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The Tristan Chord: Wagner and Philosophy, by Bryan Magee
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Richard Wagner's devotees have ranged from the subtlest minds (Proust) to the most brutal (Hitler). The enduring fascination with his works arises not only from his singular fusion of musical innovation and theatrical daring, but also from his largely overlooked engagement with the boldest investigations of modern philosophy. In this radically clarifying book, Bryan Magee traces Wagner's intellectual quests, from his youthful embrace of revolutionary socialism to the near-Buddhist resignation of his final years. Magee shows how abstract thought can permeate music and stimulate creations of great power and beauty. And he unflinchingly confronts the Wagner whose paranoia, egocentricity, and anti-Semitism are as repugnant as his achievements are glorious.
At once a biography of the composer, an overview of his times, and an exploration of the intellectual and technical aspects of music, Magee's lucid study offers the best explanation of W. H. Auden's judgment that Wagner, for all his notoriety, was "perhaps the greatest genius that ever lived."
- Sales Rank: #87959 in Books
- Brand: Brand: Picador
- Published on: 2002-10-01
- Released on: 2002-10-01
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x .92" w x 6.00" l, 1.40 pounds
- Binding: Paperback
- 424 pages
- Used Book in Good Condition
From Library Journal
Magee, a British writer on philosophy, music, and theater criticism and a former member of Parliament, has made a remarkable contribution to the already extensive literature on the life and works of Wagner. His central thesis that Wagner's intense study of philosophy had a profound influence on his compositions is lucidly presented in 17 chapters, each rich with historical detail and intellectual discourse. The chapters proceed in rough chronological sequence; we first read of the young Wagner as a left-wing revolutionary and end with his mature, complex relationship with Nietzsche. In the central part of the book, Magee provides an overview of Schopenhauer's philosophy and reveals the extent to which Wagner completely overhauled his own values in order to embrace that thinker's world view. Readers to whom all this may appear somewhat arcane and daunting will be pleasantly surprised by the eminently readable nature of the book. Magee's text is not only illuminating but also highly personal and enormously engaging. The lengthy appendix, in which he tackles head-on the thorny issue of Wagner's anti-Semitism, is a brilliant, balanced discussion and is alone worth the price of the book. Throughout, Magee cites myriad secondary sources but includes no bibliography. Despite this omission, this work is highly recommended for all public and academic libraries. Those readers already passionate about Wagner's works will find new reasons to appreciate them, and those who have avoided his music will find the book a revelation and may be inspired to rethink their phobia. Larry Lipkis, Moravian Coll., Bethlehem, PA
Copyright 2001 Reed Business Information, Inc.
From Booklist
Because of Wagner's reputation as a proto-Nazi, many music lovers avoid his work-- or enjoy it as a guilty pleasure. Yes, Wagner did indulge in odious anti-Semitism, and, yes, Hitler adored his music. But Magee convincingly demonstrates that Wagner kept his anti-Semitism out of his music and that most Nazi leaders regarded the composer's works as antithetical to their movement. The young Wagner advocated the radical politics of the left, and when he subsequently abandoned the revolution, he did so not to embrace the politics of the right but rather to repudiate all political thought in favor of metaphysics. Those metaphysics bear the distinctive marks of Schopenhauer, credited by Magee with inspiring the composer to otherwise unattainable operatic feats (in, for instance, Tristan und Isolde and Parsifal). Yet unlike any other creative artist, Wagner contributed as much to philosophy as he took from it, decisively shaping his friend Nietzsche's views through sheer strength of character. A carefully researched account of a fiery personality who transmuted daunting ideas into compelling art. Bryce Christensen
Copyright © American Library Association. All rights reserved
Review
“Magee gives us an absorbing history of how Wagner's reading list and his protean musical genius combine, illuminating in the process why these masterpieces can so overwhelm us. A wonderful book.” ―Russell Platt, Symphony Magazine
“A remarkable contribution to the extensive literature on Wagner, Magee's text is not only illuminating but also highly personal and enormously engaging...Those readers already passionate about Wagner's works will find new reasons to appreciate them, and those who have avoided his music will find the book a revelation.” ―Library Journal (starred review)
“A sound and highly readable exploration of the composer's philosophical milieu...Magee's mellow, lucid interpretation of how intellectual influences informed and nourished Wagner's libretti is highly persuasive.” ―Kirkus Reviews
“A carefully researched account of a fiery personality who transmuted daunting ideas into compelling art.” ―Booklist
“A splendid no-holds-barred account...Magee is unrivalled.” ―BBC Music Magazine
“Enlightening, exciting . . . The Tristan Chord is quite simply indispensable . . . and should take its place among any Wagnerian's short list of required reading.” ―John Rockwell, The New York Times
Most helpful customer reviews
2 of 2 people found the following review helpful.
Once you get past the Schopenauer and Nietzche love fest...
By o dubhthaigh
... this is really quite a terrific read. I picked this up based on Magee's reputation in the world of Philosophy, and figured I'd learn a lot, first about Wagner, and then about opera. Magee's work satisfies enormously on all these accounts. Magee clearly loves what he is undertaking and the joy and enthusiasm carry the narrative long with a passionate flow. What was at work in the writings, and to some extent in the life, of Wagner is presented witha clarity and precision that illuminates just how revolutionary and uncompromising a genius Wagner was. The book builds, rightfully, to PARSIFAL, and the radical departure that opera was on a philosophical as well as operatic level. PARSIFAL is the music that endeared me to Knappertsbusch, it is the music that infused Inspector Morse, it is where man's spirituality is relieved of the weight of so much hierarchical baggage and set free, as near an ecstatic experience as is possible to achieve in music, and Magee gets it right in every detail.
Of course, along the way, you have to endure the love fest with Schopenauer and Nietzche, against whom, for Magee, all other writers in Philosophy, and especially Hegel, are anathema. Typically British in that respect, Magee none the less delivers brief and informative scribs on the philosophical directions of these 2 writers, and how they intersect with Wagner.
Magee saves the most controversial element for the last, that being Wagner's anti-semitism. In what is certainly a valid inquiry, Magee asks what role should any author's prejudices play in evaluating the art if there is no evidence of it in his art. Magee is no apologist for Wagner's roaring and overbearing personality, regardless against whom it is directed, and certainly points out that Wagner was an unabashed anti-semite. Yet he still relegates the discussion itself to an "Appendix." Not entirely cricket. The point that Wagner's operas feature no invectives, no insulting characters, nothing patently directed at anyone other than the powerful, the bourgeoisie, the hierarchies in religion and society, still does not satisfactorily resolve the bad taste in the mouth that the Wagner legacy has left. If you happened to be in that class that he inveighed against in the operas, then you got what was coming to you from Wagner's standpoint. His personal distastes he managed to keep out of his art. So, is it all guilt by association? Largely, to Magee. Odd, though, when you consider the castigation Heidegger went through, having uttered 2 extraordnarily stupid oratories, yet resigning his post when it dawned on him what was going on. Perhaps it is the fact that Wagner's progeny couldn't restrain themselves from blowing kisses to Adolf that will forever rub people the wrong way. The music, especially by the time it got to PARSIFAL, stands on its own. We will have to deal with that on its own terms. Magee's book is an exacting look at those terms and worth the read by anyone with a love for great music.
0 of 0 people found the following review helpful.
Great, if you want to gain more insight on how one of the most complex and revolutionary minds put it all together.
By Douglas Thorpe
I am neither a Wagnerite nor a musician, nor a musicologist, nor a psychologist. But . . . this book, although a tough read for a novice, is extremely insightful. Read with Magee's other book - Aspects of Wagner. Highly recommended.
30 of 30 people found the following review helpful.
Wagner- One, Two, Three
By Walter Fekula
This book, 380 pages in length, is a perfect book for those people who love Wagnerian operas and want to learn more without having to plough through a heavy tome which 9 out of 10 readers never finish. The author, Bryan Magee, intelligently wites to the lay reader. His explanation of philosophers such as Nietzche, Hegel, Marx, Schopenhauer and others who helped form Wagner's thinking, is easy to follow and brilliantly shows how Wagner developed and merged philosophy and music. Wagner changed music. One cannot recommend this book more highly to those interested in learning what made one of the great composers tick and how he is often misunderstood. It is a treasure trove of information and is well laid out. A great read. Bravo, Mr. Magee.
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