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Richard Wagner: The Sorcerer of Bayreuth
Richard Wagner (1813-1883) is one of the most influential - and also one of the most controversial - composers in the history of music. Over the course of his long career, he produced a stream of spellbinding works that challenged musical convention through their richness and tonal experimentation, ultimately paving the way for modernism. This book presents an in-depth but easy-to-read overview of Wagner's life, work and times. It considers a wide range of themes, including the composer's original sources of inspiration; his fetish for exotic silks; his relationship with his wife, Cosima, and with his mistress, Mathilde Wesendonck; the anti-semitism that is undeniably present in the operas; their proto-cinematic nature; and the turbulent legacy both of the Bayreuth Festival and of Wagnerism itself.
Making use of the very latest scholarship - much of it undertaken by the author himself in connection with his editorship of The Wagner Journal - Millington reassesses received notions about Wagner and his work, demolishing ill-informed opinion in favour of proper critical understanding. It is a radical - and occasionally controversial - reappraisal of this most perplexing of composers. The volume's arrangement - unique among books on the composer -combines an accessible text, intriguing images and original documents, thus ensuring a consistently fresh approach. Bringing new insights to an endlessly fascinating subject, The Sorcerer of Bayreuth will charm anyone interested in music and in the wider cultural life of the 19th century and beyond.
Making use of the very latest scholarship - much of it undertaken by the author himself in connection with his editorship of The Wagner Journal - Millington reassesses received notions about Wagner and his work, demolishing ill-informed opinion in favour of proper critical understanding. It is a radical - and occasionally controversial - reappraisal of this most perplexing of composers. The volume's arrangement - unique among books on the composer -combines an accessible text, intriguing images and original documents, thus ensuring a consistently fresh approach. Bringing new insights to an endlessly fascinating subject, The Sorcerer of Bayreuth will charm anyone interested in music and in the wider cultural life of the 19th century and beyond.
320 pages, Hardcover
First published October 1, 2012
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126 people want to read
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Displaying 1 - 12 of 12 reviews
January 13, 2014
This is, for all intents and purposes, a compendium. Given that this author wrote a book he titled "The Wagner Compendium" over 20 years ago, he clearly needed to call this one something else. Still, a compendium is what we have here. It is extremely well done; no mean feat, given that the subject is all things Wagner. And I do mean all things: musicological, political, philosophical, sexual, biographical...and on and on.
The book itself is a truly remarkable product from the Oxford University Press. It is printed on quality paper, stunningly illustrated and actually type-set. Just about the first thing one notices is that it is physically heavy, weighing about twice what one expects for a text of its size. The overall result is entirely old school and substantial in every respect. Turning over its pages is bliss for any book lover. (I pity those approaching it on an e-reader as there will be something marvelous lost in "translation".) And this is to say nothing of the content. The scholarly research is of the highest order. This is a lifetime achievement for Millington and a must-have for devout Wagnerites.
On the downside, it is heavy on philosophy. One expects nothing less of this author, who has made Wagner's philosophical influences his major field of study. But Hegel, Feuerbach, Schopenhauer, Englels, Marx and their brethren aren't my cup of tea and - taken collectively - make for some dense contemplation. The book is also relatively inscrutable in places to those with little knowledge of classical music and instrumentation. And Millington is too ardent an apologist for my taste. I understand his desire to bring some balance to discussions of Wagner's less seemly associations (Anti-Semitism, Nationalism trending toward Fascism, Megalomania). Unfortunately the documentary evidence against rosier views of Wagner vis-a-vis these areas is abundant, alarming and rather damning. Millington's forensic arguments tend only to make him sound as if he is content to rationalize away some horribly ugly - but quite real - history. Having said that he seems to strike the perfect balance in his luminous, probing discussion of "Parsifal".
Overall the tome is comprehensive, thorough and unbelievably concise without feeling too condensed. An impressive new addition to Wagner scholarship and an example of the kind of fine book that is sadly becoming a dying breed.
The book itself is a truly remarkable product from the Oxford University Press. It is printed on quality paper, stunningly illustrated and actually type-set. Just about the first thing one notices is that it is physically heavy, weighing about twice what one expects for a text of its size. The overall result is entirely old school and substantial in every respect. Turning over its pages is bliss for any book lover. (I pity those approaching it on an e-reader as there will be something marvelous lost in "translation".) And this is to say nothing of the content. The scholarly research is of the highest order. This is a lifetime achievement for Millington and a must-have for devout Wagnerites.
On the downside, it is heavy on philosophy. One expects nothing less of this author, who has made Wagner's philosophical influences his major field of study. But Hegel, Feuerbach, Schopenhauer, Englels, Marx and their brethren aren't my cup of tea and - taken collectively - make for some dense contemplation. The book is also relatively inscrutable in places to those with little knowledge of classical music and instrumentation. And Millington is too ardent an apologist for my taste. I understand his desire to bring some balance to discussions of Wagner's less seemly associations (Anti-Semitism, Nationalism trending toward Fascism, Megalomania). Unfortunately the documentary evidence against rosier views of Wagner vis-a-vis these areas is abundant, alarming and rather damning. Millington's forensic arguments tend only to make him sound as if he is content to rationalize away some horribly ugly - but quite real - history. Having said that he seems to strike the perfect balance in his luminous, probing discussion of "Parsifal".
Overall the tome is comprehensive, thorough and unbelievably concise without feeling too condensed. An impressive new addition to Wagner scholarship and an example of the kind of fine book that is sadly becoming a dying breed.
February 19, 2013
A Heavily illustrated overview of Wagner's Life and Music, which is well written for a general reader. Does not skip over the more unseemly parts of his life or of the Bayreuth festival after his death. However, the arguement for the overstatement of his Anti-semetic tendencies seems to be too quick and needed to be longer and in more detail. Which may or may not be beyond the brief scope of the work. All around a very solid, entertaining read with surprising depth for such a brief study.
August 23, 2019
Difficult, as the topic of Wagner in general, and his operas in particular, tends to be perceived, I decided to read the book for the second time. The appreciation of the book was helped by, and the stimulus for reading came from, my being between two visits to the Bayreuther Festspiele for two different performances. It is not a book which can be taken off the shelf at random, unless Wagner’s operas are listened to and/or watched, books and/or articles read, and many podcasts on Wagner and his works available listened to, before. It is, to put it bluntly, a book for Wagner enthusiasts.
Just as getting familiar with Wagner’s work makes one realise how complex a person he was, the book paints a very similar story. It deals in a very balanced way with many of the stereotypes associated with Wagner: his anti-Semitism, his numerous amorous exploits and unfaithfulness, his lack of appreciation for his patrons and his being a spendthrift. The information presented on all these fronts paints a person who, like many of us, was not black, or white, but rather many different shades of grey.
While being openly anti-Semitic, we are told Wagner’s views on Jews, or rather Jewishness, were very much in tune with the views represented by many leading intellectuals of the period. His call for the Jewish renewal which was meant to save the humanity, was apparently similar to the stance presented by Karl Marx, Jewish himself. The author argues (convincingly, in my opinion) that the anti-Semitic element in Wagner’s works should not be overemphasised, but definitely should not be ignored, because it makes the works what they are. In much the same way, in a very logical and fact-based fashion, the author deals with the other stereotypes.
Wagner’s life is painted against the backdrop of the historical events, which helps understand his views and their metamorphosis, as history unfolds. His operas, and other works, are put in the context of his life’s moments. All this makes for a very logical, and easily followed, book, which is a joy for anyone interested in the person, and works, of Richard Wagner.
Just as getting familiar with Wagner’s work makes one realise how complex a person he was, the book paints a very similar story. It deals in a very balanced way with many of the stereotypes associated with Wagner: his anti-Semitism, his numerous amorous exploits and unfaithfulness, his lack of appreciation for his patrons and his being a spendthrift. The information presented on all these fronts paints a person who, like many of us, was not black, or white, but rather many different shades of grey.
While being openly anti-Semitic, we are told Wagner’s views on Jews, or rather Jewishness, were very much in tune with the views represented by many leading intellectuals of the period. His call for the Jewish renewal which was meant to save the humanity, was apparently similar to the stance presented by Karl Marx, Jewish himself. The author argues (convincingly, in my opinion) that the anti-Semitic element in Wagner’s works should not be overemphasised, but definitely should not be ignored, because it makes the works what they are. In much the same way, in a very logical and fact-based fashion, the author deals with the other stereotypes.
Wagner’s life is painted against the backdrop of the historical events, which helps understand his views and their metamorphosis, as history unfolds. His operas, and other works, are put in the context of his life’s moments. All this makes for a very logical, and easily followed, book, which is a joy for anyone interested in the person, and works, of Richard Wagner.
January 14, 2019
This is an "inside baseball" book to be sure, but it's not as heady as one might suppose. It's as academic as it needs to be. It's a humanizing discussion on the man and his legacy. Specifically avoiding opinion, it is full of primary sources that paint a vivid portrait.
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October 13, 2022A thoughtful, readable book about Wagner and Bayreuth. More a look at the Meister’s works as well as ‘aspects’ of the man’s life, e.g., his anti-Semitism, love of silks, life with Cosima, administration of Bayreuth in the 21st century, etc. Beautifully illustrated.
October 28, 2018
Great place to start with the mountain of lit on Wagner
May 12, 2022
Cool as hell if you like Wagner but man it’s dense. I had to put it down every few pages but maybe big words hurt my small brain
January 20, 2013
The synopsis of this book leads you to believe that this book is about Wagner. That it will open your eyes to the man, his life, his family, the World around him and how he interacted with it. The chapters that describe these are very well researched and written, drawing you in to his world and giving you insight into the man himself. However this interesting biography is less than half of the book. The rest is taken up by a scene by scene dissection of every musical composition that Wagner ever wrote, making this book only of interest to the hard core Wagner aficionado. If you removed his discussion about and dissection of every piece of music, then the book would be very thin (but still very interesting and enjoyable to read).
The book is well constructed, divided into chapters with titles such as Learning the Craft: Youthful Apprenticeship, “Most Excellent Friend”: Franz Liszt and The Silent Sufferer: Cosima Wagner. Instead of telling Wagner’s story from cradle to grave, Millington devotes each chapter to a different aspect of Wagner’s life from his fetishes, mistresses and anti-Semitism to post-Wagner family life. This means that you can select a chapter of interest to read and not have to read them in order. Where there is cross over between the chapters, reference is made and you can choose to read the other chapter next. This is a novel, but workable approach. If further reading is required then the book is very well referenced.
There are a multitude of photographs to enhance the story. As they are all in black and white you assume that they all relate to Wagner’s lifetime, whereas in reality many are operatic scenes from recent productions. Some of the images are useful in showing what Wagner’s life was like, others are superfluous and I felt that they were just placed in the book because they were available and fitted that chapter.
Barry Millington is chief music critic for the London Evening Standard and the editor of The Wagner. I have a Masters Degree and I found the language used in the book required a dictionary, thesaurus and sometimes skimming over to understand what is being said e.g. ‘a corollary of the musico-poetic synthesis is the abnegation of concerted singing in the Ring.’ This made the prospect of reading the complete book very daunting indeed.
The final chapters of the book are more up to date and deal with Wagner’s family and the continuation of the Bayreuth festival, showing the impact that Wagner is still having on lives today.
There is a family tree printed on the back page of the book which would have been very useful if it had been printed at the front! By the time you realise it’s available you have read the book and have no need for it.
If you are a lover of Wagner’s music and you have heard every piece he has written, then this book is for you. It tries to explain the thought processes Wagner went through when creating his pieces (based on autobiographical material). You will enjoy finding out what was going on his life at the time he was composing and how it affected the various scenes he was writing.
If you want to find out who Wagner was, how he lived, his loves, wives and mistresses, then I would recommend skipping every paragraph that starts talking about his music. You don’t need to know his music to appreciate the man.
The book is well constructed, divided into chapters with titles such as Learning the Craft: Youthful Apprenticeship, “Most Excellent Friend”: Franz Liszt and The Silent Sufferer: Cosima Wagner. Instead of telling Wagner’s story from cradle to grave, Millington devotes each chapter to a different aspect of Wagner’s life from his fetishes, mistresses and anti-Semitism to post-Wagner family life. This means that you can select a chapter of interest to read and not have to read them in order. Where there is cross over between the chapters, reference is made and you can choose to read the other chapter next. This is a novel, but workable approach. If further reading is required then the book is very well referenced.
There are a multitude of photographs to enhance the story. As they are all in black and white you assume that they all relate to Wagner’s lifetime, whereas in reality many are operatic scenes from recent productions. Some of the images are useful in showing what Wagner’s life was like, others are superfluous and I felt that they were just placed in the book because they were available and fitted that chapter.
Barry Millington is chief music critic for the London Evening Standard and the editor of The Wagner. I have a Masters Degree and I found the language used in the book required a dictionary, thesaurus and sometimes skimming over to understand what is being said e.g. ‘a corollary of the musico-poetic synthesis is the abnegation of concerted singing in the Ring.’ This made the prospect of reading the complete book very daunting indeed.
The final chapters of the book are more up to date and deal with Wagner’s family and the continuation of the Bayreuth festival, showing the impact that Wagner is still having on lives today.
There is a family tree printed on the back page of the book which would have been very useful if it had been printed at the front! By the time you realise it’s available you have read the book and have no need for it.
If you are a lover of Wagner’s music and you have heard every piece he has written, then this book is for you. It tries to explain the thought processes Wagner went through when creating his pieces (based on autobiographical material). You will enjoy finding out what was going on his life at the time he was composing and how it affected the various scenes he was writing.
If you want to find out who Wagner was, how he lived, his loves, wives and mistresses, then I would recommend skipping every paragraph that starts talking about his music. You don’t need to know his music to appreciate the man.
November 11, 2013
I chose this book because I've been trying to train myself to like Wagner's music. (I've always sided with Rossini, who said Wagner had great moments and dreadful quarter hours.)
The arrangement is both chronological and topical, alternating between a chronological account of Wagner's life with analysis of his works -- and in Wagner's case, this arrangement works well. Millington (who is clearly an admirer of the work and willing to cut the composer some slack) does face up squarely to Wagner's anti-semitism, his womanizing, and his financial irresponsibility.
After reading The Sorcerer of Bayreuth, I can say that I understand Wagner and his music better. Whether I like either one is still an open question.
The arrangement is both chronological and topical, alternating between a chronological account of Wagner's life with analysis of his works -- and in Wagner's case, this arrangement works well. Millington (who is clearly an admirer of the work and willing to cut the composer some slack) does face up squarely to Wagner's anti-semitism, his womanizing, and his financial irresponsibility.
After reading The Sorcerer of Bayreuth, I can say that I understand Wagner and his music better. Whether I like either one is still an open question.
December 18, 2012
An informative primer on the life and works of Wagner. Beautifully designed, with color photographs and illustrations, the book looks more like a textbook - and reads in a similar vein. The chapters are really separate essays that build to a wobbling biography and discussion on the artist and his effect on art and the world. The look at how the Bayreuth Festival is currently handled reads as a gossip column over an analysis. But the book in its entirety is a thoughtful, yet cursory introduction to the composer. I devoured it in no time. I shall continue on this mad quest of Wagner.
June 10, 2013
This is a brilliant book that explores Wagner the man, the music, the music dramas and the legacy. Millington brings new details to light, I read this on my Ipad kindle app and really enjoyed enlarging some of the excellent illustrations and music examples. This is a must read in this Wagner's 200 year. Highly recommend,
July 27, 2016
Required reading for any Ring Nut.
Displaying 1 - 12 of 12 reviews