Table of Contents

Chapter 1 Preface Chapter 2 Acknowledgements Chapter 3 A Brief Time Line Chapter 4 The Political Stage: From Radical to Revolutionary to Political Outcast; Politics, the Ring, and the End of the Old Order; "The German Spirit"; Hans Sachs: The German Spirit and the Thinking Man Chapter 5 The Spiritual and Religious Stage: Early Thoughts on Religion; Spiritual Dimensions in The Flying Dutchman, Tannhäuser, and Lohengrin; Jesus of Nazareth, the Universal God-man, "Judaism in Music" and Wagner's Jewish Associates; Mystical Chapter 6 The Artistic Stage: Innovation and Creativity; The Future of German Music Chapter 7 Epilogue Chapter 8 Notes Chapter 9 Bibliography Chapter 10 Index

About the Author

Alan David Aberbach is Director, Opera Studies and Retired Associate Professor of History at Simon Fraser University.

Reviews

It is a fascinating and comprehensive treatment of a very wide range of Wagner's ideas, and its approach will capture the serious Wagner scholar as much as it will capture the passionate opera-lover.
*Wagner Society Of Nz Newsletter*

In aiming to define Richard Wagner's fundamental convictions and intellectual positions, Alan David Aberbach has set himself a Herculean task. Taking the measure of all this literature, one recognizes how unmanageable a mass of material Aberbach has successfully commanded. . . . Aberbach does just what he had intended- to 'let Wagner speak for himself'- but his skill at paraphrasing and interweaving his sources gives added coherence and consistency to the thoughts the composer first set forth. The resulting study throws a bright light on its subject and thus stands ready to serve the needs of those who have wanted to know all about Wagner's ideas but feared they had no time to find out.
*Opera Quarterly*

In aiming to define Richard Wagner's fundamental convictions and intellectual positions, Alan David Aberbach has set himself a Herculean task. Taking the measure of all this literature, one recognizes how unmanageable a mass of material Aberbach has successfully commanded. . . . Aberbach does just what he had intended- to 'let Wagner speak for himself'- but his skill at paraphrasing and interweaving his sources gives added coherence and consistency to the thoughts the composer first set forth. The resulting study throws a bright light on its subject and thus stands ready to serve the needs of those who have wanted to know all about Wagner's ideas but feared they had no time to find out.
*Opera Quarterly*

It is a fascinating and comprehensive treatment of a very wide range of Wagner's ideas, and its approach will capture the serious Wagner scholar as much as it will capture the passionate opera-lover.
*Wagner Society Of Nz Newsletter*