FROM THEORY INTO PRACTICE: THE RING

Chapter:

CHAPTER 10 Deeds of Music Made Visible (Class of 1813, I)

Source:

MUSIC IN THE NINETEENTH CENTURY

Author(s):

Richard Taruskin

To return now from the speculative to the historical plane and continue our narrative, the intentions implicit in Art and Revolution could hardly have been embodied more explicitly than they were in Wagner's next creative project. And equally obvious is the persistent identity of the Wagnerian cult of strength with a cult of nation after all—a nation conceived not in political but in ethnic (or “racial”) terms. As Wagner put it shortly after returning from Paris to Zürich, his Swiss abode, exile had made him homesick—but not “merely for the modern homeland”:

As though to get down to its root, I sank myself into the primal element of Home, that meets us in the legends of a Past which attracts us the more warmly as the Present repels us with its hostile chill. To all our wishes and warm impulses, which in truth transport us to the Future, we seek to give a physical token by means of pictures from the Past, and thus to win for them a form the modern Present never can provide.²⁰

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. 8 Dec. 2024. <https://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-div1-010004.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 8 Dec. 2024, from https://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-div1-010004.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 8 Dec. 2024, from https://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-div1-010004.xml