parsifal, who cannot remember much of his past, is crestfallen.
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915:
672: in this section. Unsourced material may be challenged and removed.
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Musical introduction to the work with a duration of c. 12–16 minutes.
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Roles, voice types, premiere casts 1882 and 1903 (Metropolitan Opera)
802:
311:, the knights of the Grail in Parsifal) which were later explored in
200:
1850:
opens the third essay ("What Is the Meaning of Ascetic Ideals?") of
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that he had deleted a scene he had just written for his own opera
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3102:
2641:(1932-08-01). "The Persian Origins of 'Parsifal' and 'Tristan'".
2236:
2224:
2212:
2118:
970:
855:, Richard Wagner's biographer described it as "not only the best
606:
4955:
Richard Wagner: Parsifal. Autograph Score. Facsimile. Commentary
4084:
4082:
842:, the composer's grandson. At the first Bayreuth Festival after
5523:
4543:
Fauser, Annegret (2008). "Wagnerism". In Thomas S. Grey (ed.).
4033:
4031:
1898:
6353:
2440:. It was recorded in various European theaters, including the
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a retired king of the Kingdom of the Grail, father to Amfortas
4240:: The Tonal Spaces of the Drama and the Enharmonic Cb/B," in
4079:
3980:
3704:
3636:
3626:
3624:
2855:
2449:
2192:
1984:
1371:
Scene from Parsifal from the Victrola book of the opera, 1917
947:
302:
4028:
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801:
in Barcelona: it began at 10:30pm Barcelona time, which was
230:
productions until 1903, when the opera was performed at the
6461:
4918:. Vol. 25. Munich: Text & Kritik. pp. 74–115.
4551:. Cambridge: Cambridge University Press. pp. 221–234.
3992:
2891:
2729:
2283:
2252:
2232:
2196:
2163:
1963:
German stamp showing Parsifal with the Grail, November 1933
4661:. Camden House Companion Volumes. New York: Camden House.
4167:
3944:
3920:
3621:
3611:
3609:
3476:
3120:
3037:
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748:
Scene design for the controversial 1903 production at the
4745:
The Wagner Compendium: a Guide to Wagner's Life and Music
3908:
3898:
3896:
3414:
3387:
3251:
3227:
2918:
2456:. It contains extracts from Palmer's stage production of
589:
on 26 July 1882 conducted by the Jewish-German conductor
369:. Since the sojourn in Marienbad , where I had conceived
5167:, Derrick Everett's extensive website on all aspects of
4528:. Berkeley, California: University of California Press.
4192:. Collins, 1980. Entries for 11 August, 5 December 1877.
4055:
3956:
3932:
3817:
3049:
2942:
2756:
2594:
by Ferdinand Gloeckle. Mohr und Zimmer, Heidelberg 1813.
2263:
is one of only two works by Wagner in which he used the
1239:
In a forest near the seat of the Grail and its knights,
226:
in 1882. The Bayreuth Festival maintained a monopoly on
4413:. Oakland, California: University of California Press.
4043:
4016:
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3606:
3336:
3324:
3287:
3275:
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2908:
2906:
2004:
was denounced as being "ideologically unacceptable" in
1674:
traveled to the Bayreuth Festival at the invitation of
834:
is one of the Wagner operas regularly presented at the
5305:
5161:
by Alunno Marco, mediamusic-journal.com, 26 March 2013
4124:
3893:
3299:
2966:
1983:
being conducted by a Jew (Levi's father was in fact a
4451:. Princeton, New Jersey: Princeton University Press.
3855:
3748:
3594:
3108:
3061:
2879:
2867:
2605:
Das braune Buch. Tagebuchaufzeichnungen 1865 bis 1882
1520:
of all the knights praises the miracle of salvation (
4236:, "Amfortas' Prayer to Titurel and the Role of D in
4067:
3473:, 2nd series, vol. 28, no. 4 (June 1972), pp. 685 f.
3426:
3175:
2903:
2502:
199:, recounting different accounts of the story of the
6408:
5119:
Wagner's autograph in the Richard Wagner Foundation
5066:Syer, Katherine R. (2005). "Parsifal on Stage". In
4887:. Lincoln, Nebraska: University of Nebraska Press.
4695:Kinderman, William. "The Genesis of the Music". In
4244:(New York: Oxford University Press, 2006), 183–200.
4094:
3829:
2724:
What is a Stage-Consecrating Festival-Play, Anyway?
1919:. Parsifal is proposed as the "pure-blooded" (i.e.
5044:
4785:
4708:
429:. Then, between 27 and 30 August 1865, he took up
4849:. New Haven, Connecticut: Yale University Press.
4792:. New Haven, Connecticut: Yale University Press.
4472:. New Haven, Connecticut: Yale University Press.
4375:. Lanham, Maryland: University Press of America.
4247:
3078:
3076:
2750:, "Sinology," Footnote listing books on Buddhism
2398:, music critic David Nice surveyed recordings of
157:for the work is freely based on the 13th-century
6486:
5821:Das Judenthum in der Musik (Jewishness in Music)
3494:
3000:Kiel, Germany, 2012, citing the dissertation by
1526:) and proclaims the redemption of the Redeemer (
508:of act 3 was completed on 16 April 1879 and the
417:for eight years, during which time he completed
6264:List of films using the music of Richard Wagner
6165:
4931:Burbidge, Peter; Sutton, Richard, eds. (1979).
4885:Richard Wagner and the Anti-Semitic Imagination
4590:Richard Wagner: The Man, His Mind and His Music
4571:Richard Wagner: His Life, His Work, His Century
2432:. There is also a 1998 documentary directed by
2338:was the conductor most closely associated with
1748:even at the premiere: "The question of whether
1681:
851:. The reaction to this production was extreme:
778:in the Teatro Coliseo, on June 20, 1913, under
752:: Gurnemanz leads Parsifal to Monsalvat (act 1)
404:. If the prose sketch which Wagner mentions in
3690:. Cambridge University Press. pp. 65–83.
3073:
2551:, according to which it is of Persian origin,
2167:act 3, scene 1. Kundry's long solo in act 2 ("
2141:of late 19th century music. Theorists such as
1874:as an attempted assassination of basic ethics.
1458:, when all the world is purified and renewed.
818:audience and said that the cast would take no
6394:
6254:International Association of Wagner Societies
5865:
5454:
5291:
4769:. Cambridge, UK: Cambridge University Press.
4696:
4653:
4646:
4565:
4394:. Cambridge, UK: Cambridge University Press.
3082:
3013:
2936:
2912:
2800:
2735:
2620:, Königshausen & Neumann, Würzburg 2007,
2359:Amongst other recordings, those conducted by
1897:Some writers see in the opera a promotion of
1804:(act 3, scene 1). When viewed in this light,
5091:Disturbing the Universe: Wagner's Musikdrama
4142:
3873:
3578:
2774:
2487:. In also includes interviews with Domingo,
2396:BBC Radio 3's CD Review – Building a Library
2174:
2168:
2008:and that the Nazis placed a de facto ban on
1703:
1606:in 1909 as "magnificent, overwhelming", and
1527:
1521:
1511:
1505:
1446:as Parsifal in act 3, scene 1, Bayreuth 1889
1391:
1385:
1376:
1350:
1344:
1203:Knights of the Grail, squires, flowermaidens
625:
550:
544:
534:
528:
518:
509:
503:
479:
461:
434:Wagner's creative energy was devoted to the
405:
370:
339:
325:
316:
306:
246:
63:
4201:
3370:
2812:
2039:too had apparently some reservations about
267:Drawing for a libretto cover page (undated)
6401:
6387:
5501:
5461:
5447:
5298:
5284:
4847:Bayreuth: a History of the Wagner Festival
4742:
4630:. Paderborn, Germany: Ferdinand Schöning.
4520:
4446:
4343:. Presto Classical Limited. Archived from
4088:
3986:
3811:
3787:
3710:
3678:
3642:
2924:
2897:
2861:
2762:
1916:Essay on the Inequality of the Human Races
1744:objected to the religious air surrounding
45:
5132:International Music Score Library Project
4694:
4675:
4118:Aufführungen sortiert nach Inszenierungen
4061:
4049:
4037:
3962:
3153:
2680:Unger draws on the abstract of a book by
2383:. Also highly regarded is a recording of
2367:(with the Metropolitan Opera Orchestra),
1812:("compassion") is a natural follow-on to
1387:"Ich sah das Kind an seiner Mutter Brust"
732:Learn how and when to remove this message
4901:
4806:
4606:
4370:
3998:
3767:
3404:
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3393:
3342:
3330:
3293:
3281:
3269:
3257:
3245:
3233:
3181:
3139:Kluge, Andreas (1992). "Parsifal 1951".
2315:was expressly composed for the stage at
2058:
1958:
1685:
1569:'and you can say you were present'. The
1487:
1434:
1423:Musical introduction of c. 4–6 minutes.
1366:
1330:
1323:Musical introduction of c. 2–3 minutes.
1291:
1253:
1230:
892:
881:
826:
743:
624:, problems with the moving scenery (the
558:
453:(or "poem", as Wagner liked to call his
356:had moved into the cottage on 28 April:
262:
4825:
4644:
4625:
4465:
4389:
4010:
3950:
3926:
3630:
3482:
3444:
3305:
3126:
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3055:
3043:
2972:
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2948:
2885:
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637:
153:and his last composition. Wagner's own
6487:
4882:
4863:
4844:
4761:
4587:
4542:
4411:Beyond Reason: Wagner contra Nietzsche
4408:
4173:
4130:
3914:
3902:
3861:
3823:
3790:, pp. 245–246, 249, 255, 367–368.
3775:
3600:
3542:
3530:
3420:
3318:
3114:
2158:As is common in mature Wagner operas,
1594:simply noted that "When I first heard
1335:Parsifal and Kundry, two paintings by
571:
563:Poster for the premiere production of
6382:
5442:
5279:
4809:"Martha Mödl: 'Portrait of a Legend'"
4703:
4680:. New York: Oxford University Press.
4449:Drama and the World of Richard Wagner
4341:"Parsifal – The Search for the Grail"
4224:Cosima Wagner's diary, 1 August 1881.
4073:
3938:
3799:
3556:Drama and the World of Richard Wagner
3432:
3408:
3399:
3138:
2637:
2616:Danielle Buschinger, Renate Ullrich,
2394:On the 14 December 2013 broadcast of
1991:performed in the role of Amfortas at
1905:. One line of argument suggests that
149:in three acts by the German composer
5227:on Stage: a PDF by Katherine R. Syer
5216:Summary of Wolfram von Eschenbach's
5147:, excerpts of the score, rwagner.net
5047:The World as Will and Representation
4783:
4486:
4427:
4253:
4100:
4022:
3974:
3835:
3771:
3754:
3615:
3143:(Media notes). Teldec. 9031-76047-2.
2412:staged performances available on DVD
2375:(the latter two both conducting the
1913:, expressed most extensively in his
1544:could initially only be seen at the
900:as Parsifal with flowermaidens, 1882
670:adding citations to reliable sources
641:
6545:Race-related controversies in opera
6363:
4657:; Syer, Katherine R., eds. (2005).
3205:. L'Almanacco di Gherardo Casaglia
2438:Parsifal – The Search for the Grail
2153:
1507:"Geleiten wir im bergenden Schrein"
928:Met premiere cast, 24 December 1903
13:
5468:
4924:
2405:
2182:
1967:The conductor of the premiere was
527:one act at a time, completing the
271:Wagner read von Eschenbach's poem
207:) and his spiritual quest for the
14:
6556:
5108:
4545:The Cambridge Companion to Wagner
4469:Wagner and the Art of the Theatre
4432:. Eugene, Oregon: Cascade Books.
3361:, Phaidon Press, 1995, pp. 57–58.
2016:The Myth of the Twentieth Century
1560:On the other hand, the conductor
1393:"Amfortas! Die Wunde! Die Wunde!"
543:of the next act; but because the
539:of each act before beginning the
222:was first produced at the second
6362:
6352:
6343:
6342:
5930:Männerlist größer als Frauenlist
5696:
5684:
5672:
5652:
5640:
5628:
5616:
5601:
5573:
5561:
5549:
5391:Perceval, the Story of the Grail
5072:A Companion to Wagner's Parsifal
4935:. Faber and Faber Ltd., London.
4659:A Companion to Wagner's Parsifal
4333:
4311:"Wagner 200 Building a Library:
4308:
4302:
4279:
4259:
4227:
4218:
4195:
4179:
4136:
3467:. Reviewed by Richard Evidon in
2752:s:On the Will in Nature#SINOLOGY
2505:
2047:between 1939 and 1942. However,
1886:
1015:King of the Kingdom of the Grail
785:Bayreuth lifted its monopoly on
646:
5270:, constructed by Andrew Gourlay
5093:. Edinburgh: Candle Row Press.
4999:The Opera Goer's Complete Guide
4747:. London: Thames & Hudson.
4743:Millington, Barry, ed. (1992).
4106:
3867:
3841:
3760:
3732:
3716:
3672:
3648:
3572:
3548:
3513:
3488:
3450:
3364:
3348:
3311:
3212:
3187:
3147:
3132:
3088:
3007:
2978:
2831:
2806:
2768:
2618:Das Mittelalter Richard Wagners
2129:Many music theorists have used
2124:
1826:, but later rejected the idea.
1764:
657:needs additional citations for
514:on the 26th of the same month.
324:According to his autobiography
62:in the first production of the
6325:Richard Wagner Museum, Lucerne
5681:Die Meistersinger von Nürnberg
4977:The Philosophy of Schopenhauer
4371:Aberbach, Aland David (2003).
4145:"Introduction to the Music of
2741:
2694:
2631:
2610:
2597:
2577:
2563:meaning "pure (or poor) fool".
2533:
2418:was adapted for the screen by
1664:During a break from composing
994:an elderly knight of the Grail
502:elaboration of the music. The
474:) was made in pencil on three
426:Die Meistersinger von Nürnberg
413:Wagner did not resume work on
258:
1:
5814:A Communication to My Friends
4592:. Harcourt Brace Jovanovich.
4549:Cambridge Companions to Music
3814:, pp. 245–246, 249, 255.
2570:
2298:
2070:
1971:, the court conductor at the
1709:
620:At the first performances of
466:and in English as either the
187:Perceval ou le Conte du Graal
16:Music drama by Richard Wagner
5159:on TV: Met and Festspielhaus
5070:; Katherine R. Syer (eds.).
4784:Rose, Paul Lawrence (1992).
4526:Wagner: Beyond Good and Evil
3802:, pp. 279–280, 371–380.
3774:, pp. 135, 158–169 and
3095:"Pondering the Mysteries of
3025:(in French) (156): 359–383.
2491:, writers Robert Gutman and
2278:in Bayreuth, Wagner had the
1997:, causing some controversy.
1853:On the Genealogy of Morality
1829:
1682:Interpretation and influence
1535:
383:However, as his second wife
352:. The composer and his wife
338:morning, April 1857, in the
287:. Out of this interest came
279:in 1845. After encountering
7:
6064:Houston Stewart Chamberlain
6021:Bayreuth Festival Orchestra
5481:List of works for the stage
5272:, published by Schott Music
4979:. Oxford: Clarendon Press.
4830:. London: Faber and Faber.
4788:Wagner: Race and Revolution
4697:Kinderman & Syer (2005)
4676:Kinderman, William (2013).
4647:Kinderman & Syer (2005)
4447:Borchmeyer, Dieter (2003).
4373:The Ideas of Richard Wagner
3554:Borchmeyer, Dieter (2003).
3023:Revue d'Histoire du Théâtre
2498:
2410:In addition to a number of
2133:to explore difficulties in
2105:theme and the theme of the
1378:"Komm, komm, holder Knabe!"
1210:
920:Premiere cast, 26 July 1882
812:
576:
275:while taking the waters at
10:
6561:
6520:Libretti by Richard Wagner
5738:Das Liebesmahl der Apostel
5022:On the Genealogy of Morals
4767:The Life of Richard Wagner
4363:
4242:Studies in Music with Text
4013:, pp. 91–95, 128–130.
3560:Princeton University Press
3193:Casaglia, Gherardo (2005).
2691:which was never published.
2302:
1890:
1690:Scene design for act 3 by
805:. Such was the demand for
791:Teatro Comunale di Bologna
18:
6530:Operas adapted into films
6449:
6417:
6338:
6232:
6196:
6122:
6044:
6036:Richard Wagner Foundation
5991:
5966:
5901:
5858:
5800:The Artwork of the Future
5784:
5711:
5588:
5537:
5494:
5476:
5400:
5375:
5340:
5319:
4845:Spotts, Frederic (1994).
4826:Spencer, Stewart (2000).
4609:Bayreuth: The Early Years
4607:Hartford, Robert (1980).
4466:Carnegy, Patrick (2006).
3686:". In Julie Brown (ed.).
3224:, Met performance details
2239:(requiring two players),
2175:
2169:
2023:expressed the view that "
2000:It has been claimed that
1704:
1528:
1523:"Höchsten Heiles Wunder!"
1522:
1512:
1506:
1392:
1386:
1377:
1201:
789:on 1 January 1914 in the
315:were first introduced in
253:Richard Wagner Foundation
111:
94:
86:
76:
44:
33:
28:
21:Parsifal (disambiguation)
6535:Operas by Richard Wagner
5910:Die Laune des Verliebten
5137:Complete vocal score of
4912:Richard Wagner: Parsifal
4883:Weiner, Marc A. (1997).
4807:Shengold, David (2012).
4588:Gutman, Robert (1990) .
4392:Richard Wagner: Parsifal
4121:, retrieved 2 April 2017
2990:Lexikon der Filmbegriffe
2682:Friedrich von Suhtscheck
2526:
2054:
1407:
1307:
1215:
966:a messenger of the Grail
877:
593:. Stage designs were by
245:not as an opera, but as
6315:Wagner-Werk-Verzeichnis
6275:Nietzsche contra Wagner
6209:Richard Wagner Memorial
6204:Richard Wagner Monument
5598:Der Ring des Nibelungen
5546:Der fliegende Holländer
4715:. New York: Owl Books.
4626:Hofmann, Peter (2003).
4265:Holloway, Robin (1982)
4186:Cosima Wagner's Diaries
3498:Nietzsche contra Wagner
2839:Cosima Wagner's Diaries
2211:in B-flat and A, three
2013:work. In his 1930 book
1859:Nietzsche contra Wagner
1808:, with its emphasis on
1529:"Erlösung dem Erlöser!"
1478:Titurel's Funeral March
1464:Orchestral interlude –
1318:Klingsor's Magic Castle
1314:Klingsors Zauberschloss
1276:Orchestral interlude –
803:an hour behind Bayreuth
248:Ein Bühnenweihfestspiel
6510:German-language operas
6411:Wolfram von Eschenbach
6026:Bayreuth Festspielhaus
5262:conductors at Bayreuth
5089:Vernon, David (2021).
5001:. London: Best Books.
4428:Bell, Richard (2013).
4409:Berger, Karol (2017).
4390:Beckett, Lucy (1981).
3688:Western Music and Race
3495:Nietzsche, Friedrich.
2837:Wagner, Cosima (1980)
2067:
1964:
1876:
1738:
1716:
1618:is really something."
1513:"Nur eine Waffe taugt"
1500:
1496:), original design by
1447:
1372:
1351:
1345:
1340:
1300:
1262:
1236:
901:
890:
762:Bayreuth Festspielhaus
753:
626:
613:conducted by Levi and
587:Bayreuth Festspielhaus
568:
551:
545:
535:
529:
519:
510:
504:
480:
462:
406:
398:
381:
371:
340:
326:
317:
307:
268:
247:
216:Bayreuth Festspielhaus
176:Wolfram von Eschenbach
127:Bayreuth Festspielhaus
116:26 July 1882
106:Wolfram von Eschenbach
64:
6515:Holy Grail in fiction
6287:The Perfect Wagnerite
5881:Ride of the Valkyries
5807:Autobiographic Sketch
4729:Wagner and Philosophy
4567:Gregor-Dellin, Martin
3447:, pp. 92–93, 98.
3019:"La Wandeldekoration"
2984:Heinz-Hermann Meyer.
2748:On the Will in Nature
2539:Wagner's spelling of
2427:Hans-Jürgen Syberberg
2207:in B-flat and A, one
2062:
1962:
1891:Further information:
1864:
1733:
1689:
1491:
1438:
1370:
1334:
1295:
1260:
1234:
896:
885:
827:Post-war performances
799:Gran Teatre del Liceu
747:
632:Engelbert Humperdinck
562:
389:
358:
266:
5486:List of compositions
5194:Programme notes for
5041:Schopenhauer, Arthur
5017:Nietzsche, Friedrich
4933:The Wagner Companion
4866:Wagner and His World
4206:. New York: Schirmer
3375:. The Wagner Library
3083:Gregor-Dellin (1983)
2937:Gregor-Dellin (1983)
2913:Gregor-Dellin (1983)
2801:Gregor-Dellin (1983)
2736:Gregor-Dellin (1983)
2267:. (The other is the
2045:Deutsche Oper Berlin
1893:Wagner controversies
1719:Wagner's last work,
1705:Nur eine Waffe taugt
1633:Pelléas et Melisande
1470:Transformation music
1418:Parsifal's Wandering
1337:Rogelio de Egusquiza
1282:Transformation music
666:improve this article
638:Ban outside Bayreuth
583:Ludwig II of Bavaria
472:first complete draft
190:by the 12th-century
19:For other uses, see
6219:Wagner Ice Piedmont
6123:Cultural depictions
6114:Eva Wagner-Pasquier
5940:Wieland der Schmied
5842:Music of the Future
5718:Symphony in C major
5254:, by Geoffrey Riggs
5051:. New York: Dover.
4904:Heinz-Klaus Metzger
4699:, pp. 133-175.
4611:. Victor Gollancz.
4573:. William Collins.
4176:, pp. 136–139.
4091:, pp. 173–174.
4040:, pp. 174–175.
4025:, pp. 230–231.
4001:, pp. 321–324.
3989:, pp. 238–260.
3977:, pp. 269–270.
3953:, pp. 133–138.
3941:, pp. 264–285.
3929:, pp. 267–291.
3917:, pp. 339–345.
3713:, pp. 166–169.
3659:In Search of Wagner
3645:, pp. 257–259.
3633:, pp. 287–288.
3618:, pp. 131–132.
3581:"Parsifal and race"
3501:. Project Gutenberg
3485:, pp. 113–120.
3459:by Richard Wagner,
3423:, pp. 341–342.
3129:, pp. 288–290.
3046:, pp. 268 ff..
2963:, pp. 107–118.
2864:, pp. 135–136.
2819:. Project Gutenberg
2706:Seattle Opera House
2702:"Parsifal Synopsis"
2387:under the baton of
2377:Berlin Philharmonic
2369:Herbert von Karajan
2336:Hans Knappertsbusch
2064:Margaret Matzenauer
2019:the Nazi ideologue
1835:Friedrich Nietzsche
1771:Arthur Schopenhauer
1654:George Bernard Shaw
1474:Titurels Totenfeier
1412:Prelude to act 3 –
1312:Prelude to act 2 –
1178:Marcia Van Dresser
908:
862:Hans Knappertsbusch
572:Performance history
552:Partiturerstschrift
520:Partiturerstschrift
350:Mathilde Wesendonck
330:, Wagner conceived
281:Arthur Schopenhauer
65:Bühnenweihfestspiel
6299:Der Ring in Minden
6241:The Case of Wagner
6000:Bayreuther Blätter
5793:Art and Revolution
5712:Non-operatic music
5669:Tristan und Isolde
5240:2019-08-13 at the
5202:2020-07-16 at the
4655:Kinderman, William
4649:, pp. 81-130.
4155:on October 4, 2011
4143:Everett, Derrick.
3874:Everett, Derrick.
3849:Of Gods and Demons
3579:Everett, Derrick.
3411:, pp. 371–380
3373:"Religion and Art"
3222:, 24 December 1903
2986:"Wandeldekoration"
2777:"Prose Sketch for
2775:Everett, Derrick.
2068:
1965:
1911:Arthur de Gobineau
1815:Tristan und Isolde
1717:
1667:The Rite of Spring
1501:
1498:Paul von Joukowsky
1448:
1414:Parsifals Irrfahrt
1373:
1341:
1301:
1297:Paul von Joukowsky
1263:
1237:
1183:Voice from Above,
1176:Lillian Heidelbach
1136:Six flowermaidens
1119:Adolf von Hübbenet
1078:Two Grail knights
953:Hermann Winkelmann
904:
902:
898:Hermann Winkelmann
891:
889:as Gurnemanz, 1883
775:Metropolitan Opera
760:took place in the
754:
750:Metropolitan Opera
599:Paul von Joukowsky
569:
420:Tristan und Isolde
269:
232:Metropolitan Opera
197:Chrétien de Troyes
159:Middle High German
60:Hermann Winkelmann
6482:
6481:
6376:
6375:
6192:
6191:
6016:Bayreuth Festival
5992:Bayreuth Festival
5987:
5986:
5962:
5961:
5955:
5954:(1858; text only)
5945:
5944:(1850; text only)
5935:
5925:
5915:
5902:Unfinished operas
5897:
5896:
5773:
5763:
5758:Wesendonck Lieder
5753:
5752:(1840, rev. 1855)
5743:
5733:
5722:
5707:
5706:
5663:
5662:
5584:
5583:
5533:
5532:
5436:
5435:
5232:Richard Wagner –
5174:Essay by Rolf May
5068:William Kinderman
5025:. Vintage Books.
4964:978-3-7618-2418-4
4875:978-0-691-14366-8
4828:Wagner Remembered
4799:978-0-300-06745-3
4731:, Penguin Books,
4711:The Tristan Chord
4687:978-0-19-536692-1
4678:Wagner's Parsifal
4558:978-0-521-64439-6
4535:978-0-520-25453-4
4439:978-1-62032-885-9
4292:Kyle Cathie Ltd,
4269:, Harper and Row
4202:Wagner, Richard.
4113:Bayreuth Festival
4089:Deathridge (2008)
3987:Borchmeyer (2003)
3876:"The 1939 Ban on
3812:Borchmeyer (2003)
3788:Borchmeyer (2003)
3757:, pp. 168 f.
3745:, Dobell, 1899. .
3743:A Study of Wagner
3729:, Schirmer, 1904.
3723:Hans von Wolzogen
3711:Deathridge (2008)
3697:978-0-521-83887-0
3643:Borchmeyer (2003)
3396:, pp. 127 f.
3371:Wagner, Richard.
3260:, pp. 176 f.
3236:, pp. 126 f.
3101:by Fred Plotkin,
3058:, pp. 93–95.
2951:, pp. 90 f..
2925:Millington (1992)
2915:, pp. 477 f.
2900:, pp. 147 f.
2898:Millington (1992)
2862:Millington (1992)
2843:Skelton, Geoffrey
2816:Mein Leben vol II
2813:Wagner, Richard.
2763:Millington (1992)
2651:(1074): 703–705.
2644:The Musical Times
2626:978-3-8260-3078-9
2454:Bayreuth Festival
2442:Mariinsky Theatre
2381:Gramophone Awards
2344:Bayreuth Festival
2091:Hans von Wolzogen
1941:Hans von Wolzogen
1802:Good Friday Spell
1793:Good Friday Spell
1562:Felix Weingartner
1546:Bayreuth Festival
1466:Verwandlungsmusik
1278:Verwandlungsmusik
1258:
1220:Prelude to act 1
1208:
1207:
1192:Sophie Dompierre
1067:August Kindermann
1025:Theodor Reichmann
958:Alois Burgstaller
836:Bayreuth Festival
795:Giuseppe Borgatti
742:
741:
734:
716:
468:preliminary draft
372:Die Meistersinger
241:Wagner described
224:Bayreuth Festival
203:knight Parzival (
183:chivalric romance
162:chivalric romance
134:
133:
70:Bayreuth Festival
6552:
6505:Arthurian operas
6403:
6396:
6389:
6380:
6379:
6366:
6365:
6356:
6346:
6345:
6197:Named for Wagner
6166:Film adaptations
6163:
6162:
6094:Siegfried Wagner
6079:Katharina Wagner
5964:
5963:
5953:
5943:
5933:
5923:
5913:
5899:
5898:
5863:
5862:
5771:
5761:
5751:
5741:
5731:
5720:
5700:
5688:
5676:
5656:
5644:
5632:
5620:
5605:
5593:
5592:
5586:
5585:
5577:
5565:
5553:
5535:
5534:
5517:Das Liebesverbot
5499:
5498:
5463:
5456:
5449:
5440:
5439:
5300:
5293:
5286:
5277:
5276:
5206:by Luke Berryman
5151:English libretto
5130:: Scores at the
5104:
5085:
5081:978-157113-457-8
5062:
5050:
5036:
5012:
4990:
4968:
4946:
4919:
4898:
4879:
4860:
4841:
4822:
4803:
4791:
4780:
4758:
4726:
4714:
4700:
4691:
4672:
4668:978-157113-457-8
4650:
4641:
4622:
4603:
4584:
4562:
4539:
4522:Deathridge, John
4517:
4483:
4462:
4443:
4424:
4405:
4386:
4357:
4356:
4354:
4352:
4347:on 2 August 2016
4337:
4331:
4330:
4328:
4326:
4306:
4300:
4283:
4277:
4263:
4257:
4251:
4245:
4231:
4225:
4222:
4216:
4215:
4213:
4211:
4199:
4193:
4190:Geoffrey Skelton
4183:
4177:
4171:
4165:
4164:
4162:
4160:
4151:. Archived from
4140:
4134:
4128:
4122:
4110:
4104:
4098:
4092:
4086:
4077:
4071:
4065:
4062:Kinderman (2005)
4059:
4053:
4050:Kinderman (2013)
4047:
4041:
4038:Kinderman (2005)
4035:
4026:
4020:
4014:
4008:
4002:
3996:
3990:
3984:
3978:
3972:
3966:
3963:Kinderman (2013)
3960:
3954:
3948:
3942:
3936:
3930:
3924:
3918:
3912:
3906:
3900:
3891:
3890:
3888:
3886:
3871:
3865:
3859:
3853:
3845:
3839:
3833:
3827:
3821:
3815:
3809:
3803:
3797:
3791:
3785:
3779:
3764:
3758:
3752:
3746:
3736:
3730:
3720:
3714:
3708:
3702:
3701:
3680:Deathridge, John
3676:
3670:
3652:
3646:
3640:
3634:
3628:
3619:
3613:
3604:
3598:
3592:
3591:
3589:
3587:
3576:
3570:
3552:
3546:
3540:
3534:
3528:
3522:
3517:
3511:
3510:
3508:
3506:
3492:
3486:
3480:
3474:
3454:
3448:
3442:
3436:
3430:
3424:
3418:
3412:
3406:
3397:
3391:
3385:
3384:
3382:
3380:
3368:
3362:
3352:
3346:
3340:
3334:
3328:
3322:
3315:
3309:
3303:
3297:
3291:
3285:
3279:
3273:
3267:
3261:
3255:
3249:
3243:
3237:
3231:
3225:
3216:
3210:
3208:
3202:
3191:
3185:
3179:
3173:
3172:
3170:
3168:
3151:
3145:
3144:
3141:Wagner: Parsifal
3136:
3130:
3124:
3118:
3112:
3106:
3092:
3086:
3080:
3071:
3065:
3059:
3053:
3047:
3041:
3035:
3034:
3011:
3005:
2982:
2976:
2970:
2964:
2958:
2952:
2946:
2940:
2934:
2928:
2922:
2916:
2910:
2901:
2895:
2889:
2883:
2877:
2871:
2865:
2859:
2853:
2835:
2829:
2828:
2826:
2824:
2810:
2804:
2798:
2792:
2791:
2789:
2787:
2772:
2766:
2760:
2754:
2745:
2739:
2733:
2727:
2721:
2719:
2717:
2708:. Archived from
2698:
2692:
2690:
2679:
2635:
2629:
2614:
2608:
2603:Richard Wagner,
2601:
2595:
2586:, "Einleitung",
2581:
2564:
2537:
2515:
2510:
2509:
2482:
2446:Ravello Festival
2373:Daniel Barenboim
2191:calls for three
2178:
2177:
2172:
2171:
2170:Ich sah das Kind
2154:Notable excerpts
2021:Alfred Rosenberg
1714:
1711:
1707:
1706:
1692:Arnaldo dell'Ira
1676:Sergei Diaghilev
1531:
1530:
1525:
1524:
1515:
1514:
1509:
1508:
1395:
1394:
1389:
1388:
1380:
1379:
1354:
1349:), Hell's Rose (
1348:
1259:
1170:Ernesta Delsarta
1146:or six sopranos
1139:three sopranos,
1093:Adolph Mühlmann
1038:an evil magician
909:
907:
903:
793:in Bologna with
737:
730:
726:
723:
717:
715:
674:
650:
642:
629:
627:Wandeldekoration
554:
548:
538:
532:
522:
517:The full score (
513:
507:
486:orchestral draft
483:
465:
409:
395:
374:
343:
329:
320:
310:
250:
123:
121:
67:
49:
26:
25:
6560:
6559:
6555:
6554:
6553:
6551:
6550:
6549:
6485:
6484:
6483:
6478:
6445:
6413:
6407:
6377:
6372:
6334:
6248:Gesamtkunstwerk
6228:
6214:Wagner (crater)
6188:
6161:
6118:
6109:Wolfgang Wagner
6104:Winifred Wagner
6059:Eva Chamberlain
6040:
6031:Jahrhundertring
6011:Bayreuth Circle
5983:
5958:
5893:
5854:
5849:Opera and Drama
5780:
5768:Siegfried Idyll
5703:
5659:
5649:Götterdämmerung
5580:
5538:Romantic operas
5529:
5495:Complete operas
5490:
5472:
5467:
5437:
5432:
5396:
5371:
5357:The Evil Forest
5336:
5315:
5304:
5242:Wayback Machine
5204:Wayback Machine
5111:
5101:
5088:
5082:
5065:
5059:
5039:
5033:
5015:
5009:
4993:
4987:
4971:
4965:
4949:
4943:
4930:
4927:
4925:Further reading
4922:
4895:
4876:
4857:
4838:
4800:
4777:
4755:
4723:
4688:
4669:
4638:
4619:
4600:
4581:
4559:
4536:
4480:
4459:
4440:
4421:
4402:
4383:
4366:
4361:
4360:
4350:
4348:
4339:
4338:
4334:
4324:
4322:
4307:
4303:
4284:
4280:
4267:Opera on Record
4264:
4260:
4252:
4248:
4232:
4228:
4223:
4219:
4209:
4207:
4200:
4196:
4184:
4180:
4172:
4168:
4158:
4156:
4141:
4137:
4129:
4125:
4111:
4107:
4099:
4095:
4087:
4080:
4072:
4068:
4060:
4056:
4048:
4044:
4036:
4029:
4021:
4017:
4009:
4005:
3999:Aberbach (2003)
3997:
3993:
3985:
3981:
3973:
3969:
3961:
3957:
3949:
3945:
3937:
3933:
3925:
3921:
3913:
3909:
3901:
3894:
3884:
3882:
3872:
3868:
3860:
3856:
3846:
3842:
3834:
3830:
3822:
3818:
3810:
3806:
3798:
3794:
3786:
3782:
3768:Zelinsky (1982)
3765:
3761:
3753:
3749:
3737:
3733:
3721:
3717:
3709:
3705:
3698:
3677:
3673:
3655:Adorno, Theodor
3653:
3649:
3641:
3637:
3629:
3622:
3614:
3607:
3599:
3595:
3585:
3583:
3577:
3573:
3553:
3549:
3541:
3537:
3529:
3525:
3518:
3514:
3504:
3502:
3493:
3489:
3481:
3477:
3455:
3451:
3443:
3439:
3435:, pp. 1–2.
3431:
3427:
3419:
3415:
3407:
3400:
3394:Hartford (1980)
3392:
3388:
3378:
3376:
3369:
3365:
3355:Igor Stravinsky
3353:
3349:
3343:Hartford (1980)
3341:
3337:
3331:Hartford (1980)
3329:
3325:
3316:
3312:
3304:
3300:
3294:Hartford (1980)
3292:
3288:
3282:Hartford (1980)
3280:
3276:
3270:Hartford (1980)
3268:
3264:
3258:Hartford (1980)
3256:
3252:
3246:Hartford (1980)
3244:
3240:
3234:Hartford (1980)
3232:
3228:
3217:
3213:
3206:
3200:
3192:
3188:
3182:Shengold (2012)
3180:
3176:
3166:
3164:
3154:Erik Eriksson.
3152:
3148:
3137:
3133:
3125:
3121:
3113:
3109:
3105:, 2 March 2013.
3093:
3089:
3081:
3074:
3066:
3062:
3054:
3050:
3042:
3038:
3012:
3008:
2983:
2979:
2971:
2967:
2959:
2955:
2947:
2943:
2935:
2931:
2923:
2919:
2911:
2904:
2896:
2892:
2884:
2880:
2872:
2868:
2860:
2856:
2836:
2832:
2822:
2820:
2811:
2807:
2799:
2795:
2785:
2783:
2773:
2769:
2761:
2757:
2746:
2742:
2734:
2730:
2715:
2713:
2712:on 25 June 2014
2700:
2699:
2695:
2684:
2636:
2632:
2615:
2611:
2602:
2598:
2582:
2578:
2573:
2568:
2567:
2543:instead of the
2538:
2534:
2529:
2521:Gesamtkunstwerk
2511:
2504:
2501:
2493:Karen Armstrong
2489:Wolfgang Wagner
2476:
2474:Nikolai Putilin
2462:Plácido Domingo
2420:Daniel Mangrané
2408:
2406:Filmed versions
2310:
2301:
2249:thunder machine
2185:
2183:Instrumentation
2156:
2127:
2093:whose guide to
2073:
2057:
2029:Joseph Goebbels
1947:) who analysed
1895:
1889:
1832:
1767:
1742:Eduard Hanslick
1712:
1684:
1672:Igor Stravinsky
1628:Ernest Chausson
1554:Eduard Hanslick
1538:
1518:chorus mysticus
1444:Ernest van Dyck
1442:as Kundry with
1410:
1339:, 1910 and 1906
1310:
1254:
1218:
1213:
1177:
1175:
1173:
1171:
1169:
1168:Isabelle Bouton
1164:
1162:
1158:
1154:
1152:
1145:
1140:
1130:
1126:
1124:
1123:Katherine Moran
1117:
1113:
1111:
1104:
1102:
1092:
1087:
1082:
973:
929:
921:
905:
880:
866:dress rehearsal
829:
815:
738:
727:
721:
718:
675:
673:
663:
651:
640:
603:Siena Cathedral
579:
574:
546:Orchesterskizze
536:Orchesterskizze
511:Orchesterskizze
481:Orchesterskizze
393:
261:
130:
129:
124:
119:
117:
103:
72:
24:
17:
12:
11:
5:
6558:
6548:
6547:
6542:
6537:
6532:
6527:
6522:
6517:
6512:
6507:
6502:
6497:
6480:
6479:
6477:
6476:
6469:
6464:
6459:
6453:
6451:
6447:
6446:
6444:
6443:
6436:
6429:
6421:
6419:
6415:
6414:
6406:
6405:
6398:
6391:
6383:
6374:
6373:
6371:
6370:
6360:
6350:
6339:
6336:
6335:
6333:
6332:
6327:
6322:
6317:
6312:
6307:
6302:
6295:
6290:
6283:
6281:Parsifal bells
6278:
6271:
6266:
6261:
6256:
6251:
6244:
6236:
6234:
6230:
6229:
6227:
6226:
6221:
6216:
6211:
6206:
6200:
6198:
6194:
6193:
6190:
6189:
6187:
6186:
6178:
6169:
6167:
6160:
6159:
6151:
6147:Wagner's Dream
6143:
6135:
6126:
6124:
6120:
6119:
6117:
6116:
6111:
6106:
6101:
6099:Wieland Wagner
6096:
6091:
6086:
6081:
6076:
6071:
6066:
6061:
6056:
6054:Isolde Beidler
6050:
6048:
6042:
6041:
6039:
6038:
6033:
6028:
6023:
6018:
6013:
6008:
6006:Bayreuth canon
6003:
5995:
5993:
5989:
5988:
5985:
5984:
5982:
5981:
5976:
5970:
5968:
5960:
5959:
5957:
5956:
5946:
5936:
5926:
5916:
5905:
5903:
5895:
5894:
5892:
5891:
5884:
5877:
5869:
5867:
5866:Opera excerpts
5860:
5856:
5855:
5853:
5852:
5845:
5838:
5831:
5824:
5817:
5810:
5803:
5796:
5788:
5786:
5782:
5781:
5779:
5774:
5764:
5754:
5748:Faust Overture
5744:
5734:
5723:
5715:
5713:
5709:
5708:
5705:
5704:
5702:
5701:
5689:
5677:
5664:
5661:
5660:
5658:
5657:
5645:
5633:
5621:
5608:
5606:
5590:
5582:
5581:
5579:
5578:
5566:
5554:
5541:
5539:
5531:
5530:
5528:
5527:
5520:
5513:
5505:
5503:
5496:
5492:
5491:
5489:
5488:
5483:
5477:
5474:
5473:
5470:Richard Wagner
5466:
5465:
5458:
5451:
5443:
5434:
5433:
5431:
5430:
5423:
5418:
5410:
5404:
5402:
5398:
5397:
5395:
5394:
5387:
5379:
5377:
5373:
5372:
5370:
5369:
5361:
5353:
5344:
5342:
5338:
5337:
5335:
5334:
5329:
5323:
5321:
5317:
5316:
5307:Richard Wagner
5303:
5302:
5295:
5288:
5280:
5274:
5273:
5268:Parsifal Suite
5264:
5255:
5245:
5229:
5221:
5213:
5207:
5191:
5171:
5162:
5153:
5148:
5142:
5134:
5122:
5121:
5110:
5109:External links
5107:
5106:
5105:
5100:978-1527299245
5099:
5086:
5080:
5063:
5057:
5037:
5031:
5013:
5007:
4991:
4985:
4969:
4963:
4951:Konrad, Ulrich
4947:
4941:
4926:
4923:
4921:
4920:
4916:Musik-Konzepte
4899:
4893:
4880:
4874:
4861:
4855:
4842:
4836:
4823:
4804:
4798:
4781:
4775:
4763:Newman, Ernest
4759:
4753:
4740:
4721:
4701:
4692:
4686:
4673:
4667:
4651:
4642:
4636:
4623:
4617:
4604:
4598:
4585:
4579:
4563:
4557:
4540:
4534:
4518:
4506:10.2307/854168
4493:Music Analysis
4484:
4478:
4463:
4457:
4444:
4438:
4425:
4419:
4406:
4400:
4387:
4381:
4367:
4365:
4362:
4359:
4358:
4332:
4301:
4278:
4258:
4246:
4226:
4217:
4194:
4178:
4166:
4135:
4133:, p. 357.
4123:
4105:
4103:, p. 230.
4093:
4078:
4076:, p. 366.
4066:
4064:, p. 174.
4054:
4042:
4027:
4015:
4011:Kienzle (2005)
4003:
3991:
3979:
3967:
3965:, p. 211.
3955:
3951:Beckett (1981)
3943:
3931:
3927:Hofmann (2003)
3919:
3907:
3892:
3866:
3864:, p. 166.
3854:
3840:
3838:, p. 207.
3828:
3816:
3804:
3792:
3780:
3759:
3747:
3731:
3715:
3703:
3696:
3671:
3647:
3635:
3631:Hofmann (2003)
3620:
3605:
3603:, p. 406.
3593:
3571:
3547:
3535:
3523:
3512:
3487:
3483:Beckett (1981)
3475:
3449:
3445:Kienzle (2005)
3437:
3425:
3413:
3398:
3386:
3363:
3359:Michael Oliver
3347:
3345:, p. 167.
3335:
3333:, p. 151.
3323:
3310:
3308:, p. 108.
3306:Beckett (1981)
3298:
3296:, p. 193.
3286:
3284:, p. 180.
3274:
3272:, p. 178.
3262:
3250:
3248:, p. 131.
3238:
3226:
3211:
3186:
3174:
3146:
3131:
3127:Carnegy (2006)
3119:
3117:, p. 212.
3107:
3087:
3072:
3068:Beckett (1981)
3060:
3056:Beckett (1981)
3048:
3044:Spencer (2000)
3036:
3006:
2977:
2975:, p. 270.
2973:Spencer (2000)
2965:
2961:Carnegy (2006)
2953:
2949:Beckett (1981)
2941:
2939:, p. 485.
2929:
2927:, p. 307.
2917:
2902:
2890:
2886:Beckett (1981)
2878:
2874:Beckett (1981)
2866:
2854:
2830:
2805:
2803:, p. 270.
2793:
2767:
2765:, p. 147.
2755:
2740:
2738:, p. 141.
2728:
2693:
2657:10.2307/917595
2630:
2609:
2596:
2575:
2574:
2572:
2569:
2566:
2565:
2531:
2530:
2528:
2525:
2524:
2523:
2517:
2516:
2500:
2497:
2470:Matti Salminen
2466:Violeta Urmana
2407:
2404:
2389:Rafael Kubelík
2303:Main article:
2300:
2297:
2247:, one onstage
2187:The score for
2184:
2181:
2176:Wehvolles Erbe
2155:
2152:
2126:
2123:
2072:
2069:
2056:
2053:
1888:
1885:
1843:slave morality
1831:
1828:
1766:
1763:
1683:
1680:
1620:Claude Debussy
1617:
1537:
1534:
1440:Amalie Materna
1409:
1406:
1309:
1306:
1217:
1214:
1212:
1209:
1206:
1205:
1199:
1198:
1193:
1190:
1187:
1180:
1179:
1166:
1156:Carrie Pringle
1150:Pauline Horson
1147:
1137:
1133:
1132:
1125:Paula Braendle
1121:
1106:
1099:
1095:
1094:
1089:
1084:
1079:
1075:
1074:
1072:Marcel Journet
1069:
1064:
1061:
1054:
1053:
1050:
1045:
1040:
1033:
1032:
1030:Anton van Rooy
1027:
1022:
1017:
1010:
1009:
1006:
1001:
996:
989:
988:
983:
981:Amalie Materna
978:
968:
961:
960:
955:
950:
945:
935:
934:
926:
918:
913:
879:
876:
840:Wieland Wagner
828:
825:
814:
811:
780:Gino Marinuzzi
740:
739:
654:
652:
645:
639:
636:
578:
575:
573:
570:
260:
257:
151:Richard Wagner
132:
131:
125:
115:
113:
109:
108:
96:
92:
91:
88:
84:
83:
81:Richard Wagner
78:
74:
73:
52:Amalie Materna
50:
42:
41:
39:Richard Wagner
31:
30:
15:
9:
6:
4:
3:
2:
6557:
6546:
6543:
6541:
6538:
6536:
6533:
6531:
6528:
6526:
6523:
6521:
6518:
6516:
6513:
6511:
6508:
6506:
6503:
6501:
6498:
6496:
6493:
6492:
6490:
6475:
6474:
6470:
6468:
6465:
6463:
6460:
6458:
6455:
6454:
6452:
6448:
6442:
6441:
6437:
6435:
6434:
6430:
6428:
6427:
6423:
6422:
6420:
6416:
6412:
6404:
6399:
6397:
6392:
6390:
6385:
6384:
6381:
6369:
6361:
6359:
6355:
6351:
6349:
6341:
6340:
6337:
6331:
6328:
6326:
6323:
6321:
6318:
6316:
6313:
6311:
6310:Controversies
6308:
6306:
6305:Tristan chord
6303:
6301:
6300:
6296:
6294:
6291:
6289:
6288:
6284:
6282:
6279:
6277:
6276:
6272:
6270:
6267:
6265:
6262:
6260:
6257:
6255:
6252:
6250:
6249:
6245:
6243:
6242:
6238:
6237:
6235:
6231:
6225:
6222:
6220:
6217:
6215:
6212:
6210:
6207:
6205:
6202:
6201:
6199:
6195:
6185:
6183:
6179:
6177:
6175:
6171:
6170:
6168:
6164:
6158:
6156:
6152:
6149:
6148:
6144:
6141:
6140:
6136:
6133:
6132:
6128:
6127:
6125:
6121:
6115:
6112:
6110:
6107:
6105:
6102:
6100:
6097:
6095:
6092:
6090:
6087:
6085:
6082:
6080:
6077:
6075:
6074:Cosima Wagner
6072:
6070:
6067:
6065:
6062:
6060:
6057:
6055:
6052:
6051:
6049:
6047:
6046:Wagner family
6043:
6037:
6034:
6032:
6029:
6027:
6024:
6022:
6019:
6017:
6014:
6012:
6009:
6007:
6004:
6002:
6001:
5997:
5996:
5994:
5990:
5980:
5977:
5975:
5972:
5971:
5969:
5965:
5952:
5951:
5947:
5942:
5941:
5937:
5932:
5931:
5927:
5922:
5921:
5917:
5912:
5911:
5907:
5906:
5904:
5900:
5889:
5885:
5882:
5878:
5875:
5874:Bridal Chorus
5871:
5870:
5868:
5864:
5861:
5857:
5851:
5850:
5846:
5843:
5839:
5837:
5836:
5832:
5830:
5829:
5825:
5822:
5818:
5815:
5811:
5808:
5804:
5801:
5797:
5794:
5790:
5789:
5787:
5783:
5778:
5775:
5770:
5769:
5765:
5760:
5759:
5755:
5750:
5749:
5745:
5740:
5739:
5735:
5730:
5728:
5724:
5719:
5716:
5714:
5710:
5699:
5695:
5694:
5690:
5687:
5683:
5682:
5678:
5675:
5671:
5670:
5666:
5665:
5655:
5651:
5650:
5646:
5643:
5639:
5638:
5634:
5631:
5627:
5626:
5622:
5619:
5615:
5614:
5613:Das Rheingold
5610:
5609:
5607:
5604:
5600:
5599:
5594:
5591:
5587:
5576:
5572:
5571:
5567:
5564:
5560:
5559:
5555:
5552:
5548:
5547:
5543:
5542:
5540:
5536:
5526:
5525:
5521:
5519:
5518:
5514:
5512:
5511:
5507:
5506:
5504:
5500:
5497:
5493:
5487:
5484:
5482:
5479:
5478:
5475:
5471:
5464:
5459:
5457:
5452:
5450:
5445:
5444:
5441:
5429:
5428:
5424:
5422:
5419:
5417:
5415:
5411:
5409:
5408:Parsifal bell
5406:
5405:
5403:
5399:
5393:
5392:
5388:
5386:
5385:
5381:
5380:
5378:
5374:
5367:
5366:
5362:
5359:
5358:
5354:
5351:
5350:
5346:
5345:
5343:
5339:
5333:
5330:
5328:
5325:
5324:
5322:
5318:
5314:
5313:
5308:
5301:
5296:
5294:
5289:
5287:
5282:
5281:
5278:
5271:
5269:
5265:
5263:
5261:
5256:
5253:
5251:
5246:
5243:
5239:
5236:
5235:
5230:
5228:
5226:
5222:
5220:
5219:
5214:
5211:
5210:Wagner Operas
5208:
5205:
5201:
5198:
5197:
5192:
5189:
5188:
5183:
5179:
5175:
5172:
5170:
5166:
5163:
5160:
5158:
5154:
5152:
5149:
5146:
5143:
5141:
5140:
5135:
5133:
5129:
5128:
5124:
5123:
5120:
5116:
5113:
5112:
5102:
5096:
5092:
5087:
5083:
5077:
5073:
5069:
5064:
5060:
5058:0-486-21762-0
5054:
5049:
5048:
5042:
5038:
5034:
5032:0-679-72462-1
5028:
5024:
5023:
5018:
5014:
5010:
5008:0-7222-6262-0
5004:
5000:
4996:
4992:
4988:
4986:0-19-823722-7
4982:
4978:
4974:
4970:
4966:
4960:
4956:
4952:
4948:
4944:
4942:0-571-11450-4
4938:
4934:
4929:
4928:
4917:
4913:
4909:
4905:
4900:
4896:
4894:0-8032-9792-0
4890:
4886:
4881:
4877:
4871:
4867:
4862:
4858:
4856:0-300-05777-6
4852:
4848:
4843:
4839:
4837:0-571-19653-5
4833:
4829:
4824:
4820:
4816:
4815:
4810:
4805:
4801:
4795:
4790:
4789:
4782:
4778:
4776:0-521-29149-6
4772:
4768:
4764:
4760:
4756:
4754:0-02-871359-1
4750:
4746:
4741:
4738:
4737:0-14-029519-4
4734:
4730:
4724:
4722:0-8050-7189-X
4718:
4713:
4712:
4706:
4702:
4698:
4693:
4689:
4683:
4679:
4674:
4670:
4664:
4660:
4656:
4652:
4648:
4643:
4639:
4637:3-506-73929-8
4633:
4629:
4624:
4620:
4618:0-575-02865-3
4614:
4610:
4605:
4601:
4599:0-15-677615-4
4595:
4591:
4586:
4582:
4580:0-00-216669-0
4576:
4572:
4568:
4564:
4560:
4554:
4550:
4546:
4541:
4537:
4531:
4527:
4523:
4519:
4515:
4511:
4507:
4503:
4499:
4495:
4494:
4489:
4488:Cohn, Richard
4485:
4481:
4479:0-300-10695-5
4475:
4471:
4470:
4464:
4460:
4458:0-691-11497-8
4454:
4450:
4445:
4441:
4435:
4431:
4426:
4422:
4420:9780520966130
4416:
4412:
4407:
4403:
4401:0-521-29662-5
4397:
4393:
4388:
4384:
4382:0-7618-2524-X
4378:
4374:
4369:
4368:
4346:
4342:
4336:
4321:. BBC Radio 3
4320:
4316:
4314:
4309:Nice, David.
4305:
4299:
4298:1-85626-056-9
4295:
4291:
4287:
4282:
4276:
4275:0-06-090910-2
4272:
4268:
4262:
4255:
4250:
4243:
4239:
4235:
4230:
4221:
4205:
4198:
4191:
4187:
4182:
4175:
4174:Thorau (2009)
4170:
4154:
4150:
4148:
4139:
4132:
4131:Berger (2017)
4127:
4120:
4119:
4114:
4109:
4102:
4097:
4090:
4085:
4083:
4075:
4070:
4063:
4058:
4052:, p. 26.
4051:
4046:
4039:
4034:
4032:
4024:
4019:
4012:
4007:
4000:
3995:
3988:
3983:
3976:
3971:
3964:
3959:
3952:
3947:
3940:
3935:
3928:
3923:
3916:
3915:Berger (2017)
3911:
3905:, p. 192
3904:
3903:Spotts (1994)
3899:
3897:
3881:
3879:
3870:
3863:
3862:Spotts (1994)
3858:
3851:
3850:
3844:
3837:
3832:
3825:
3824:Newman (1976)
3820:
3813:
3808:
3801:
3796:
3789:
3784:
3777:
3776:Weiner (1997)
3773:
3769:
3763:
3756:
3751:
3744:
3740:
3739:Ernest Newman
3735:
3728:
3724:
3719:
3712:
3707:
3699:
3693:
3689:
3685:
3681:
3675:
3668:
3667:1-84467-500-9
3664:
3660:
3656:
3651:
3644:
3639:
3632:
3627:
3625:
3617:
3612:
3610:
3602:
3601:Gutman (1990)
3597:
3582:
3575:
3569:
3568:0-691-11497-8
3565:
3561:
3557:
3551:
3544:
3543:Weiner (1997)
3539:
3532:
3531:Gutman (1990)
3527:
3521:
3516:
3500:
3499:
3491:
3484:
3479:
3472:
3471:
3466:
3462:
3458:
3453:
3446:
3441:
3434:
3429:
3422:
3421:Berger (2017)
3417:
3410:
3405:
3403:
3395:
3390:
3374:
3367:
3360:
3356:
3351:
3344:
3339:
3332:
3327:
3321:, p. 225
3320:
3319:Fauser (2008)
3314:
3307:
3302:
3295:
3290:
3283:
3278:
3271:
3266:
3259:
3254:
3247:
3242:
3235:
3230:
3223:
3221:
3215:
3204:
3203:26 July 1882"
3198:
3190:
3183:
3178:
3163:
3162:
3157:
3156:"Martha Mödl"
3150:
3142:
3135:
3128:
3123:
3116:
3115:Spotts (1994)
3111:
3104:
3100:
3098:
3091:
3085:, p. 506
3084:
3079:
3077:
3070:, p. 94.
3069:
3064:
3057:
3052:
3045:
3040:
3032:
3028:
3024:
3020:
3016:
3015:Pascal Lecocq
3010:
3003:
3002:Pascal Lecocq
2999:
2995:
2991:
2987:
2981:
2974:
2969:
2962:
2957:
2950:
2945:
2938:
2933:
2926:
2921:
2914:
2909:
2907:
2899:
2894:
2888:, p. 22.
2887:
2882:
2876:, p. 13.
2875:
2870:
2863:
2858:
2852:
2851:0-00-216189-3
2848:
2844:
2840:
2834:
2818:
2817:
2809:
2802:
2797:
2782:
2780:
2771:
2764:
2759:
2753:
2749:
2744:
2737:
2732:
2725:
2711:
2707:
2703:
2697:
2688:
2683:
2678:
2674:
2670:
2666:
2662:
2658:
2654:
2650:
2646:
2645:
2640:
2634:
2627:
2623:
2619:
2613:
2606:
2600:
2593:
2589:
2585:
2584:Joseph Görres
2580:
2576:
2562:
2558:
2554:
2550:
2546:
2542:
2536:
2532:
2522:
2519:
2518:
2514:
2508:
2503:
2496:
2494:
2490:
2486:
2485:Anna Netrebko
2480:
2475:
2471:
2467:
2463:
2459:
2455:
2451:
2447:
2443:
2439:
2435:
2431:
2428:
2424:
2421:
2417:
2413:
2403:
2401:
2397:
2392:
2390:
2386:
2382:
2378:
2374:
2370:
2366:
2362:
2357:
2354:
2350:
2345:
2341:
2337:
2333:
2331:
2326:
2322:
2318:
2314:
2309:
2307:
2296:
2294:
2290:
2289:tubular bells
2285:
2281:
2280:Parsifal bell
2277:
2272:
2270:
2269:Symphony in C
2266:
2265:contrabassoon
2262:
2258:
2254:
2250:
2246:
2242:
2238:
2234:
2230:
2226:
2222:
2218:
2217:contrabassoon
2214:
2210:
2209:bass clarinet
2206:
2202:
2198:
2194:
2190:
2180:
2165:
2161:
2151:
2148:
2144:
2140:
2136:
2132:
2122:
2120:
2116:
2112:
2108:
2104:
2099:
2096:
2092:
2088:
2084:
2080:
2079:
2065:
2061:
2052:
2050:
2046:
2042:
2038:
2034:
2030:
2026:
2022:
2018:
2017:
2011:
2007:
2003:
1998:
1996:
1995:
1990:
1989:George London
1986:
1982:
1978:
1974:
1970:
1961:
1957:
1954:
1950:
1946:
1945:Ernest Newman
1942:
1937:
1935:
1930:
1926:
1922:
1918:
1917:
1912:
1908:
1904:
1900:
1894:
1887:Racism debate
1884:
1882:
1875:
1873:
1868:
1863:
1861:
1860:
1855:
1854:
1849:
1844:
1840:
1836:
1827:
1825:
1821:
1817:
1816:
1811:
1807:
1803:
1799:
1798:Schadenfreude
1794:
1789:
1785:
1780:
1776:
1772:
1762:
1760:
1755:
1751:
1747:
1743:
1737:
1732:
1730:
1726:
1722:
1701:
1697:
1693:
1688:
1679:
1677:
1673:
1669:
1668:
1662:
1659:
1655:
1650:
1646:
1642:
1637:
1635:
1634:
1629:
1625:
1621:
1615:
1613:
1609:
1608:Jean Sibelius
1605:
1601:
1597:
1593:
1588:
1587:Gustav Mahler
1584:
1580:
1576:
1572:
1568:
1563:
1558:
1555:
1551:
1547:
1543:
1533:
1519:
1499:
1495:
1494:Theodor Pixis
1490:
1486:
1485:
1481:
1479:
1475:
1471:
1467:
1462:
1459:
1457:
1452:
1445:
1441:
1437:
1433:
1429:
1428:
1424:
1421:
1419:
1415:
1405:
1401:
1397:
1382:
1369:
1365:
1364:
1360:
1358:
1353:
1347:
1338:
1333:
1329:
1328:
1324:
1321:
1319:
1315:
1305:
1298:
1294:
1290:
1289:
1285:
1283:
1279:
1274:
1271:
1267:
1252:
1248:
1246:
1242:
1233:
1229:
1228:
1224:
1221:
1204:
1200:
1197:
1194:
1191:
1188:
1186:
1182:
1181:
1167:
1163:Hermine Galfy
1161:
1160:Johanna André
1157:
1151:
1148:
1144:
1138:
1135:
1134:
1131:Willy Harden
1129:
1122:
1120:
1116:
1112:Mathilde Keil
1110:
1109:Hermine Galfy
1107:
1100:
1098:Four squires
1097:
1096:
1090:
1088:Eugen Stumpf
1085:
1080:
1077:
1076:
1073:
1070:
1068:
1065:
1062:
1060:
1056:
1055:
1051:
1049:
1046:
1044:
1043:bass-baritone
1041:
1039:
1035:
1034:
1031:
1028:
1026:
1023:
1021:
1018:
1016:
1012:
1011:
1008:Robert Blass
1007:
1005:
1002:
1000:
997:
995:
991:
990:
987:
986:Milka Ternina
984:
982:
979:
977:
976:mezzo-soprano
972:
969:
967:
963:
962:
959:
956:
954:
951:
949:
946:
944:
940:
937:
936:
933:
927:
925:
919:
917:
914:
911:
910:
899:
895:
888:
884:
875:
872:
867:
863:
858:
854:
853:Ernest Newman
850:
849:Adolphe Appia
845:
841:
837:
833:
824:
821:
820:curtain calls
810:
808:
804:
800:
796:
792:
788:
783:
781:
776:
770:
767:
763:
759:
751:
746:
736:
733:
725:
714:
711:
707:
704:
700:
697:
693:
690:
686:
683: –
682:
678:
677:Find sources:
671:
667:
661:
660:
655:This section
653:
649:
644:
643:
635:
633:
628:
623:
618:
616:
615:Franz Fischer
612:
608:
604:
600:
596:
592:
588:
584:
566:
561:
557:
553:
547:
542:
541:Gesamtentwurf
537:
531:
530:Gesamtentwurf
526:
521:
515:
512:
506:
505:Gesamtentwurf
499:
497:
493:
492:
487:
482:
477:
473:
469:
464:
463:Gesamtentwurf
458:
456:
452:
448:
444:
440:
438:
432:
428:
427:
422:
421:
416:
411:
408:
403:
397:
388:
386:
385:Cosima Wagner
380:
378:
373:
368:
363:
357:
355:
351:
347:
342:
337:
333:
328:
322:
319:
314:
309:
304:
300:
296:
292:
291:
286:
282:
278:
274:
265:
256:
254:
249:
244:
239:
237:
233:
229:
225:
221:
217:
212:
210:
206:
202:
198:
195:
194:
189:
188:
184:
181:
177:
174:
173:
168:
167:
163:
160:
156:
152:
148:
144:
140:
139:
128:
114:
110:
107:
102:
101:
97:
93:
89:
85:
82:
79:
75:
71:
66:
61:
57:
53:
48:
43:
40:
36:
32:
27:
22:
6525:Music dramas
6472:
6471:
6438:
6431:
6424:
6320:Museo Wagner
6297:
6293:Rhinemaidens
6285:
6273:
6246:
6239:
6181:
6173:
6154:
6145:
6138:
6131:Wagner Dream
6129:
6084:Minna Wagner
6069:Ludwig Geyer
5998:
5974:Holztrompete
5948:
5938:
5928:
5920:Die Hochzeit
5918:
5908:
5847:
5833:
5826:
5777:Kaisermarsch
5766:
5756:
5746:
5736:
5726:
5692:
5691:
5679:
5667:
5647:
5635:
5623:
5611:
5596:
5589:Music dramas
5568:
5556:
5544:
5522:
5515:
5508:
5425:
5421:Dresden amen
5413:
5389:
5382:
5363:
5355:
5347:
5311:
5310:
5267:
5259:
5258:List of all
5249:
5233:
5224:
5217:
5195:
5185:
5181:
5178:theosophical
5168:
5156:
5138:
5126:
5114:
5090:
5071:
5046:
5020:
4998:
4976:
4973:Magee, Bryan
4954:
4932:
4911:
4908:Rainer Riehn
4884:
4865:
4846:
4827:
4818:
4812:
4787:
4766:
4744:
4728:
4710:
4705:Magee, Bryan
4677:
4658:
4627:
4608:
4589:
4570:
4544:
4525:
4497:
4491:
4468:
4448:
4429:
4410:
4391:
4372:
4349:. Retrieved
4345:the original
4335:
4323:. Retrieved
4318:
4312:
4304:
4289:
4281:
4266:
4261:
4249:
4241:
4237:
4229:
4220:
4210:February 18,
4208:. Retrieved
4197:
4185:
4181:
4169:
4159:February 18,
4157:. Retrieved
4153:the original
4146:
4138:
4126:
4116:
4108:
4096:
4074:Magee (2002)
4069:
4057:
4045:
4018:
4006:
3994:
3982:
3970:
3958:
3946:
3939:Magee (2002)
3934:
3922:
3910:
3885:February 18,
3883:. Retrieved
3877:
3869:
3857:
3848:
3843:
3831:
3819:
3807:
3800:Magee (2002)
3795:
3783:
3762:
3750:
3742:
3734:
3726:
3718:
3706:
3687:
3683:
3674:
3658:
3650:
3638:
3596:
3586:February 18,
3584:. Retrieved
3574:
3555:
3550:
3538:
3526:
3515:
3503:. Retrieved
3497:
3490:
3478:
3468:
3456:
3452:
3440:
3433:Magee (2002)
3428:
3416:
3409:Magee (2002)
3389:
3377:. Retrieved
3366:
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2821:. Retrieved
2815:
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2786:February 18,
2784:. Retrieved
2778:
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2723:
2714:. Retrieved
2710:the original
2705:
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2245:church bells
2243:, 4 onstage
2227:in F, three
2223:in F, three
2201:English horn
2188:
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2147:Richard Cohn
2139:chromaticism
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664:Please help
659:verification
656:
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591:Hermann Levi
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6500:1882 operas
6368:WikiProject
6224:3992 Wagner
6184:(1982 film)
6176:(1904 film)
6157:(1986 film)
6150:(2012 film)
6142:(1983 film)
6089:Nike Wagner
5979:Wagner tuba
5859:Other opera
5625:Die Walküre
5502:Early works
5416:discography
5248:Reviews of
5190:, 1992/1993
4995:Melitz, Leo
4727:(UK title:
4500:(1): 9–40.
4325:26 December
4290:Opera on CD
4286:Blyth, Alan
4254:Cohn (1996)
4234:David Lewin
4101:Bell (2013)
4023:Bell (2013)
3975:Bell (2013)
3836:Bell (2013)
3772:Rose (1992)
3755:Rose (1992)
3616:Bell (2013)
3545:, p. .
3533:, p. .
3505:18 February
3461:Martin Geck
3167:24 February
2845:. Collins.
2685: [
2477: [
2434:Tony Palmer
2361:Georg Solti
2308:discography
2241:tenor drums
2143:David Lewin
1977:King Ludwig
1953:Paul Lindau
1775:Bryan Magee
1740:The critic
1713: 1930
1456:Good Friday
1185:Eine Stimme
1174:Elsa Harris
1115:Max Mikorey
1105:two tenors
1086:Anton Fuchs
1004:Emil Scaria
992:Gurnemanz,
930:Conductor:
922:Conductor:
887:Emil Scaria
871:Martha Mödl
491:short score
362:Good Friday
336:Good Friday
295:The Victors
259:Composition
172:Minnesänger
147:music drama
56:Emil Scaria
35:Music drama
6489:Categories
6269:Musikdrama
5967:Inventions
5950:Die Sieger
5835:Mein Leben
5558:Tannhäuser
5427:Die Sieger
5320:Characters
4814:Opera News
4204:"Parsifal"
3770:, passim,
3379:October 8,
2779:Die Sieger
2716:11 January
2639:Unger, Max
2571:References
2452:, and the
2299:Recordings
2071:Leitmotifs
1881:Peter Gast
1862:he wrote:
1702:motives: "
1700:classicist
1641:Mark Twain
1602:described
1600:Alban Berg
1352:Höllenrose
1346:Urteufelin
1251:Klingsor.
1245:Holy Spear
1189:contralto
1143:contraltos
1036:Klingsor,
1013:Amfortas,
916:Voice type
692:newspapers
681:"Parsifal"
423:and began
407:Mein Leben
327:Mein Leben
318:Die Sieger
308:Die Sieger
290:Die Sieger
209:Holy Grail
180:Old French
145:111) is a
120:1882-07-26
77:Librettist
6467:Lohengrin
6440:Willehalm
6409:Works by
6330:Wahnfried
6259:Leitmotif
6155:Wahnfried
5888:Liebestod
5637:Siegfried
5570:Lohengrin
5332:Gurnemanz
5252:on record
5165:Monsalvat
4319:CD Review
3826:, IV 635.
3778:, passim.
3661:. Verso,
3465:Egon Voss
3317:Cited in
3031:0035-2373
2998:1610-420X
2722:(Section
2665:0027-4666
2628:, p. 140.
2460:starring
2325:Karl Muck
2229:trombones
2205:clarinets
2135:analyzing
2103:Communion
2078:leitmotif
1883:, 1887).
1830:Nietzsche
1696:classical
1592:Max Reger
1575:Hugo Wolf
1536:Reactions
1241:Gurnemanz
1057:Titurel,
1048:Karl Hill
722:July 2020
496:particell
377:Lohengrin
277:Marienbad
201:Arthurian
6495:Parsifal
6473:Parsifal
6457:Feirefiz
6426:Parzival
6418:Romances
6348:Category
6182:Parsifal
6174:Parsifal
5785:Writings
5729:Overture
5693:Parsifal
5510:Die Feen
5414:Parsifal
5384:Parzival
5365:Parsifal
5349:Parsifal
5327:Parsifal
5312:Parsifal
5260:Parsifal
5250:Parsifal
5238:Archived
5234:Parsifal
5225:Parsifal
5218:Parzival
5200:Archived
5196:Parsifal
5182:Parsifal
5180:view of
5169:Parsifal
5157:Parsifal
5139:Parsifal
5127:Parsifal
5115:Parsifal
5043:(1966).
5019:(1989).
4997:(2001).
4975:(1997).
4910:(eds.).
4765:(1976).
4707:(2002).
4569:(1983).
4524:(2008).
4313:Parsifal
4288:(1992),
4238:Parsifal
4147:Parsifal
3878:Parsifal
3684:Parsifal
3657:(1952).
3220:Parsifal
3197:Parsifal
3161:AllMusic
3097:Parsifal
3017:(1987).
2549:Percival
2545:Parzival
2541:Parsifal
2499:See also
2458:Parsifal
2436:titled:
2416:Parsifal
2400:Parsifal
2385:Parsifal
2353:Parsifal
2349:Parsifal
2340:Parsifal
2317:Bayreuth
2313:Parsifal
2306:Parsifal
2276:Parsifal
2261:Parsifal
2225:trumpets
2213:bassoons
2203:, three
2195:, three
2189:Parsifal
2160:Parsifal
2131:Parsifal
2111:Tormotif
2095:Parsifal
2087:Parsifal
2083:Parsifal
2049:Parsifal
2041:Parsifal
2025:Parsifal
2010:Parsifal
2002:Parsifal
1981:Parsifal
1975:. Since
1949:Parsifal
1934:Parsifal
1929:Parsifal
1925:Parsifal
1907:Parsifal
1872:Parsifal
1867:Parsifal
1848:Parsifal
1839:Parsifal
1806:Parsifal
1788:Parsifal
1779:Parsifal
1759:Parsifal
1754:Parsifal
1750:Parsifal
1746:Parsifal
1736:contain.
1725:Parsifal
1721:Parsifal
1694:, using
1658:Parsifal
1649:Parsifal
1645:Parsifal
1624:Parsifal
1612:Parsifal
1604:Parsifal
1596:Parsifal
1583:Parsifal
1579:Parsifal
1571:Parsifal
1550:Parsifal
1542:Parsifal
1357:Herodias
1211:Synopsis
1101:soprano,
1020:baritone
964:Kundry,
939:Parsifal
857:Parsifal
832:Parsifal
813:Applause
807:Parsifal
787:Parsifal
766:Parsifal
758:Parsifal
622:Parsifal
611:Bayreuth
577:Premiere
565:Parsifal
525:Parsifal
455:libretti
451:libretto
447:Parsifal
443:Bayreuth
431:Parsifal
415:Parsifal
367:Parzival
332:Parsifal
313:Parsifal
285:Buddhism
273:Parzival
243:Parsifal
236:New York
228:Parsifal
220:Parsifal
205:Percival
193:trouvère
178:and the
166:Parzival
155:libretto
138:Parsifal
112:Premiere
100:Parzival
95:Based on
87:Language
29:Parsifal
6450:Related
6433:Titurel
6233:Related
6134:(opera)
5828:Leubald
5727:Polonia
5401:Related
5376:Sources
5187:Sunrise
5184:, from
4364:Sources
4351:13 July
2430:in 1982
2423:in 1951
2284:tam-tam
2257:strings
2237:timpani
2219:; four
2119:Dresden
2033:diaries
1824:Tristan
1810:Mitleid
1590:life."
1484:Scene 2
1427:Scene 1
1363:Scene 2
1327:Scene 1
1288:Scene 2
1227:Scene 1
1081:tenor,
971:soprano
943:a youth
706:scholar
607:Ravello
470:or the
360:... on
169:of the
118: (
68:at the
6540:Operas
6139:Wagner
5934:(1838)
5924:(1832)
5914:(1830)
5772:(1870)
5762:(1858)
5742:(1843)
5732:(1836)
5721:(1832)
5524:Rienzi
5368:(1982)
5360:(1951)
5352:(1904)
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4188:, tr.
3694:
3669:, pbk.
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2553:Parsi
2483:, and
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2371:, and
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2231:, one
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2199:, one
2193:flutes
1899:racism
1820:Sehnen
1777:) see
1567:Goethe
1540:Since
1141:three
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701:
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679:
567:, 1882
476:staves
402:Zürich
346:Zürich
303:castes
299:Buddha
90:German
6358:Audio
5341:Films
4510:JSTOR
3766:E.g.
3470:Notes
3357:, by
2689:]
2669:JSTOR
2588:p. vi
2527:Notes
2481:]
2450:Siena
2323:era,
2253:harps
2221:horns
2197:oboes
2164:arias
2107:Grail
2055:Music
1985:rabbi
1921:Aryan
1856:. In
1408:Act 3
1308:Act 2
1216:Act 1
1103:alto,
1083:bass
1063:bass
948:tenor
912:Role
878:Roles
713:JSTOR
699:books
439:cycle
354:Minna
6462:Kyot
5176:, a
5095:ISBN
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4794:ISBN
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4682:ISBN
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4530:ISBN
4474:ISBN
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4434:ISBN
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4353:2012
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3507:2010
3381:2007
3169:2016
3103:WQXR
3027:ISSN
2994:ISSN
2847:ISBN
2841:tr.
2825:2010
2788:2010
2718:2014
2661:ISSN
2622:ISBN
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