The German composer Richard Wagner was a controversial figure during his lifetime, and has continued to be so after his death. I sometimes think there mythos Wagner PDF two Wagners in our culture, almost unrecognizably different from one another: the Wagner possessed by those who know his work, and the Wagner imagined by those who know him only by name and reputation. Most of these perceptions arise from Wagner’s published opinions on a number of topics.
Författare: Udo Bermbach.
Der Mythos lebt. Eine fulminante Darstellung von Leben und Werk Richard Wagners.
Wagner was a voluminous writer and published essays and pamphlets on a wide range of subjects throughout his life. Wagner’s writing style is verbose, unclear and turgid, which has greatly added to the confusion about his opinions. Wagner was promoted during the Nazi era as one of Adolf Hitler’s favourite composers. Historical perception of Wagner has been tainted with this association ever since, and there is debate over how Wagner’s writings and operas might have influenced the creation of Nazi Germany. Finally there is controversy over both extremes of Wagner’s life, his paternity and his death.
It is suggested that he was the son of Ludwig Geyer, rather than his legal father Carl Friedrich Wagner, and some of his biographers have proposed that Wagner himself believed that Geyer was Jewish. Caricature, entitled Darwinian Evolution, by T. Zajacskowski in the Viennese satirical magazine, Der Floh, c. Richard Wagner was born on May 22, 1813, the ninth child of Carl Friedrich Wagner, a clerk in the Leipzig police service, and Johanna Rosine Wagner.
The frequent allegation that Wagner had an affair with the singer Carrie Pringle, and that an argument about this with his wife Cosima precipitated his fatal heart attack, is discussed and dismissed as invention by the Wagner scholar Stewart Spencer, who demonstrates that there is no first-hand or documentary evidence for this story. Prior to 1850 there is no record of Wagner expressing any particular antisemitic sentiment. In the conclusion to the essay, he wrote of the Jews that ‚only one thing can redeem you from the burden of your curse: the redemption of Ahasuerus — going under! Although this has been taken by some commentators to mean actual physical annihilation, in the context of the essay it seems to refer only to the eradication of Jewish separateness and traditions. The initial publication of the article attracted little attention, but Wagner wrote a self-justifying letter about it to Franz Liszt in 1851, claiming that his „long-suppressed resentment against this Jewish business“ was „as necessary to me as gall is to the blood“. Some biographers, such as Theodor Adorno and Robert Gutman have advanced the claim that Wagner’s opposition to Jews was not limited to his articles, and that the operas contained such messages.
Despite his published views on Jewishness, Wagner maintained Jewish friends and colleagues throughout his life. One of the most notable of these was Hermann Levi, a practising Jew and son of a Rabbi, whose talent was freely acknowledged by Wagner. Some biographers have asserted that Wagner in his final years came to believe in the Aryanist philosophy of Arthur de Gobineau. However the influence of Gobineau on Wagner’s thought is debated. Wagner’s conversations with Gobineau during the philosopher’s 5-week stay at Wahnfried in 1881 were punctuated with frequent arguments. Cosima Wagner’s diary entry for June 3 recounts one exchange in which Wagner „positively exploded in favour of Christianity as compared to racial theory. Gobineau also believed that in order to have musical ability, one must have black ancestry.