Tag Archives: Richard Wagner

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The Wagnerian Drama

ChamberlainWagner265 words

Houston Stewart Chamberlain
The Wagnerian Drama
Edited by Alex Kurtagić
London: The Palingenesis Project, 2013
188 pages

hardcover only: $35

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The Hero at 150
Remembering Richard Strauss:
June 11, 1864–September 8, 1949

Max_Liebermann_Bildnis_Richard_Strauss3,466 words

In addition to being the fourth anniversary of Counter-Currents going online, June 11, 2014 was the 150th birthday of Richard Strauss, the German Romantic composer and conductor. Strauss belonged to the last generation of the Romantic era, along with such composers as Edward Elgar (1857–1934), Giacomo Puccini (1858–1924), Gustav Mahler (1860–1911), Jean Sibelius (1865–1957), Ralph Vaughan Williams (1872–1958), and Sergei Rachmaninoff (1873–1943).  Read more …

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Remembering Richard Wagner:
May 22, 1813–February 13, 1883

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Richard Wagner was born 201 years ago today in Leipzig in the kingdom of Saxony. He died on February 13, 1883 in Venice. As an artist, intellectual, author, and cultural force, Wagner has left an immense metapolitical legacy, which is being evaluated and appropriated in the North American New Right. I wish to draw your attention to the following writings which have been published at Counter-Currents/North American New RightRead more …

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The Counter-Currents 2013 Fall Fundraiser
My Ten Favorite Books of 2013

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Dear Friend of Counter-Currents:

Since our last update, we received fourteen new donations totaling $945, for which we are most grateful. That means that our total is $41,410.29, which means that we are now $8,589.71 away from our annual goal of $50,000.

If it is important for you to be able to deduct your donations from your US Federal income taxes, please contact me at [email protected]. Read more …

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Tristan & Isolde

John William Waterhouse, "Tristan and Isolde Sharing the Potion," 1916

John William Waterhouse, “Tristan and Isolde Sharing the Potion,” 1916

4,526 words

From D’Annunzio’s novel Il trionfo della morte (The Triumph of Death, 1894)

Translated by V. M. Crawford

Giorgio Aurispa had not forgotten a single episode of his first religious pilgrimage towards the Ideal Theatre; he could recall every instant of his extraordinary emotion in that hour when he had first seen on the fair hillside, at the further extremity of a long leafy avenue, the building dedicated to the supreme festival of Art; he could reconstruct the amphitheater in its solemn vastness, girdled by columns and arches, the mystery of the Mystical Gulf. Read more …

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Wagner Bicentennial Symposium 
Wagner’s Place in the Germanic Tradition
Part 8: Gelassenheit

brunnhildesimmolation2,275 words

Part 8 of 8

Gelassenheit

We can say that the plot of the Ring is simply this: Western man, in the person of Wotan, finally awakens to the destructiveness of his thumotic nature, and wills his own end. (See my review of Duchesne’s Uniqueness of Western Civilization for a discussion of how Western man is preeminently thumotic man.) Read more …

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Wagner Bicentennial Symposium 
Wagner’s Place in the Germanic Tradition
Part 7: Siegfried & Götterdämerung

siegfriedandrhinemaidens3,645 words

Part 7 of 8

Siegfried

If Wotan is the main character of the Ring, Siegfried is its hero. However, in dealing with the character of Siegfried we do not depart from our discussion of Wotan at all. This is because Siegfried, like many of the other characters in the Ring, is a kind of hypostatization of an aspect of Wotan himself.  Read more …

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Wagner Bicentennial Symposium 
Wagner’s Place in the Germanic Tradition
Part 6: Das Rheingold & Die Walküre

Arthur Rackam - Die Gotterdammerung__sqs2,707 words

Part 6 of 8

Das Rheingold

When the events of Das Rheingold begin, the Wotan-Loge relationship is already well-established, and the primeval crimes described earlier are long past. However, the opera begins with yet another crime against nature: Alberich’s theft of the Rhinegold. Read more …

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Our Wagner, Only Better:
Harry Partch, Wild Boy of American Music, Part 3

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harrypartch[1]Part 3 of 3

Lacking the notion of radical traditionalism, Partch’s audiences tended to misunderstand him, by assimilating him to either of two reassuringly familiar roles: as either an “Orientalist” or some kind of “avant-garde” radical.

These were two things that infuriated Partch as failures to understand what he was doing. The first, beloved of lazy though positive reviewers and polite guests, was to say something like “It’s very Oriental, isn’t it?”[1] In a very superficial sense, it is—it seems mostly gongs and mallets, with nary a string instrument to be found— Read more …

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Wagner Bicentennial Symposium 
Wagner’s Place in the Germanic Tradition
Part 5: The One-Eyed God

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Part 5 of 8

The story of the Ring involves four ages, similar to those taught in Tradition.

The Age of Titans is the period represented by figures somehow more primordial than the gods: Erda, the Norns, and possibly the Rhine daughters. Events in this age are not depicted in the Ring; they are merely referred to (primarily in Götterdämmerung).

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