Aspects of Wagner
by Bryan Magee
(Alan Ross, 18s)
the literature on the life and
works of Wagner is already exten-
sive and we are told that he ranks
third in bibliographical status to
Jesus and Napoleon. But much of
this is rather diffuse and turgid so
that it is a great pleasure to find that Bryan Magee has now pro-
duced a Wagnerian analysis re-
freshing in its clarity, directness
and brevity. This little monograph consists of
five essays dealing with Wagner's theory of opera, his attitude to
Jews, the cult of 'Wagnolatry', his influence in literature and music, and technical details of the per- formance of Wagnerian music. All five display penetration in judge- ment and at the same time must stimulate the interest of neophyte and initiate alike. One is particularly impressed by
the lucidity of Magee's interpreta- tion of the Wagnerian theory of opera combining the element of
mythology, music and words, but there are also interesting analyses of his artistic antisemitism for which he finds reasonable psycho- logical justification. The explana- tion of Wagner's almost magical appeal to the emotionally isolated leads on to a challenging and un- expected comparison of the
psychological status of characters so diverse of Wittgenstein, Schweit- zer and Bernard Shaw, a compari- son which emerges as a surprising demonstration of logic. The regular opera-goer will be
intrigued by the account of tech- nical details of the performance of Wagner's music, for this must de- pend upon an extensive practical acquaintance with, and understand- ing of the whole Wagnerian musi- cal spectrum. It seems that Magee has made a careful study of Wag- ner's intentions together with the
place of Bayreuth and of current recording techniques in the evolu- tion of the Wagnerian musical ethos. All in all, a bijou must for the music shelf.
L. A. Liversedge