Wagner on Conducting

by Richard Wagner

Just as Richard Wagner's music deeply stirred the musical world and inspired a generation of composers, so his many performances on the podium with Europe's leading orchestras galvanized nineteenth-century audiences and shaped a generation of conductors. Wagner wrote eloquently on his theories of conducting and musical interpretation, and in 1869 he published the famous essay reprinted in this volume, a work that abundantly reveals both the wellsprings of his musical genius and the qualities that made him a figure of controversy.
Reading this important work, one encounters the man who launched the cult of the conductor as an all-wise and omnipotent dictator, the man considered by many to have been the strongest conducting force of the nineteenth century. A conductor of remarkable power and imagination, highly creative in his interpretations, thoroughly knowledgeable about the orchestra, capable of absorbing a score until it was part of him, Wagner was, perhaps above all, a supremely confident perfectionist.
Much of what Wagner thought and felt about the interpretation of music is as exciting and valid today as when he first expressed it. This is a book that composers, conductors, and students of music and musical interpretation should have. Lovers of serious music will treasure the insights it provides not only into Wagner himself but also into the often highly subjective elements that make up musical performance.

Genres: Music, Classical Music, Nonfiction

128 pages, Paperback

First published January 1, 1869

About the author

Germanic legends often based romantic operas of especially known composer Richard Wagner, who worked Tannhäuser (1845) and the tetralogy Der Ring des Nibelungen (1853-1876).

From 1872, Richard Wagner lived at Bayreuth to 1883 and designed the opera house, used chiefly for performances of his works.

Works of Jacques Martin Barzun include Darwin, Marx, Wagner (1941).

Wilhelm Richard Wagner conducted, directed theater, and authored essays, primarily for his later called "music dramas." Unlike most other greats, Wagner wrote the scenario and libretto.

https://en.wikipedia.org/wiki/Richard...

Reviews

[Kevin Cheng · Rating 4 out of 5]

When reading this book, one must remember to take what Wagner says in context, that the world was very different 130 years ago, as was conducting back then. It should also be noted that the contents were originally written as newspaper articles, and to some degrees, were conversations and arguments with other critics. Nonetheless, the comments Wagner made were enlightening, and the book provides valuable insights into how things we consider to be basics - dynamics, tempo changes, choice of tempo etc. were so ignored back then.

His comments on choice of tempo were particularly enlightening - whilst he never gave metronome measures of how fast he tackled a particularly work, he outlined an approach to determine a proper tempo, something any worthy modern conductor should know!

[Markus · Rating 2 out of 5]

Wagner makes good comments about the necessity for historically appropriate tempos, as well as the need historically proper musical interpretation, but I found this manual to be mostly an excuse to point out that Mendelssohn was not a good conductor, Schumann wrote pieces he hadn't the talent to write, and nobody conducts as well as the author. Wagner is known for being frank, but this manual, for me, is a little over the top. Especially the chapter when he blames the Jews for stealing the culture of the Germans. If I could I would give the manual 2.5 stars, but 3 is too many for me.

[MJD · Rating 5 out of 5]

I think that anyone with an interest in the music of Wagner, Mozart, and/or Beethoven would enjoy this book (I know I did).

[Samuel Cho · Rating 3 out of 5]

Wagner's very long essay on how conducting should be executed (and why the conductors of his time were largely mediocre happenstances). The essay remains far from irrelevant and can, to the growing musician and conductor alike, illuminate the traditions of conducting over the course of history. Appropriately he spoke of different 'Allegros', a Mozartian one, a Beethovenian one and ultimately his own, Wagnerian one. He speaks of Beethoven the same way we speak of The Beatles (a bit too enthusiastic) and he pokes critic at his colleagues (Mendelssohn, Schumann, Brahms). For an educated classical music, this should be very interesting to read! Also, although originally written in German, there is so much wit which makes the entire thing on the whole very pleasant to read.

[George · Rating 4 out of 5]

Interesting look at Wagner's thoughts about conducting. I especially enjoyed his views on tempi and how the markings in scores are difficult to interpret and one should feel their way through the music versus being dogmatic in following tempo suggestions so strictly that melody and expression are lost. I loved his views on opera conductors who will do whatever singers want, making unreasonable cuts and changes to service the singers whims. Understandable how he was considered tyrannical as a conductor, but also why it is necessary. I also found fascinating his comments about there being Mozartean Allegro's, Beethovenian Allegro's, and the Wagnerian Allegro, all of which are about attempting correct interpretation of music and serving the music.

[Shawn · Rating 3 out of 5]

Small book, short chapters, but very critical. Wagner mainly comments on how tempos should be approached. His attention is on the minute details. He contrasts & compares the proper & improper, laments the erroneous, wayward, or ignorant attempts to conduct, and enunciates & maintains his authoritative interpretation of how best to conduct certain pieces. Mendelssohn receives much attention (& praise), some of Beethoven's pieces are studied, and there are mentions of other persons, some of whose works & reputations have been obscured (e.g. Franz Lachner).

It's a treat to read directly from the legendary Richard Wagner, to witness his observations of certain figures, motifs, passages & transitions, and to behold the power of his intellect. He stands w/Brahms on the pedestal of undisputed mastery. Readers can see just how deep he took musical matters. He offered suggestions, met with criticism, indifference, & commendation, and truly endeavored to reach, attain, & conserve the spirit of excellence. He refers much to his native land, Germany, and distinguishes the genius of early German composers (Beethoven, et. al.) from that of other lands. It's altogether a good book, quite pointed, and well-intentioned.

[Arvind Radhakrishnan · Rating 4 out of 5]

It is a treat for music lovers when a genius like Wagner shares his insights.

[Duckpondwithoutducks · Rating 2 out of 5]

It is interesting to read a famous composer's own words about music. But, in this treatise on conducting, he talked almost exclusively about speed in music. He pointed out numerous examples where he thought a different composer (mostly Mendelssohn) conducted a piece at the wrong tempo, either too quickly or too slowly. But, as he didn't mention any metronome markings as to what the correct tempi should be, and we don't have any recordings of his own personal interpretations of the pieces, it's hard to know just exactly how he thought they should be played.