Mastodon New Wagner Book: Richard Wagner A Life in Music - Martin Geck - The Wagnerian

New Wagner Book: Richard Wagner A Life in Music - Martin Geck

Written By The Wagnerian on Saturday 31 August 2013 | 1:50:00 am

English Translation - by Stewart Spencer - of Martin Geck's Richard Wagner A Life in Music. One that has been added to our reading list. However, the description below is the publishers, not ours. A review shall follow later, while the interested reader can read from a greatly extended preview by clicking here.

Translated by Stewart Spencer
464 pages | 43 halftones, 37 line drawings | 6 x 9 | © 2013 
Best known for the challenging four-opera cycle The Ring of the Nibelung, Richard Wagner (1813–83) was a conductor, librettist, theater director, and essayist, in addition to being the composer of some of the most enduring operatic works in history, such as The Flying Dutchman, Tannhäuser, and Tristan and Isolde. Though his influence on the development of European music is indisputable, Wagner was also quite outspoken on the politics and culture of his time. His ideas traveled beyond musical circles into philosophy, literature, theater staging, and the visual arts. To befit such a dynamic figure, acclaimed biographer Martin Geck offers here a Wagner biography unlike any other, one that strikes a unique balance between the technical musical aspects of Wagner’s compositions and his overarching understanding of aesthetics.

Wagner has always inspired passionate admirers as well as numerous detractors, with the result that he has achieved a mythical stature nearly equal to that of the Valkyries and Viking heroes he popularized. There are few, if any, scholars today who know more about Wagner and his legacy than Geck, who builds upon his extensive research and considerable knowledge as one of the editors of the Complete Works to offer a distinctive appraisal of the composer and the operas. Using a wide range of sources, from contemporary scholars to the composer’s own words, Geck explores key ideas in Wagner’s life and works, while always keeping the music in the foreground. Geck discusses not only all the major operas, but also several unfinished operas and even the composer’s early attempts at quasi-Shakespearean drama.

Richard Wagner: A Life in Music is a landmark study of one of music’s most important figures, offering something new to opera enthusiasts, Wagnerians, and anti-Wagnerians alike.
Introduction: Figuring Out Wagner?
Chapter 1          The Archetypal Theatrical Scene: From Leubald to Die Feen
                        A Word about Felix Mendelssohn
Chapter 2          The Blandishments of Grand Opera: Das Liebesverbot and Rienzi
                        A Word about Giacomo Meyerbeer
Chapter 3          “Deep shock” and “a violent change of direction”: Der fliegende Holländer
                        A Word about Heinrich Heine
Chapter 4          Rituals to Combat Fear and Loneliness: Tannhäuser und der Sängerkrieg auf Wartburg
                        A Word about Josef Rubinstein
Chapter 5          A Bedtime Story with Dire Consequences: Lohengrin
                        A Word about Arnold Schoenberg
Chapter 6          The Revolutionary Drafts: Achilles, Jesus of Nazareth, Siegfried’s Death, and Wieland the Smith
                        A Word about Paul Bekker
Chapter 7          “We have art so as not to be destroyed by the truth”: The Ring as a Nineteenth-Century Myth
                        A Word about Angelo Neumann
Chapter 8          “My music making is in fact magic making, for I just cannot produce music coolly and mechanically”: The Art of the Ring; Seen from the Beginning
                        A Word about George Steiner
Chapter 9          “He resembles us to a tee; he is the sum total of present-day intelligence”: The Art of the Ring; Wotan’s Music
                        A Word about Sergei Eisenstein
Chapter 10        “A mystical pit, giving pleasure to individuals”: Tristan und Isolde
                        A Word about Ernst Bloch
Chapter 11        “A magnificent, overcharged, heavy, late art”: Die Meistersinger von Nürnberg
                        A Word about Berthold Auerbach
Chapter 12        “They’re hurrying on toward their end, though they think they will last for ever”: The Art of the Ring; Seen from the End
                        A Word about Theodor W. Adorno
Chapter 13        “You will see—diminished sevenths were just not possible!”: Parsifal
                        A Word about Gustav Mahler
Chapter 14        Wagner as the Sleuth of Modernism

Review Excerpts:

Laurence Dreyfus, author of Wagner and the Erotic Impulse
“Martin Geck’s major new study of Wagner’s oeuvre moves at a fast but engaging pace. In a remarkably fleet translation by Stewart Spencer, the book is studded with historical insights, not least because Geck capitalizes on little-known diary entries, letters, and documentary evidence that imbue his readings with genuinely fresh perspectives. The author’s erudition is worn lightly, and his provocative forays into the so-called Jewish Question—by treating a succession of Jewish figures in the Wagnerian universe in separate ‘contrapuntal’ chapters—encourages a contextual view of the composer’s work at the same time that it grapples with what we might treasure in Wagner today.”
Thomas S. Grey, editor of The Cambridge Companion to Wagner
“Martin Geck’s new biography deftly weaves both familiar and unfamiliar facts about the composer to create a striking, fresh portrait, or rather a tapestry, shot through with insightful remarks on musical matters. The contributions of language, harmony, leitmotif, voices, instrumentation, and stage production to the elusive goal of a ‘total artwork’ are illuminated from the perspective of Wagner’s own life and writings as well as that of many notable contemporaries. Geck engages the politics of Wagner’s legacy honestly and without polemics. A series of brief interchapters on key Jewish figures in the composer’s biography and in his reception offer a novel, constructive approach to the vexed theme of Wagner’s anti-Semitism. The scholarly frame of reference is truly international. Geck succeeds brilliantly in synthesizing the complex phenomenon of Wagner in a thoroughly approachable yet consistently provocative study.”