LEADER 03510cam 2200445 i 4500001 ocm04490439 003 OCoLC 005 20221011103910.0 008 780920s1979 enkg 000 0 eng 010 78068359 040 DLC |beng |cDLC |dUKM |dMUQ |dBTCTA |dBAKER |dYDXCP |dNLE |dENG |dOCLCQ |dBDX |dOCLCO |dOCLCF |dOCLCQ |dUEJ |dNLC |dDHA |dOCLCQ |dTYC |dOCLCQ |dXFF |dOCLCQ |dCNO |dUKOBU |dPEX |dUKUOY |dOCLCQ |dCAMVC |dYBM |dOCLCO |dYBM |dOCLCO |dOCL |dOCLCO 019 2785280110080793021029431969110715477912228890721277107142 020 0521223970 020 9780521223973 020 0521428998 |q(pbk.) 020 9780521428996 |q(pbk.) 035 (OCoLC)4490439 |z(OCoLC)27852801 |z(OCoLC)1008079302 |z(OCoLC)1029431969 |z(OCoLC)1107154779 |z(OCoLC)1222889072 |z(OCoLC)1277107142 041 1 eng |hger 050 04 ML410.W13 |bD153 1979 082 00 782.1/092/4 049 EREM 100 1 Dahlhaus, Carl, |d1928-1989. |=^A820400 240 10 Richard Wagners Musikdramen. |lEnglish |=^A820400 245 10 Richard Wagner's music dramas / |cCarl Dahlhaus ; translated by Mary Whittall. 260 Cambridge ;New York : |bCambridge University Press, |c1979. 300 161 pages : |bmusic ; |c24 cm 336 text |btxt |2rdacontent 337 unmediated |bn |2rdamedia 338 volume |bnc |2rdacarrier 546 Translation of Richard Wagners Musikdramen. 505 00 |gIntroduction -- |tDer fliegende Hollander [The Flying Dutchman] -- |tTannhauser -- |tLohengrin -- |tTristan und Isolde -- |tDie Meistersinger von Nurnberg [The Mastersingers of Nuremberg] -- |tDer Ring des Nibelungen [The Ring Cycle] -- |tDas Rheingold [The Rhinegold] -- |tDie Walkure [The Valkyrie] -- |tSiegfried -- |tGotterdammerung [Twilight of the Gods] -- |tParsifal -- |tThe works in the theatre. 520 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. 600 10 Wagner, Richard, |d1813-1883. |tOperas. |=^A495473 650 0 Operas |zGermany |y19th century. |=^A52293 653 0 German operas 700 1 Whittall, Mary, |etranslator. |=^A225623 994 C0 |bERE 596 3 998 5916774