Studies in the Wagnerian Drama

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CHAPTER I. THE WAGNERIAN DRAMA: ITS PROTOTYPES AND ELEMENTS.

CHAPTER II. "TRISTAN UND ISOLDE."

CHAPTER III. "DIE MEISTERSINGER VON NuRNBERG."

CHAPTER IV. "DER RING DES NIBELUNGEN."

CHAPTER V. "PARSIFAL."

TRANSCRIBER'S NOTES:

The book cover has been modified and was put on the public domain.

A number of words in this book have both hyphenated and non-hyphenated variants. For the words with both variants present the one used more times has been kept. It was also detected that some names have two different spellings. That was respected as both are correct.

The musical examples that are discussed in the book can be heard by clicking on the [Listen] tab. This is only possible in the HTML version of the book. The scores that appear in the original book have been included as images.

In some cases the scores that were used by the music transcriber to generate the music files differ from the original scores. Those differences are in part due to modifications that were made during the process of creating the musical archives as the music transcriber added instruments that were not indicated in the original scores. Other modifications were made to correct obvious mistakes in the original scores. These scores are included as png images, and can be seen by clicking on the [PNG] tag in the HTML version of the book.

Obvious punctuation and other printing errors have been corrected.


BY

HENRY EDWARD KREHBIEL

NEW YORK AND LONDON
HARPER & BROTHERS PUBLISHERS
1904

Copyright, 1891, by HARPER & BROTHERS.
All rights reserved.

TO
JOSEPH S. TUNISON

CONTENTS.

CHAPTER I.
THE WAGNERIAN DRAMA: ITS PROTOTYPES AND ELEMENTS.
Wagner a Regenerator of the Lyric Drama.—Greek Tragedy.—Solemn
Speech and Music.—The Poet-composers
of Hellas.—The Florentine Reformers and their Invention
of the Lyric Drama.—Peri and Caccini.—Their
Declamation.—Monteverde's Orchestra.—How Wagner
Touches Hands with his Predecessors.—Poet and
Composer.—Music a Means, not an Aim in the Drama.—A
Typical Teuton, but also a Cosmopolite.—Teutonic
and Roman Ideals.—Absolute Beauty and Characteristic
Beauty.—The Ethical Idea in Wagner's Dramas.—Fundamental
Principle of his Constructive Scheme.
The Typical Phrases.—Symbols, not Labels.—Music as
a Language.—Characteristics of Some Typical Phrases.—Wotan
in Two Aspects.—Form the First Manifestation
of Law in Music and Essential to Repose.—Tonality
and the Effect of its Loss.—Phrases Delineative
and Imitative of External Characteristics.—The
Giants, the Dwarfs, the Rhine; Loge, the God of
Fire.—Prophetic Use of the Phrases.—Their Dramatic
Development.—Wagner's Orchestra and the Greek
Chorus.—Alliteration and Rhyme.—The Ethical Idea
Again.
Pages 1-36
CHAPTER II.
"TRISTAN UND ISOLDE."
The Legend in Outline.—A Subject that has Fascinated
Poets for over Six Centuries in Spite of Changes in
Moral Feeling.—Wagner's Variations from the Versions
of Gottfried von Strassburg, Matthew Arnold, Tennyson,
and Swinburne.—The Prelude.—Absence of Scenic
Music.—Fundamental Musical Thought of the Drama.—Its
Duality in Unity.—Longing and Suffering.—Wagner's
Exposition.—Use of the Sailor's Song and the
Sea Music.—Suffering and Chromatic Descent.—The
Love Glance and its Symbol.—Fatality and the Interval
of the Seventh.—The Heroic Phrase of Tristan.—The
Death Phrase.—Music as an Expounder of Hidden
Meanings.—The Horn Music.—The Signal.—The Love
Duet.—Dramatic Feeling Supplied by Music.—King
Marke.—Philosophy of the Drama.—Musical Mood
Pictures.—A Dying Man: an Empty Sea.—Tristan's
Longing and Death.—Swan Song of Isolde.—Passions
Purified by Music.—MediÆval Love.—Effect of Wagner's
Variations on the Morals of the Poem.—Excision
of the Second Iseult.—The Philter not a Love-potion.—Wagner's
Pure Humanity Freed from the Bonds of
Conventionality
Pages 37 -71
CHAPTER III.
"DIE MEISTERSINGER VON NÜRNBERG."
Story of the Drama.—A Comedy Faithful to Classical
Conceptions.—Ridendo Castigat Mores.—Its Specific Purpose
is to Celebrate the Triumph of Natural Poetic
Impulse, Stimulated by Communion with Nature, over
Pedantic Formalism.—Romanticism

THE WAGNERIAN DRAMA.

                                                                                                                                                                                                                                                                                                           

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