Richard Wagner, Composer of Operas — Themes and Context

Wagner's Self-Explanations Under Scrutiny

Runciman devotes considerable attention to Wagner's own essays and autobiographical writings, treating them as primary evidence but also as potential pitfalls. He observes that Wagner could not tolerate disagreement, interpreting it as 'wilful misunderstanding' rather than honest difference of opinion. The author points out that Wagner's 'persecutors' were often fighting among themselves, not a unified cabal. Runciman's analysis of the Communication to my Friends and the essay on Spontini shows a more nuanced view: he finds the latter 'pleasantly generous' and the former 'full of interest,' despite its egotism. This section demonstrates how Runciman uses Wagner's own prose to build a portrait of the composer's temperament.

The 'Judaism in Music' Controversy

Runciman addresses Wagner's notorious essay directly, calling it 'a bad mistake'—'bad science, bad history, bad argument.' He summarizes Wagner's two premises: that Jews cannot express themselves in German art, and that their speech cannot be idealized into beautiful song. Runciman counters by noting that 'very great music has been written by Jews' and that music was an English, Flemish, and Italian art before the Germans. He also critiques Wagner's response to Jewish critics, accusing him of hypocrisy: 'practical jokers are those who can least tolerate a practical joke played at their own expense.' The author concludes that the essay did no good and 'worked a very great deal of harm,' while acknowledging that Wagner had been provoked by 'unprovoked personal attacks.'

Runciman's Assessment of Wagner as Critic

Despite his reservations about Wagner's polemics, Runciman praises Wagner's critical writings on music. He asserts that 'when his prejudices were not aroused, he himself was the greatest critic who has lived,' citing Wagner's program notes for Beethoven's symphonies and his analysis of Gluck's Iphigenia in Aulis overture as 'masterpieces in their kind.' The author also notes Wagner's contempt for ordinary press criticism, quoting his remark that 'with that sort of thing one could not tempt the cat from behind the stove.' However, Runciman suggests that Wagner's critical vision was warped by his obsession with the music-drama. This balanced view—acknowledging Wagner's strengths while critiquing his weaknesses—is characteristic of Runciman's approach throughout the book.

Readers approaching Runciman's book should expect a critical biography that engages closely with Wagner's own writings, rather than a straightforward narrative of his life. The author's insistence on avoiding theory and his willingness to call out Wagner's errors make this a distinctive contribution to the early twentieth-century Wagner literature. Those interested in the composer's personality and his place in musical history will find Runciman's sharp judgments and concrete observations a valuable counterpoint to more hagiographic accounts.

I finished Runciman’s Wagner book feeling oddly protective of the man’s music, even where his own essays muddy things. There’s a gentleness in separating the art from the argument, and that lingered. Music: An Art and a Language — Key Ideas to Explore holds a similar quiet patience, letting the notes speak without forcing them to explain themselves. It feels like sitting with someone who hears, rather than judges.