The perfect introduction to the Master. One hundred and thirty-five years after his death, Richard Wagner's music dramas stand at the centre of the culture of classical music. They have never been more popular, nor so violently controversial and divisive. As a man, he was a walking contradiction: aggressive, flirtatious, disciplined, capricious, heroic, visionary and poisonously anti-Semitic. His ten great mature masterpieces constitute an unmatched body of work, created against a backdrop of poverty, revolution, ...
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The perfect introduction to the Master. One hundred and thirty-five years after his death, Richard Wagner's music dramas stand at the centre of the culture of classical music. They have never been more popular, nor so violently controversial and divisive. As a man, he was a walking contradiction: aggressive, flirtatious, disciplined, capricious, heroic, visionary and poisonously anti-Semitic. His ten great mature masterpieces constitute an unmatched body of work, created against a backdrop of poverty, revolution, violent controversy, critical contempt and hysterical hero-worship. His work often dealt with myth, but his own life had the character of a fable. At one point, in his early fifties, desperately poor after a life of heroic productivity, he had four lengthy operas written with no hope of seeing them done, when, as if in a fairy-tale, he was rescued by a beautiful young king with limitless wealth. When one of those works, Tristan and Isolde, was at last performed, it revolutionised classical music at a stroke. Wagner went on to create The Ring of the Nibelung: a vast epic in four massive segments, ushering gods and dwarves, heroes and thugs, dragons and rainbows onto the stage. This was the apotheosis of German art as he saw it, so extreme in its demands that he had to train a generation of singers and players to perform it, and erect a custom-built theatre to house it. Wagner died, exhausted, after creating one final piece - Parsifal - that seems to point to an even more radical new future for music. Simon Callow plunges the reader headlong into Wagner's world, examining the intellectual and artistic climate in which Wagner, a composer like no other who ever lived, extreme in everything, creator of perhaps the most sublime and most troubling body of work in the history of music.
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Add this copy of Being Wagner-Hb to cart. $6.36, good condition, Sold by ThriftBooks-Reno rated 4.0 out of 5 stars, ships from Reno, NV, UNITED STATES, published 2017 by William Collins.
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Dispatched, from the UK, within 48 hours of ordering. Though second-hand, the book is still in very good shape. Minimal signs of usage may include very minor creasing on the cover or on the spine.
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Dispatched, from the UK, within 48 hours of ordering. This book is in good condition but will show signs of previous ownership. Please expect some creasing to the spine and/or minor damage to the cover.
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Dispatched, from the UK, within 48 hours of ordering. This book is in good condition but will show signs of previous ownership. Please expect some creasing to the spine and/or minor damage to the cover.
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Very Good. Simon Callow plunges headlong into Wagner's world to discover what it was like to be Wagner, and to be around one of music's most influential figures. The perfect introduction to the Master. Num Pages: 208 pages. BIC Classification: AVGC5; AVGC9; BGF. Category: (G) General (US: Trade). Dimension: 147 x 225 x 27. Weight in Grams: 388. Good clean copy with minor shelf wear in good dustwrapper. Includes newspaper cutting of review of the book in The Times. 2017. Hardcover.....We ship daily from our Bookshop.