The overtures have not been much studied as separate pieces but considered as
integral parts of their operas. Strohm examines Wagner’s writings about the
overture and discusses those of Rienzi, Der fliegende Holländer,and Tann-
häuser. Influences, notably that of Mendelssohn, are discussed, with musical
examples and technical observations.See also Abbate (#2062).
Individual Works
Die Feen
- Lippmann, Friedrich. “Die Feenund Das Liebesverbot,oder die Wagner-
isierung diverser Vorbilder.” In Wagnerliteratur(#1973), 14–46.
It is generally accepted (and acknowledged by Wagner) that the early operas
were influenced by Beethoven, Weber, Marschner (Die Feen), Rossini, and
Bellini (Das Liebesverbot), but specific illustrations of that influence have not
been offered. Lippmann gives parallel musical examples showing how Wagner
adapted arias and duets from the other composers, transforming their ideas
with greater chromaticism and harmonic richness.
Der fliegende Holländer (The Flying Dutchman)
ASO30 (1980), ENOG 12 (1982), Rororo (1982).
- Machlin, Paul Stuart. “Genesis, Revisions and Publications History of Wag-
ner’s Flying Dutchman.” Ph.D. diss., U. of California, Berkeley, 1975. 233p.
Machlin also has a useful article: “Wagner, Durand, and The Flying Dutch-
man: The 1852 Revisions of the Overture,” M&L55–4 (October 1974): 410–
- Barker, Frank Granville. “The Flying Dutchman”: A Guide to the Opera.Lon-
don: Barrie & Jenkins, 1979. 159p. ISBN 0-2142-0655-6. ML410 .W23 B25.
Various perspectives on the opera, in a popular style: genesis, story, reception,
productions, illustrations. A German-English libretto is included. No music
examples and not much said about the music. Without index.
Das Liebesverbot
- Engel, Hans. “Über Richard Wagners Oper Das Liebesverbot.” In Festschrift
Friedrich Blume(#64), 80–91.
Genesis, with quotations from Wagner and study of the sources; technical dis-
cussion including early Leitmotivenin the work, tonal structure of the finale to
act 1 (which Engel compares to finales in Auber and Bellini), and musical
examples. - Williams, Simon. “Wagner’s Das Liebesverbot: From Shakespeare to the Well-
Made Play.” OQ3-4 (Winter 1985–1986): 56–69.
Wagner was the first to set Measure for Measure,which he did with a poor Ger-
man translation. His reason was that it glorified “free sensuality.” The adap-
tation is studied, and the plot is shown to deteriorate into a series of incidents
Richard Wagner 377