By Carl Dahlhaus
Translated via Mary Whittall
Previous reports of Wagner's operas have tended to process the works as chunks of autobiography, philosophical speculations or historical-political reviews at the age during which they have been written. Professor Dahlhaus dissociated himself from all such ventures. His objective is to bare, via cautious research of the works from Der fliegende Hollander to Parsifal, the dominant positive factors of 'music drama' and the way Wagner achieves such profound, unified results. Professor Dahlhaus cites tune examples in simple terms after they are germane to his argument and calls for from his readers not more than a restricted volume of technical musical wisdom. this isn't, hence, an completely expert examine. really it is going to support the enthusiastic newbie to come back to phrases with those nice artistic endeavors in addition to supplying many helpful insights to the skilled Wagnerian. The publication should be of curiosity to scholars and students of track historical past, concept, opera and philosophy.
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Additional resources for Richard Wagner's Music Dramas
It 34 needs to achieve a happy medium between declamation This orchestral motive's lack of vividness and independence of positive benefit to the melodic flow. is By contrast the principal motive of the second section gelangt' ich so'), intents, to mere ^\ It repetition of its Thus i PP^f f: either the vocal The is confined, to foil for ^^ m JJ^J is germ of a method of composition as yet is discernible, mediating in the Rome that promises to create rapprochement between the arioso-declamatory and the expressive and M melody subordinates the orchestral motive, or relationship between voice and orchestra between the compositional extremes found side by side a all the orchestral motive.
Be and weak to as stupid as only a hero can no comparison with Lohengrin, but Euryanthe's likeness Lohengrin to Elsa ^g undeniable, while the pair is who plot their downfall, Lysiart only serve to throw the crucial differences into similarities however. Telramund, the deceiver who and Telramund and Ortrud. The Eglantine, could pass as the models for is himself deceived, is relief, a far more dramatic figure than the cynic Lysiart whose perfidy, while intelligible unexplained, offers no mysteries; and Ortrud, representing the pagan alternative to the world of the Grail, rises trivial jealousy - though not the text immeasurably high above the is mere window-dressing in of Eglantine.
Tannhäuser's love for Elisabeth from the recollection of first is between passion, obsession and Venus on the one hand, and a divided emotion, a persistent, covert a longing for redemption him on the other; it is she whom subconsciously he already invokes when he escapes from Venus with the words 'Mein Heil ruht in Maria'. In Venus's 'paradis through the agency of the saint that Elizabeth is for he longs for starlight and the fresh green grass of springtime; but simple earthly pleasures are precisely what are denied him even artificiel ' in his love for Elisabeth, which, whether possession or pious longing for salvation, is it is stamped by demonic not truly human.