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Aspects of Wagner
Many music lovers find Wagner's operas inexpressibly beautiful and richly satisfying, while others find them revolting, dangerous, self-indulgent, and immoral. The man who W.H. Auden once called "perhaps the greatest genius that ever lived" has inspired both greater adulation and greater loathing than any other composer. Bryan Magee presents a penetrating analysis of Wagner's work, concentrating on how his sensational and deeply erotic music uniquely expresses the repressed and highly charged contents of the psyche. He examines not only Wagner's music and detailed stage directions but also the prose works in which he formulated his ideas, as well as shedding new light on his anti-semitism and the way in which the Nazis twisted his theories to suit their own purposes. Outlining the astonishing range and depth of Wagner's influence on our culture, Magee reveals how profoundly he continues to shock and inspire musicians, poets, novelists, painters, philosophers, and politicians today.
Wagner and the Erotic Impulse
Though his image is tarnished today by unrepentant anti-Semitism, Richard Wagner (1813–1883) was better known in the nineteenth century for his provocative musical eroticism. In this illuminating study of the composer and his works, Laurence Dreyfus shows how Wagner’s obsession with sexuality prefigured the composition of operas such as Tannhäuser, Die Walküre, Tristan und Isolde, and Parsifal. Daring to represent erotic stimulation, passionate ecstasy, and the torment of sexual desire, Wagner sparked intense reactions from figures like Baudelaire, Clara Schumann, Nietzsche, and Nordau, whose verbal tributes and censures disclose what was transmitted when music represented sex. Wagner ...
Richard Wagner and the Jews
It is well known that Richard Wagner, the renowned and controversial 19th century composer, exhibited intense anti-Semitism. The evidence is everywhere in his writings as well as in conversations his second wife recorded in her diaries. In his infamous essay "Judaism in Music," Wagner forever cemented his unpleasant reputation with his assertion that Jews were incapable of either creating or appreciating great art. Wagner's close ties with many talented Jews, then, are surprising. Most writers have dismissed these connections as cynical manipulations and rank hypocrisy. Examination of the original sources, however, reveals something different: unmistakeable, undeniable empathy and friendship...
To Know Where He Lies
In the aftermath of the 1992-1995 Bosnian war, the discovery of unmarked mass graves revealed Europe's worst atrocity since World War II: the genocide in the UN "safe area" of Srebrenica. To Know Where He Lies provides a powerful account of the innovative genetic technology developed to identify the eight thousand Bosnian Muslim (Bosniak) men and boys found in those graves and elsewhere, demonstrating how memory, imagination, and science come together to recover identities lost to genocide. Sarah E. Wagner explores technology's import across several areas of postwar Bosnian society—for families of the missing, the Srebrenica community, the Bosnian political leadership (including Serb and Muslim), and international aims of social repair—probing the meaning of absence itself.
Life of Wagner
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Wagner and Schopenhauer
Most who write about Wagner’s operas claim that the works of Arthur Schopenhauer had a huge effect on them. The influence has, Brener believes, been vastly overstated. The most detailed exposition of that alleged influence is by Bryan Magee. In his Tristan Chord, Magee details the bases for what are often, by others, unsupported conclusions. Familiar with both the important writings of Schopenhauer and the works of Wagner, Brener is among the few capable of a thorough analysis and factual response to Magee’s claims. His conclusions, backed with primary sources, stands almost alone in opposition to accepted dogma.
Theology of Wagner's Ring Cycle II
Wagner’s Ring addresses fundamental concerns that have faced humanity down the centuries, such as power and violence, love and death, freedom and fate. Further, the work seems particularly relevant today, addressing as it does the fresh debates around the created order, politics, gender, and sexuality. In this second of two volumes on the theology of the Ring, Richard Bell argues that Wagner’s approach to these issues may open up new ways forward and offer a fresh perspective on some of the traditional questions of theology, such as sacrifice, redemption, and fundamental questions about God. A linchpin for Bell’s approach is viewing the Ring in the light of the Jesus of Nazareth sketches, which, he argues, confirms that the artwork does indeed address questions of Christian theology, both for those inside and those outside the church.
