Music, Theatre and Politics in Germany: 1848 to the Third Reich

Contents

• Contents: Introduction. Part 1 The New German School: Weber's ghost: Euryanthe, Genoveva, Lohengrin, Laura Tunbridge
• Wagner amongst the Hegelians, Nicholas Walker. Part 2 Wagnerian Politics: Magnificent obsession: Tristan und Isolde as the object of musical analysis, Thomas Grey
• From critical tool to political metaphor: thoughts on the writings of Houston Stewart Chamberlain, Roger Allen
• A question of identity: Die Meistersinger von NA1/4rnberg in Weimar Germany, A ine Sheil. Part 3 The Politics of Reception: SchA1/4tz's Dafne and the German operatic imagination, Bettina Varwig
• Deception on stage: Don Carlos di Vargas and Franz Werfel's politics of operatic translation, Gundula Kreuzer
• Bruckner in the theatre: on the politics of 'absolute' music in performance, Nicholas Attfield. Part 4 An Excursus on Vienna: 'Wer weiss, Vater, ob das nicht Engel sind?' Reflections on the pre-Fascist discourse of degeneracy in Schreker's Die Gezeichnet
• 'The republic of the mind': politics, the arts and ideas in Schoenberg's post-war projects, Jennifer Shaw
• Berg's operas and the politics of subjectivity, Julian Johnson. Part 5 Interwar Germany: 'Stadtluft macht frei': urban consciousness in Weimar opera, Peter Tregear
• Magic boxes and VolksempfAnger: music on the radio in Weimar Germany, Alexander Rehding
• Socialism and the 'free development of art': Karl Amadeus Hartmann's Opera Simplicius Simplicissimus, Egon Voss. Bibliography
• index.