एक शैली में ओपेरा के जर्मन संगीतकार जो रिचर्ड वाग्नेर को प्रभावित करते हैं (17 9 1-1864)

meyerbeer's Usage Examples:

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.

Full closes and repeated sentences no longer confuse the issue, but in their absence we begin to notice the incessant squareness of the ostensibly free rhythms. The immense amount of pageantry, though (as in Tannhauser) good in dramatic motive and executed with splendid stage-craft, goes far to stultify Wagner's already vigorous attitude of protest against grand-opera methods; by way of preparation for the ethereally poetic end he gives us a disinfected present from Meyerbeer at the beginning of the last scene, where mounted trumpeters career round the stage in full blast for three long minutes; and the prelude to the third act is an outburst of sheer gratuitous vulgarity.

But the mere tone-colours of that scene are enough to make a casual listener imagine that he is dealing with the true Wagner: the variety of tone never fails, and depends on no immoderate paraphernalia; for, farreaching as are the results of the systematic increase of the classical pairs of wind-instruments to groups of three, this is a very modest reform compared to the banausic " extra attractions " of every new production of Meyerbeer's.

Many French Jews acquired fame, among them the ministers Cremieux (1796-1879), Fould, Gondchaux and Raynal; the archaeologists and philologians Oppert, Halevy, Munk, the Derenbourgs, Darmesteters and Reinachs; the musicians Halevy, Waldteufel and Meyerbeer; the authors and dramatists Catulle Mendes and A.

It was the irrepressible upward tendency that caused the French government in 1859, acting with the advice of Halevy, Meyerbeer, Auber, Ambroise Thomas and Rossini, to establish by law the Diapason Normal.

Giacomo Meyerbeer >>

Though Meyerbeer wrote much that is intrinsically more dull and vulgar than the overture to Rienzi, he never combined such serious efforts with a technique so like that of a military bandmaster.

In Rienzi Wagner would already have been Meyerbeer's rival, but that his sincerity, and his initial lack of that musical savoir faire which is prior to the individual handling of ideas, put him at a disadvantage.

Lastly, the rules of that game were useless on the stage, and Wagner soon found in Meyerbeer a master of grand opera who was dazzling the world by means which merely disgusted the more serious academic musicians of the day.

meyerbeer's Meaning':

German composer of operas in a style that influenced Richard Wagner (1791-1864