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Wagner Beyond Good and Evil$
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John Deathridge

Print publication date: 2008

Print ISBN-13: 9780520254534

Published to California Scholarship Online: May 2012

DOI: 10.1525/california/9780520254534.001.0001

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Mendelssohn and the Strange Case of the (Lost) Symphony in C

Mendelssohn and the Strange Case of the (Lost) Symphony in C

Chapter:
(p.178) 14. Mendelssohn and the Strange Case of the (Lost) Symphony in C
Source:
Wagner Beyond Good and Evil
Author(s):

John Deathridge

Publisher:
University of California Press
DOI:10.1525/california/9780520254534.003.0014

This chapter attempts to understand the self-reflective moments in the scores of Wagner's music dramas. It is clear from Wagner's writings that one of his aims was to reduce to racial categories the idea that a work of art can metaphorically dramatize the tension between the material of representation and another realm it strives for, but is incapable of actually reaching. The musical techniques that are part of Wagner's conception of symphonic drama are usually viewed as constituent parts of his musical structures. In these moments, his interpretation of Mendelssohn's aesthetics, not only as parody, but also as part of his symphonic ambition, is woven into the musical texture of the dramas, and into the refined ideological complexity of those dramas in order to ensure their success, or possible failure, in the utopian age of the drama of the future.

Keywords:   Wagner, musical dramas, material representation, symphonic drama, Mendelssohn

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