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. Professor Dahlhaus dissociated himself from all such
ventures. His aim is to reveal, by careful analysis of the works
from Der fliegende Hollander to Parsifal, the dominant features of
'music drama' and how Wagner achieves such profound, unified
effects. Professor Dahlhaus 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. The book will be of interest to students and scholars of
music history, theory, opera and philosophy.
General
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