Opera heard in his earlier operas such as "Der fliegende Holländer", "Tannhäuser" and "Lohengrin"; and he was prepared to violate accepted musical conventions, such as tonality, in his quest for greater expressivity. In his mature music dramas, "Tristan und Isolde", "Die Meistersinger von Nürnberg", "Der Ring des Nibelungen" and "Parsifal", he abolished the distinction between aria and recitative in favour of a seamless flow of "endless melody". Wagner also brought a new philosophical dimension to opera in his works, which were usually based on stories from Germanic or Arthurian legend. Finally, Wagner built his own opera house at Bayreuth with part
Music of Germany the 20th century. Wolfgang Amadeus Mozart's "Die Zauberflöte" (1791) is usually said to be the beginning of German opera. An earlier starting date for German opera, however, could be Heinrich Schütz's "Dafne" from 1627. Schütz is said to be the first great German composer before Johann Sebastian Bach, and was a major figure in 17th-century music. In the 19th century, two figures were paramount in German opera: Carl Maria von Weber and Richard Wagner. Wagner introduced devices like the Leitmotiv, a musical theme which recurs for important characters or ideas. Wagner (and Weber) based his operas of German history and