Richard Wagner and the Jews
It is well known that Richard Wagner, the renowned and controversial 19th century composer, exhibited intense anti-Semitism. The evidence is everywhere in his writings as well as in conversations his second wife recorded in her diaries. In his infamous essay "Judaism in Music," Wagner forever cemented his unpleasant reputation with his assertion that Jews were incapable of either creating or appreciating great art.

Wagner's close ties with many talented Jews, then, are surprising. Most writers have dismissed these connections as cynical manipulations and rank hypocrisy. Examination of the original sources, however, reveals something different: unmistakeable, undeniable empathy and friendship between Wagner and the Jews in his life. Indeed, the composer had warm relationships with numerous individual Jews. Two of them resided frequently over extended periods in his home. One of these, the rabbi's son Hermann Levi, conducted Wagner's final opera—Parsifal, based on Christian legend—at Wagner's request; no one, Wagner declared, understood his work so well. Even in death his Jewish friends were by his side; two were among his twelve pallbearers.

The contradictions between Wagner's antipathy toward the amorphous entity "The Jews" and his genuine friendships with individual Jews are the subject of this book. Drawing on extensive sources in both German and English, including Wagner's autobiography and diary and the diaries of his second wife, this comprehensive treatment of Wagner's anti-Semitism is the first to place it in perspective with his life and work. Included in the text are portions of unpublished letters exchanged between Wagner and Hermann Levi. Altogether, the book reveals astonishing complexities in a man long known as much for his prejudice as for his epic contributions to opera.

"1007455255"
Richard Wagner and the Jews
It is well known that Richard Wagner, the renowned and controversial 19th century composer, exhibited intense anti-Semitism. The evidence is everywhere in his writings as well as in conversations his second wife recorded in her diaries. In his infamous essay "Judaism in Music," Wagner forever cemented his unpleasant reputation with his assertion that Jews were incapable of either creating or appreciating great art.

Wagner's close ties with many talented Jews, then, are surprising. Most writers have dismissed these connections as cynical manipulations and rank hypocrisy. Examination of the original sources, however, reveals something different: unmistakeable, undeniable empathy and friendship between Wagner and the Jews in his life. Indeed, the composer had warm relationships with numerous individual Jews. Two of them resided frequently over extended periods in his home. One of these, the rabbi's son Hermann Levi, conducted Wagner's final opera—Parsifal, based on Christian legend—at Wagner's request; no one, Wagner declared, understood his work so well. Even in death his Jewish friends were by his side; two were among his twelve pallbearers.

The contradictions between Wagner's antipathy toward the amorphous entity "The Jews" and his genuine friendships with individual Jews are the subject of this book. Drawing on extensive sources in both German and English, including Wagner's autobiography and diary and the diaries of his second wife, this comprehensive treatment of Wagner's anti-Semitism is the first to place it in perspective with his life and work. Included in the text are portions of unpublished letters exchanged between Wagner and Hermann Levi. Altogether, the book reveals astonishing complexities in a man long known as much for his prejudice as for his epic contributions to opera.

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Richard Wagner and the Jews

Richard Wagner and the Jews

by Milton E. Brener
Richard Wagner and the Jews

Richard Wagner and the Jews

by Milton E. Brener

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$39.95 
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Overview

It is well known that Richard Wagner, the renowned and controversial 19th century composer, exhibited intense anti-Semitism. The evidence is everywhere in his writings as well as in conversations his second wife recorded in her diaries. In his infamous essay "Judaism in Music," Wagner forever cemented his unpleasant reputation with his assertion that Jews were incapable of either creating or appreciating great art.

Wagner's close ties with many talented Jews, then, are surprising. Most writers have dismissed these connections as cynical manipulations and rank hypocrisy. Examination of the original sources, however, reveals something different: unmistakeable, undeniable empathy and friendship between Wagner and the Jews in his life. Indeed, the composer had warm relationships with numerous individual Jews. Two of them resided frequently over extended periods in his home. One of these, the rabbi's son Hermann Levi, conducted Wagner's final opera—Parsifal, based on Christian legend—at Wagner's request; no one, Wagner declared, understood his work so well. Even in death his Jewish friends were by his side; two were among his twelve pallbearers.

The contradictions between Wagner's antipathy toward the amorphous entity "The Jews" and his genuine friendships with individual Jews are the subject of this book. Drawing on extensive sources in both German and English, including Wagner's autobiography and diary and the diaries of his second wife, this comprehensive treatment of Wagner's anti-Semitism is the first to place it in perspective with his life and work. Included in the text are portions of unpublished letters exchanged between Wagner and Hermann Levi. Altogether, the book reveals astonishing complexities in a man long known as much for his prejudice as for his epic contributions to opera.


Product Details

ISBN-13: 9780786423705
Publisher: McFarland & Company, Inc., Publishers
Publication date: 01/04/2006
Pages: 343
Product dimensions: 6.00(w) x 9.00(h) x 0.69(d)
Age Range: 18 Years

About the Author

The late Milton E. Brener was a retired attorney who had written books and numerous articles on such topics as art, opera and Judaica, He lived in New York.

Table of Contents

Table of Contents

Acknowledgments     
Preface     
A Note on Translation     

Part I. Zurich
1. The Asyl     
2. The Fugitive     
3. Minna     
4. The Paris Jews     
5. The Essay     
6. Tausig     

Part II. Paris and Vienna
7. The Break with Minna     
8. Tristan und Isolde     
9. Tannhäuser in Paris     
10. Vienna     
11. Penury     
12. Biebrich on the Rhine     
13. The Vienna Jews     
14. Flight from Creditors     

Part III. Munich
15. King Ludwig     
16. Cosima     
17. The First Tristan     
18. Exile from Munich     

Part IV. Lucerne
19. Triebschen     
20. Die Meistersinger     
21. Cosima's Diaries     
22. “Judaism in Music”: The Second Publication     
23. Das Rheingold Brouhaha     
24. The Turn of Die Walküre     
25. Wagner and the French     
26. Death of Tausig     

Part V. Bayreuth I: The First Festival
27. Rubinstein and Preparations for The Ring     
28. The Scapegoats     
29. The First Festival     
30. Neumann     

Part VI. Bayreuth II: Levi and Neumann
31. The Young Hermann Levi     
32. The Brahms-Levi Friendship     
33. The Breach with Brahms     
34. A Study in Malice     
35. Declining Health, Worsening Temperament     
36. The Strangest Synagogue     
37. Distance from Porges, Closeness to Rubinstein     
38. Neumann and the Berlin Ring     
39. Neumann and the Traveling Wagner Opera Company     

Part VII. Bayreuth III: The Second Festival
40. Levi and Parsifal     
41. Lichtenberg and the Knieses     
42. Wagnerphobia     
43. Glimpses of the Other Side     
44. The Final Days     

Appendix: “Judaism in Music”     
Chapter Notes     
References     
Index     
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