After Wagner: Histories of Modernist Music Drama from Parsifal to Nono Mark Berry

ISBN: 9781843839682

Published: October 16th 2014

Hardcover

256 pages


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After Wagner: Histories of Modernist Music Drama from Parsifal to Nono  by  Mark Berry

After Wagner: Histories of Modernist Music Drama from Parsifal to Nono by Mark Berry
October 16th 2014 | Hardcover | PDF, EPUB, FB2, DjVu, AUDIO, mp3, RTF | 256 pages | ISBN: 9781843839682 | 4.74 Mb

This book offers histories of music drama after Richard Wagner, concentrating upon works which fall not only chronologically but also in some sense harmoniously and antagonistically within a Wagnerian tradition. Beginning with Parsifal, in whichMoreThis book offers histories of music drama after Richard Wagner, concentrating upon works which fall not only chronologically but also in some sense harmoniously and antagonistically within a Wagnerian tradition.

Beginning with Parsifal, in which Wagner himself reckoned with, extended, and questioned his achievements in previous works, this book proceeds to treat with the aesthetics, politics, and works of five subsequent composers. Finally, this legacy is considered in terms of operatic staging: Regietheater, which Wagner in many ways, theoretical and practical, may be understood to have initiated. Wagner is immediately followed by apparent antipodes: the strenuous modernism of Arnold Schoenberg, especially his unfinished opera, Moses und Aron, and the equally controversial case of Richard Strauss, with particular reference to his final opera, Capriccio.

The aestheticism of the latter is examined in historical context, revealing a more political work than first acquaintance might suggest. From following generations, Luigi Dallapiccola, Luigi Nono, and Hans Werner Henze are discussed. Not only does geographical context extend to take in Wagners Italian successors- the problem of political emancipation in and through music drama takes another turn, reckoning with the opportunities and difficulties of more avowedly politically engaged art.

Staging and, more broadly, performance are considered, first in terms of Wagners works: Stefan Herheims Bayreuth Parsifal, and various performances of Lohengrin. A final chapter looks both back to Mozart (Don Giovanni) and forward to Alban Berg (Lulu) and Nono (Al gran sole carico damore), considering questions of the aesthetic and political integrity of the musical work after Wagner.

MARK BERRY is Lecturer at the Department of Music, Royal Holloway, University of London.



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