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From renowned music critic and musicologist Ernest Newman comes the first of four volumes chronicling the life of legendary German composer Richard Wagner. This first volume takes us through the early years of Richard’s life: his birth in Leipzig; his childhood in Dresden and the sparks of his interest in music, opera, and theater; his musical education, including his studies at University of Leipzig; his early career, accompanied by his first compositions and first money troubles; and his six years spent in Dresden, including his involvement in left-wing politics. Originally published between 1933 and 1947, Newman’s The Life of Richard Wagner, Volumes I-IV remains a classic work of biography. The culmination of forty years' research on the composer and his works, these books present a detailed portrait of perhaps the most influential, the most controversial and the most frequently reviled composer in the whole history of western music. Newman was aware that no biography can ever claim to be complete or completely accurate: “The biographer can at no stage hope to have reached the final truth. All he can do is to make sure that whatever statement he may make, whatever conclusion he may come to, shall be based on the whole of the evidence available at the time of writing.” In this aim he triumphantly succeeds.
A colourful and concise telling of the fascinating story behind Richard Wagner's extraordinary masterpiece, Ring of the Nibelung. The Ring is one of the most epic and compelling stories of the nineteenth century, created by a composer who was, alongside Dickens, Tolstoy and Victor-Hugo, also one of the century's master storytellers. But the story of how Wagner created the work is one full of intrigue and triumphs against unlikely odds - as well as controversy, due to the composer's anti-semitic views and popularity with the Nazi party. In Story of the Century, Michael Downes combines cultural history and biography to offer this accessible and insightful introduction to The Ring and its mythology. He tells the story of how and why this extraordinary masterpiece came into being, why it takes the form it does, why it fascinates and obsesses so many and horrifies others, and why it matters.
Frontcover -- Contents -- List of Figures -- Preface and Acknowledgements -- Chronology of Newman's Life and Works -- Abbreviations -- 1 Ernest Newman and the Challenge of Critical Biography -- PART I The Freethought Years -- 2 Formation of a Critical Sensibility: The 1880s and 1890s -- 3 Social, Literary and Musical Criticism: 1893-1897 -- 4 A Rationalist Manifesto: Pseudo-Philosophy at the end of the Nineteenth Century, 1897 -- 5 Music History and the Comparative Method: Gluck and the Opera, 1895 -- PART II The Mainstream Years -- 6 From Manchester to Moscow: Essays on Music, 1900-1920 -- 7 'The World of Music': Essays in the Sunday Times, 1920-1958 -- 8 Biographical and Musicological Tensions: The Man Liszt, 1934 -- 9 Sceptical and Transforming: Books on Wagner, 1899-1959 -- 10 Conclusion: Ernest Newman Remembered -- Appendix: Newman's Freethought Lectures, 1894-1896 -- Bibliography -- Index
A rich and luminous biography of nineteenth century music. **A New Yorker "Best Book of the Year"** When one thinks of “great” classical music—music with the most emotional resonance and timelessness—we harken back to the nineteenth century and the Romantic tradition. We recall the sweet melody of a Schubert song, the heroine dying for love in an Italian opera, the swooning orchestration of a Tchaikovsky symphony. The emotional resonance of nineteenth century has moved generations muscians and resonated with countless listeners. It has inspired artists and writers. But no writer until how has adopted such a vividly insightful narrative approach as Stephen Walsh and he shows how there is more to Romantic music that meets the eye—and the ear. With authority, insight, and passion, The Beloved Vision, links the music history of this singular epoch to the ideas that lay behind Romanticism in all its manifestations. In this complete, entertaining, and singularly readable account, we come to understand the entire phase in music history that has become the mainstay of the twentieth and twenty-first century concert and operatic repertoire. We also come to understand Beethoven, Mahler, Schubert, Chopin, and Wagner anew. The narrative begins in the eighteenth century, with C.P.E. Bach, Haydn and the literary movement known as Sturm und Drang, seen as a reaction of the individual artist to the confident certainties of the Enlightenment. The windows are flung open, and everything to do with style, form, even technique, is exposed to the emotional and intellectual weather, the impulses and preferences of the individual composer. Risk taking—the braving of the unknown—was certainly an important part of what the composers wanted to do, as true of Chopin and Verdi as it is of Berlioz and Wagner. It's an exciting, colorful, story, told with passion but also with the precision and clarity of detail for which Stephen Walsh is so widely admired. The Beloved Vision is a cultural tour de force, by turns bold, challenging, and immensely stimulating.
Newman's Life of Wagner, published between 1933 and 1947, the culmination of forty years' research, is a classic biography.
The music reviews of Robert Schumann and Richard Wagner are central documents of 19th-century German musical culture. This book takes a closer look at the way these texts were written and explores the significant contributions Schumann and Wagner made to the discourse of musical appraisal. To that effect, the author raises fundamental questions that have thus far remained unaddressed: What textual features characterize the critical writings? How do Schumann and Wagner understand their roles as critics of music? And in what way do they reach out to the reader? Rather than understanding these critical writings exclusively as a gateway to the compositions and musical aesthetics of Schumann and Wagner, this book analyzes the texts through the lens of pragmatics, narratology and discourse analysis. Using this interdisciplinary perspective, the author proposes to understand Schumann and Wagner within the broader medial and discursive context of German ‘Kritik’. He challenges the dominant narrative that brands Schumann and Wagner as elitist Romantic critics, demonstrating instead that they actively encourage their readers to form their own judgements. This volume is an indispensable resource for scholars of German literature, periodicals and music alike.
Richard Wagner: A Research and Information Guide is an annotated bibliography concerning both the nature of primary sources related to the composer and the scope and significance of the secondary sources which deal with him, his compositions, and his influence as a composer and performer.
Richard Wagner has arguably the greatest and most long-term influence on wider European culture of all nineteenth-century composers. And yet, among the copious English-language literature examining Wagner's works, influence, and character, research into the composer’s impact and role in Russia and Eastern European countries, and perceptions of him from within those countries, is noticeably sparse. Wagner in Russia, Poland and the Czech Lands aims to redress imbalance and stimulate further research in this rich area. The eight essays are divided in three parts - one each on Russia, the Czech lands and Poland - and cover a wide historical span, from the composer’s first contacts with and appearances in these regions, through to his later reception in the Communist era. The contributing authors examine his influences in a wide range of areas such as music, literary and epistolary heritage, politics, and the cultural histories of Russia, the Czech lands, and Poland, in an attempt to establish Wagner’s place in a part of Europe not commonly addressed in studies of the composer.