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Index
Cover
Title Page
Copyright
Contents
Preface and Acknowledgments
Permissions
Part I - Essays
From Page to Stage: Wagner as Regisseur
Wagner and Liszt: Elective Affinities
From Opera to Music Drama: Nominal Loss, Titular Gain
Eine Kapitulation: Aristophanic Operetta as Cultural Warfare in 1870
A Note on Tristan’s Death Wish
Guides for Wagnerites: Leitmotifs and Wagnerian Listening
German Jews and Wagner
Part II - Biographical Contexts
Wilhelmine Schröder-Devrient and Wagner’s Dresden
Catulle Mendès Visits Tribschen
Recollections of Villa Wahnfried from Wagner’s American Dentist
Part III - Toward A Music of the Future, 1840-1860
The Overture to Tannhäuser
Letters to a Young Composer About Wagner
Franz Brendel’s Reconciliation Address
Part IV - Wagner and Paris
Wagner Admires Meyerbeer (Les Huguenots)
Debacle at the Paris Opéra: Tannhäuser and the French Critics, 1861
The Revue wagnérienne: Symbolism, Aestheticism, and Germanophilia
Part V - The Bayreuth Era
Press Releases from the Bayreuth Festival, 1876: An Early Attempt at Spin Control
Hanslick contra Wagner: “The Ring Cycle Comes to Vienna” and “Parsifal Literature”
Hans von Wolzogen’s Parsifal (1887)
Cosima Wagner’s Bayreuth
Part VI - The Complete Program Notes of Richard Wagner
Wagner Introduces Wagner (and Beethoven): Program Notes Written for Concert Performances by and of Richard Wagner 1846-1880
Beethoven’s Ninth Symphony
Beethoven’s Eroica Symphony
Beethoven’s Coriolan Overture
Overture to Tannhäuser
Overture to Der fliegende Holländer
Prelude to Lohengrin
Tannhäuser
Lohengrin
L. van Beethoven, String Quartet in C-sharp Minor, op. 131
Tristan und Isolde: Prelude to Act 1
Tristan und Isolde: Prelude to Act 1 and Conclusion (“Transfiguration”)
Die Meistersinger von Nürnberg: Preludes to Acts 1 and 3
Götterdämmerung
Die Walküre Parsifal: Prelude to Act 1
Index
Notes on the Contributors
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