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The ultimate seduction: revisiting the case of Wagner

Wagner aimed to overthrow 19th-century silliness and replace it with a new "music drama".

Still revered and reviled, misunderstood and misappropriated, Richard Wagner was born 200 years ago, on 22 May 1813. Most people agree that Wagner is not like other composers. His music seems to reach parts that other music doesn’t reach, something “outside the province of reason”, as his biographer Curt von Westernhagen put it. Wagner’s music exerts an irrational hold over people of wildly diverging tastes and philosophies, including many who aren’t otherwise particularly interested in music at all.

Thanks to Wagner, my own musical education (still very incomplete) has been back to front. It started with Wagner, from where I’ve had to travel through musical history in reverse. Having immersed myself in the life and work of a great revolutionary, only later did I explore the classical tradition that Wagner vigorously challenged and permanently altered.

A chance conversation with a friend at university led me to sign up for a course called “Wagner and German History”. My logic was simple and ignoble. Given the choice between a year of saturation-level research on the Black Death or spending my afternoons “studying” by lying down listening to opera, Wagner won hands down. The first Wagner lecture proved I’d been even luckier than I thought. Our professor, Tim Blanning, closed the blinds and played us a recording of the Prelude of Lohengrin. I was hooked. Most proper addictions have to be worked at. Wagner got into my bloodstream instantly.

Wagner is an unusually interesting composer; he has always been a “case” rather than just an artist. First, sadly but inevitably, there is the unavoidable if wildly overstated issue of his influence on Hitler and his misappropriation by the Nazis.

Secondly, Wagner did much to reposition and advance the status of the artist in the 19th century. It is hard to imagine a more complete triumph for a composer than the building of an entirely new type of theatre, the Festspielhaus in Bayreuth, to make certain that his masterwork (The Ring) was staged in an appropriate environment. Wagner was an inverse outsourcer: he craved, and ultimately achieved, complete control. (He might have admired the sentence that ended Prince’s album sleeves from the 1980s: “All songs produced, arranged, composed and performed by Prince”.)

The scale of Wagner’s struggle and ingenuity is remarkable by any standards. In his twenties, he had failed to establish himself in Paris, the centre of the operatic world. He then endured decades of poverty, debt and exile, constantly struggling to secure performances of his work. Wagner’s ultimate triumph was all the more complete because it was on his own terms. He didn’t just break the rules, he invented a whole new game – the apotheosis of Romantic self-belief.

Thirdly, Wagner talked and wrote incessantly. He left a vast resource of books, articles, letters and diaries. The collected edition of his writing, excluding letters, runs to 16 volumes. It is often said that more books have been written about Wagner than anyone except Jesus Christ and Napoleon. That is untrue, but Wagner certainly made impressive efforts to get the ball rolling himself.

His second wife, Cosima, wrote a diary of extraordinary detail, earnestness and, sometimes, vile prejudice. At university, my fellow students developed a satirical, mock-Wagnerian short-hand, echoing Cosima’s obsession with her husband’s health, habits and opinions. “R has a slight cold,” we would parody, “western civilisation depends on his instant recovery.”

Yet taken together, the vast collected record of Wagner’s theories and opinions adds a further dimension to his career: the relationship between his own creative output and his artistic theorising. Wagner’s manifesto was epic in ambition as well as volume. He argued that the status of art, having reached a pinnacle in ancient Greece, had collapsed to new depths with the bourgeois vulgarity and silliness of much 19th-century opera. It needed to be overthrown. In its place, the artist of the future (ie Wagner) would bring together the techniques of Beethoven and Shakespeare into a single form called “music drama”.

For theory and practice to run in parallel within a single career is, unsurprisingly, more common among writers than composers. Tom Wolfe, for instance, has written didactically about what modern novels ought to be like, the themes they should address, even the process by which they should be written. “It is necessary to have a theory in life,” he has said, “to write well in fiction or non-fiction.” Such certainty suggests that Wolfe is driven by the desire to prove himself right, for the novelist to vindicate the critic.

But isn’t it beneath an artist constantly to be explaining what he is doing – or what he thinks he is doing – or, more cynically, what he wants to be thought to be doing as he goes along? Can we trust an artist who is also a critic? “An artist is usually a damned liar,” D H Lawrence once declared, “but his art, if it be art, will tell you the truth.”

Wagner’s theoretical musings provided Friedrich Nietzsche with the stick he used to beat Wagner in his sparkling attack, The Case of Wagner. Nietzsche had once been an ardent Wagnerian and a friend of the composer.

The Case of Wagner will reward readers who love Wagner as well as those who dislike his music, even those who are entirely indifferent. One of its pleasures, undoubtedly, is its cruel wit and ad hominem attacks. But Nietzsche’s arguments will bring a halfsmile of recognition even to the most dedicated Wagnerian. Even if they disagree with the verdict, it is hard not to enjoy the brilliance with which Nietzsche sets out the anti-Wagnerian case (especially if you have ploughed through volumes of Wagner’s turgid prose).

Here is Nietzsche’s acid summary of Wagner’s voluminous theorising:

Everything Wagner can not do is reprehensible.

There is much else Wagner could do: but he doesn’t want to . . .

Everything Wagner can do, nobody will be able to do after him, nobody has done before him, nobody shall do after him. –
Wagner is divine.

Not every music so far has required a literature: one ought to look for a sufficient reason here. Is it that that Wagner’s music is too difficult to understand? Or is he afraid of the opposite, that it might be understood too easily – that one will not
find it difficult enough to understand? 

Wagner required literature to persuade the world to take his music seriously, to take it as profound.

In reply to Wagner’s virulent critique of conventional operatic style, with its pretty arias and ensembles, Nietzsche made the devastating rejoinder: “A bold habit accompanied Wagner through his whole life: he posits a principle where he lacks a capacity.”

But Wagner’s theories have their intellectual advocates, too. The view that we ought to take Wagner’s artistic and philosophical ideas seriously – the case against The Case of Wagner, if you like – has been superbly taken up by the philosopher and memoirist Bryan Magee in two books, Aspects of Wagner and Wagner and Philosophy. Both are enjoyable and insightful. I can’t, however, completely go along with Magee’s attempt to resuscitate Wagner as a thinker. Instead, I wonder whether Wagner’s incessant theorising was mostly a device for cajoling his own musical and dramatic creativity.

I found myself thinking of Wagner when I read Nassim Nicholas Taleb’s recent book Antifragile. Taleb is best known for his work on finance but he writes just as astutely about the creative temperament. Taleb is brutally bossy: writers should not write too much journalism, they should not hold academic posts, they ought to pursue total independence and gentlemanly autonomy, they must resist any suggestion of professional dutifulness.

With the exception of his solvency, which Wagner would scarcely have recognised, Taleb is thoroughly Wagnerian. But Taleb is not only writing for the reader, I suspect he is setting out a manifesto for his own purposes. His attacks on others are actually a means of reinforcing his commitment to his position, like an adventurer who deliberately blocks off his escape routes. Theory becomes a means of artistic self-bullying. Taleb’s fights with the wider world are partly driven by the desire to make life more difficult for himself, and so, he hopes, more artistically rewarding.

The same reasoning, I think, applies to Wagner’s theories. They are another expression of his heroic personality, an example of Wagner setting an impossibly high bar for himself. He was a pessimist by conviction, in the opera critic Michael Tanner’s brilliant phrase, but an optimist by temperament.

Alongside the question of theory and practice, there is a second dimension to Nietzsche’s case against Wagner. In essence, it is that he was a trickster (his contemporaries often referred to him as a “wizard” or “sorcerer”) a conjurer of false emotions:

Was Wagner a musician at all? . . . There was something else he was more: namely, an incomparable histrio [actor] . . . He became a musician, he became a poet because the tyrant within him, his actor’s genius, compelled him. Wagner was not a musician by instinct

Thomas Mann picked up a similar theme in his essay “Pro and Contra Wagner”. Mann used the term “double focus” (borrowed from Nietzsche) to describe Wagner’s gift for satisfying sophisticated needs while simultaneously gratifying more commonplace ones. The audience is merely subtly charmed, flattered, manipulated. To Mann, it was dishonest artistry.

Even those of us who love Wagner recognise a feeling of resistance, as though we might be, at least partially, being duped or seduced. We don’t entirely trust feelings even as we experience them. Murray Bail, the Australian novelist, captured this disquieting dimension, the way Wagner’s music rolls “across the audience in waves of such open seduction”. Bail added: “I had felt it necessary to put up some sort of resistance – but was pulled in anyway.”

Only occasionally has that voice of doubt been entirely absent from my own experience. Around a dozen years ago, I heard James Levine conduct Die Walküre at the Metropolitan Opera in New York. The final act is dominated by an impassioned argument between the god Wotan and his disobedient daughter, Brünnhilde.

For fear of lapsing into euphoric cliches, I will try to explain the opposite of what I felt at the end of the performance. We have all sat through Hollywood films where we know exactly whose side we are on from beginning to end. We yearn simplistically for a neat resolution of the plot, for good to defeat evil – and that is exactly what happens. But after a moment’s satisfaction, the experience recedes into emptiness, so much so that you begin to resent the candy that was dangled in front of you for the two preceding hours even though you ended up eating it.

The experience of Act III of Die Walküre that evening was as far removed from Hollywood shallowness as I am capable of imagining. Through the combination of music and drama, I had understood the complexity and, above all, the truthfulness of two characters locked in a disagreement that could not be resolved. The experience was qualitatively different from anything I’d known from watching a stage play or reading a novel. Even more revealingly, I was sure that I couldn’t fully explain it in words.

And that is why, I suspect, we are still listening to Wagner 200 years after his birth, why we continue to be drawn in, often with reservations, sometimes more completely and authentically.

Ed Smith is a columnist for the New Statesman and the author of “Luck: a Fresh Look at Fortune” (Bloomsbury, £8.99)

Ed Smith is a journalist and author, most recently of Luck. He is a former professional cricketer and played for both Middlesex and England.

This article first appeared in the 01 April 2013 issue of the New Statesman, Easter Special Issue

BRIAN ADCOCK FOR NEW STATESMAN
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Divided Britain: how the EU referendum exposed Britain’s new culture war

The EU referendum exposed a gaping fault line in our society – and it’s not between left and right.

There are streets in Hampstead, the wealthy northern suburb of London, where the pro-EU posters outnumber cars. A red “Vote Remain” in one. A “Green Yes” in another. The red, white and blue flag of the official campaign sits happily next to a poster from the left-wing campaign Another Europe Is Possible proclaiming that the world already has too many borders.

If you were looking for an equivalent street in Hull, in the north of England, you would look for a long time. In the city centre when I visited one recent morning, the only outward evidence that there was a referendum going on was the special edition of Wetherspoon News plastered on the walls of the William Wilberforce pub in Trinity Wharf. Most of the customers agreed with the message from the chain’s founder, Tim Martin: Britain was better off outside the European Union.

“Far too much Hampstead and not enough Hull” – that was the accusation levelled at the Remain campaign by Andy Burnham in the final weeks of the campaign. He wasn’t talking about geography; Remain’s voice is persuasive to residents of Newland Avenue in Hull, where I drank a latte as I eavesdropped on a couple who were fretting that “racists” would vote to take Britain out of the EU.

Rather, Burnham was talking about an idea, the “Hampstead” that occupies a special place in right-wing demonology as a haven of wealthy liberals who have the temerity to vote in the interests of the poor. The playwright and novelist Michael Frayn, in his 1963 essay on the Festival of Britain, called them “the Herbivores”:

“. . . the radical middle classes, the do-gooders; the readers of the News Chronicle, the Guardian, and the Observer; the signers of petitions; the backbone of the BBC . . . who look out from the lush pastures which are their natural station in life with eyes full of sorrow for less fortunate creatures, guiltily conscious of their advantages, though not usually ceasing to eat the grass.”

For Hampstead then, read swaths of Islington, Hackney, Brighton, Bristol, Cambridge, Edinburgh and Oxford today – all areas that were most strongly in favour of Remain and where Jeremy Corbyn is popular. But Remain never found a tone that won over the other half of Labour England; the campaign struck as duff a note among the diminishing band of pensioners on Hampstead’s remaining council estates as it did on Hull’s Orchard Park Estate.

The rift between “Hampstead and Hull”, in the sense that Andy Burnham meant it, is one that has stealthily divided Britain for years, but it has been brought into sharp focus by the debate over Europe.

Academics use various kinds of shorthand for it: the beer drinkers v the wine drinkers, or the cosmopolitans v the “left behind”. “It’s not just that [Britain] is div­ided between people who buy organic and people who buy own-brand,” says Philip Cowley, a professor of politics at Queen Mary University of London, “but between people who wouldn’t understand how anyone could buy own-brand and people who wouldn’t buy organic if you put a gun to their head.” Equating political preferences with shopping habits might sound flippant, but on 21 June the retail research company Verdict estimated that “half of Waitrose shoppers backed a Remain vote, against just over a third of Morrisons customers”.

The referendum has shown that there is another chasm in British politics, beyond left and right, beyond social conservatism v liberalism, and beyond arguments about the size of the state. The new culture war is about class, and income, and education, but also about culture, race, nationalism and optimism about the future (or lack of it). This divide explains why Ukip’s message has been seductive to former Labour voters and to Tories, and why Boris Johnson, an Old Etonian, led a campaign that purported to despise “elites” and “experts” and spoke of “wanting our country back”.

***

At the start of the campaign, the question that most accurately predicted whether you would back Remain or Leave was consistently: “Are you a graduate?” (Those who answered yes were much more likely to vote in favour of staying in the EU.) Stronger In never found a way to change that and win over those who left education at 18 or earlier. Pollsters also suggested that the much-vaunted Euroscepticism of older voters reflects generations where only one in ten people went to university.

This fissure has been growing for the best part of a decade and a half, but Britain’s first-past-the-post system, which deters newcomers and maintains entrenched parties, has provided a degree of insulation to Labour that its European cousins have lacked. Yet even here in the UK the mid-Noughties brought the brief rise of the British National Party, powered by voter defections from Labour in its strongholds in east London and Yorkshire, as well as the election of the Greens’ first MP on the back of progressive disillusionment with the governments of Tony Blair and Gordon Brown.

In office, both Blair and Brown calculated, wrongly, that Labour’s core vote had “nowhere else to go”. In opposition under Ed Miliband, the party calculated, again wrongly, that discontent with immigration, and the rise of Ukip powered by that discontent, was a problem for the Conservative Party alone.

In a 2014 pamphlet for the Fabian Society, ­Revolt on the Left, the activist Marcus Roberts, the academic Rob Ford and the analyst Ian Warren warned that Labour had “few reasons to cheer about the Ukip insurgency and plenty to worry about”. When the votes were cast in the general election the following year, that prediction turned out to be dispiritingly accurate. Defections from Labour to Ukip led to Labour losing seats to the Conservatives in Gower, Southampton Itchen, Telford and Plymouth Moor View.

For the most part, however, first-past-the-post papered over the cracks in Labour’s broad coalition: cracks that, in the harsh light of the EU referendum, have become obvious. The divide isn’t simply one of class, or income. The social profile and culture of voters in Cumbria are no different from that of voters on the other side of the border – but Scots in the Borders backed a Remain vote while their English peers in the border areas opted for Brexit. Inhospitality towards Brexit proved a stronger indication of city status than a mere cathedral: Vote Leave generally found Britain’s great cities more difficult terrain than the surrounding towns and countryside.

The problem of the fracturing vote is particularly acute for the Labour Party, which for much of the 20th century was able to rely on the Herbivores. In concert with Frayn’s “less fortunate creatures”, they have been enough to guarantee Labour close to 250 seats in the House of Commons and roughly one-third of the popular vote, even in difficult years. But Britain’s EU referendum placed Hampstead and Hull on opposing sides for the first time in modern British political history.

It was Tony Blair who, in his final speech to the Trades Union Congress as Labour leader in September 2006, said that the new debate in politics was not left against right, but “open v closed” – openness to immigration, to diversity, to the idea of Europe. Driven by their commitment to openness, Blair’s outriders dreamed of reshaping Labour as a mirror of the US Democrats – though, ironically, it was Ed Miliband, who repudiated much of Blair’s approach and politics, who achieved this.

At the 2015 election Labour’s coalition was drawn from the young, ethnic minorities and the well educated: the groups that powered Barack Obama’s two election wins in 2008 and 2012. The party was repudiated in the Midlands, went backwards in Wales and was all but wiped out in the east of England. (Scotland was another matter altogether.) Its best results came in Britain’s big cities and university towns.

The Remain campaign gave Labour a glimpse of how Miliband’s manifesto might have fared without the reassuring imprimatur of a red rosette. Britain Stronger In Europe has been rejected in the Midlands and struggled in the east of England. But it also failed to inspire passion in Sunderland, Oldham and Hull – all areas that, for now, return Labour MPs.

***

In appearance, Hull’s city centre is built on blood and sandstone, dotted with memorials to a lost empire and postwar replacements for bombed buildings, all ringed by suburban housing built by the private sector in the 1930s and the state in the 1950s and 1960s. It could be Bristol without the excessive hills, or a smaller Glasgow with a different accent. Unlike in Glasgow or Bristol, however, the residents of Hull are largely hostile to the European Union. Unlike Glasgow and Bristol, Hull is a post-imperial city that has yet to experience a post-colonial second act.

The William Wilberforce is named after a native son who helped destroy the British slave trade, the engine of Hull’s prosperity in the 18th century. The destruction of another local industry – fishing – drives resentment among the pub’s ageing clientele, who were there for breakfast and a bit of company when I visited. They blame its demise squarely on the EU.

Although the Labour Party now has only one MP in Scotland, the back rooms of the labour movement host an outsized Scottish contingent. For that reason – and the continuing threat that the loss of Labour’s seats in Scotland poses to the party’s chances of winning a majority at Westminster – the Scottish independence referendum of 2014 loomed large for Labour throughout the EU campaign.

From the outset, Britain Stronger In struggled to replicate the success of the Scottish No campaign, in part because the price of victory was one that Labour regarded as too high to pay a second time. In Glasgow, in the week before the Scottish referendum, everyone knew where Labour stood on independence – consequently, many voters were already planning to take revenge. The proprietor of one café told me that Labour was “finished in this city, for ever”.

Predictions of this sort were thin on the ground in Hull. Alan Johnson, the head of Labour’s EU campaign, is one of the three Labour MPs whom Hull sent to Westminster in 2015. But even late in the campaign, in his own constituency, I found uncertainty about the party’s official position on the referendum. For that reason, if nothing else, it didn’t have the feeling of a city preparing to break with a half-century-plus of Labour rule, as Glasgow did in 2014. In Scotland, most people I spoke to believed that they were on the brink of independence, which made the eventual result a big blow.

Only among Hull’s pro-European minority could I find any conviction that Britain might actually leave the EU. In September 2014 Kenneth Clarke remarked that Ukip’s supporters were “largely . . . the disappointed elderly, the grumpy old men, people who’ve had a bit of a hard time in life”. To listen to Hull’s Leave voters is to hear tales of the same frustrated potential: they feel that politicians of all stripes have lives entirely removed from theirs. In their defence, they are right – just 4 per cent of MPs in 2010 were from working-class backgrounds.

As for Ken Clarke, he has carved out a second career as every left-winger’s favourite Tory, but that tone of indifference towards the “disappointed lives” of globalisation’s casualties recalls his younger days as a rising star of Margaret Thatcher’s government.

Hull’s residents have been dismissed, first as the regrettable but inevitable consequence of Thatcherite economics, and now as small-minded opponents of social progress and racial diversity. Unsurprisingly, people who feel that their wishes have been ignored and in some cases actively squashed by successive governments of left and right did not expect to wake up on the morning of 24 June to discover that this time, their votes really had changed something.

Equally unsurprisingly, the Remain campaign’s warnings of economic collapse lacked force for people for whom the world’s end had been and gone.

In Glasgow in 2014 Scottish independence was a question of identity in itself, whereas in Hull, hostility towards Europe is the by-product of other identities that feel beleaguered or under threat: fishing, Englishness and whiteness, for the most part.

In Hampstead, a vote for Remain feels more like a statement about the world as you see it. One woman, who walks off before I can probe further, tells me: “Of course I’m voting to stay In. I buy Fairtrade.”

***

Immigration, not the European Union, is the issue that moves voters in Hull. “Britain is full” was the most frequent explanation they gave for an Out vote. Knowing that immigration, rather than the abstract question of sovereignty, would be crucial to winning the contest, Vote Leave tried from the beginning to make it a referendum on border control. Leave’s main theme: the threat of Turkey joining the European Union and, with it, the prospect of all 75 million Turks gaining the right to live and work in Britain.

Although Turkey’s chances of joining the EU are somewhere only just north of its hopes of launching a manned mission to Mars, the tactic worked: according to an ­Ipsos MORI poll released on the morning of 16 June, 45 per cent of Britons believed that Turkey will be fast-tracked into the Union.

That same morning, Nigel Farage posed in front of a poster showing refugees – mostly from Syria and most of them non-white – on the border between Croatia and Slovenia, with a slogan warning that uncontrolled immigration was leaving Britain at “breaking point”. But the row over the poster came to an unpleasant halt just a few hours later as news began to break that Jo Cox, the Labour MP for Batley and Spen, had been shot and stabbed on her way out of a constituency surgery. She died of her injuries a little over an hour later. On 19 June Thomas Mair, who was arrested in connection with the killing, gave his name at Westminster Magistrates’ Court as “Death to traitors, freedom for Britain”.

The circumstances of the killing felt familiar. A little after midnight on 5 June 1968, Robert Kennedy was returning to the Ambassador Hotel in Los Angeles in high spirits. He had just won a crucial victory in the California primary and was well placed to secure the Democratic nomination to run in that year’s presidential election. Going through the kitchen in order to avoid cheering crowds and get straight to his press conference, he was ambushed by a man called Sirhan Sirhan, who fired six shots from a revolver. Kennedy was rushed to hospital, where he died early the following morning.

Five months later Richard Nixon was elected president. The American right held on to the White House for 20 years out of the next 25. Jo Cox’s killing, amid the nativist howling from Farage et al, felt like the beginning of a similar chapter of right-wing advance in the UK.

Labour’s problem, and that of its social-democratic cousins throughout Europe, is the same as the American left’s was in the 1960s. Its founding coalition – of trade unions, the socially concerned middle classes and minorities, ethnic and cultural – is united (barely) on economic issues but irrevocably split on questions of identity. Outside crisis-stricken Greece and Spain, the left looks trapped in permanent opposition, with no politician able to reconsolidate its old base and take power again.

***

When I arrive in Hull, preparations are under way for a vigil in Jo Cox’s honour, but it is the nation of Turkey that is weighing on the minds of undecided voters. On Park Street, residents are divided. Those who have exercised their right to buy and are concerned about their mortgages are flirting with an Out vote but are terrified about negative equity. Those who remain in social housing or the private rented sector are untouched by stories of soaring mortgages. To many residents, the Treasury’s dire warnings seem to be the concerns of people from a different planet, not merely another part of the country. As Rachel, a woman in her mid-fifties who lives alone, puts it: “They say I’d lose four grand a month. I don’t know who they think is earning four grand a month but it certainly isn’t me.”

As Vote Leave knew, the promise that an Out vote will allow people to “take control” always had a particular appeal for those with precious little control – of their rent, of next week’s shift, of whether or not they will be able to afford to turn the heating on next week. Never mind that the control envisaged by Vote Leave would be exercised by the conservative right: the campaign found a message that was able to resonate across class and region, at least to an extent that could yet create a force to be reckoned with under first-past-the-post in Britain.

Four grand a month isn’t a bad salary, even in leafy Hampstead, but in that prosperous corner of north London fears of an Out vote, and what will come after, gained a tight purchase. The worry was coupled with resentment, too, over what would come, should the Outers triumph.

The great risk for the left is that herbivorous resentment is already curdling into contempt towards the people of Hull and the other bastions of Brexitism. That contempt threatens the commodity on which Labour has always relied to get Hull and Hampstead to vote and work together – solidarity. The referendum leaves the Conservatives divided at Westminster. That will give little comfort to Labour if the long-term outcome of the vote is to leave its own ranks divided outside it.

 

Stephen Bush is special correspondent at the New Statesman. He usually writes about politics. 

This article first appeared in the 23 June 2016 issue of the New Statesman, Divided Britain