Wilibald Nagel

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Wilibald Nagel (also Willibald Nagel , born January 12, 1863 in Mülheim an der Ruhr , † October 17, 1929 in Stuttgart ) was a German musicologist and music critic .

Live and act

Wilibald Nagel, son of the song and oratorio singer Siegfried Nagel († 1874), studied German and musicology with Philipp Spitta and Heinrich Bellermann at the Friedrich-Wilhelms-Universität in Berlin . In 1888 he completed his habilitation for musicology at the University of Zurich , where he taught as a lecturer at the Philosophical Faculty until 1894.

He then lived in England to study until 1896, and after his return to Germany he worked as a music writer in Cleve . In 1898 Nagels was appointed lecturer in musicology at the Technical University of Darmstadt , and in 1905 he was appointed professor. He gave piano lessons at the local academy for music and headed the Academic Choral Society. From 1913 to 1917 he lived as a writer in Zurich. From 1917 to 1921, Nagel was editor and editor of the bi-monthly Neue Musik-Zeitung .

In 1921 he became a teacher for piano, music theory and history at the Württemberg University of Music and took over the music department at the Süddeutsche Zeitung .

Nagel became known, among other things, through his co-authorship of the three-volume work General History of Music by Richard Batka . His research on Mozart is also recognized in Karl Storck's Mozart - His Life and Creation (1908). His treatises on Die Nürnberger Musikgesellschaft (1588–1629) are cited in several subsequent works on music history.

His nationalistic - reactionary attitude and his aesthetic worldview as a journalist can be seen, among other things, in his position on the Pfitzner-Bekker controversy about "musical impotence" and in articles such as The Futurism - an un-German phenomenon in which he used polemical expressions such as "brain-burned" Ridiculousness ”takes hold and opposes modern composers - u. a. Ferruccio Busoni , Arnold Schönberg , Josef Matthias Hauer - turns.

Nagel had been a member of the Berlin Freemason Lodge Friedrich Wilhelm zur Morgenröthe since 1897 .

Fonts

  • The German idyll in the 18th century. A. Stutz, Wädensweil undated (1887).
  • The more recent dramatic-musical adaptations of the Genovefa legend. A contribution to the history of the opera. Habilitation thesis at the University of Zurich. Albert Unflad, Zurich / Leipzig 1888.
  • Johannes Brahms as Beethoven's successor. Gebr. Hug, Leipzig 1892.
  • Annals of English court music from the time of Henry VIII to the death of Charles I (1509–1649). Breitkopf & Härtel, Leipzig 1894.
  • History of Music in England, I. Trübner, Strasbourg 1894–97.
  • The development of music in France and England. Habilitation thesis at the Technical University of Darmstadt. Reuther & Reichard, Berlin 1898.
  • Goethe and Beethoven. Lecture given in the Grand Duke's auditorium. Technical University of Darmstadt for the best of the Goethe monument. Beyer, Langensalza 1902.
  • Beethoven's "Heiligenstadt Testament". In: The music. (1901/1902), No. 12 = 1st Beethoven book, pp. 1050-1058.
  • Goethe and Mozart. Lecture. Beyer, Langensalza 1904.
  • Gluck and Mozart. Lecture. Beyer, Langensalza 1905.
  • The music in everyday life. A contribution to the history of the musical culture of our day. Beyer, Langensalza 1907.
  • Studies on the history of the master singers. Beyer & Sons, Langensalza 1909. Musikalisches Magazin issue 27.
  • Beethoven and his piano sonatas. 2 volumes. Beyer & Sons, Langensalza 1903–1905. (2nd extended edition: Beyer & Söhne, Langensalza 1923/24)
  • Small messages on music history from Augsburg files. In: Anthologies of the International Music Society. Volume 9. (1907-1908) pp. 145-154.
  • On the life story of August Eberhard Müller. In: The music. 9, H. 4, 1909/10, pp. 84-92.
  • General history of music. 3 volumes. With Richard Batka. Grüninger, Stuttgart 1909-1915.
  • History of music in outline. With Heinrich Adolf Köstlin . Breitkopf & Härtel, Leipzig 1910.
  • Little Beethoveniana. In: Anthology of the International Music Society. Volume 12 (1910-1911) pp. 586-588.
  • Christoph Graupner as a symphonic composer. Summarizing remarks (together with thematic catalogs of the symphonies). Beyer, Langensalza 1912.
  • Music as a means of popular education. Nature and meaning of the program music. Lectures, go to the Württemberg Goethe Association in Stuttgart. Beyer, Langensalza 1912.
  • Mozart and the present. Beyer, Langensalza 1912.
  • Josef Haydn . Lecture given in the Hess. Goethe Bund in Darmstadt. Beyer, Langensalza 1913.
  • About the currents in our music. Critical marginal notes on modern art. Beyer, Langensalza 1913.
  • About the concept of the ugly in music. One try. Beyer, Langensalza 1914.
  • The piano sonatas by Joh. Brahms. Technical esthete Analyzes. Grüninger, Stuttgart 1915.
  • Ferruccio Busoni as an esthete. In: Neue Musik-Zeitung. 15, 1917.
  • Wilhelm Mauke . Universal Edition , Vienna 1919.
  • Paul Hindemith " Murderer, Hope of Women - Das Nusch-Nuschi ". Two one-act operas. World premiere at the Württ. Landestheater in Stuttgart on June 4th. In: Neue Musik-Zeitung. 19, 1921.
  • Johannes Brahms. J. Engelhorns Nachf., Stuttgart 1923.
  • Beethoven romantic? In: 1st Congress Report. Beethoven Centenary Celebration Vienna, March 26th to 31st, 1927. Organized by the federal government and the city, under the patronage of Federal President Dr. Michael Hainisch. International Congress of Music History. Universal Edition, Vienna 1927.

literature

Web links

Commons : Wilibald Nagel  - Collection of images, videos and audio files

Footnotes

  1. ↑ Musicological Institute of the University of Zurich
  2. ↑ Overview of the courses held by Wilibald Nagel at the University of Zurich (summer semester 1889 to winter semester 1894)
  3. ↑ See e.g. B. the essay The fight against German music . In: Neue Musik-Zeitung. 41. Jg., No. 21, 1920, pp 325 -327.
  4. ↑ See for example his statement: “Whichever side one may attack futuristic music, it will hardly ever give our feeling anything. Anyone who wants something from her has to adjust to her in a purely intellectual way . But that is the opposite of what purely Germanic, German art demands. And real art in general! ”In: Neue Musik-Zeitung. Volume 41, Issue 1, 1920, pp. 2 - 3 .
  5. ↑ Hans Pfitzner : The new aesthetics of musical impotence. A symptom of putrefaction? (1919)
    Alban Berg : The musical impotence of Hans Pfitzner's new aesthetic (1920)
    Paul Bekker : Impotence or potency? (1920)
  6. ↑ Neue Musik-Zeitung. 41. Jg., Heft 1, 1920, p 1 -3.
  7. ↑ “We only see series of tones in which no normal person can recognize rhythmic relationships and orders, can no longer grasp and distinguish the keys, the dissonances clash in senseless accumulation. In short, a chaotic jumble. For the time being, nobody can blame us if we can only perceive pathologically assessable excesses of an intellectually hypertrophic or blasé and degenerate world of ideas or finally an addiction to speculation, phenomena that have not the slightest contact with the healthy German sense of music. "
personal data
SURNAME Nagel, Wilibald
ALTERNATIVE NAMES Nagel, Willibald
BRIEF DESCRIPTION German musicologist and music critic
DATE OF BIRTH January 12, 1863
PLACE OF BIRTH Mülheim an der Ruhr
DATE OF DEATH October 17, 1929
Place of death Stuttgart