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181   $ctxt$2rdacontent
182   $cc$2rdamedia
183   $acr$2rdacarrier
200 10$aRichard Wagner $eself-promotion and the making of a brand /$fNicholas Vazsonyi$b[electronic resource]
210  1$aCambridge :$cCambridge University Press,$d2010.
215   $a1 online resource (xii, 222 pages) $cdigital, PDF file(s)
300   $aTitle from publisher's bibliographic system (viewed on 05 Oct 2015).
311   $a1-107-40439-8 
311   $a0-521-51996-9 
320   $aIncludes bibliographical references and index.
327   $aImage -- Publicity -- Niche and branding -- Consumers and consumption -- Hub -- Epilogue : the Wagner industry.
330   $aAll modern artists have had to market themselves in some way. Richard Wagner may just have done it better than anyone else. In a self-promotional effort that began around 1840 in Paris, and lasted for the remainder of his career, Wagner claimed convincingly that he was the most German composer ever and the true successor of Beethoven. More significantly, he was an opera composer who declared that he was not composing operas. Instead, during the 1850s, he mapped out a new direction, conceiving of works that would break with tradition and be literally 'brand new'. This is the first study to examine the innovative ways in which Wagner made himself a celebrity, promoting himself using every means available: autobiography, journal articles, short stories, newspaper announcements, letters, even his operas themselves. Vazsonyi reveals how Wagner created a niche for his works in the crowded opera market that continues to be unique.
606   $aComposers$zGermany$vBiography
606   $aMusic trade$zEurope$xHistory
615  0$aComposers
615  0$aMusic trade$xHistory.
676   $a782.1092
676   $aB
700   $aVazsonyi$b Nicholas$f1963-$0853463
801  0$bUkCbUP
801  1$bUkCbUP
906   $aBOOK
912   $a9910459313903321
996   $aRichard Wagner$91905661
997   $aUNINA