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This is the edition with a publication date of 5/7/2012.
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Though his image is tarnished today by unrepentant anti-Semitism, Richard Wagner (18131883) was better known in the nineteenth century for his provocative musical eroticism. In this illuminating study of the composer and his works, Laurence Dreyfus shows how Wagner's obsession with sexuality prefigured the composition of operas such as Tannhäuser, Die Walküre, Tristan und Isolde, and Parsifal. Daring to represent erotic stimulation, passionate ecstasy, and the torment of sexual desire, Wagner sparked intense reactions from figures like Baudelaire, Clara Schumann, Nietzsche, and Nordau, whose verbal tributes and censures disclose what was transmitted when music represented sex. Wagner himself saw the cultivation of an erotic high style as central to his art, especially after devising an anti-philosophical response to Schopenhauer's "metaphysics of sexual love." A reluctant eroticist, Wagner masked his personal compulsion to cross-dress in pink satin and drench himself in rose perfumes while simultaneously incorporating his silk fetish and love of floral scents into his librettos. His affection for dominant females and surprising regard for homosexual love likewise enable some striking portraits in his operas. In the end, Wagner's achievement was to have fashioned an oeuvre which explored his sexual yearnings as much as it conveyed-as never before-how music could act on erotic impulse.
Laurence Dreyfus is Professor of Music at University of Oxford and a Fellow of Magdalen College.
Table of Contents
|Music and Eros|
|Peculiarities of Musical Erotics|
|Friedrich Nietzsche and Malwida von Meysenbug|
|Édouard Schuré and Hans von Bülow|
|Ludwig Schnorr von Carolsfeld|
|Gabriele D'Annunzio and Thomas Mann|
|Julius Kapp and Ernest Newman|
|Salvation from Arousal|
|Opera, Not Philosophy|
|Der Fliegende Holländer|
|Erotics in the Literary Sources|
|A Tour of the Venusberg|
|Love in the Ring Poem|
|Tristan und Isolde|
|The Tristan Chord|
|Musical Paradigms in the Tristan Prelude|
|Tristan, Act II|
|Renunciations of Love|
|Die Meistersinger and Götterdämmerung|
|Nietzsche the Pathologist|
|Worries about Masturbation|
|Pink Satin and Rose Perfumes|
|Wagner and His Milliners|
|Fetishism and Cross-dressing|
|Fabric and Perfumes in the Operas|
|James Gibbons Huneker|
|Paul Lindau, Max Kalbeck, and Paul Heyse|
|Berthold Auerbach and Daniel Spitzer|
|Max Nordau and Theodor Herzl|
|Effeminacy and Jewishness|
|Paid von Joukowsky and Pepino|
|Richard von Krafft-Ebing and Oscar Panizza|
|Hanns Fuchs and the ôHomosexual in Spirit"|
|Homosexual Sensibilities in German Literature|
|Ludwig II of Bavaria|
|Rejection of Pederasty|
|Signs of Romantic Friendship|
|Wagner and His Romantic Friends|
|Appendix: Musical Examples||p. 225|
|Table of Contents provided by Ingram. All Rights Reserved.|