Nietzsche Contra Wagner
Title page
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| Author | Friedrich Nietzsche |
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| Original title | Nietzsche contra Wagner |
| Translator | Thomas Common, Walter Kaufmann |
| Country | Germany |
| Language | German |
| Subject | Richard Wagner, anti-semitism, philosophy of art |
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Publication date
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1895 |
| Media type | Paperback, hardcover |
| ISBN | (2004 Quadrata ed.) |
| Preceded by | Ecce Homo (1888) |
| Followed by | The Will to Power (1901) |
"Nietzsche contra Wagner" is a critical essay by Friedrich Nietzsche, composed of recycled passages from his past works. It was written in his last year of lucidity (1888–1889), but was not published until 1895, six years after his mental collapse. Nietzsche describes in this short work why he parted ways with his one-time idol and friend, Richard Wagner. Nietzsche attacks Wagner's views, expressing disappointment and frustration in Wagner's life choices (such as his conversion to Christianity, perceived as a sign of weakness). Nietzsche evaluates Wagner's philosophy on tonality, music and art; he admires Wagner's power to emote and express himself, but largely disdains what Nietzsche calls his religious biases.
The sections are as follows:
Nietzsche explains that this book consists of selections from his previous writings. They show that he and Wagner are opposites. Nietzsche states that this book is for psychologists. He excludes Germans from his intended readers.
Nietzsche admired Wagner's ability to express his own suffering and misery in short musical creations. He criticized Wagner's attempt to produce large works.
Nietzsche’s objections to Wagner’s music were physical. His lungs, feet, stomach, heart, intestines, and throat were uncomfortably affected. He was disappointed to find that the music had no pleasing rhythm or melody. Nietzsche claimed that Wagner’s music was a mere means to enhance theatrical posing and gesturing. Wagner was more of an actor than a composer.
Nietzsche wants music to be cheerful, profound, unique, wanton, tender, roguish, and graceful. These qualities are lacking in German music, except for the works of Bach, Handel, and also in Wagner’s Siegfried Idyll. He praises Liszt, Chopin, Peter Gast, and Rossini, as well as all Venetian music. The Intermezzo ends with Nietzsche's poem “Venice.”
1. The concept of Wagner’s “unending melody” is used to designate what Nietzsche regards as the chaotic degeneration of rhythmic feeling. This tendency results in a dangerous use of music to merely produce a dramatic effect. 2. Wagner’s music tries to produce a physically jarring effect on the Biedermeier audience. Mozart’s opera ‘’Don Giovanni’’, in contrast, had a serious music that was cheerful and tender.
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