What to read after Richard Wagner?

"Ronald Taylor has set out to provide in a single volume a substantial all-round life-and-work to place alongside the many specialist and partial studies of Wagner. He essays to cover all main aspects of Wagner within a coherent biographical framework, basing his account on primary sources such as Wagner's autobiographical writings and letters, the reminiscences of Liszt, Nietzsche and other friends and associates, and the complete diary of Cosima, first published in 1977. The restless existence that Wagner led from his schooldays to the end of his life, his revolutionary activity, his love affairs, his pursuit of luxury and his perpetual debts, his extraordinary self-centredness and manipulation of others, the famous men and women around him, the heaven-sent patronage of the lonely and eccentric arch-romantic King Ludwig II of Bavaria, the building of his personal temple, the Festival Theatre in Bayreuth--this is the stuff of absorbing biography. And there can be scarcely any other composer whose life was so bound up with the events of his time, and so compellingly illustrative of them, as Wagner's. The 1830 Revolution in France and the European revolutions of 1848 and 1849, the heady radical and hedonistic notions of the Young German movement, the philosophy of Schopenhauer, the urge towards German political unification--these played crucial parts in moulding his mind. Ronald Taylor not only discusses Wagner's compositions as works of art, but shows how each of them, from Die Feen to Parsifal, is grounded in its creator's intellectual and spiritual development. He considers, for example, the allegorical significance of The Ring in terms of Wagner's views on society and human relationships, the indelible mark left by the experience of being spurned by the bourgeois taste of 1830s Paris, and demonstrates how a work which contains such nationalistic elements can at the same time be one of the overwhelming achievements in European culture. The elaborate structure of ideas and theories that surrounds Wagner's music is further revealed by succinct accounts of his political, social, and musical thinking at all periods of his career as expressed in his key writings on culture and society, the role of the artist in the community, the musical scene in nineteenth-century Europe, and many other subjects. In a postscript the main lines of the controversies--musical, philosophical and psychological--that have raged over Wagner from his lifetime onwards are shown in a balanced selection of statements by prominent, and diverse, figures such as Nietzsche, Tolstoy, Debussy, Stravinsky, Thomas Mann, George Bernard Shaw, Bruno Walter, Adorno and Boulez." --Jacket.