Semantisierte Sinnlichkeit: Studien zu Rezeption und Zeichenstruktur der Leitmotivtechnik Richard Wagners. By Christian Thorau.
Identifieur interne : 000395 ( Istex/Corpus ); précédent : 000394; suivant : 000396Semantisierte Sinnlichkeit: Studien zu Rezeption und Zeichenstruktur der Leitmotivtechnik Richard Wagners. By Christian Thorau.
Auteurs : Arnold WhittallSource :
- Music and Letters [ 0027-4224 ] ; 2007-08.
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DOI: 10.1093/ml/gcl125
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<article-title><italic>Semantisierte Sinnlichkeit: Studien zu Rezeption und Zeichenstruktur der Leitmotivtechnik Richard Wagners</italic>. By Christian Thorau.</article-title>
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<article-title><italic>Semantisierte Sinnlichkeit: Studien zu Rezeption und Zeichenstruktur der Leitmotivtechnik Richard Wagners</italic></article-title>. By <name><surname>Thorau</surname><given-names>Christian</given-names></name>. pp. <fpage>296</fpage>. Beihefte zum Archiv für Musikwissenschaft, 50. (<publisher-name>Franz Steiner</publisher-name>, <publisher-loc>Stuttgart</publisher-loc>, <year>2003</year>, €66. ISBN <isbn>3-515-07942-4</isbn>.)</product>
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<p>The long-standing conviction that things called leitmotivs contribute crucially to the understanding of Wagner's music dramas shows no signs of diminishing. Even today, <italic>Leitmotive</italic> is the name of the Journal of the Wagner Society of North California, and no. 174 of <italic>Wagner News</italic> (June 2006), published by the Wagner Society of Great Britain, contains an article called ‘The Fate Motive in <italic>Tristan</italic>’ by Ian Beresford Gleaves which begins as follows: ‘It is thought in some Wagnerian circles that too much attention is paid to leitmotives and what they represent. True or not, it is nevertheless a fact that the musical language of all Wagner's dramatic works from <italic>Das Rheingold</italic> onwards depends on leitmotives for purposes of musical characterization and overall integration, and that by the time we get to <italic>Götterdämmerung</italic> there is scarcely a bar anywhere (as Wagner himself observed) that is not motivic in one way or another.’</p>
<p>What makes this ‘fact’ a challenge for listeners, scholars, and all sorts and conditions of Wagnerian, and can still lead to the despairing conclusion that the whole issue is accorded ‘too much attention’, is the enduring complexity of ‘what they represent’, and how they represent it. Faced with a verbal phrase like ‘Semantisierte Sinnlichkeit’ we can appreciate the alliterative association—the degree of audible and visible similarity—between the two words in question. But the affinity between a rising C major arpeggio and the sword brandished by Wotan in the final scene of <italic>Das Rheingold</italic> is of a very different order. The appropriateness of the association may be freely admitted—heroic, or at least decisive, gesture, heroic/decisive music—but that is not to say that some other musical shape could not have established such an association equally well. Are the two things similar in some way akin to verbal alliteration? If not, how do we define the appropriateness of connecting one with the other?</p>
<p>To a large extent, the history of how and in what context leitmotivs have been identified can be written without plunging into the murky waters of wider topics concerning music as a language, or the aesthetic question of how the arts might be said to represent their contents or subjects. In practice, however, any extensive treatment of this history will find it hard to avoid all contact with broader philosophical or critical thinking, and, where Wagner is concerned, reference to his own writings tends to involve attempts at further contextualization of this sort, from both his own and later times. Christian Thorau (whose 2003 book reached <italic>Music & Letters</italic> only in 2006) writes primarily as a historian, and his study is particularly useful for its extensive quotation and illustration from the plethora of thematic guides that flooded the market between the premiere of the <italic>Ring</italic> in 1876 and the principal cut-off point of 1914. Thorau's attempts at wider contextualization are only moderately heterogeneous, however, and as far as modern times are concerned his representative philosopher, Nelson Goodman (<italic>The Languages of Art</italic>, 1968), raises a host of awkward issues for music—discussed only very schematically by Goodman. Unless Goodman himself is contextualized by some consideration of more recent English-language commentators on the topics of music and language, music and metaphor, such as Roger Scruton, Naomi Cumming, Michael Spitzer, and David Lidov, and some consideration of the philosophers and critics they deal with at some length, the results are virtually certain to be unsatisfactory.</p>
<p>Thorau's pragmatic solution, which is to move smartly back from philosophy to the more specifically musical ideas of Adorno and Dahlhaus, in particular, is understandable, given the primary thrust of his treatment, and the overtly descriptive aims of his materials: but it leaves an air of unfinished business over the subject which affects its specifics as well as its generalities. At an early stage, Thorau quotes a characteristic Dahlhaus flourish: ‘The practice of giving Wagnerian <italic>leitmotive</italic> names which fix an identity to them once and for all is as questionable as it is unavoidable: questionable, because the translation of musical expression into precise verbal terms is never satisfactory; unavoidable, because the idea of wordless, instinctive understanding of musical motifs, without the need for mediation through language, is an illusion.’ Dahlhaus then declared with incontrovertible common sense that ‘the uncertainty over nomenclature … is not a matter that would be solved by more exact exegesis, but is the reflection and consequence of one of the characteristics of leitmotivic technique itself’. Given this perspective, one can appreciate the comedy of apparent certainty which so many naming systems claim (what Thorau neatly terms ‘Benennungswut’, p. 213), while still appreciating the resourcefulness and ingenuity with which the myriad followers of Hans von Wolzogen and his antecedent, Gottlieb Federlein, not only varied and inflected that particular catalogue of motifs, but used different publishing techniques, including annotated scores and librettos, to press their individual if not always very distinctive cases. The results are, in one of Thorau's favourite images, labyrinthine. But before beginning to trace the outlines of the labyrinth itself, he gives due care and attention to Wagner's own ideas (mainly from <italic>Oper und Drama</italic>) about how audiences should ‘receive’ what confronted their ears and eyes in the theatre; to how this became intricately involved with attempts to make Wagner's works accessible and acceptable; and, most importantly of all in Thorau's scheme, to the significance of Liszt's essay on <italic>Lohengrin</italic> as laying down a basis for how those (new) works could be positively and plausibly introduced in verbal form.</p>
<p>Naturally enough, the emphasis in such writing was not on large-scale formal subtleties, analogies with symphonic structure, or even on striking harmonic processes which worked out the long-term implications of such drastic events as the <italic>Tristan</italic> chord. The trick was to seize on depictive images of satisfyingly wide-ranging character—especially those to do with nature and water—and to produce lists which could be grouped into categories to facilitate comparison in the interests of uncovering the remarkable unity of these vast compositions. In Thorau's words, ‘Das dominierende Bild für die Hörerfahrung der neuen Musik Wagners ist die Naturmetapher des Wassers und des Meeres in vielfältiger Variation’ (p. 66). Such eminently audible attributes were underlined in order to provide audiences with lifebelts so that they could survive immersion in the turbulent torrents of the new dramatic music, and they provided the basis for all those metaphors, such as ‘cloakroom tickets’ (Garderoben-Nummer) or ‘visiting cards’, through which musical sophisticates like Claude Debussy mocked attempts to make Wagner accessible to non-sophisticates.</p>
<p>By bringing discussion of Wagner's 1879 essay ‘On the Application of Music to the Drama’ into this preliminary survey, Thorau complicates the reader's task. It needs to be remembered that in 1879 Wagner was reflecting his own reception of the early thematic commentaries and, in particular, was aiming to distance interpretation of his methods from the traditional symphonic treatment of themes (traditional operatic melody being irrelevant by definition), especially with respect to that aspect of harmonic character which the thematic guides were prone to play down. It is a well-founded complaint that it was in focusing on the thematic shape at the expense of the harmonic context that most <italic>Leitfaden</italic> misled and oversimplified. But it is all too easy, especially for musicologists, to rubbish attempts to provide immediate and non-specialized ways into complex and challenging music, attempts which implicitly contained the hope that those able to benefit from more sophisticated and considered studies would in due course feel encouraged to explore them.</p>
<p>Simply because there is an obvious difference in kind between Hans von Wolzogen's work in the 1870s and Alfred Lorenz's in the 1920s, the latter complements rather than invalidates the former. And the whole point about popularizing Wagner's works was that, not least on account of their ‘all-too-human’ inconsistencies and culturally dubious elements, they were eminently popularizable. But by the time we reach what Thorau terms the ‘proto-wissenschaftlicher’ efforts of Albert Heintz's <italic>Wegweiser durch die Motivenwelt der Musik zu Richard Wagners Bühnenfestspiel</italic> (1893) the detailed interleaving of verbal narrative with music examples providing the harmonic context (plus indications of orchestration) for those able to profit from this is an admirably precise and accurate vade mecum, both for new listeners and for those who by 1893 might be expected to be achieving a reasonable familiarity with the <italic>Ring</italic>. And while it is entertaining to go through Thorau's selection of polemical critiques, including a spoof account of the thematic function of arpeggios in <italic>Don Giovanni</italic>, such a specific comparison reinforces the point that the role of thematic features in Wagner's new structures was rather different from the role of musical materials in number operas.</p>
<p>Near the end of his book Thorau quotes Wagner's letter to Mathilde Wesendonck (24 Aug. 1859) with its extraordinary reference to ‘my music, with its delicate, oh so delicate, mysteriously flowing humours [Säften] penetrating the most subtle pores of feeling to reach the very marrow of life, where it overwhelms everything that looks like sagacity and the self-interested powers of self-presentation, sweeping away all that belongs to the delusive madness of personality and leaving only that wondrously sublime sign with which we confess to our sense of powerlessness’. The mundane hermeneutics of leitmotivic analysis give audiences some defence against would-be hypnosis by encouraging them to think as well as feel, to reflect as they react. As Carl Dahlhaus might have said, even those most sceptical of the value of theme-spotting in Wagner cannot fail to accept its necessity. For all its philosophical, contextual loose ends, Christian Thorau's admirable work is the fullest account we have of the history of this vital enterprise.</p>
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