Top Document: [humanities.music.composers.wagner] Wagner Books FAQ Previous Document: A. Influences on Wagner Next Document: C. Wagner as Thinker See reader questions & answers on this topic! - Help others by sharing your knowledge %T Darwin, Marx, Wagner : Critique of a Heritage %A Jacques Barzun %D 1981 %C Chicago %I Univ. of Chicago Press %G ISBN 0 2260 3859 9 ; CT105 .B33 %X Among the subjects discussed in the book are Wagner's relationships with Berlioz, Liszt and Nietzsche, and his influence on literature and artistic life in Germany and England respectively. %O Originally published in 1941 by Little, Brown and Co., Boston %T Wagner and Debussy %A Robin Holloway %D 1979 %C London %I Eulenburg %G ISBN 0 9038 7325 7 %X %T Musica Ficta : Figures of Wagner %M French * %A Philippe Lacoue-Labarthe %F Felicia McCarren %D 1994 %C Stanford %I Stanford Univ. Press %G ISBN 0 8047 2385 0 hbk, 0 8047 2376 1 pbk ; ML410.W19 L213 1994 %X The title of this book is deceptive: although Wagner is very much present in the first of the four essays, he progressively fades away in the remaining three. The first essay deals with the impact of Wagner's music on Baudelaire, who wrote an extraordinary letter to the composer after first hearing excerpts from four of Wagner's operas at a concert in 1860. He declared them "sublime". It is interesting to note that this initial reaction was to Wagner's music as absolute music and not in the context of the 'Gesamtkunstwerk', and so not to the Wagnerian program itself. If not already, then before writing his 'Richard Wagner and Tannhäuser in Paris' a year later, Baudelaire had read an article in which Wagner summarised his theoretical ideas. Lacoue-Labarthe (or his translator) refers to it as the 'Letter on Music' but it might be better known to the reader as 'Zukunftmusik' or 'The Music of the Future'. The second essay concerns Mallarmé, who was expressing opinions about Wagner before he had heard a note of his music; although Mallarmé had read both Baudelaire's essay and 'Zukunftmusik'. Those who find Mallarmé's prose opaque should not expect Lacoue-Labarthe to provide illumination. The next essay is about Heidegger's views on art. Although Wagner is scarcely mentioned in Heidegger's works -- neither is music -- the author has found one place where he is discussed: in a series of lectures on Nietzsche's ideas about art and aesthetics, 'The Will to Power as Art', which Lacoue-Labarthe explores together with an almost contemporary essay by Heidegger, 'On the Origin of the Art-work'. It is not always easy to tell when the author is discussing Nietzsche's thought and when he is discussing Heidegger's thoughts inspired by Nietzsche; and to complicate matters further, the discussion is grounded in Hegel's theory of the historical development of art and aesthetics. The essay touches on such interesting questions as whether Wagner's post- 1850 dramas were an artistic project or an aesthetic one, whether this project was "a failure", and whether Nietzsche's break with Wagner was justified on philosophical grounds. Heidegger claimed that it was a historical necessity, and in particular a necessity of German history. The last essay is about Adorno and contains few mentions of Wagner, which is perhaps just as well. It starts out in the direction of a general discussion of the relative importance of words and music in opera (the theme of Strauss' 'Capriccio') but soon focuses on a late (1963) essay by Adorno, one concerning Schoenberg's 'Moses and Aaron', and ends up considering this opera in relation to Hegel's concept of the sublime. The author's connection of this essay to Hölderlin's theory of tragedy is clever rather than explanatory and his comparison of Schoenberg's opera to 'Parsifal' is superficial; it would have been more interesting to read a discussion of whether Adorno's arguments about 'Moses' also could be applied to 'Tannhäuser'. Although one can sympathise with a translator who has to render a work filled with philosophical terminology from French, and in addition cope with extensive quotations from works originally published in German, the result could be described as polyglot and must be read with some care. It would have helped if the translator had taken more care with near- cognates; for example, by writing *Affekt* rather than (as noun) affect. As far as I know, there is no such word in English as "historial" (which is used throughout the book); the correct translation of "geschichtliche" is, historical or historic. It does not help that the author delights not only in using Greek words (such as mimesis =representation; agôn, anamnesis ="the remembrance of things past", eidos, ekphanastathon, épistèmè, katharsis, lexis, metexis, mousiké, phainesthai, physis, polémos, propos, tekhnè, topos, tupein, haplè diègèsis) and quoting from St. John's Gospel but also in using words derived from Greek roots (such as, eidetic). Those readers who have forgotten their Greek should have a dictionary close to hand. %O French original was published in 1991. Table of contents: < http://www.loc.gov/catdir/toc/cam028/94015594.html > %T Richard Wagner : The Terrible Man and His Truthful Art: The 1998 Larkin-Stuart Lectures %A M. Owen Lee %D 1999 %C Toronto and New York %I University of Toronto Press %G ISBN 0 8020 4721 1 ; ML410.W13 L44 1999 %X Discusses various aspects of Wagner and his influence. User Contributions:Top Document: [humanities.music.composers.wagner] Wagner Books FAQ Previous Document: A. Influences on Wagner Next Document: C. Wagner as Thinker Single Page [ Usenet FAQs | Web FAQs | Documents | RFC Index ] Send corrections/additions to the FAQ Maintainer: mimirswell@hotmail.com (Derrick Everett)
Last Update March 27 2014 @ 02:11 PM
|
Comment about this article, ask questions, or add new information about this topic: