THE ARTWORK OF THE FUTURE, MODELED (AS ALWAYS) ON THE IMAGINED PAST
All the more ineluctable are these connections in view of Wagner's lifelong habit, which he made a point of enunciating not merely as practice but as principle, of writing his own librettos—or, as he put it, the “poems” for his “dramas.” A playwright even before he was a musician, he found this a natural enough task. But he insisted that it was a necessary prerequisite for returning drama to its true estate as the supreme artwork in which all artistic media were united. Thus it is a mistake to regard the libretto of an opera, even one by Wagner, as providing in itself a dramma per musica, to quote the old Florentine slogan—a “drama for [i.e., to be realized through] music.” Neither the words nor the music were privileged in Wagner's conception; the drama arose out of their union.
- 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. 31 Mar. 2020. <https://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-div1-010003.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 31 Mar. 2020, from https://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-div1-010003.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 31 Mar. 2020, from https://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-div1-010003.xml
