Nibelungen sentence example

nibelungen
  • In Der Ring des Nibelungen Wagner specifies the proportions of the string-band as 16 first and 16 second violins, 12 violas, 12 violoncellos, 8 double basses.
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  • In 1863 he published the libretto of Der Ring des Nibelungen.
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  • Meantime Der Ring des Nibelungen was rapidly approaching completion, and on the 13th of August 1876 the introductory portion, Das Rheingold, was performed at Bayreuth for the first time as part of the great whole, followed on the 14th by Die Walkiire, on the 16th by Siegfried and on the 17th by Geitterdiimmerung.
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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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  • But with Der Ring des Nibelungen Wagner devoted himself to a story which any ordinary dramatist would find as unwieldy as, for instance, most of Shakespeare's subjects; a story in which ordinary canons of taste and probability were violated as they are in real life and in great art.
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  • Das Rheingold, prologue in 4 scenes to Der Ring des Nibelungen; ein Buhnenfestspiel (poem written last of the series, which was begun in 1848 and finished in 1851-1852; music, 1853 - 1854).
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  • Die Walkure: der Ring des Nibelungen, erster Tag; 3 acts (score finished, 1856).
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  • Siegfried: der Ring des Nibelungen, zweiter Tag; 3 acts, the first two nearly finished before Tristan, the rest between 1865 and 1869.
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  • Lichtenberger, Le Poeme et la legende des Nibelungen (Paris, 1891); B.
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  • In the north, indeed, the name Grimhildr continued to have a purely mythical character and to be applied only to daemonic beings; but in Germany, the original home of the Nibelungen myth, it certainly lost all trace of this significance, and in the Nibelungenlied Kriemhild is no more than a beautiful princess, the daughter of King Dancrat and Queen Uote, and sister of the Burgundian kings Gunther, Giselher and Gernot, the masters of the Nibelungen hoard.
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  • As she appears in the Nibelungen legend, however, Kriemhild would seem to have an historical origin, as the wife of Attila, king of the Huns, as well as sister of the Nibelung kings.
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  • His Gedichte (1837), if anything, increased his reputation; his epics, Die Nibelungen inn Frack (1843) and Der Pfaff vom Kahlenberg (1850), are characterized by a fine ironic humour.
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  • " Ce qui a fait naitre la theorie des chants ` lyrico-epiques ' ou des cantilenes, c'est le systeme de Wolf sur les poemes homeriques, et de Lachmann sur les Nibelungen.
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  • The story was already connected with the Nibelungen when it found its way to the Scandinavian north by way of Germany.
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  • In the Nibelungen story, on the other hand, though its extant versions are of much earlier date, and though it contains elements equally primitive not found in the other, the spirit and the motives of the earlier story have to a large extent been transmuted by later influences, the setting of the story being - though by no means consistently - medieval rather than primitive.
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  • The view at one time most generally accepted was that first propounded by Karl Lachmann in his "Kritik der Sage von den Nibelungen" (Rheinisches Museum fur Philologie, Num.
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  • 249, 250, 1829, republished in his Zu den Nibelungen.
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  • This view is maintained by Richard von Muth in his Einleitung in das Nibelungenlied (Paderborn, 1877), who thus sums up the result of his critical researches: "The basis of all is an old myth of a beneficent divine being (Siegfried), who conquers daemonic powers (the Nibelungen), but is slain by them (the Burgundians turned Nibelungen); with this myth was connected the destruction of the Burgundian kingdom, ascribed to Attila, between 437 and 453, and later the legend of Attila's murder by his wife; in this form, after Attila and Theodoric had been associated in it, the legend penetrated, between 555 and 583, to the North, where its second part was developed in detail on the analogy of older sagas, while in Germany a complete change of the old motif took place."
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  • It is only of late years that criticism has tended to revert to the standpoint of Muller and Leichtlen and to recognize in the story of the Nibelungen as a whole a misty and confused tradition of real events and people.
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  • Herr Abeling's theory of the sources of the Nibelungen story is one among many; but, as it is one of the latest and not the least ingenious, it deserves mention.
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  • Karl Lachmann (Zu den Nibelungen and zur Klage, Anmerkungen, 1836) decided in favour of A.
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  • The funds for the erection of the theatre were raised in part by the issue of 1000 certificates of patronage (Patronatsscheine), but the bulk of the sum was raised by founding "Wagner Societies" from St Petersburg to Cairo, from London to New York; these societies sprang up with such success that the theatre was opened in the summer of 1876 with the first complete performance of Der Ring des Nibelungen.
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  • Gudrun is composed in stanzas similar to those of the Nibelungenlied, but with the essential difference that the last line of each stanza is identical with the others, and does not contain the extra accented syllable characteristic of the Nibelungen metre.
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  • Gotterdammerung: der Ring des Nibelungen, dritter Tag; introduction and 3 acts (Siegfried's Tod already sketched dramatically in 1848; music, 1870-1874).
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  • The story of Siegfried in Richard Wagner's famous opera-cycle Der Ring der Nibelungen is mainly taken from the northern version; but many features, especially the characterization of Hagen, are borrowed from the German story, as is also the episode of Siegfried's murder in the forest.
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  • Vogt, Leipzig, 1888) "Ich zoch mir eineri valken mere danne ein jar" with the Nibelungen Not (Bartsch) Av.
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  • The first plan of building a new theatre for the purpose in Munich itself was rejected, because Wagner rightly felt that the appeal of his advanced works, like the Nibelungen trilogy, would be far stronger if the comparatively small number of people who wished to hear them were removed from the distractions of a large capital; Bayreuth possessed the desired seclusion, being on a line of railway that could not be approached from any quarter without changing.
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