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Wagnerian   Listen
adjective
Wagnerian  adj.  Of, pertaining to, or resembling the style of, Richard Wagner, the German musical composer.






Collaborative International Dictionary of English 0.48








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"Wagnerian" Quotes from Famous Books



... of marble and glass and tilework, where goes on a tremendous and sounding epic of life. Valhalla itself could not be more glorious and sonorous. The classic marble on which we ate, the great, light-flooded, vitreous front, adorned with snow-white scrolls; the grand Wagnerian din of clanking cups and bowls, the flashing staccato of brandishing cutlery, the piercing recitative of the white-aproned grub-maidens at the morgue-like banquet tables; the recurrent lied-motif of the cash-register—it ...
— The Voice of the City • O. Henry

... whether she had ever heard any of the Wagnerian operas and found that she had not, though she was perfectly familiar with their respective situations, and had once possessed the piano score of The Flying Dutchman. I began to think it would have been best to get her back to ...
— The Troll Garden and Selected Stories • Willa Cather

... dull elasticity, as though it were made of rubber. In spite of its thud, the explosion wrought horrible damage. Other minor explosions, playful and whistling, followed behind the first. In his imagination, Lacour saw the cataclysm—a writhing serpent, vomiting sparks and smoke, a species of Wagnerian monster that upon striking the ground was disgorging thousands of fiery little snakes, that were covering the earth with their deadly contortions. . . . The shell must have burst nearby, perhaps in the very square occupied by ...
— The Four Horsemen of the Apocalypse • Vicente Blasco Ibanez

... Wagnerian by birth and upbringing, cannot stand any more of this, so he has fired a rifle-grenade at the glee-party—on the whole a much more honest and direct method of condemnation than that practiced by musical critics in time of peace. But he only elicits an encore. Private Nigg perches a steel helmet ...
— All In It K(1) Carries On - A Continuation of the First Hundred Thousand • John Hay Beith (AKA: Ian Hay)

... wealth and provincialism. We shuddered to think of Milly, with her voice modulated and her elbows covered, pouring tea in the marble teepee of a tree murderer. No! In Cypher's she belonged—in the bacon smoke, the cabbage perfume, the grand, Wagnerian chorus of hurled ironstone china ...
— The Four Million • O. Henry

... this theory—that progressive politicians are reactionary in art—is the notorious hostility of Liberals to the romantic movement; but I believe that were they to study closely the histories of the Impressionist, the Pre-Raphaelite, and the Wagnerian movements they would find in them, too, evidence on the whole favourable to their case. Be that as it may, this theory, which once seemed paradoxical, quite loses its fantastic air when considered in the ...
— Since Cezanne • Clive Bell

... affords chances for the stage manager to manipulate big crowds effectively. But we must remember that the thing had been quite as well done by Auber in Masaniello: even the energy is not the true Wagnerian energy divine: it does not show itself through the stuff of the music, but in the common rumty-tumpty rhythms of the day, often offensively vulgar, and in the noisy instrumentation. Any one can write for a big chorus and orchestra, with plenty of trumpets and drums: ...
— Richard Wagner - Composer of Operas • John F. Runciman

... not, it is highly absurd and ridiculous, but the same may be said of many hypothetical historical incidents. At all events, the financial arrangements which followed upon the discovery of the MS. and the price demanded for it by the Wagnerian housemaid convinces me absolutely ...
— Bluebeard • Kate Douglas Wiggin

... turn about and retrace the route, they stopped always for a moment or two and faced southward. It was from the southward that there came rolling up to us the sounds of a bellowing chorus of gunfire—a Wagnerian chorus, truly. That perhaps was as it should be. Wagner's countrymen were helping to make it. Now the separate reports strung out until you could count perhaps three between reports; now they came so close together that ...
— Paths of Glory - Impressions of War Written At and Near the Front • Irvin S. Cobb

... and began really to play, realizing very soon that at least one of her guests knew and loved music. Under her deft fingers the instrument became a medium for musical speech. Gay roundelays, swift, passionate Hungarian dances, bold Wagnerian strains followed in quick succession, and the more utter her abandon the more certainly she felt the ...
— The Silver Horde • Rex Beach

... the Wagner operas at his concerts, but Dr. Leopold Damrosch in 1884 set on foot a movement which, during the next few years, brought to America several of the greatest German singers, and gave to the public adequate representations of many of the Wagnerian operas. Dr. Damrosch died in 1885 and his work was taken up by Anton Seidl, who had been associated with Wagner in the production of the "Ring" at Beyreuth. Under Seidl "Die Meistersinger" had its first performance in America, in ...
— Annals of Music in America - A Chronological Record of Significant Musical Events • Henry Charles Lahee

... high up, unsupported, floating in the very air and eerily unsubstantial, was a temple lit by bale-fires that shone wanly at its base. It was merely a building superimposed upon a skyscraper, but in the dark there was no skyscraper, and the amazing structure hung there lambent, silent, enigmatic, a Wagnerian ...
— Westward with the Prince of Wales • W. Douglas Newton

... was born at Dusseldorf. Gifted with a fine tenor voice and handsome presence he speedily made a reputation in Germany in the leading roles in Wagnerian opera, and from 1885 onwards appeared also in America and England. He was at his best in 1892, when his performances as Tristan and Siegfried at Covent Garden ...
— Project Gutenberg Encyclopedia

... and down the stage, perfectly self-possessed, and with that perfect grace and abandon which is so noticeable in the self-made cow. Finally she got through, the piano sounded a wild Wagnerian bang, and the cow danseuse ambled off. She was improperly steered, however, and ran her head against a wing, where she stopped in full view of the audience. The talent inside of the cow thought they had reached the dressing-room and ran against the wall, ...
— Remarks • Bill Nye

... themselves. But there is always a danger that we shall be enslaved by it; and it is the business of criticism to free us from that slavery, to make us aware of this last infirmity of great artists. We are on our guard easily enough against a professionalism that is out of fashion. The Wagnerian of a generation ago could sneer at the professionalism of Mozart; but the professionalism of Wagner seemed to him to be inspiration made constant and certain by a new musical invention. We know now only too well, from Wagner's imitators, that he did not invent a new method ...
— Essays on Art • A. Clutton-Brock

... shouting in a way that not only destroys the singing tone but also the organ that produces it. The truth of this cannot be gainsaid. There is a considerable amount of vocal wreckage strewn along the way, the result of wrestling with Wagnerian recitative. Wagnerian singers are, as a rule, vocally shorter lived than those that confine themselves to French ...
— The Head Voice and Other Problems - Practical Talks on Singing • D. A. Clippinger

... Orientales," of which "Clair de Lune" is one of his most original and graceful writings. The duet, "In Tyrol," has a wonderful crystal carillon and a quaint shepherd piping a faint reminiscence of the Wagnerian school of shepherds. This is one of a series of "Moon Pictures" for four hands, based on Hans Christian Andersen's lore. Two concertos for piano and orchestra are dazzling feats of virtuosity; one of them is reviewed at length ...
— Contemporary American Composers • Rupert Hughes

... increasing in power and expressive of defiance. Bennett was a bitter opponent of Wagner; but in the unvocal and declamatory character of this solo, and in the dramatic force he has given to it, to the sacrifice of melody, he certainly ventured some distance in the Wagnerian direction. The next number, the reply of Jesus ("Whosoever drinketh"), sung, as usual, by the bass voice, is in striking contrast with the question. Instead of full orchestra, it has the accompaniment of the strings and first and second horns only, reminding one of Bach's method ...
— The Standard Oratorios - Their Stories, Their Music, And Their Composers • George P. Upton

... "Euryanthe." This opera, indeed, may also be called the direct precursor of Wagner's music-dramas. It contains eight "leading motives," which recur thirty times in course of the opera; and the dramatic recitatives are sometimes quite in the "Wagnerian" manner. But the most remarkable thing is that Weber uses language which practically sums up Wagner's idea of the music-drama. "'Euryanthe,'" he says, "is a purely dramatic work, which depends for its success solely on the co-operation of the united sister-arts, and is certain to lose its effect ...
— Beacon Lights of History, Volume XIV • John Lord

... organists find it possible to play the Overture to Tannhauser; the writer pleads guilty himself. Dr. Peace played it at the opening of Mr. White's organ at Balruddery and stated that he found the fine string tones it contained of peculiar value for Wagnerian orchestral effects. Dr. Gabriel Bedart says that music ought to be specially ...
— The Recent Revolution in Organ Building - Being an Account of Modern Developments • George Laing Miller

... have filled our little foyer with a series of charming playbills and by dint of painting their own scenery and making their own costumes have obtained beguiling results in stage setting. Sometimes all the artistic resources of the House unite in a Wagnerian combination; thus, the text of the "Troll's Holiday" was written by one resident, set to music by another; sung by the Music School, and placed upon the stage under the careful direction and training of the dramatic committee; ...
— Twenty Years At Hull House • Jane Addams

... cries. The Square, with its white marble pavement, was a huge drawing room through which the visitors passed as if they were making a call. The musicians of the Venice band were gathered in the center with their hats surmounted by black waving plumes. The blasts of the Wagnerian brasses, galloping in the mad ride of the Valkyries, made the marble columns shake and seemed to give life to the four golden horses that reared over space with silent whinnies on the ...
— Woman Triumphant - (La Maja Desnuda) • Vicente Blasco Ibanez

... appear until dinner time. Afterwards the entire party would attend the opera, which was then in the closing week. Brock, with splendid prodigality, had taken a box for the final performance of "Tristan and Isolde." It is not out of place to remark that Brock loathed the Wagnerian opera; he was of "The Mikado" cult. He took the seats with a definite purpose in mind to cast the burden of responsibility upon his wife, who would be forced to extend herself in the capacity of hostess, giving him the much-needed ...
— The Husbands of Edith • George Barr McCutcheon

... towards the Monti when the moon is high, a far-off voice rings through the quiet air—one of those voices which hardly ever find their way to the theatre nowadays, and which, perhaps, would not satisfy the nervous taste of our Wagnerian times. Perhaps it sounds better in the moonlight, in those lonely, echoing streets, than it would on the stage. At all events, it is beautiful as one hears it, clear, strong, natural, ringing. It ...
— Ave Roma Immortalis, Vol. 1 - Studies from the Chronicles of Rome • Francis Marion Crawford

... "Studies in the Wagnerian Drama," "Notes on the Cultivation of Choral Music," "The Philharmonic ...
— How to Listen to Music, 7th ed. - Hints and Suggestions to Untaught Lovers of the Art • Henry Edward Krehbiel

... composing, most of the time, to audiences of bricks. Yes, his great, intensely beloved friend Liszt believed in, fully understood, and greatly appreciated Wagner's works, but Liszt was just one in a million, and even he, as Wagner suggested, associated with a base coterie incapable of assimilating Wagnerian messages. Considering the sorry state of music and intellectualism in Wagner's time and setting, he surely would have been surprised if his operas and his ideas achieved any wide currency. That he continued to work ...
— Correspondence of Wagner and Liszt, Volume 1 • Francis Hueffer (translator)

... great a musician as Wagner himself, it would profit her nothing if she had not the strength to stand the wear and tear of rehearsals. He looked at Evelyn, and calculated her physical strength. She was a rather tall and strongly-built girl, but the Wagnerian bosom was wanting. He had always considered a large bosom to be a dreadful deformity. A bosom should be an indication, a hint; a positive statement he viewed with abhorrence. And he paused to think if he would be willing to forego his natural and ...
— Evelyn Innes • George Moore

... The tendency of the play was left intact, but many changes were made in the interest of brevity, simplicity and rapidity of movement. To these no one can seriously object, since Lessing's text is too long for an evening in the theater, as the matter was regarded in those pre-Wagnerian days. Not so readily to be approved are certain other changes which amount to a retouching of some of the portraits with which Schiller was dissatisfied,—notably that ...
— The Life and Works of Friedrich Schiller • Calvin Thomas



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