with weak characterization. Wagner himself condemned the work as “a sin of
my youth.” Music is not discussed in the article.See also Lippmann (#2017).
Lohengrin
ASO143/144 (1992), ENOG 47 (1993), Rororo (1989).
- Deathridge, John. “Through the Looking Glass: Some Remarks on the First
Complete Draft of Lohengrin.” In Analyzing Opera(#416), 56–91.
One of the special interests of Deathridge is the Wagner sketches, which “have
not had the critical attention they deserve” (see also his #2033 and #2046);
most scholarship is now analysis. Furthermore, “posterity has tended to treat
them roughly”—e.g., only 14 of the 21 sheets in the composition sketch of
Lohengrin(May–July 1846) survive. (After this article was completed, another
sheet was located, according to an editorial note.) Deathridge discusses all the
sheets and details Wagner’s revisions in the light of his written thoughts of the
time. A table shows three versions of the Elsa/Lohengrin duet in act 3, scene 3:
verse draft, first complete draft, and final. Material that was necessary for plot
coherence was cut by Wagner from Ortrud’s speech in the same scene. - Cramer, Thomas. “Lohengrin, Edition und Untersuchung.” Habilitation-
schrift, Karlsruhe U., 1971. 598p.
Die Meistersinger von Nürnberg
ASO 116/117 (1989), COH (1994), ENOG 19 (1983), Rororo (1981).
- Mey, Curt. Der Meistergesang in Geschichte und Kunst.2nd ed. Leipzig:
H. Seeman, 1901. xvi, 392p. Reprint, Walluf: Sändig, 1973. ISBN 3-500-
27350-5. ML183 .M61.
A general study of the Meistersingers in history and art, with a long section
(p.271–390) on the opera. Covers poetic and metrical form, appearance of
motives, text problems, sources, and other aspects. No index. - McDonald, William E. “Words, Music, and Dramatic Development in Die
Meistersinger.” 19thCM1-3 (March 1978): 246–260.
A useful examination of the story and personages, most interesting for a char-
acter appraisal of Hans Sachs. - Komow, Ray. “The Genesis and Tone of Die Meistersinger.” Ph.D. diss., Bran-
deis U., 1991. vi, 455p. - Komow, Ray. “The Structure of Wagner’s Assembly of the Mastersingers’
Guild.” Journal of Musicological Research13 (1993): 185–206.
The structure of the scene “reflects a process in which form-dictating factors
phase in and out of synchronization. Factors tend to be synchronous when
only the masters are portrayed and asynchronous when Walther is involved...
Wagner manipulated the degree of formal coalescence to suggest disintegration
or cohesion and, in so doing, to serve as a tool for dramatic characterization”
(from the author’s abstract).
378 Opera