DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.69568#0082
12
Musik und Liturgie.
z. B. im Verhältnis zu dem gewaltigen Aufschwung die ursprüngliche Fassung
(P. S. 17):
oder der konventionelle Gang (Part. S. 25, T. 5) ■
Auch die Instrumentalbegleitung (Part. S. 15) hatte früher eine andere Fassung.
Takt 7 beginnen rollende Passagen, die dann von den verschiedenen Streich-
instrumenten imitierend aufgenommen werden. Die figurierten Violinfiguren
(P. S. 27) fehlen ursprünglich und sind, in der Reinschrift nachträglich mit roter
Tinte eingezeichnet worden.
Wie sich also aus dieser resümierenden Übersicht ergibt, ist das
Manuskript für die Wagnerforschung von großer Bedeutung. Es
wird ihr damit einMaterial an dieHand gegeben, das für die Kon-
trolle des Schaffens des Meisters von unschätzbarem Werte ist.
Die Beschreibung des Unikums stammt aus der Feder einer wohlbekannten Autorität
auf dem Gebiete der musikalischen Bibliographie.
It is known that, at the instigation of Prof. Dr. Loewe (not the famous composer
Karl Loewe) arrangements were made at Dresden in summer 1843 for a musical
festival of the Saxon men’s choir, and that Wagner had on demand promised a
composition „the Agape of the Apostles“. As to the date of eomposition of this
piece, the only Information was hitherto to be found in Glasenapp,s biography
of Richard Wagner. He writes: In spite of the bürden of labour, redoubled by
Reissiger’s absence, he hat to furnish within a fortnight a great and serious
work to which he had also to write the words . . . On July 6 th in the after-
noon the festival began with sacred music in the Frauenkirche, which was well
adäpted for such purposes. The end of the festival was a splendid performance
of the agape of the apostles, which especially in the „voices from on high“ had
a rapturous effect.
Now the present manuscript enables us to rectify Glasenapp’s Statements. There
are three dates in our composition throwing a new light on its genesis. At the
top of the first leaf the 14the of May is inscribed, i. e. the day on which Wagner
set to work. At the Chorus „Wir sind betrübt“ we find a second date: May
19 th, and at the end: June 16th. Hence follows that the words and the musical
sketeh have been finished between May 14th and June 16 th. We may, therefore,
suppose that either Wagner had already done the text previously to the com-
position, or that he finished the words at the same time as the music. It is
also possible that on the 14 th of May he had done with the chorus of the
apostles only and that the rest of the text was finished later on. Glasenapp,
however, is quite right in saying that the master had only little time for the
elaboration of the sketeh, namely June 16 th to July 6th, during which period
he hat to take care of the parts and of the rehearsal of the work.
The Manuscript allows an interesting insight into the master’s production. The
surity with which Wagner has made the sketeh, is quite astonishing. On the
whole the first scheme has been kept; in a few passages only thorough modi-
fications have been made. The chorus „Allmächtiger Vater“ (score p. 12) which
was first headed „Gebet“, was commenced three times, before is was written
down definitively. Also the passage „Sende uns Deinen heiligen Geist“ score
p. 13 has caused much labour, for through 15 measures Wagner tried many
modulations. In all cases however, the corrections turn out to be real improve-
ments. How limply sounds e. g. the first sketeh (score p. 17).
Karl W. Hiersemann in Leipzig, Königstrasse 29. Katalog 392<
Musik und Liturgie.
z. B. im Verhältnis zu dem gewaltigen Aufschwung die ursprüngliche Fassung
(P. S. 17):
oder der konventionelle Gang (Part. S. 25, T. 5) ■
Auch die Instrumentalbegleitung (Part. S. 15) hatte früher eine andere Fassung.
Takt 7 beginnen rollende Passagen, die dann von den verschiedenen Streich-
instrumenten imitierend aufgenommen werden. Die figurierten Violinfiguren
(P. S. 27) fehlen ursprünglich und sind, in der Reinschrift nachträglich mit roter
Tinte eingezeichnet worden.
Wie sich also aus dieser resümierenden Übersicht ergibt, ist das
Manuskript für die Wagnerforschung von großer Bedeutung. Es
wird ihr damit einMaterial an dieHand gegeben, das für die Kon-
trolle des Schaffens des Meisters von unschätzbarem Werte ist.
Die Beschreibung des Unikums stammt aus der Feder einer wohlbekannten Autorität
auf dem Gebiete der musikalischen Bibliographie.
It is known that, at the instigation of Prof. Dr. Loewe (not the famous composer
Karl Loewe) arrangements were made at Dresden in summer 1843 for a musical
festival of the Saxon men’s choir, and that Wagner had on demand promised a
composition „the Agape of the Apostles“. As to the date of eomposition of this
piece, the only Information was hitherto to be found in Glasenapp,s biography
of Richard Wagner. He writes: In spite of the bürden of labour, redoubled by
Reissiger’s absence, he hat to furnish within a fortnight a great and serious
work to which he had also to write the words . . . On July 6 th in the after-
noon the festival began with sacred music in the Frauenkirche, which was well
adäpted for such purposes. The end of the festival was a splendid performance
of the agape of the apostles, which especially in the „voices from on high“ had
a rapturous effect.
Now the present manuscript enables us to rectify Glasenapp’s Statements. There
are three dates in our composition throwing a new light on its genesis. At the
top of the first leaf the 14the of May is inscribed, i. e. the day on which Wagner
set to work. At the Chorus „Wir sind betrübt“ we find a second date: May
19 th, and at the end: June 16th. Hence follows that the words and the musical
sketeh have been finished between May 14th and June 16 th. We may, therefore,
suppose that either Wagner had already done the text previously to the com-
position, or that he finished the words at the same time as the music. It is
also possible that on the 14 th of May he had done with the chorus of the
apostles only and that the rest of the text was finished later on. Glasenapp,
however, is quite right in saying that the master had only little time for the
elaboration of the sketeh, namely June 16 th to July 6th, during which period
he hat to take care of the parts and of the rehearsal of the work.
The Manuscript allows an interesting insight into the master’s production. The
surity with which Wagner has made the sketeh, is quite astonishing. On the
whole the first scheme has been kept; in a few passages only thorough modi-
fications have been made. The chorus „Allmächtiger Vater“ (score p. 12) which
was first headed „Gebet“, was commenced three times, before is was written
down definitively. Also the passage „Sende uns Deinen heiligen Geist“ score
p. 13 has caused much labour, for through 15 measures Wagner tried many
modulations. In all cases however, the corrections turn out to be real improve-
ments. How limply sounds e. g. the first sketeh (score p. 17).
Karl W. Hiersemann in Leipzig, Königstrasse 29. Katalog 392<