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The Things That Nobody Knows: Definitive Guide To Dax, The: I have read many books on Wagner On the other hand Newman described him as, generally untrustworthy , and he is sometimes misleading. Most of Praeger's account is based on what he was told by Wagner himself; in some cases it is likely that Praeger has misunderstood or that a conversation was less than perfectly remembered.

It should also be kept in mind that Wagner did not always tell the whole truth and nothing but the truth. Praeger also relied in part on other unreliable sources and he was not always entirely truthful about his own friendship with Wagner. Despite these faults, the book is a fascinating account of Wagner as he was known to one of his friends. Two years Wagner's junior, like him Praeger grew up in Leipzig but settled in London from Praeger and his wife got to know Wagner well at the time of his London concerts in the spring of This visit is described in detail, although Praeger might have exaggerated the part he played in the decision to invite Wagner.

As well as being a writer, Praeger was a musician and composer. His accounts of the creation of many of Wagner's musical works, although based on conversations with Wagner and study of his scores and in some cases manuscripts , are not always to be relied upon. For example, his comment that when writing Lohengrin Wagner composed the third act, then the first and second, is a misunderstanding based on examination of the orchestral draft of the score, which was composed in that order, although the earlier draft had been composed from act one to act three.

Originally published by Longmans, Green and Co. The Hawaii edition is a facsimile of an copy. It does not correct any of the errors in the original, which shows little evidence of editing or proofreading. This especially concerns the German quotations and the titles of Wagner's works, some of which are garbled. A conservative biography from a noted German scholar, who in the s had published a study of Wagner entitled, Richard Wagners Kampf gegen seelische Fremdherrschaft Richard Wagner's Struggle against Spiritual Foreign Domination , in which he tried to convince the Nazi movement to adopt Wagner and to prefer him to Nietzsche.

Even in , Westernhagen still played down Wagner's revolutionary involvement in and referred to Wagner's "alleged" anti-Semitism. See also Westernhagen's Richard Wagner: One of the first biographies to make extensive use of Cosima Wagner's Diaries , then newly published. A critical biography that destroys some of the myths created by Wagner and later perpetuated by Glasenapp, Ellis and von Westernhagen. Given its origin in a dictionary article, it is understandable that this book emphasises the facts about Wagner and his works, and that it provides little criticism or interpretation.

The final chapters, concerning the operas and music-dramas, are essentially an abridged version of Dahlhaus' book Richard Wagner's Music Dramas. Gradgrind, you want facts alone, then this is the biography to obtain. An entertaining biography that would make a good short introduction to Wagner's life and works. Apart from Mein Leben in which Hadow places a little too much faith and various editions of Wagner's letters, Hadow has distilled and condensed his material from the more substantial biographies already published: In other words the book is mostly derivative.

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There are minor errors, some of which suggest that Hadow was not intimately familiar with Wagner's scores; he is careless with dates. Originally published by G. Putnam's sons, NY and London. Considered by many to be the best single-volume introduction to Wagner's life and works, this short biography of which only a little over a hundred pages is strictly biographical, the remaining two-thirds of the book considering the works is very well researched and, in general, a useful introduction.

It is also problematic. Millington's discussion of the sources, conception and development of the canonical dramas should be treated with caution; not least because of his extreme focus on Wagner's anti-Semitic and racial obsessions; it has been suggested that Millington is the one with the obsession. The chapter on the Ring provides a good introduction to the work. Millington provides a brief overview of the sources of the libretto and a detailed account of the origins and development of the scenarios, poems and scores of the four component operas.

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He discusses Wagner's approach to the synthesis of music and poetry, and he shares some insight into Wagner's leitmotivic technique; he concludes this section by following the Rhinemaidens motif through all the fluctuations of passion throughout the four-part drama , which is something Wagner recommended in an essay. The chapter ends with a survey of interpretations of the drama, concluding with the assertion that no single interpretation has an exclusive claim to authenticity. The chapter on Die Meistersinger is the weakest in the book, with its factual errors and strange omissions.

In discussing Wagner's source material, it ignores the sources that other commentators have regarded as the most significant. It perpetuates old myths -- such as Wagner's assertion that Hanslick walked out of a reading of the libretto when he recognised himself in Beckmesser -- and introduces new ones, notably Millington's fantasy about an anti-Semitic subtext; see the main Wagner FAQ, part III, section D, for references that discuss this subject. The earlier sections of his chapter on Parsifal are informative and in parts insightful.

In the last three pages, however, Millington embarks upon a muddled discussion of the views of Robert Gutman and the even more extreme interpretation of Parsifal by Hartmut Zelinsky. The naive reader might be left with the impression that there was some substance in these bizarre interpretations of the drama. A "spin-off" from the second edition of the New Grove Dictionary , this biography has been developed from articles by Barry Millington and other contributors to New Grove.

Some of these articles present a view of each of the canonical dramas that Millington has developed further since writing the 'Master Musicians' biography listed above. Whilst it must be conceded that Barry Millington has read widely, if not always critically enough, in the Wagner literature, and that he has many facts at his fingertips, the reader should be aware that this author holds an idiosyncratic view of Wagner's life and works.

Other commentators, such as Michael Tanner and Dieter Borchmeyer, strongly disagree both with Millington's approach and with his conclusions. The increasing domination of reference works in English by Millington has led to his viewpoint becoming a paradigm, one that should not be taken uncritically; indeed, it can be and should be challenged. Millington's theories, regardless of how many times they appear in print, are not facts and his opinions are by no means beyond criticism.

In his account of Die Meistersinger , Millington alleges that the work was part of an "ideological crusade" that was waged by Wagner in the 's. It would be interesting to see some evidence to support the existence of this "crusade" and to know how, if it existed, it affected Die Meistersinger. Millington repeats his claim that the character of Beckmesser carries, at the very least, overtones of anti-Semitic sentiment. This claim is, to put it mildly, highly controversial, and there are many who believe that, in his advocacy of this interpretation, Millington has moved into the "lunatic fringe" of Wagner scholarship.

In his comments on Parsifal , Millington once more alleges that this work contains concepts of racial purity , an idea that he had absorbed from Gutman's book. In fact, there are no references to racial purity, neither direct or indirect, in Parsifal , and it is remarkable that Millington persists in this delusion. Furthermore, the idea that Wagner was concerned with racial purity is a misunderstanding that originated with Gutman and one that all serious scholars have rejected.

Not to be confused with the earlier book above , which was derived from the first edition of New Grove , by Deathridge and Dalhaus. An expanded version of the original. Neither as detailed nor as informative as Newman's four-volume biography. In the edition Newman provided the first objective account of the Jessie Laussot affair.

Holman writes that Newman cleared away a vast underbrush of inadequate Wagner commentary Newman also separated sense from nonsense in Wagner's extensive theoretical writings Originally published by J. Dent and Sons, London and Toronto. Traces Wagner's life through hardships, debt, political exile, long artistic frustrations and triumphant successes. With black and white pictures.

After a short career as a singer, she became a music producer with the BBC, where she was responsible for opera broadcasts. Padmore has been director of the Wexford Festival and artistic director of the Royal Opera in Copenhagen She is currently the director of opera at Covent Garden. Michael Tanner writes concerning Raphael's account of the works: Casts aside much previously written about Wagner by Glasenapp and Chamberlain, for example and attempts to discover the real Wagner. Available as an etext. This biographical study consists of a series of essays, each of them considering a different aspect of Wagner's character, yet also tracing the story of Wagner's life.

Much of that story is told in the words of Wagner and his correspondents. The book is beautifully illustrated and obviously a labour of love. This is more a series of essays than a complete biography. The author discusses Wagner's life in relation to his dramas and the reverse. Tanner's conservative and romantic viewpoint he writes on opera for the Spectator makes an interesting contrast to the more radical and analytical approach of Millington, with whom Tanner has crossed swords.

Includes a chronology and a short but informative bibliography. Born in Melbourne in , W. Turner went to London in to become a writer. He spent some time in Germany and Austria in writing satirical sketches for the New Age and concert reviews for the Musical Standard. From he was music critic of the New Statesman. First US edition published by J. Curwen and Sons in Giroud was a feminist, journalist, author, sometime government minister, and cofounder of L'Express. The authorised biography of Cosima Wagner. With an introduction by Ernest Newman.

Introduction to the Da Capo edition by George Buelow. Martin van Amerongen observes that Du Moulin-Eckart must have written his book lying flat on his stomach, so cringingly obsequious is its tone. Ernest Newman, trying to determine the progress of Wagner's affair with Cosima in his Life , found Du Moulin-Eckart's biography infuriating: An amusing and irreverent examination first of Richard Wagner's life and works, and secondly of how his descendants have treated his artistic legacy.

With a short but interesting bibliography and a brief discography. In part based on documents in the Burrell Collection. With eleven illustrations in black and white. Wagner's bad luck, an exposure of errors in the authorised translation of Wagner's autobiography. The badness of Wagner's bad luck, a first exposure of anti-Wagnerian journalism.

Coverage of a previously little-researched part of the composer's life by the keeper of the principal public archives of Saxony. Contains previously unpublished correspondence and other documents. A biography of Wagner's patron. Passages in this book have been plagiarised, almost word for word, from Newman's Life.

It could be argued that Ludwig was not actually "mad" although he probably did suffer from inherited schizophrenia. Includes all of Nietzsche's writings and his previously unpublished manuscript notes Nachgelassene Fragmente , which take up more than half of this edition.

Only with the publication of these previously unpublished jottings has it been possible to appreciate the paradigmatic importance of Wagner for Nietzsche. With their richly faceted analyses of the pros and cons of their relationship, they provide a counterweight to the exaggerations of Nietzsche's last two anti-Wagnerian tracts, Der Fall Wagner and Nietzsche contra Wagner. Against the background of his unpublished papers, Nietzsche's published statements on Wagner appear in a substantially different light.

It now becomes clear, for example, that Nietzsche's break with Wagner was by no means as radical as posterity, in its ignorance of the sources, long believed. The idea that he changed overnight from an unquestioning Wagnerian to an equally unquestioning anti-Wagnerian belongs to the past.

The editors corrected many distortions and restored many omissions of previous editions, most of them resulting from the attempts of the philosopher's sister Elisabeth to misrepresent aspects of Nietzsche's life, especially concerning his friendships with Richard and Cosima Wagner. Much that had been written about these relationships, by the respective biographers of Nietzsche, Richard and Cosima Wagner, was revealed to have been based on falsehood.

This annotated and strictly chronological complete edition of Nietzsche's writings and notes extends and completes the Kritische Studienausgabe. It aims to render obsolete all previous editions of which there have been several, in various degrees incomplete and inaccurate. Like Robert Gutman , Fischer-Dieskau gives too much credence to the "official" version of the breach between Wagner and Nietzsche.

Cosima's Diaries and other evidence provide abundant grounds to doubt the story of the final conversation between Wagner and Nietzsche, which according to the "official" version took place at Sorrento on 2 November Much that has been written about the relationship between Wagner and Nietzsche has been made obsolete by more recent scholarship, which has in large part been concerned with tearing down the edifice constructed by Nietzsche's sister Elisabeth.

An important part in this has been played by the critical editions respectively of Nietzsche's writings and of his letters edited by Giorgio Colli and Mazzino Montinari. These editions have, amongst other corrections, revealed some of the passages concerning Wagner in Nietzsche's later works to have been falsified by Nietzsche's sister. Memoirs of Judith Gautier , a French author member of the the Academie Goncourt and of the Legion d'Honneur with whom Wagner became infatuated during the s. She kept him supplied with fabrics, perfumes and intimate letters which he destroyed during the composition of Parsifal.

Judith translated the libretto into French. See below for a biography of Judith Gautier. These scenes focus on four of the most important people in Wagner's life: Written in a popular style, not scholarly. But we have plenty of evidence of Nietzsche's heterosexuality and no evidence at all of same-sex desire or practice. Nietzsche was a misogynist, hostile and contemptuous towards women, also clearly afraid of them, but that doesn't make him homosexual.

He also claims that after the Nietzsche- Wagner split Wagner conducted a relentless and vindictive campaign against Nietzsche on the grounds that he was homosexual. But then, how could he? There was no such campaign. It is clear from Cosima Wagner's Diaries that Wagner's private reaction to the split with Nietzsche was regret, a wish to have the breach healed, and an undoubtedly patronising pity for that poor young man Nietzsche.

Wagner's actual attitude to homosexuals is suggested in an earlier letter to a homosexual friend. Wagner suggests that his friend try to cut down a little, on the pederasty. The attitude is one of amused tolerance, which won't do now, but it was progressive and liberal by the standards of his time. Wagner was not a homophobe. This is simply and flagrantly untrue. The post-Wagner Nietzsche attacked anti-Semites, but he also continued to attack and insult Jews. Neumann was a singer, producer and impresario who, while director of the Leipzig opera, obtained permission from Wagner to stage the Ring there.

He proposed to establish a Wagner theatre in Berlin, although sufficient funding was never raised for this project. In with Wagner's permission, Neumann produced a staging of the Ring suitable for touring, which he staged all over Europe. Like many of Wagner's most enthusiastic supporters, remarkably, Neumann was Jewish. This is a quick alphabetical reference guide to places and people in Wagner's life, titles of his prose works keyed to the Ellis' translation , synopses of the operas, and biographies of the operas' characters.

This periodical became his life's work; publication ended with Wolzogen's death in He also produced a series of thematic guides to Wagner's operas see section IV and edited three volumes of Wagner's letters see section VI. Richard Wagner as portrayed in the memoirs and diaries of relatives, friends and fellow musicians. Graves compares the dramatic techniques of Schiller and Wagner, and discusses the influence of Shakespeare and classical Greek drama on both dramatists. The impact of Beethoven's music on Wagner and its importance for his conception of music drama.

Kropfinger charts and scrutinizes Wagner's early responses to the composer and considers his experience as a conductor of Beethoven's music. 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. The title of this book is deceptive: 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 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. 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 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: 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- 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 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.

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.

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. As its sub-title indicates, this book examines and analyses the wide range of ideas that Wagner absorbed, developed and in many cases made his own. The author presents these ideas largely in Wagner's own words, as expressed in his prose works and letters. Unlike the authors of some of the books listed here, Aberbach provides generous, relevant and revealing quotations, rather than just phrases, from Wagner himself, in the best translations available.

The book might be considered a biographical supplement, since it traces the development of Wagner's thoughts from optimistic youth through pessimistic middle-age to irascible old-age. The book contains three sections, entitled respectively: A Marxist viewpoint on Wagner and his works. As far as the editor has been able to establish, Adorno was the first writer to suggest that Beckmesser and Klingsor might be Jewish caricatures. Adorno's writing on Wagner betrays an ideological obsessiveness to wrap Wagner up into a Marxist framework.

He thus searches for both progressive and regressive tendencies in Wagner to fit his dialectical metaphor, relates the atomization of the musical materials to factory production methods and even recasts Wagner's assumed dual roles of poet and composer as a reaction against capitalist division of labour.

This translation was last reprinted in Dannreuther was the founder of the London Wagner Society in He assisted Wagner in obtaining a dragon and other properties for the Bayreuth Ring and with his London tour a year later. This book is an expanded version of his earlier pamphlet; see below. A collection of essays, originally published in the Monthly Musical Review , in which the author discusses Wagner's aesthetic theories. Dannreuther emphasised the inspiration that Wagner found in Greek tragedy, which he believed that Wagner had tried to revitalise under the guidance of the spirit of music.

Discusses Wagner's theories as presented in his most extensive treatise Oper und Drama and examines how his ideas developed subsequently. The majority of writers about Wagner's theory and practise have concluded that his ideas underwent a reversal between and Glass prefers to see this as a change of emphasis. He argues that Wagner consistently held on to one idea: Glass calls this the fundamental idea of Oper und Drama and finds it still present, although with a different emphasis, in the later theoretical writings.

A study of the prose writings of Richard Wagner and their relevance to an understanding of his music and drama, as well as their relation to music criticism and aesthetics in the 19th century in general. Grey considers Wagner's ambivalence concerning the idea of absolute music and the capacity of music to project meaning or drama; Wagner's appropriation of a Beethoven legacy, the metaphors of musical gender and biology in Opera and Drama , and the critical background to ideas of motive and leitmotif in theory and practice.

According to Hueffer, Schopenhauer's doctrine that music is an immediate and direct copy of the Will led Wagner to believe that only music could express the inner life of mankind. Originally published by Chapman and Hall, London. German version published by F. Leuckart, Leipzig, in Essays by a Scottish evangelist for Wagner and Schopenhauer, who appropriated their ideas for his own philosophical and political ends. Shaw, whose Wagnerism was closely related to his Fabianism, Irvine's Wagnerism is metaphysical. There is a clear tendency in much recent writing about Wagner and his works to regard Mann as an authority.

Although he was often perceptive, Mann was often wrong on these matters, and many later writers have been unwise to rely on Mann's judgements. For example, his claim, made in the above-mentioned essay, that in his Dresden years Wagner had seen his whole career carefully mapped out in advance. In fact, many of the projects that were "mapped out" in those years, such as Wieland der Schmied , were never carried out, while the romances of Tristan and Parzival respectively were at most two among many possible subjects that Wagner was considering for operatic treatment. Professor Stein considers the development of Wagner's ideas about the synthesis of poetry, music, dance and drama from the writings of his Paris years through to the Beethoven essay of and the lecture On the Destiny of Opera in Stein examines how the stage- works from Rienzi to Parsifal reflect the development of Wagner's theoretical ideas.

It is not entirely clear why this book was written, except that the author obviously wanted to write it. He declares at the outset that it was not intended as an interpretation of Wagner, nor as a guide to how Wagner ought to be interpreted. On page he confides, this is not a book about what Wagner's work means but how it means ; by which he might mean, how those works work. Much of what Treadwell writes and he writes well is insightful.

He finds an appropriate balance of discussion between concepts, words and without being too technical music; and care has been taken with translations. On the other hand, too much of the book is derivative, repeating analysis to be found in earlier books listed in this bibliography.

Some might find this book too much influenced by Adorno, or too conventional, or question some of Treadwell's judgements for example, that Tristan is formless. The author has little to say that has not been said before. The text is sometimes inaccurate e. The best part is a concise analysis of Meistersinger ; the weakest parts are those in which the author reveals a limited grasp of Wagner's ideas about religion.

Wolfgang Golther is best known as the editor of the correspondence between Richard Wagner and Mathilde Wesendonck.

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He also wrote a series of books that explore Wagner's source material. Wagner as Musician Title: Verzeichnis der musikalischen Werke Richard Wagners und ihrer Quellen: W1 A15 Abstract: The almost complete catalogue of Wagner's musical and dramatic works, including sketches, unfinished and lost works, and even some works for which text, but no music, was written. For each of the works included, the catalogue lists its title, subtitle, genre and, where appropriate, an indication of key and the musical forces for which it was written.

For the stage works, it gives the locations of the action and role lists as they appear in printed editions. Musical incipits are given for each work for which any music has survived. Manuscripts are listed both for text sketches, prose drafts and poems and for music drafts, complete drafts and facsimiles. Early printed editions of the full text and of scores full, vocal and extracts are listed for each of the published works.

Holman writes, This is a collection of essays covering Wagner's life and work, arranged by subject and covering a wide range of significant issues. The chapters on the German intellectual and literary background, rarely explored in English, are particularly useful. The gem is Deryck Cooke on Wagner's development of revolutionary harmonic techniques to articulate a coherent musical language.

A diverse collection of essays: If you believe that Richard Wagner wrote the blueprint for the Holocaust -- or that the underlying theme of his operas is a call for the destruction of the Jews -- then these essays will confirm your ignorant prejudices. It is a pity that Warren Darcy who has contributed an essay on 'Die Meistersinger' allowed himself to be taken hostage by this bunch of rabid Wagner-haters.

Magee is interesting on the notoriously strong emotional response -- positive or negative -- people have to the music, and offers some thoughts on why this is so. The essay, 'Jews, not least in music' puts Wagner's infamous essay Das Judentum in der Musik into perspective, as considerably less inflammatory than many people, who have perhaps only heard the title, believe. It is also interesting on Wagner's influence in literature, poetry, painting, and so on.

A short book, just over pages, written in absolutely plain English. It's an odd thing about a man whose works are famous for their length, but the shorter books about Wagner tend to be the best. Includes a detailed list of Wagner's writings and a general bibliography. Millington takes the opportunity to ride his favourite hobby-horses. An extensive collection of essays on Richard Wagner's career, cultural relationships, and psychology. Whether you want to know about Wagner in Literature and Film, Wagner's Middle Ages, the Operas as Literary Works, or to consult a large bibliography, or read on any of the central areas of 'Wagner research', you will find at least one substantial chapter here.

This collection of short essays by a philosopher with a life-long interest in opera contains three about Wagner. They consider, respectively, Tristan and time; the shift from optimism to pessimism during Wagner's composition of the Ring ; and, most substantially, Wagner and politics first published in the New York Review of Books. With a background to the opera and the legend, a synopsis of the plot, Wagner's advice to the players, and its music.

With a survey of perfomances and recordings.



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Contributors include Barry Millington on the sources and genesis of the libretto, Patrick Carnegy and David Breckbill on the history of the work in performance, and Stephen McClatchie on the belated arrival of the Dutchman in Bayreuth. Cleather was a member of the Theosophical Society. Her writings include a biography of Madame Blavatsky and studies of Buddhism from a Theosophist viewpoint.



Brief history of the opera, analysis basic , with information on Wagner and some suggested reading material. The book begins with a brief biography of Richard Wagner, followed by a chronological table of his lifetime. It then gets down to business with chapters on the development of German national consciousness and on the growing interest in Icelandic literature in 18th and 19th century Germany.

The author then describes the literary development of Wagner's text, with particular reference to his indirect and direct use of Icelandic literature as a source of inspiration. This brings us to a point about one-third of the way through the book. The remaining two thirds present a detailed analysis of Wagner's use of primary sources, which goes well beyond anything previously attempted; such as the studies respectively published by Wolfgang Golther, Deryck Cooke see below and Elizabeth Magee see below. An examination of the Nordic and Germanic sources of the Ring. Volume I, 'Nine Dramatic Properties' p , includes extensive treatments of: It includes a supplement on the names detailed, with specific examination of every person, thing, or object given a proper name in the drama.

In a review of this book Elizabeth Magee drew attention to a number of factual errors. Wagner read Aeschylus' trilogy shortly before beginning work on his Ring. In his autobiography Wagner wrote that his ideas about the significance of drama and of the theatre had been moulded by his response to this classical masterpiece. Ewans shows how it influenced Wagner at many levels, from the basic idea of developing a festival drama, as Aeschylus had done, from mythical materials, through to the selection and treatment of the subject matter in the Ring. In an appendix Ewans dismisses the argument that Prometheus Bound previously attributed to Aeschylus, possibly by Euphorion was an influence on Wagner's Ring , despite the obvious allusions in Wagner's text.

A comprehensive account of Wagner's reading and research during the creation of his texts for the Ring , developed from the author's doctoral thesis. In addition to the catalogue of Wagner's personal library at Dresden, Magee studied the loan records of the Royal Library there, to develop a chronology of Wagner's reading during the last years before his exile. Anyone who has read Cooke's I Saw the World End and wants to know more about the background to the Ring should obtain this book.

Magee's discussion of solar myth pages , an aspect of the Ring and its sources neglected by other commentators, throws sunlight on several passages that are otherwise difficult to explain. In his Communication , Wagner wrote that his literary studies had taken him through the legends of the Middle Ages, right down to their foundation in old-Germanic myth ; stripping away one layer of legend and poetry after another, he discovered beneath them the type of the true human being.

This type was Siegfried. Now for the first time did I recognise the possibility of making him the hero of a drama; a possibility that had not occurred to me while I only knew him from the medieval Nibelungenlied. This collection of source materials contains not only that epic poem, in A. Hatto's prose translation, but also literature from the other layers studied by Wagner before he completed his Ring poems in Elizabeth Magee has selected and ordered items from Wagner's reading material, which she had described in the book listed above.

For those readers who have not read the latter, Magee has provided a General Introduction that summarises its most important information in a mere 24 pages. This is followed by two books, containing respectively Scandinavian what Wagner called, "old-Germanic" and German sources. Each book is in four parts, each part containing a set of translated material. Each book begins with an introduction divided in two: The same structure is used for the introduction to each part within the book, and where appropriate for each chapter. Since this is a complete narrative, the Saga provides a framework to which the reader should be able to relate the poems that follow.

Book One contains the following:. Magee has supplemented the work of other translators with a few translations of her own. It relates how two of Odin's valkyries came to take the Christian king Haakon to Valhalla; rather surprisingly, he accepts. Otherwise the heroic poems are supplemented by Magee's translations of connecting prose passages from the Elder Edda.

Part 4 includes the poem Balder's Dreams , generally considered to be part of the Elder Edda although it does not appear in the most important manuscript, the Codex Regius. Magee provides a translation of a spurious work, Odin's Raven Magic , that seems to have been written, much later, as an introduction to Balder's Dreams. The former is relevant because, when Wagner read these poems, they were thought to be contemporary. As well as the complete Nibelungenlied , Book Two The Ring Legends of Germany contains three items that are likely to be less familiar:.

In Part 2 Dr. Magee has selected from Thidrekssaga those passages that concern Young Siegfried and one ch. The last two parts are Magee's own translations. The poem of Part 3 is a splendidly inconsistent and amusing patchwork of doggerel. That it was known to Wagner is revealed by it being the only Siegfried poem in which the hero's mother was called Sieglinde.

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Whether Wagner read Hans Sachs' play about Siegfried from is less certain; if he did, it might have shown him what a dramatist could achieve by manipulating the older material. A revised version of the book that was first issued in , in conjunction with the first 'Ring' production in Adelaide. The author brings a historian's perspective to the events and intellectual currents that affected Wagner in his Paris and Dresden years, before and during his conception of the Ring.

What did Richard Wagner know about ancient Greece? More importantly, what did he think he knew? How did his attitudes shape the Ring cycle?

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This book explores how Wagner's ideas about the past were shaped, not by the classical world itself, but by the Romantic Age's select view of antiquity. An original interpretation of the Ring tetralogy that challenges the standard political analyses of the work. The relationships of the Ring to the German literary and dramatic tradition, from Goethe and Schiller to von Hofmannsthal. Sadly, Deryck Cooke died without completing this fascinating study, which is widely considered to be essential reading for anyone interested in the Ring cycle. After all , he wrote, the question is not, "What meaning can we find in The Ring?

Cooke believed that the overt meaning of each element in the drama must be accepted as what it is and what Wagner intended it to be , and not explained away or made to mean something else. An overview of the mythology, of the history of Bayreuth, a list of related characters in mythology, a bibliography, a discography, biographies of the cast, a diagram of the relationships between the characters and more.

Sandra Corse's book is fascinating but also frustrating. Corse sets out to explore the influence of the ideas of Hegel and Feuerbach on Wagner before and during the creation of the Ring. If anyone doubts that these thinkers provided key ingredients of the mix from which the tetralogy was baked, then little doubt will remain after reading this book. Corse does not deliver everything that she promises. Although she relates Wagner's thinking to key ideas in books that he is known to have read or at least tackled , it is not entirely clear that she understands either the originals or Wagner's understanding of them.

This does not mean that we should reject her ideas, e. The book might have been better without the digressions into Marxist theories about language and society, which the author apparently thinks relevant because Marx, even more so than Wagner, was influenced by Feuerbach and Hegel.

Finally it is a little disturbing that an English teacher makes so many grammatical mistakes and that she persistently spells the name of a noted Wagner scholar as "Dalhouse"! The first four chapters are based on a series of intermission features on the Texaco Met Opera radio broadcasts of the Ring during the season.

The last chapter was expanded from an article that appeared in Opera News. Some participants in hmcw find the title of this book an endless source of mirth. With musical examples, discography, videography and dictionary of musical and operatic terms. One of a large series of opera guides. Some of the most interesting material in this useful and wide-ranging guide to the Ring is to be found in the appendices. Holman reviews production approaches to the cycle during the 20th century, with a portfolio of photographs.

Strangely the name of Appia is not mentioned. For more information the reader is directed in the short but informative bibliography to Bauer and Osborne. Other appendices provide a a survey of the 43 occurrences of one leitmotif, Woman's Worth , which reveals that Wagner's technique is subtler than many have realised; b a summary of the possession of the ring; and c a description of the fate, if known, of each of 25 characters or groups who appear in the cycle. The more substantial chapters respectively are concerned with background, story, music, characters and words.

All of them are fascinating, although a few errors have crept in. The chapter on background begins by considering, all too briefly, Wagner's source material. Holman then provides an overview and a chronology of Wagner's life, with particular reference to the Ring. He gets at least two dates wrong: Opera and Drama could not have been published in February , since Wagner only began writing it the following October!

It was finished in late January and first published in November that year. Also, it was a prose version of Parsifal that Wagner completed in August , not the poem. The chronology also omits to make any mention of Wagner's drafts for the music of Siegfried's Tod. The chapter on story is more than a scene by scene synopsis; it amounts almost to a prose version of Wagner's Ring poems.

Those who do not understand German will find it useful, although it is not a complete substitute for reading a good English translation. When Holman nods, it is probably the result either of relying too much upon the condensed stage directions given in the Schirmer vocal scores, or of confusing the ideas of producers with Wagner's own directions. Thus in the introduction to Wi p. The chapter on the music consists of a brief introduction -- strongly influenced by Gutman and perpetuating his wrong-headed ideas about Wagner's Leitmotiven -- followed by a discussion of each of motives or complexes.

This discussion is interesting, although it does not add very much to what the reader can find in Deryck Cooke 's articles and recordings. As well as being, like many American writers, influenced by Gutman's dreadful book, Holman is also keen on Donington 's Jungian interpretations of the Ring. As a result the chapter on the music should be treated with more caution than the other chapters.

The chapter on the major characters and groups is readable and accurate, although Holman might have said more about the influence of Greek mythology. The concordance lists the occurrences of "principal words". It is based on the "literal" English translations by Lionel Salter and William Mann, presumably because these can be found in the booklets accompanying major studio recordings. It is not a concordance of the German poems.

One might question the selection of "principal words"; Holman ignores key words such as "eternal" Ewig , "distress" Noth and "envy" Neid but includes words such as "eel", which appears once in the cycle. It might be objected that this book only engages with Wagner's text on a surface level of trivia, leaving its depths untouched. Two professional philosophers, who are also amateur singers, offer their views on the Ring.

The book does not, as its title might suggest, discuss the ending of the Ring ; nor does it examine the difficulties that Wagner experienced in deciding on an ending for the cycle. The ending referred to in the book's title is "das Ende", the outcome that Wotan seeks, even after he has given up all other objectives and ambitions. Kitcher and Schacht do not presume to present a full-blown philosophical interpretation of the tetralogy but rather a philosophical excursion through it.

They argue that the Ring is a work of philosophical substance and depth, even though Wagner was by his own admission not a philosopher. Although their discussion of the work is mainly concerned with ideas and concepts, it is illustrated by references to the words and music, and clearly based on a close study of Wagner's scores. It is the latter that they are exclusively concerned with, and they argue their case with style and passion. Lucy Beckett, reviewing this book in the Times Literary Supplement , writes: The organization of the book, in short and coherent chapters which nevertheless take us through the complicated course of four operas, is exemplary; there is a helpful, detailed synopsis of the whole work; the discussion is concerned with profound questions, yet is readily comprehensible to a reader without specialist knowledge.

It is difficult to imagine anyone interested in the Ring , from old Wagner hands to beginners attracted by bits of music, who would not gain much from reading this book. This book would have been improved if the authors or their editor had gone through it deleting every other adjective. An edited transcript of interval talks. Lee views The Ring as evolutionary, both inwardly in terms of a soul in crisis and outwardly as the prevailing religious cosmos gives way to a higher level of ethical consciousness.

This may be a doctrinal interpretation, but it is made as elegantly and persuasively as any Ring analysis. The 64 watercolour illustrations of scenes from the Ring that were first published with an English translation of the poems. The author examines the historical origins of 19th century European interest in "Northern" myth, the relationship of the Ring to Sophocles' Oedipus , and the Ring as an allegory of the course of European history in the 18th and 19th centuries.

Character studies in the dramatis personae of the tetralogy. Each of the eleven chapters discusses a single character, starting with Alberich and ending with Wotan. With three appendices, dealing the sources of the cycle, the operas and the philosophy behind them; and a bibliography. An idiosyncratic interpretation of the Ring.

Shaw's interpretation seems more misguided today than ever. This is a little harsh. In at least two respects, Shaw was right. First, in drawing attention to the political dimension of the work. Although the Ring is not exactly the socialist parable that Shaw would have us believe it, in its initial conception the tetralogy was very much political. At the end of his Dresden years Wagner was preoccupied with revolution, not just affecting art and the theatre but society in general. His world-view, although it was coloured by utopian socialism, was essentially anarchistic. This is reflected in the Ring by the rejection of laws and commandments, troubled treaties' treacherous bonds and custom's stern decree , as it was expressed by Wagner in the ending.

Shaw played down the anarchism because he wanted us to see Wagner as a socialist; in reality his political outlook was both more naive and more complex than Shaw was willing to acknowledge. Compared to Das Rheingold , the last part of the cycle is indeed closer, in structure and forms, to operatic conventions than to the prescriptions of Opera and Drama. An interpretation is presented in which Nietzsche's criticisms form the basis of a positive reading of The Ring. A musical analysis of Das Rheingold , drawing on Lorenz and Schenker. Darcy proves, at least to his own satisfaction, the unity of the Lorentzian periods which he calls "episodes" by demonstrating that they make Schenkerian sense.

The first systematic investigation of Wagner's sketches for the Ring. Von Westernhagen, taking each of the four dramas in turn, compares the sketches with the finished score. He shows how far the original inspirations were preserved, clarified or modified in the process of forging the Ring. Wolzogen is credited with inventing the term "Leitmotiv" and his analysis of Wagner's works is largely a guide to the Leitmotiven and their evolution.

Many of the names given to these 'musical calling cards' by Wolzogen such as Inheritance of the World or Sea-motif have stuck, whether we like it or not. Its title varied as the Guide was republished. Lewis looks at the ethics portrayed in the Ring by studying each portion scene by scene and expounding upon each point as it is presented throughout the cycle. A Jungian understanding of Wagner's Ring cycle. Bolen uses the characters and situations of the Ring as a starting point to discuss Jungian ideas, without casting much light on the Ring in the process.

It is, after all, largely based on Jung's ideas about myth, which makes Jungian ideas fairly apt for reading a myth-based work like the Ring. Robert Donington is a Jungian true believer, who applies Jung's ideas with considerable ingenuity and interest. Sometimes he will do anything to fit Wagner into the Jungian framework. For example, he reads the very male dragon Fafner as the mother in her devouring aspect.

That is a pretty desperate reading: Fafner is nobody's female principle, and only someone with a strongly pre-determined agenda could try to make him one. Still, Donington is often insightful. Because, says Donington, Fricka is somehow representing Erda's wisdom in this appearance. Fricka may not seem wise but on this occasion she is right. This and a hundred other small insights makes this a worthwhile and constantly interesting book, which is also very good on Wagner's mythological sources.

Donington is right in thinking that the Ring is an endlessly complex and profound work; but probably wrong in thinking that Jung holds the key. While Donington's overall reading is eccentric and not entirely reliable, this is a very enjoyable and often an insightful book. Including colour illustrations of his costume designs for the first production of the Ring.

A good behind-the-scenes account of an artistic collaboration, this book documents with wit and charm the successes and trials of the immense effort. Moreover, by showing us how musical problems were faced and solved, Culshaw sheds much light on the meaning of The Ring itself. An account of the Hall and Solti production of the 'Ring' in Bayreuth. With 32 pages of photographs.