A characteristic feature of Wagnerian and post-Wagnerian opera is the tendency to link scenes with numerous and often surprisingly lengthy orchestral interludes, frequently performed with the curtain closed. Often taken for granted or treated as a filler by audiences and critics, these interludes can take on very prominent roles, representing dream sequences, journeys and sexual encounters. Combining studies of individual musical texts with an investigation of the critical discourse surrounding the operas, Christopher Morris investigates the implications of these important but strangely overlooked passages.
|Publisher:||Cambridge University Press|
|Series:||New Perspectives in Music History and Criticism Series , #8|
|Product dimensions:||5.90(w) x 8.90(h) x 0.80(d)|
About the Author
Christopher Morris is Lecturer in Music at University College Cork. His articles have appeared in the Journal of Musicological Research, Musical Quarterly and the Journal of the Royal Musical Society.
Table of Contents
Acknowledgements; Introduction; 1. A walk on the wild side; 2. What the conductor saw; 3. Lost in the forest; 4. 'Sympathy with death'; 5. 'A torrent of unsettling sounds'; 6. Wagner and 'invisible theatre'; Conclusion: 'innocence among opposites'; Bibliography; Index.