CHAPTER 10 Deeds of Music Made Visible (Class of 1813, I)
A specter has been haunting the last six chapters of this narrative—the specter of Richard Wagner. We met him first as the pseudonymous author of a violent and rancorous tract, published in 1850, that heralded a new, aggressive phase of European nationalism. Next we saw him applying this new idea of nation, and the role of art within it, to the interpretation of Weber's Freischütz. We heard tell of him later still as a political revolutionary, temporarily exiled from Germany, and as an artistic revolutionary, the dread darling of Weimar, where Liszt's performance of Wagner's opera Lohengrin in 1850 was the very event that led to the christening of the music of the future. Now it is time to meet him as a composer and dramatist, and encounter at first hand the musico-poetic imagination in which these nationalistic, revolutionary, and artistic personas intersected—an imagination so powerful, backed up by a technique so novel and so impressive, that neither the music of his own day nor that of succeeding generations (even, some would say, down to the present) is conceivable without him.
- Citation (MLA):
- Richard Taruskin. "Chapter 10 Deeds of Music Made Visible (Class of 1813, I)." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 28 Mar. 2017. <http://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-chapter-010.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 10 Deeds of Music Made Visible (Class of 1813, I). In Oxford University Press, Music in the Nineteenth Century. New York, USA. Retrieved 28 Mar. 2017, from http://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-chapter-010.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 10 Deeds of Music Made Visible (Class of 1813, I)." In Music in the Nineteenth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 28 Mar. 2017, from http://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-chapter-010.xml