Robert Peters <[log in to unmask]> replies to me:

>By the way: that Wagner was an antisemite is a clear fact (read "Das
>Judentum in der Musik" and vomit every second page).  His everyday
>behaviour was different, e.g.  he often used Jews when he needed them
>(being a pragmatic antisemite then).

I know very well that Rickard Wagner wrote "Das Judentum in der Musik",
although he wrote it under pseudonym (but the style of writing is so
typical Herr Wagner so nobody who knew him could doubt it was from him).
But Wagner didn't write it for explicit antisemitic reasons.  The script
was produced after his defeat with "Tannhaeuser" in Paris.  "Tannhaeuser"
was inspired by the "Grande-Opera"-style of a Meyerbeer, which was what
the Paris public wanted.  However the jockeyclub of Paris audience were
not interested in Wagners opera, actually not in opera att all: they
had their girlfriends in the theater, and they came to see them dance the
ballet(s), which (on their demand) was an ubiquitous number in every opera.
The staff of the opera ordered Wagner to put in a ballet in the second akt
of "Tannhaeuser", but Wagner protested; a ballet wouldn't fit in his akt
II!  But for once Wagner compromissed with the art, and for the audiences
demand (he needed victorys too) he put in a ballet at the "Venusberg"-
szene in akt I.  However, what he didn't know was the the jockeyclub
thought a whole opera was too mcuh too watch, and they arrived in time
for the second akt.  When they begun to realize that they had missed their
balletnumber, they started screaming, squealing, shouting, whistleing,
throwing rotten toamtoes, and doing everything to destroy the performance.
Next days paper included the review of Berlioz, which made the defeat for
Wagner complete.  Wagner was at this time full of ambition and hope; he
begun to be aware of his talent, and musical mission.  He did everything he
could for the art, and he had at this time already begun to form his ideas
about how he wanted to change theatre.  This coupled with his gigant demand
for understanding, made the defeat made him deadly wounded.  He was angry
with the Paris audience who didn't understand, he was angry with the
performers who didn't take his work seriously, he was angry with the
critic, and even with his model Meyerbeer, who has lead him onto this
disastrous way.  I think most people, if most people for once could switch
off the prejudices so many have against Wagner, would feel a compassionate
understanding with the man here: of course he wanted to strike back: take
revenge!  But how to do that? The audience he couldn't take revenge on; he
could hate them, but he also needed them etc.  But Meyerbeer, was a jew,
and not therefore, he got the billet of Wagners frustration.  So, I wanted
to conclude with that Wagner didn't write "Uber das Judentum in der Musik"
for racist reasons, but for private reasons.  He could as well have chosen
a different topic.  In addition it could be said that Wagner obviously got
over this defeat, and he said on older days that he was thankful to
Meyerbeer, for what he learnt from him.

>His music is wonderful but a challenge for every intelligent director,
>too, because he gives a message you wouldnt underline every word of in
>our time, would you?

Please clarify the last sentence here.

Mats Norrman
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