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- W3036301105 abstract "Wagner believed that reducing vocal display and rejecting the convention that the orchestral material remain subordinate to vocal melody would involve listeners more intensively in the drama, and enhance their ability to identify with mythic or “uncanny” dramatic situations. In addition, Wagner’s new ideas about the “symphonic” potential of poetic-musical periods were complemented and challenged by occasional allusions to the simpler designs and textures of the <italic>Lied</italic>—a polarity that Richard Strauss found no less appealing. After an introductory Wagner/Strauss comparison—the music for night-watchmen in <italic>Die Meistersinger</italic> and <italic>Die Frau ohne Schatten</italic>—some relevant episodes in Wagner’s works from <italic>Rienzi</italic> to <italic>Parsifal</italic> are discussed, and then set in counterpoint with comparable passages from operas by Strauss. Finally, there is brief consideration of more recent developments in German opera that have sought to retain some aspects of the focus on reflective song that Wagner made his own." @default.
- W3036301105 created "2020-06-25" @default.
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- W3036301105 date "2020-04-15" @default.
- W3036301105 modified "2023-09-27" @default.
- W3036301105 title "Song and Sign" @default.
- W3036301105 doi "https://doi.org/10.1093/oso/9780190620622.003.0011" @default.
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