Lohengrin sentence example

lohengrin
  • The story of Lohengrin as we know it is based on two principal motives common enough in folklore: the metamorphosis of human beings into swans, and the curious wife whose question brings disaster.
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  • The Lohengrin legend is localized on the Lower Rhine, and its incidents take place at Antwerp, Nijmwegen, Cologne and Mainz.
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  • Between 1283 and 1290, a Bavarian disciple of Wolfram's 2 adopted the story and developed it into an epic poem of nearly 8000 lines, incorporating episodes of Lohengrin's prowess in tournament, his wars with Henry I.
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  • The consecrated wafer shared by Lohengrin and the swan on their voyage is one of the more obvious means taken by the poet to give the tale the character of an allegory of the .relations between Christ, the Church and the human soul.
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  • The story was followed closely in its main outlines by Richard Wagner in his opera Lohengrin.
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  • With it is associated the legend of the "Knights of the Swan," immortalized in Wagner's Lohengrin.
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  • And one needs a spot to suggest moves and the such, as with Alexander Iii --Lohengrin 13:01, 3 Feb 2007 (PST)
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  • The medieval studies which Wagner had begun for his work at the libretto of Tannhauser bore rich fruit in his next opera Lohengrin, in which he also developed his principles on a larger scale and with a riper technique than hitherto.
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  • But he took the score with him to Paris, and, as he himself tells us, " when ill, miserable and despairing, I sat brooding over my fate, my eye fell on the score of my Lohengrin, which I had totally forgotten.
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  • Lohengrin was, in fact, produced at Weimar under Liszt's direction on the 28th of August 1850.
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  • Lohengrin was, however, produced on the 15th of May 1861, when Wagner heard it for the first time.
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  • Wagner's earlier works have too long been treated as if they represented the pure and healthy childhood of his later ideal; as if Lohengrin stood to Parsifal as Haydn, Mozart and early Beethoven stand to Beethoven's last quartets.
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  • Meanwhile the rest of the work (except in the prettily scored " Spinning Song," and other harmless and vigorous tunes) has more affinity with Wagner's mature style than the bulk of its much more ambitious successors, Tannhauser and Lohengrin.
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  • The crowning complication in the effect of Der fliegende Hollander, Tannhauser and Lohengrin on the musical thought of the 10th century was that the unprecedented fusion of their musical with their dramatic contents revealed some of the meaning of serious music to ears that had been deaf to the classics.
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  • Wagner had hardly finished the score of Lohengrin before he was at work upon the poem of Der Ring des Nibelungen.
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  • Again, the appeal to " God's judgment " in the trial by battle in Lohengrin is a subject of which no earlier librettist could have made more than a plausible mess - which is the best that can be said for the music as music. But as dramatist Wagner compels our respect for the power that without gloss or apology brings before us the king, a model of royal fair-mindedness and good-nature, acquiescing in Telramund's monstrous claim to accuse Elsa without evidence, simply because it is a hard and self-evident fact that the persons of the drama live in an age in which such claims seemed reasonable.
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  • In Lohengrin we take leave of the early music that obscured Wagner's ideals, and in the Ring we come to the music which transcends all other aspects of Wagnerism.
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  • Compare the mere fairy-tale mystery of Lohengrin's command that Elsa shall never ask to know his name, with the profound fatalism of Isolde's love-potion.
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  • He gives an introduction, in which the adventures of the father, here a prince of Anjou, are related; a conclusion, in which the Swan-Knight, Lohengrin, is made Parzival's son; he represents the inhabitants of the Grail castle as Templars (Templeisen); and makes the Grail itself a stone.
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  • His efforts on behalf of Wagner, who was then an exile in Switzerland, culminated in the first performance of Lohengrin on the 28th of August 1850, before a special audience assembled from far and near.
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  • The tale, which is almost identical with the Lohengrin legend, belongs to the class of the Cupid and Psyche narratives.
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  • See Lohengrin.
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  • Lohengrin's guide (the swan) was originally the little brother who, in one version of "the Seven Swans," was compelled through the destruction of his golden chain to remain in swan form and attached himself to the fortunes of one of his brothers.
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  • The epic of Lohengrin is put by the anonymous writer into the mouth of Wolfram, who is made to relate it during the Contest of the Singers at the Wartburg in proof of his superiority in knowledge of sacred things over Klingsor the magician, and the poem is thus linked on to German 'i.e.
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  • It forms part of the cycle of the chansons de geste dealing with the Crusade, and relates how Helyas, knight of the swan, is guided by the swan to the help of the duchess of Bouillon and marries her daughter Ida or Beatrix in circumstances exactly parallel to the adventures of Lohengrin and Elsa of Brabant, and with the like result.
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  • After even the finest things in Tannhauser, the Vorspiel to Lohengrin comes as a revelation, with its quiet solemnity and breadth of design, its ethereal purity of tone-colour, and its complete emancipation from earlier operatic forms. The suspense and climax in the first act is so intense, and the whole drama is so well designed, that we must have a very vivid idea of the later Wagner before we can see how far the quality of musical thought still falls short of his ideals.
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  • In Tannhauser and Lohengrin Wagner's intellectual power develops far more rapidly in the drama than in the music. The Sangerkrieg, with its disastrous conflict between the sincere but unnatural asceticism of the orthodox Minnesingers and the irrepressible human passion of Tannhauser, is a conception the vitality of which would reduce Tannhauser's repentance to the level of Robert le Diable, were it not that the music of the Sangerkrieg has no structural power, and little distinction beyond a certain poetic value in the tones of violas which had long ago been fully exploited by Mozart and Mehul, while the music of Tannhauser's pilgrimage ranks with the Vorspiel to Lohengrin as a wonderful foreshadowing of Wagner's mature style.
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  • If the music of Tristan is more polyphonic than that of Lohengrin, it is because it is hardly figurative to call its drama polyphonic also.
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  • It was Liszt's habit to recommend novelties to the public by explanatory articles or essays, which were written in French (some for the Journal des debats and the Gazette musicale of Paris) and translated for the journals of Weimar and Leipzig - thus his two masterpieces of sympathetic criticism, the essays Lohengrin et Tannhduser a Weimar and Harold en Italie, found many readers and proved very effective.
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  • Beethoven's Nine Symphonies; Berlioz's " Symphonie fantastique," " Harold en Italie "; Benediction et Serment (Benvenuto Cellini); Danse des Sylphes (Damnation de Faust); Weber's overtures, Der Freischiitz, Euryanthe, Oberon, Jubilee; Beethoven's and Hummel's Septets; Schubert's Divertissement a la Hongroise; Beethoven's Concertos in C minor, G and E flat (orchestra for a second piano); Wagner's Tannhauser overture, march, romance, chorus of pilgrims; Lohengrin, Festzug and Brautlied, Elsa's Brautgang, Elsa's Traum, Lohengrin's Verweiss an Elsa; Fliegender Hollander, Spinnlied; Rienzi, Gebet; Rheingold, Walhall; Meistersinger, " Am stillen Herd "; Tristan, Isolde's Liebestod; Chopin's six Chants Polonais; Meyerbeer's Schillermarsch; Bach's six organ Preludes and Fugues; Prelude and Fugue in G minor; Beethoven, Adelaide; 6 miscellaneous and 6 Geistliche Lieder; Liederkreis; Rossini's Les Soirees musicales; Schubert, 59 songs; Schumann, 13 songs; Mendelssohn, 8 songs; Robert Franz, 13 songs.
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  • A good example is the "Swan-maiden" myth connected with the house of Bouillon (see Lohengrin).
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