By Carl Dahlhaus
Translated by way of Mary Whittall
Previous experiences of Wagner's operas have tended to technique the works as chunks of autobiography, philosophical speculations or historical-political reviews at the age within which they have been written. Professor Dahlhaus dissociated himself from all such ventures. His goal is to bare, through cautious research of the works from Der fliegende Hollander to Parsifal, the dominant beneficial properties of 'music drama' and the way Wagner achieves such profound, unified results. Professor Dahlhaus cites track examples in simple terms once they are germane to his argument and calls for from his readers not more than a constrained volume of technical musical wisdom. this isn't, as a result, an solely professional examine. quite it's going to aid the enthusiastic newbie to return to phrases with those nice artworks in addition to providing many worthwhile insights to the skilled Wagnerian. The ebook can be of curiosity to scholars and students of song historical past, thought, opera and philosophy.
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Extra resources for Richard Wagner's Music Dramas
The fact that a happy ending was the norm opera of the in the eighteenth and early nineteenth centuries, which took primarily from classical myth and later dismissed as mere convention; there is from fairy tale, good reason for its material should not be it in the nature of the medium. With music the dominant element, laying down the genre's laws, opera naturally inclines towards (to use an eighteenth- Richard Wagner's Music Dramas 38 century expression) the 'marvellous': to myth or fairy tale.
If the quotations from the Venusberg music that interrupt the singing 'system', as contest, as if rising out of the unconscious mind, perform one leitmotivic function in that they recall something from the past and provide psychological or allegorical links between different parts of the drama, on the other hand they which they seem differ its framework or of interpolations, of additions; aria, in the Ring by the way to be inserted into the musical text instead of constituting of Venus's from motives Wagner was it is fabric.
The version of the legend of Tannhäuser contained in Des Knaben two parts. In a long introductory dialogue, Tannhäuser away from Dame Venus and her enchanted mountain, the Venusberg, a hell disguised as a paradise, where he has spent a year, possessed by the demons into which the gods of the ancient world had been transformed in the Christian Middle Ages. ) Tannhäuser's leavetaking marked contrast to be infernal powers, not heavenly from Venus is excessively rhetorical, in to the bald, abrupt narration of the legend itself.