ABSTRACT
Wagner’s reputation rests more firmly even on his prose works and the influence he exerted over a number of painters and poets than upon his instrumental and choral compositions, songs, and arrangements of other composers’ works. As a consequence, comparatively few studies of the symphonies, piano pieces, and miscellaneous vocal compositions have appeared in print; many of those that exist were published prior to the outbreak of World War I, when enthusiasm for anything both “Wagnerian” and new or unfamiliar was at its height.
