The notion of an alternation Wechsel of motives, which he rst employed for Glucks Iphigenie overture, was an important formal concept to Wagner at that time. Thus Schütz presupposes our familiarity with Andreas Hammerschmidt, with Johann Hermann Schein, and Samuel Scheidt. Goebbels had been able to learn much from important lm events, above all Triumph des Willens (1934) and Olympia (lmed in 1936 and their masterful audio-visual interaction.122 All in all, the Bruckner experience was a meeting of modern administration with its immaculate timing and. So schlecht wie ihr Ruf?: Die Liszt-Biographin Lina Ramann. Instead, Bernstein referred to the unproven theory, apparently going back to Friedrich Ludwig Jahn, that Schiller originally wrote a version of the poem entitled An die Freiheit. Example.5 (a) Despite his voluble protests, Joachim Raff cannot help himself in his Fantasie über Motive aus Richard Wagners Tannhäuser. Forster and Diane Ghirardo, Oppositions 25 (1982. Thomas Grey, Wagner, the Overture, and the Aesthetics of Musical Form, Nineteenth Century Music 12 (1988. Instead, it was Chrysander who rejected any creative import of the works of the past on present composerseven though the absolute status that his classics could achieve would presumably make them ideal models for posterity. Here the quantities in question are immediacy, as a consequence of the overwhelming effect of physical monumentality, and permanence, as the correlate of the longevity of historical monumentality. Music and German National Identity.