Wagner Potpourri - Audio and Video links

I had a lot going on this week, so I am taking a writing break, and instead consolidating in one post a large number of audio or video links about Wagner.  These are not links to his operas, because those are easy to find with a Youtube search. Instead, these links are to a wide variety of things about or related to Wagner.  Some of them have been elsewhere on the blog, but I wanted to consolidate them here for ease of finding them.  I've embedded my favorites, and given links to the rest.

Musical Commentaries and Spoofs

First up is the most brilliant thing ever done on Wagner’s anti-Semitism as far as I am concerned. Yes, it’s a repeat from earlier in the blog, but it’s the best!  From the genius of Larry David in the Curb Your Enthusiasm episode “Trick or Treat.” The beginning:



And the denouement:

 

This next item is from the 1943 film  Hi Diddle Diddle with Pola Negri, with Brünnehilde’s famous bit from Walküre and the Pilgrim’s Chorus from Tannhäuser—to the point of tedium, at least for the Wagners.  Check that out in the trippy wallpaper:

Below is another repeat, Anna Russell’s lecture on The Ring. (The first part is embedded, the second two parts are links.)  But if you haven’t seen it, it is certainly one of the great comic monologues of all time, and a good introduction to The Ring at the same time:



The second part is here.  The third part is here.

There are two 2 1/2 minute introductions to The Ring out there, both worthy of viewing:  Here is one that does it with music and speech balloons; here is another that does it via sketching with narration.  Together, you will have it down!

And then, there is Bugs Bunny in What’s Opera, Doc.  This is a weird Italian version, because Warner Bros. had them pull down the English versions for copyright infringement.  And I would have embedded it, but they didn’t allow it.  Damn them. Anyway, here is the link.  For those who don't know the music well, the cartoon uses a fusion of music from Tannhäuser, Flying Dutchman, Rienzi and The Ring.

If you are interested in musical structure, this one is about the Wagner’s musical language in Tristan und Isolde.  Part two is here.

Another repeat, but one of the best things I have ever heard (or read) on Wagner, is Nicolas Spice’s lecture entitled “Is Wagner Bad For us.” You can read or listen here.   Or download the podcast here.

Finally, here you can find the original John Culshaw lectures on The Ring, which are excellent (scroll to the bottom of the page). This link gives you more than that, though.  The site by Richard Tryhall also features “The Passion, the Myth and the Mania,” another good radio broadcast about The Ring, among other things.

Biographical documentaries and films

The best documentary about Wagner available online is from The Great Composers series from PBS. There is a lot of nonsense in it, so take the commentary with a grain of salt. For instance, they have a bit from an an Auschwitz survivor who says Wagner was “the person who was the first to preach a separation of the races. The first, in fact, who created the notion of a nation of masters.” This is just utter and complete nonsense; Wagner did nothing close to either thing. So, in this sense, the documentary does the so-called “objective balance” that means quoting “both sides,” but in an uncritical manner. That said, it is fairly interesting and accurate on most biographical details and of high quality.

Here is a shorter (34 minutes) straight-forward documentary biography.  However, see the warning in the comment section below about it’s (lack of) accuracy.

The most prominent film biography of Wagner is the multi-part BBC production starring Richard Burton. While the film quality is high and the music is great, Burton is crap as Wagner. He plays him as unrelentingly dour and insensitive, and that just wasn’t his personality, at least the majority of the time. He was manic, upbeat, fast-talking, full of wit and humor. All the descriptions I have read of his personality bring to mind someone like Robin Williams. Yes, he could be mean, cutting, angry, and hysterical but he was more often sweet, kind, funny and engaging. So, the most essential part of the film is just completely off. I wrote a longer critique of this series at the end of my bibliography here. For those who are, nevertheless, interested, the full series is here. However, I would suggest it would be better to see it in these four parts: One, Two, Three, Four.

Here is a documentary on the making of the the influential Patrice Chereau Ring in 1976 at Bayreuth, including the filming which was shown in the USA on PBS in 1983.  It is immediately followed on the same Youtube broadcast by the Stagehand’s Ring, about the San Francisco Ring production from a backstage point of view.

This is Stephen Fry’s documentary on his attempt to square his passion for Wagner with his guilt as a Jewish man (with Spanish subtitles!). Part biography, part fan worship, part exploration, it’s interesting and Fry is always charming. This is an oddball thing that doesn’t really fit the heading, but Fry hosted a “debate” between an advocate for Verdi and an advocate for Wagner as to who was the most important figure, with musical excerpts from both men’s works.  It is entertaining though silly in many ways.

For those interested in Wagner’s benefactor, King Ludwig II, here is a documentary biography.

Musical Style Adaptations and Parodies

The above “Happy Birthday to You” is Tristan-style.  John Phillip Souza arranges the “Star-Spangled Banner,” Tannhäuser-style, here. Souza also decided Parsifal could be a march (really??).  Listen here.

Here is Wagner’s Ring on piano for four hands by Gabriel Fauré and André Messager, described as “a satirical set of brief dances on the main themes and leitmotifs of Wagner’s Ring. Listeners familiar with the Ring Cycle will immediately recognize the melodies being parodied.”  

For jazz adaptations of Wagner, below is Stan Kenton’s orchestra doing “Ride of the Valkyries.”

Here’s a German brass band doing a Wagner medley, Dixieland style. 

And here is Valery Caper’s “Winter’s Love,” transforming the music of Siegmund and Sieglende into a bossa nova, from the album Wagner Takes the A Train.  The title track, for which I could not find a link, combines 29 Wagner Ring motifs into a cool jazz piece.

The adjective “Wagnerian” and more

This week I returned to Santa Cruz from our half-of-the-year home in Hilo.  Consequently, I don’t have the time to write a post on the current topic (Wagner’s anti-Semitism). Hopefully, I am able to get into the swing next week.  For this week I thought I would play with two short subjects:  Wagnerian adjectives and Wagner’s Bacon number (by my rules, he has one).

First, though, I wanted to take the time to thank my partner and greatest supporter, Leslie.  She has patiently listened to me rant for many years, has encouraged me to write this blog, put up with carting all the Wagner papers and books to and from Hilo, works on household stuff while I am writing and, very helpfully, edits my posts.  She is fantastic and I wouldn’t have done it without her.  So thank you so much, sweetie. [Ed. note: you’re welcome!]

Oh, and Leslie takes trippy pictures for the blog.

Also, thanks, Steve, for arranging access to the University of Hawaii, Hilo, library resources.

The Adjective “Wagnerian”

Merriam-Webster defines Wagnerian as “of, relating to, characteristic, or suggestive of Wagner or his music, stage operas, or theories.”

All the other dictonairies agree with this definition.  But that is just too vague and, essentially, wrong!  Come on, when used as an adjective, we all know it means something along the lines of over the top, massive, loud, grandiose, overwhelming, bombastic or pompous. But while those characteristics can reasonably be laid on his personality (and, arguably, to his notion of the “total work of art”), they really are misplaced regarding his music as I argued here. 

If I were to write “Wagnerian sensitivity,” most any reader would think that was intended as an ironic statement, meaning the opposite.  Yet any one who listens to Wagner’s music will find it extraordinarily sensitive.  It is, in fact, a vital characteristc of his music, but no one would know that who didn’t listen and only knew his reputation, as shown clearly by the adjective usage associated with him.  It’s a shame, really, but what are you gonna do? Just enjoy the adjectives as they come; please know that they don’t truly refer to the music, but to the man and his plans.

Here are a just a few. Please send in your favorites:

“Wagnerian slabs of sauerbraten,” from The Corrections, page 392.

“Wagnerian toothache,” from Letting Go, page 67.

“…the drama was at the same Wagnerian pitch I was beginning to become accustomed to,” from Portnoy’s Complaint, page 190.

“The two somewhat grotesque Wagnerian figures marched in waddling footsteps,” from Bourne Supremecy, page 659.

“As my bladder chimes in with a Wagner reveille…,” from Positively Fifth Street, page 20.

“Heil Hitler was used as a Wagnerian, pagan-like chant,” from Rise and Fall of the Third Reich, page 8.

“Wagnerian thunder crashed in the background,” from The Moon is Down, page 22.

“White trash developed a runic system of Wagnerian over-statement: monster trucks, nitro-burning funny cars, seven-foot wrestlers…,” from Redneck Manifesto, page 23.

“Wagnerian Smorgasbord,” from The Cheese Plate, page 103.

“The chorus was a massive Wagnerian throng…,” from First in His Class, page 44.

“…a weapon of near-Wagnerian aggression and power,” from A Supposedly Fun Thing I Will Never Do Again, page 231.

“Wagnerian proportions,” from Art Now, page 39.

“Wagnerian heights,” from All Music Guide to Rock, page 8.

“Wagnerian grandiloquence,” in The A List, page 184  (seriously redundant, this one).

“Wagnerian orgasms from the room next door,” from Red Gold, page 85 (I think I want some of these).

“Only relatives, or creditors, ever ring in that Wagnerian manner,” from The Importance of Being Earnest, page 23 (gotta love Oscar Wilde).

Wagner’s Bacon Number

I assume most know what a Bacon number is, but for those who don’t, read about it here. 

Now, you might wonder how Wagner can possibly have a Bacon number. Well, I had to expand the definition to include operatic productions (including composer or conductor).  In such a cheaty way, Richard Wagner, who died in 1883, has a Bacon number of 4!  This gives me pleasure for some hard-to-fathom reason.

It goes like this:

Wagner wrote operas that his son Siegfried conducted.

Siegfried conducted several Wagner operas that Lauritz Melchoir sang in during 1928.

Lauritz Melchior was in the film The Time for Keeps in 1942 with Kenneth Tobey.

Kenneth Tobey was in Hero at Large in 1980 with Kevin Bacon.

If you have been in a film, it is very hard to not have at least a Bacon number of 3. Hell, I was glimpsed in Gimme Shelter, so I have a 3 (via either Keith Richards, Mick Jagger or, ironically, the Hell’s Angels leader Sonny Barger. If you don’t know why Sonny is ironic, just ask me.) In fact, I will send one dollar to you (via paypal) if you can find an actor or actress that is commonly known who has a 4. Two bucks for a 5.  Three bucks for a 6.  For the game, “known” means known to my movie fanatic friend, Harry.  You can only win once, so make it a high dollar one!

To find any actor’s Bacon number, go here.

This concept of the Bacon number is similar to the mathematical Erdös number. A prolific mathematician, Paul Erdös cowrote papers with many folks. Thus, the number relates to degrees of separation between authors of academic papers to him.  If you know anyone in math-related research fields, ask them their Erdös number; they will know it (or it is pretty darn high). 

For Hollywood types who are scholarly, or scientists who are worldly, it is possible to obtain the rare Erdös/Bacon number.  For instance, Colin Firth has an Erdös number of 6, and a Bacon number of 1, so he has the combined number of 7. Natalie Porter has a combined number of 6. Impressive, Natalie!  On the science side, Physicist Richard Feynman has a 3 Erdös and a 3 Bacon, so another 6.  Carl Sagan also has a 6.  So, isn't that fascinating?  

I know this all has very little do with Wagner, but I am indeed tripping, as in this urban dictionary definition: “to dwell, or spend excess energy, on a topic or person for an unreasonably long period of time.”