Chapter

Symphonic Mastery or Moral Anarchy? <i>First Day:</i> Die Walküre

John Deathridge

in Wagner Beyond Good and Evil

Published by University of California Press

Published in print July 2008 | ISBN: 9780520254534
Published online May 2012 | e-ISBN: 9780520934610 | DOI: http://dx.doi.org/10.1525/california/9780520254534.003.0005
Symphonic Mastery or Moral Anarchy? First Day: Die Walküre

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This chapter describes one of the most famous works of Wagner, Die Walküre. Die Walküre has always been by far the most popular work in the Ring, and when Wagner first introduced some of its music to the world, it had a profound effect on modern audiences. The tragic paradoxes of Die Walküre are drawn from Greek myth and Shakespeare, but they also have a real basis in the mid-nineteenth-century idea that family relations inevitably reflect the bourgeois-capitalist system in which they are situated. However, Die Walküre had been misunderstood because it had been performed outside the context of the complete Ring and was hence still vulnerable to exploitation as a series of “operatic” or “purely musical” numbers divorced from any serious dramatic meaning, paled before the enthusiasm that greeted the work. Therefore, the question that remains is whether Die Walküre was a symphonic mastery or a moral anarchy.

Keywords: Wagner; a symphonic mastery; moral anarchy; Die Walküre; tragic paradox

Chapter.  2974 words. 

Subjects: Musicology and Music History

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