New Perspectives in Music History and Criticism: Reading Opera between the Lines: Orchestral Interludes and Cultural Meaning from Wagner to Berg Series Number 8 (Hardback)
  • New Perspectives in Music History and Criticism: Reading Opera between the Lines: Orchestral Interludes and Cultural Meaning from Wagner to Berg Series Number 8 (Hardback)
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New Perspectives in Music History and Criticism: Reading Opera between the Lines: Orchestral Interludes and Cultural Meaning from Wagner to Berg Series Number 8 (Hardback)

(author)
£77.00
Hardback 232 Pages / Published: 25/04/2002
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A characteristic feature of Wagnerian and post-Wagnerian opera is the tendency to link scenes with numerous and often surprisingly lengthy orchestral interludes, frequently performed with the curtain closed. Often taken for granted or treated as a filler by audiences and critics, these interludes can take on very prominent roles, representing dream sequences, journeys and sexual encounters, and in some cases becoming a highlight of the opera. Christopher Morris investigates the implications of these important but strangely overlooked passages. Combining close readings of individual musical texts with an investigation of the critical discourse surrounding the operas, Morris shows how the interludes shed light not only on the representational and narrative capacities of the orchestra, but also on the supposed 'absolute' realm of instrumental music, a concept to which many critics appealed when they associated the interludes with 'purely musical' and 'symphonic' qualities.

Publisher: Cambridge University Press
ISBN: 9780521807388
Number of pages: 232
Weight: 510 g
Dimensions: 229 x 152 x 17 mm


MEDIA REVIEWS
'A rewarding as well as a provocative piece of work.' Musical Times
"Reading Opera between the Lines raises important and intriguing questions that should be of interest to any scholars and music lovers concerned with the cultural significance of orchestral music in opera." The Opera Quarterly
"Morris's thoughtful and well-produced book (including numerous musical examples of high quality) contains a wealth of stimulating insights into those sections of operas that are often interpreted in purely diagetic and reflective terms. As an engaging writer (even in the more abstruse sections), he makes for rewarding reading, even for those not so well versed in certain aspects of critical discourse as the author obviously is. On a pragmatic note, this book should surely be required reading for all opera conductors, some of whom I suspect remain unaware of the possible significance of many of the orchestral interludes they so often direct." Notes
"A slim, well-packed book to study and ponder. Recommended." The Opera Journal

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