Nietzsche, Wagner, Compositional Miniaturism

Authors

  • Lovrenc Rogelj Podiplomski študent muzikologije in filozofije, Ljubljana

DOI:

https://doi.org/10.3986/fv.42.3.05

Keywords:

Wagner, Nietzsche, musical miniaturism, decadence, musical drama

Abstract

Wagner’s reform of opera into musical drama introduced new formal solutions, which have been sparking discussions between analysts from the moment Wagner’s mature works (Der Ring des Nibelungen, Tristan und Isolde, Die Meistersinger von Nürnberg, and Parsifal) premiered. It was Friedrich Nietzsche who formulated the most famous critique of Wagner’s alleged inability to handle great forms, which stems from miniaturism as the principal compositional characteristic, or even as the main symptom of Wagner’s decadent style. Drawing from Karol Berger’s book Beyond Reason, this paper will look at the historical context of Nietzsche’s reproach, question its adequacy, and lastly illuminate the paths and problems the artist and the philosopher faced while exploring new ways of thinking and creating in the times of crisis brought on by the decline of the Enlightenment’s faith in the power of reason.

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References

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Published

2021-12-31 — Updated on 2022-04-06

Versions

How to Cite

1.
Rogelj L. Nietzsche, Wagner, Compositional Miniaturism. FV [Internet]. 2022 Apr. 6 [cited 2022 May 18];42(3). Available from: https://ojs.zrc-sazu.si/filozofski-vestnik/article/view/10635