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Wagner Quotes

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Wagner Quotes

“they would be astonished to discover the seriously German problem that we are dealing with, a vortex and a turning-point at the very centre of German hopes. But perhaps those same people will find it distasteful to see an aesthetic problem taken so seriously, if they can see art as nothing more than an entertaining irrelevance, an easily dispensable tinkle of bells next to the 'seriousness of life': as if no one was aware what this contrast with the 'seriousness of life' amounted to. Let these serious people know that I am convinced that art is the supreme task and the truly metaphysical activity of this life in the sense of that man, my noble champion on that path, to whom I dedicate this book.”

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Book:The Birth of Tragedy
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“11 — I have explained where Wagner belongs—not in the history of music. What does he signify nevertheless in that history? The emergence of the actor in music: a capital event that invites thought, perhaps also fear. In a formula: "Wagner and Liszt."— Never yet has the integrity of musicians, their "authenticity," been put to the test so dangerously. One can grasp it with one's very hands: great success, success with the masses no longer sides with those who are authentic,—one has to be an actor to achieve that!— Victor Hugo and Richard Wagner—they both prove one and the same thing: that in declining civilizations, wherever the mob is allowed to decide, genuineness becomes superfluous, prejudicial, unfavorable. The actor, alone, can still kindle great enthusiasm.— And thus it is his golden age which is now dawning—his and that of all those who are in any way related to him. With drums and fifes, Wagner marches at the head of all artists in declamation, in display and virtuosity. He began by convincing the conductors of orchestras, the scene-shifters and stage-singers, not to forget the orchestra:—he "redeemed" them from monotony .... The movement that Wagner created has spread even to the land of knowledge: whole sciences pertaining to music are rising slowly, out of centuries of scholasticism. As an example of what I mean, let me point more particularly to Riemann's [Hugo Riemann (1849-1919): music theoretician] services to rhythmic; he was the first who called attention to the leading idea in punctuation—even for music (unfortunately he did so with a bad word; he called it "phrasing"). All these people, and I say it with gratitude, are the best, the most respectable among Wagner's admirers—they have a perfect right to honor Wagner. The same instinct unites them with one another; in him they recognize their highest type, and since he has inflamed them with his own ardor they feel themselves transformed into power, even into great power. In this quarter, if anywhere, Wagner's influence has really been beneficial. Never before has there been so much thinking, willing, and industry in this sphere. Wagner endowed all these artists with a new conscience: what they now exact and obtain from themselves, they had never extracted before Wagner's time—before then they had been too modest. Another spirit prevails on the stage since Wagner rules there: the most difficult things are expected, blame is severe, praise very scarce—the good and the excellent have become the rule. Taste is no longer necessary, nor even is a good voice. Wagner is sung only with ruined voices: this has a more "dramatic" effect. Even talent is out of the question. Expressiveness at all costs, which is what the Wagnerian ideal—the ideal of décadence—demands, is hardly compatible with talent. All that is required for this is virtue—that is to say, training, automatism, "self-denial." Neither taste, voices, nor gifts: Wagner's stage requires one thing only—Teutons! ... Definition of the Teuton: obedience and long legs ... It is full of profound significance that the arrival of Wagner coincides in time with the arrival of the "Reich": both actualities prove the very same thing: obedience and long legs.— Never has obedience been better, never has commanding. Wagnerian conductors in particular are worthy of an age that posterity will call one day, with awed respect, the classical age of war. Wagner understood how to command; in this, too, he was the great teacher. He commanded as the inexorable will to himself, as lifelong self-discipline: Wagner who furnishes perhaps the greatest example of self-violation in the history of art (—even Alfieri, who in other respects is his next-of-kin, is outdone by him. The note of a Torinese). 12 The insight that our actors are more deserving of admiration than ever does not imply that they are any less dangerous ... But who could still doubt what I want,—what are the three demands for which my my love of art has compelled me?”

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Author:Nietszche
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“But, of course, the real villain is Wagner. He has done more than any man in the nineteenth century towards the muddling of arts. I do feel that music is in a very serious state just now, though extraordinarily interesting. Every now and then in history there do come these terrible geniuses, like Wagner, who stir up all the wells of thought at once. For a moment it’s splendid. Such a splash as never was. But afterwards—such a lot of mud; and the wells—as it were, they communicate with each other too easily now, and not one of them will run quite clear. That’s what Wagner’s done.”

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Book:Howard's End
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“Come into my world. I will show you the phenomenon that Stendhal experienced. I will help you feel the cascading arpeggios of Wagner's overture. I will dance to Doga’s waltzes with you. A day spent without appreciating the beauty surrounding us is a waste. Let me appreciate you”

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Author:Kamand Kojouri
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“Delacroix, Wagner, Baudelaire - all great theorists, bent on dominating other minds by sensuous means. Their one dream was to create the irresistible effect - to intoxicate, or overwhelm. They looked to analysis to provide them with the keyboard on which to play, with certainty, on man's emotions, and they sought in abstract meditation they key to sure and certain action upon their subject - man's nervous and psychic being.”

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Author:Charles Baudelaire
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“One day he [Wagner] was batting against a young pitcher who had just come into the league. The catcher was a kid, too . The pitcher threw Honus a curve ball, and he swung at it and missed and fell down. Looked helpless as a robin. I was kind of surprised, but the guy sitting next to me poked me in the ribs and said, 'Watch this next one.' Those kids figured they had the old man's weakness, you see, and served him up the same dish - as he knew they would. Well, Honus hit a line drive so hard the fence in left field went back and forth for five minutes.”

MenWellsKindSaidHardKidsYoungGuyNextLeftLinesWatchesFiveMinutesFieldsOne DayWeaknessSittingBallsLeagueOld ManDishesHelplessFenceCurvesFive MinutesBack And ForthPitcherRobinsRibsBattingCatchersWagnerLeft Field
Author:Burleigh Grimes
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“My wife was an opera singer, you know. She bellowed her way through Wagner as a Valkyrie. I married her and made her give up the theatre, to my eternal cost. She was to go on acting for myself alone. A performance at his own expense, lasting for more than twenty years, tends to wear out your spectator.”

KnowsWayGivingYearsMadeActingWifeGoes OnCostGiving UpEternalMarriedPerformancesTwentiesMy WifeTheatreSingersLastingExpensesOperaSpectatorsWagnerOpera Singers
Book:The Waltz of the Toreadors
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“What a wonderful work Wagner has done for humanity in translating the toil of life into the readable script of music! For those who seek the tale of other worlds his magic is silent; but earth-travail under his wand becomes instinct with rhythmic song to an accompaniment of the elements, and the blare and crash of the bottomless pit itself.”

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Author:Richard Wagner
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“Sometimes I have the feeling that you are not quite aware--and this honors you--of the historical greatness of your position, that you think too modestly about yourself. Everything you do is destined to be of historic significance. One day, your letters, your decisions, will belong to all mankind, like those of Wagner and Brahms.”

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Book:A Confidential Matter: The Letters of Richard Strauss and Stefan Zweig, 1931-1935
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“Beethoven and Wagner for many years wrung our hearts. But now we are sated with them and derive much greater pleasure from ideally combining the noise of streetcars, internal-combustion engines, automobiles, and bust crowds than from rehearsing, for example, the 'Eroica' or the 'Pastorale'...away! les ust be gone, since we shall not much longer succeed in restraining a desire to create a new musical realism by a generous distribution of sonorous blows and slaps, leaping numbly over violins, pianofortes, contrabasses, and groaning organs, Away!”

YearsHeartDesirePleasureGoneGreaterExampleSucceedMusicalBlowCrowdsNoiseGenerousInternalsEnginesOrgansRealismDistributionAutomobileViolinSlapCombiningWagnerRehearsingRestrainingGroaningCombustionSatedUst
Author:Luigi Russolo
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“What stands most explicitly as critique in Nietzsche's late work in not a development from earlier interests but a return to two problems of enduring personal involvement for him, those of Wagner and of Christianity. Der Antichrist , to take one case, is not a response to a resuscitating public interest in Christian religion; it is primarily a renewed attempt to resolve for himself the question of piety.”

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Author:John Carroll
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“The first typical adolescent of modern times was Wagner's Siegfried. : the music of Siegfried expressed for the first time that combination of (provisional) purity, physical strength, naturism, spontaneity and joie de vivre which was to make the adolescent the hero of our twentieth century, the century of adolescence.”

FirstsMusicModernCenturyStrengthHeroFirst TimeCombinationPurityAdolescenceTypicalTwentieth CenturySpontaneityModern TimesWagnerPhysical StrengthJoie De Vivre
Book:Centuries of childhood: a social history of family life
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“A culture that gave the world the spiritual creations of the Classical Music of Mozart, Beethoven, Wagner and Schubert, the paintings of Michelangelo, and Raphael, Da Vinci and Rembrandt, does not need lessons from societies whose idea of spirituality is a heaven peopled with female virgins for the use of men, whose idea of heaven resembles a cosmic brothel.”

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Book:Virgins? What Virgins?: And Other Essays
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