By Sam Hawke
Today, Richard Wagner turns 200 (although, notably, he’s been dead for over 130 years). On any reasonable view, Wagner was one of the greatest geniuses who ever lived. His operas are some of the most moving, absorbing, and rewarding of any artistic works. Whilst, as the philosopher Bernard Williams wrote, he was not “necessary” for the development of Western music in the manner, say, of Mozart, it’s very difficult to conceive of what much 19th and 20th century music – even art in general – would have been without him.
But, as Magee notes, “people quite often describe themselves as feeling guilty about enjoying Wagner.” His appropriation by the Nazi regime (both historical and perceived) and his revolting, truly shocking anti-semitism – in particular with his notorious and influential essay, ‘Jewishness in Music’ – have made many feel that their enjoyment of Wagner is subject to caveat. He has retained the status of a ‘controversial’ composer, whose position in the Western canon, not to mention German history, appears subject to continual ‘reassessment’.
Last Thursday, a friend (one of the editors of this blog, Sam Bright) and I attended a talk on India’s economy at the Frontline Club in West London. The discussion was billed as centring on Oliver Balch’s new book, India Rising. As its title suggests, it expresses a particular view of India’s development trajectory.
