Introduction.
Part 1 The New German School:
1 Weber's ghost: Euryanthe, Genoveva, Lohengrin, Laura Tunbridge;
2 Wagner amongst the Hegelians, Nicholas Walker.
Part 2 Wagnerian Politics:
3 Magnificent obsession: Tristan und Isolde as the object of musical analysis, Thomas Grey;
4 From critical tool to political metaphor: thoughts on the writings of Houston Stewart Chamberlain, Roger Allen;
5 A question of identity: Die Meistersinger von Nürnberg in Weimar Germany, Áine Sheil.
Part 3 The Politics of Reception:
6 Schütz's Dafne and the German operatic imagination, Bettina Varwig;
7 Deception on stage: Don Carlos di Vargas and Franz Werfel's politics of operatic translation, Gundula Kreuzer;
8 Bruckner in the theatre: on the politics of 'absolute' music in performance, Nicholas Attfield.
Part 4 An Excursus on Vienna:
9 'Wer weiss, Vater, ob das nicht Engel sind?' Reflections on the pre-Fascist discourse of degeneracy in Schreker's Die Gezeichneten, Peter Franklin;
10 'The republic of the mind': politics, the arts and ideas in Schoenberg's post-war projects, Jennifer Shaw;
11 Berg's operas and the politics of subjectivity, Julian Johnson.
Part 5 Interwar Germany:
12 'Stadtluft macht frei': urban consciousness in Weimar opera, Peter Tregear;
13 Magic boxes and Volksempfänger: music on the radio in Weimar Germany, Alexander Rehding;
14 Socialism and the 'free development of art': Karl Amadeus Hartmann's Opera Simplicius Simplicissimus, Egon Voss.
Bibliography;
Index.
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