| Abstract |
Previous studies of Wagner's operas have tended to approach the works as chunks of autobiography, philosophical speculations or historical-political comments on the age in which they were written. The author dissociates himself from all such ventures. His aim is to discover by careful analysis of the works from Der fliegende Hollander to Parsifal what are the dominant features of 'music drama' and how Wagner achieves such profound, unified effects. The book starts with the assumption that the term 'music drama' has been misunderstood. Wagner's particular mastery as a musical dramatist derives from the fact that, as he worked on the text, its possible musical embodiment was already taking shape in his imagination. The music-versus-text argument is thus shown to be irrelevant, and it becomes clear that proper judgement of the dramas can only be based on experience of the works in the theatre. The author cites music examples only when they are germane to his argument and requires from his readers no more than a limited amount of technical musical knowledge. This is not, therefore, an exclusively specialist study. Rather, it will help the enthusiastic beginner to come to terms with these great works of art as well as offering many valuable insights to the experienced Wagnerian. |
