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