For some months I've been exploring the music of Richard Wagner, in this
case a detailed pursuit that has never before been undertaken because of my
distaste for the man.  I've come to the end of this journey and I thought
I would enjoy describing my conclusions, hoping that my comments will
prompt some responses.

With Wagner I end where I began, but with a lot more information and
understanding than earlier.  The result is that I've carried out another
disconnect and will probably practice that *avoidance* tactic indefinitely.

In earlier years I had read a few of the more scabrous Wagner essays, and
those foolish and sometimes vile pieces were the foundation for a rejection
of Wagner decades ago, not just because of his "jew hating" writings, but
also because other statements seemed silly, poorly reasoned.  More recently
I read more of the social history of middle Europe during the 19th Century
and then some additional pieces relating to the nature and prevalence ofjew
hating in that era.

But that's just background.  The two books that triggered this exploration
were recent non-music works, first a new book by Gourevitch entitled "We
Wish To Inform You..." that comments on the events in Rwanda (about which
few persons speak), and then the book by Goldhagen entitled "Hitler's
Willing Executioners." I found my involuntary belief system altered
from that of "monsters of history" to a greater awareness of the social
pathology of such dreadful events (provoked and lead by monsters, of
course).  That small experience caused me to think that perhaps I had been
too harsh in my judgement of Wagner and that perhaps I should examine this
man and his music more carefully.

My travels took me from Rienzi through Meistersinger, excepting only
Parsifal because I couldn't avoid retching over the plot and characters.
At first I borrowed sets from the main library, then bought sets, and read
from the library, then bought books that seemed well written and reasoned.
I've had quite a time of it, and a lot of "tummy" pleasure with this cache
of beautiful music and good books.  I concluded by taking to the trash
collection point a large number of disks and VHS tapes.  The books will
remain with me.

An extreme reaction?  ...Maybe...  Why the abrupt and harsh conclusion?

Wagner's music is unquestionably stimulating.  There are many who listen
to it for the music alone.  A number of the works stand by themselves as
stimulating romantic operas and, like many operas of the period needn't
be tested rigorously for literary perfection.  As for the Ring, it's a
wandering and inconsistent juvenile fantasy, laden (as are other Wagner
works) with heavy personal baggage related to incest and betrayal.
The librettos and plots, just as is the case with the other works, is
overwhelmed by gorgeous music, - emotional, sexy, violent, powerful.
In 20th Century terms Wagner might be pictured re-writing violent.
sex-oriented comicbooks into verse form and setting the result to music.

When I read recent scholarly examinations of this chap, his time, and his
operas, and listened to/learned the music and followed the librettos, I
reinforced the assessment that he was a complete and irredeemable ass, an
egotistical nut, a psychological mess, a vile and destructive personality.
It isn't the case of Wagner having spawned Hitler and he didn't cause the
holocaust, which comments seem to be common.  Wagner was one of the larger
and more flaming jerks on the globe.  For me that's quite enough to drop
him.

A personal perspective:  Mark Reizen rendered a moving performance
of Wotan's farewell to Bru"nnhilde.  I feel sad that this marvelous
singer/actor, said to be a jew, as far as we can tell a thoughtful and
decent man, by the nature of his assignment had to turn off his critical
apparatus and accept the part.  Survival is not at stake for me and
avoidance is therefore easier, perhaps even essential.

So much for my recent Wagner journey.  Would enjoy your response.

Regards,

Harry Davis
Houston
(email: [log in to unmask])