The Ring of Truth

September 1, 2017

The four operas that make up German composer Richard Wagner's Der Ring des Nibelungen, or the Ring cycle, are among the greatest operatic achievements of all time. Scruton (The Aesthetics of Music) here offers what must be a definitive take on these works. After explaining how Wagner came to compose the pieces from 1848 to 1874, the author gives a detailed synopsis of the plot of each, with numerous references to the music. Then he describes "how the music works," including detailed discussion of the themes that infuse the score and enhance the drama. Another section deals with the numerous characters and their symbolic significance. Scruton's presentation is grounded throughout in a deep understanding of the culture of Wagner's era. One of the most useful sections is an appendix that lists the 186 leitmotifs of the work and their musical notation (the text makes numerous references to these). Erudite is the first word that comes to mind as one reads this masterly account. Despite its high conceptual level, which encompasses music, philosophy, and history, the writing is clear and persuasive. The author also includes views of other scholars that are opposed to his. VERDICT Highly recommended without reservation to the cognoscenti, who will profit enormously from this impressive scholarship.--Edward B. Cone, New York

Copyright 2017 Library Journal, LLC Used with permission.

August 1, 2017
The noted philosopher and writer takes on Richard Wagner's operatic masterpiece in this thorough critical study.The cultural resonance of "Ride of the Valkyries" has helped ensure the lasting fame of Wagner's four-opera cycle Ring of the Nibelung, which premiered in 1876, outside of the world of opera, while its continued influence on music and the dramatic arts secures its creative legacy. Though that legacy has been tainted by the historical association of Wagner's music with the Nazi regime, as well as his own anti-Semitic writings, there is no denying the greatness of his artistic achievement. Scruton (Confessions of a Heretic: Selected Essays, 2017, etc.) views the stigma attached to Wagner's work as a mistake in need of correction. Despite Wagner's personal failings, his "vision is nevertheless as important to the times in which we live as it was to those of its creator." The author argues that most modern productions of the cycle fail to adhere to this vision: to illuminate the truth of the human condition, with art replacing religion in that role. Though the scope of the subject matter may seem intimidating, Scruton lays out his argument in a clear, coherent, and readable manner. He addresses--but does not dismiss--the controversy over Wagner's personal views, details the cultural and historical background that informed his writing, and helpfully recaps the story before turning to his own interpretation and analysis. The author also deals with the challenge of discussing the crucial import of the music on the meaning of the drama--not merely as an accompaniment to the words, but rather "the channel through which the emotions of the drama flow." An index detailing the various leitmotifs used in the cycle, while not unique to this work, is nonetheless of great use to readers seeking further insight. Scruton's status as a pillar of British conservatism is reflected in his analysis, but it need not discourage readers of any political stripe from appreciating his wisdom. An admirable, welcome effort to illuminate one of the most significant artistic achievements of the modern age.

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