which had long dwelt in Wagner's mind. When in 1852 he revived the
idea, conceived in 1849, of writing a drama on incidents in the life
of Jesus, he told Mrs. Wille, his Zurich friend, that he thought of
showing Christ as beloved by Mary Magdalene and resisting her. Again
in "The Victors," the Buddhistic drama, which he only sketched, we
find that Ananda, the hero, renounced love and was perfectly pure,
while Prakriti, the heroine, after loving him in vain, herself
renounced love and was received by him into the true faith. It
was with these plans still in his mind that Wagner developed the
suggestions of the original sources of his drama into the wonderful
scene of the temptation in "Parsifal," and their influence also was
potent in the composition of the character of Kundry. Mr. Kufferath,
in his interesting study of "Parsifal," says that Kundry was to
Wagner's mind simply another incarnation of the eternal woman, of
whom Mary and Prakriti were earlier embodiments. And, indeed, the
extraordinary capacity of Kundry's nature makes this theory more
than merely plausible. Another fact which adds to the value of Mr.
Kufferath's idea is that, according to one of the earlier German
legends, the real cause of the enmity of Herodias for John the
Baptist was his refusal of her love. When the head was presented to
her on a charger, she wished to kiss the dead lips, but from them
was breathed upon her a blast of breath so fierce that it sent her
wandering through the world as the unfortunate Francesca flew through
the Inferno forever. This stormy wandering was a peculiarity of the
Valkyrs, and thus with the union of so many elements in the history
and nature of Kundry, we come easily to a belief that Wagner intended
to make her one of the aspects of the "eternal feminine." Beautifully
he gives her rest when the same blessing is conferred upon the man
whose life she ruined. She has repented, but till her victim is freed
from the consequences of the joint sin, she, too, must suffer her
punishment.
In the character of Parsifal himself certain traits are accentuated
by Wagner. These are the complete innocence and the compassionate
nature. With compassion Wagner had a deep sympathy. He was so tender
to dumb animals and to animate creatures in general that he felt
readily the essence of pity which plays so important a part in the
old legends. But the older Parsifals, when on their travels, were
warriors; they fought their way through life, felling ruthlessly all
who opposed them. Wagner's Parsifal is all tenderness and pity. Here,
again, we meet with the powerful influence on Wagner of Schopenhauer.
Enlightenment by pity is the ethical principle of Schopenhauer's
philosophy. Something, too, must be attributed to Wagner's interest
in religion. Liszt, an emotionalist in worship, inspired Wagner with
emotionalism in sacred matters, and we may infer that certain rapt
states of mind, not uncommon to thinkers of the hysteric sort,
worked in the formation of "Parsifal."
For the rest there is little to say. Gurnemanz combines the persons
and acts of the Gurnemanz and Trevrezent of the epics. Klingsor
follows the outline provided by the earlier stories, but Wagner has
added one feature not found in them. This magician, with his soul
tainted with some unknown sin, was unable to slay the lust which
ever burned in his bosom, and in order that he might win the Grail
he mutilated himself. Here we come upon another resemblance between
this story and that of the Nibelung hoard. To win the gold Alberich
renounced love. We have already seen how the Grail resembles the
hoard, and this incident in the life of Klingsor, added by Wagner,
brings the two stories even closer together.
In telling the story, Wagner has pushed to the front all the most
beautiful elements, and has accentuated the Christianity of the tale.
He has preached a sermon on the necessity of personal purity in the
service of God, on the beauty of renunciation of sensual delight,
on the depth of the curse of self-indulgence, and on the nature
of repentance. But let it not be supposed that the influence of
"Parsifal" rests wholly on the ethical truths contained in it. Its
real power is in Wagner's perception of the emotional force of the
action of certain ethical ideas upon human nature. By centralising
the action of his drama on these emotions, he has put before us a
tremendous play of the inner life of man's soul when struggling with
its most formidable problems, its own most irresistible passions.
"Parsifal" is a religious drama, but it is one for the same reason
that the "Prometheus" of Æschylus was. It is a problem play also,
and for the same reason as any modern French social drama is. Its
boldness lies in the fact that it readopts the stage as the medium
for the publication of tenets of religious belief and for the
exhibition of the naked soul besieged by lust and tried by the moral
law. That use was common in the time of the Greek tragedians. It is
an exemplification of Wagner's theory that the theatre ought to be an
artistic expression of the thoughts and the aspirations of a people.
Its moving power lies in its grasp on the secret life of every man
and woman who goes to witness its performance.
III.--The Musical Plan
The musical plan of "Parsifal" is one of peculiar power and its
outward aspects are of great beauty. The first act is almost wholly
devoted to an exposition of the fundamental thoughts of the drama. We
are introduced to the realm of the Grail, the suffering of Amfortas,
the eagerness of Kundry to serve and her enslavement to the will
of Klingsor, to the "guileless fool" and his failure to ask the
question, and to the solemn ceremony of the Last Supper. The second
act is devoted to a presentation of the working of the evil element.
Klingsor through his flower-maidens strives to seduce the guileless
fool, who is saved largely by his own guilelessness. Here we have all
the most sensuous and freely composed music. The first act teems with
the fundamental and significant motives of the score. The second is
rich in luscious melody, spontaneous, dance-like in form and colour,
and asking of the hearer nothing but self-relaxation. The third act
again becomes solemn, but in its first scene the solemnity is charged
with the deep and quiet joy of Good Friday. With the return to the
castle of the Grail, the fundamental motives are once more brought
into action and the development of themes reaches its climax.
The prelude to the drama sets forth some of the principal musical
ideas and attunes the mind to the key of the first act. It opens with
the solemn strains of the theme of the Last Supper.
[Music: THE LAST SUPPER.]
This theme becomes one of the principal elements of the score, being
utilised throughout the drama to signify the sacredness of the
association of the knights of the Grail. The second theme of the
prelude is that of the Grail itself, which is here presented to us in
a different musical aspect from that of the "Lohengrin" score. There
the Grail was celebrated as a potency by which the world was aided,
while here it is brought before us as the visible embodiment of a
faith, the memento of a crucified Saviour. The theme is, therefore,
one of much solemnity.
[Music: THE GRAIL.]
The Vorspiel next proclaims, in a manner which leaves us no doubt of
its purport, the triumphant motive of Belief:
[Music: BELIEF.]
These three ideas--the Last Supper, the Grail, and Belief--form the
materials of the prelude, and become of fundamental importance in
the score of the drama proper. They play their parts chiefly in the
first and third acts in putting the hearer in the proper mood for the
appreciation of the solemn ceremonials in the Grail castle and for a
full comprehension of the religious elements of the drama. For the
suffering of Amfortas, with which we are made acquainted in the first
scene, there is a musical symbol, which is utilised throughout the
score at the proper places:
[Music: AMFORTAS'S SUFFERING.]
A very beautiful answer to this is the music with which the promise
of the healing knight is introduced. It is sung by Gurnemanz, and
repeated by the young knights who are with him:
[Music: THE PROMISE.
Durch Mitleid wissend,
der reine Tor.
By pity 'lightened
The guileless fool.]
With Kundry we find associated three principal musical ideas. The
first of these is that which places before us the wildness of her
nature, the stormy flight, and the curse of laughter:
[Music: THE WILD KUNDRY.]
The second is a theme designed to represent the element of magic, as
exercised by Klingsor in the control of Kundry:
[Music: SORCERY.]
Lastly, we have one of those simple themes in thirds which always
seemed to mean sympathy or helpfulness to the mind of Wagner. It
first appears in the score when Gurnemanz asks Kundry whence she
brought the balsam:
[Music: KUNDRY THE HELPFUL.]
The personality of Klingsor himself is indicated by this theme:
[Music: KLINGSOR.]
Two themes are especially associated with Parsifal. The first is
that of his mother, Herzeleide. This theme has importance because of
Kundry's use of the history of the mother to touch the heart of the
son:
[Music: HERZELEIDE.]
The Parsifal theme, however, is used to designate directly the
personality of the guileless knight:
[Music: PARSIFAL.]
Let the reader compare this motive with that of Lohengrin (see
page 286), and note the close musical relationship. This is in
part an inversion of that, while the triple rhythm here used
robs the Parsifal theme of the militant brilliancy found in that
of the rescuing knight of the earlier drama. At the entrance of
Parsifal, who has just shot a swan, we hear again the Swan motive
from "Lohengrin" (see page 287). The interval between the first
and second scenes of the first act introduces a new theme of great
beauty. Gurnemanz leads Parsifal toward the castle of the Grail, and
a remarkable change of scene is effected by the use of a panorama.
During this change an instrumental passage is built up on the tones
of the castle bells, which, at first heard distantly, gradually swell
to a grand peal:
[Music: THE BELLS.]
As we come with the two to the hall of the Grail we hear the musical
representation of the cry or lament of the Saviour:
[Music: THE LAMENT.]
The love-feast scene, which follows, is made up of the principal
themes relating to the Grail and the faith of the knights, which are
developed in choruses of wonderful beauty. The opening of the second
act brings the motives of Klingsor, sorcery, and the suffering of
Amfortas all into active use. The music is stormy, passionate, at
times furious, till the flower-maidens appear to tempt Parsifal, and
then we come to the long passage of freely written melody already
described. The significant themes return in the scene between
Kundry and Parsifal, but their use is so obvious that it requires
no comment. With the awakening of Parsifal's understanding and his
recital of his new discoveries, there enters a motive not previously
heard, that of Good Friday:
[Music: GOOD FRIDAY.]
In the first scene of the third act another new theme, that of the
atonement, comes forward:
[Music: ATONEMENT.]
We have now before us the principal musical materials of the score.
But in no other of Wagner's dramas is the mere enumeration of themes
so unsatisfactory as it is in "Parsifal." The combination of the
musical ideas is so subtle, the building of the large mood pictures,
of which they are the elements, so masterly, the effect of the
general result so potent with the hearer, that in "Parsifal" one
may with the most perfect security throw aside all study of the
thematic catalogues and abandon himself to the dramatic influence
of the music. This does not mean that "Parsifal" is a more artistic
work than Wagner's other dramas, but that the moods are so large
and so elementary that music very readily embodies them and brings
the auditor under their influence. Much of this is due no doubt
to the atmosphere of the Bayreuth Theatre, where alone up to the
present this work can be heard. What the effect of "Parsifal" will
be when divorced from its present surroundings must be a matter of
speculation, but the most devoted Wagnerites will continue to hope
that this art-work will not speedily become the property of the
ordinary opera-house.
APPENDIX A
THE YOUTHFUL SYMPHONY
Most of Wagner's biographers have underestimated the historical
importance of the juvenile symphony of the master. Mr. Seidl wrote:
"As one takes off his hat in Leipsic before the house in which Wagner
was born, in order to honour the spot where a great genius first saw
the light, so the musician of the future will take this symphony
into his hands with the greatest interest and amazement, since it is
one of the foundation-blocks of the structure whose capstones are
'Tristan,' 'Götterdämmerung,' and 'Parsifal.'" The truth is, that
most of the biographers never heard the symphony performed. It was
produced by the late Anton Seidl in Chickering Hall, New York, on
Friday evening, March 2, 1888, and it was my fortune to hear the
performance. At that time Mr. Seidl wrote to the _New York Tribune_
the letter from which the foregoing quotation was taken, and gave an
account of the finding of the lost parts of the work. He said:
"He [Wagner] was continually recurring to a symphony which he had
lost sight of after one performance in Leipsic at a concert of the
Euterpe, and one performance in Würzburg. In the latter place it
was that the trombone parts were lost. Letters were written in all
directions to all his friends and acquaintances, but no trace of the
symphony was found. Then he requested the littérateur Tappert, of
Berlin, a zealous and lucky discoverer of Wagnerian relics, to make
journeys wherever he thought it advisable in the interest of the
symphony. Tappert, after many inquiries and much reflection, drafted
a plan of discovery following lines suggested by the biography of
the master, and set out upon a tour through Würzburg, Magdeburg,
Leipsic, Prague, and finally Dresden. In each place he ransacked
all the dwellings, inns, theatres and concert-rooms in which
Wagner had lived or laboured; but in vain. At last in Dresden he
visited Tichatschek, the famous tenor, who at this time was already
bedridden. He knew all the houses in which Wagner had lived while
he was Hofkapellmeister, but nothing was to be found in any of them.
Tichatschek got a little disgruntled at the much questioning to which
he was subjected and Tappert had to return to Berlin. Before doing
so, however, he requested Fürstenau, the flautist, to cross-question
Tichatschek thoroughly some day, when he was in a good humour,
concerning the possible whereabouts of some trunks which Wagner had
left behind him in Dresden; for Wagner had once said that when he
fled from Dresden he left all his possessions and did not know what
had become of them.
"The scheme was successful. Tichatschek remembered that in his own
attic were several old trunks belonging to he did not know whom.
Fürstenau looked through them, but soon came down and declared that,
though musical manuscripts were in the attic, they were only unknown
parts and that none bore Wagner's handwriting. Tappert called for
the parts to be sent to Berlin for his inspection. He recognised at
a glance that they were not in his handwriting, but on carefully
examining the separate sheets he found memoranda in lead pencil
which he thought looked like the youthful handwriting of Wagner. To
assure himself, he copied the first theme of the first violin part
and sent it to Wagner's wife, who played it on a pianoforte in a room
adjoining that in which Wagner, suspecting nothing, sat at breakfast.
The master listened a moment in silence and then ran into the room,
joyfully shouting that it was the theme of the symphony for which he
was hunting. The discovery was made! The parts were sent at once to
Bayreuth, and I was called upon to make the score out of them."
The trombone parts of the last movement were missing, but Wagner
subsequently discovered the key to the leading of these voices in the
elaborately contrapuntal scheme of the movement and rewrote them. The
symphony was then ready for performance. It was Wagner's original
intention to play the symphony on the fiftieth anniversary of the
beginning of his artistic career. But he was unable to carry out this
plan. He subsequently decided to have it given for the Christmas
celebration of 1882, and accordingly it was played under his own
bâton in Venice at the birthday fête of his wife.
The symphony, which is in the conventional four movements, and is
in the key of C major, contains a curious mingling of juvenility in
ideas with maturity of handling. It shows that Weinlig's lessons in
counterpoint were not lost, for its polyphony is masterly, and the
close working out of the last movement, in the style of Mozart's
fugal "Jupiter" symphony, may well have aroused the admiration of
Rochlitz.
The symphony begins with an introduction marked sostenuto e maestoso,
built on this theme.
[Music]
It will readily be seen that this is a simple and effective theme,
designed with a view to contrapuntal treatment. Free modulation,
transposition of parts, and alteration of details make up the general
treatment of this motive. The first movement, allegro con brio, is
built on a first subject, inspiringly vigorous in movement, but quite
devoid of originality in melodic form.
[Music]
This is announced in a forcible manner, copied after some of the
Titanic outbursts of Beethoven. There is a short development of this
theme, in the course of which the germ of the second subject appears.
Thus Wagner early endeavoured to follow the plan of Beethoven in
making his second subjects grow out of his first. The second theme,
when revealed in its entirety, proves to be this:
[Music]
The master utilised the rhythmic clearness of this thought in the
production of bold, march-like effects. Two episodes are introduced,
and in these one hears the voice of the future Wagner. One of them
bears a striking resemblance in character to the music of the fight
between Siegfried and the dragon. The working out is confined almost
wholly to the first subject, with occasional use of the episodes, and
the recapitulation is reached by a strenuous climax, in which the
orchestral thunderer of the future may be heard.
The second movement, andante, opens with two sustained notes, C and
E, given out by the oboes and clarinets, followed by a graceful
introductory phrase, prefatory to a lovely melody of folk-song
character, which is announced by the violas and gradually spread
among the entire body of instruments.
[Music]
Wagner himself said that this movement could never have been written
had not the fifth and seventh symphonies of Beethoven been known
to him, but although his method of construction follows that of
the sovereign of the symphonic world, his ideas and his orchestral
expression of them are his own. The second theme of the andante,
which need not be quoted, is martial, thus giving the necessary
contrast to the movement.
The third movement is the scherzo, marked allegro assai. The movement
is decidedly imitative, yet it shows that the youth had attained a
remarkable mastery of form and style. The first theme is this:
[Music]
This sweeps along in a bright and vivacious manner, full of sunny
simplicity. Then comes the trio founded on this idea:
[Music]
The working out of the ideas is really very ingenious, and despite
the imitations the movement goes far to demonstrate the possession of
high gifts by the young composer. The last movement, allegro molto
vivace, is the least pleasing to the average hearer, but it is an
amazing exhibition of contrapuntal mastery in one so immature. The
principal theme is this:
[Music]
Here the model in thought is Mozart, and the same master is followed
in the working out. Wagner, in later years, speaking of the boy
who wrote this symphony, said: "He cares no more for melodies, only
for themes and their treatment; he delights in the stretti of the
fugue, in the combination of two or three motives; he enters into
orgies of counterpoint; he exhausts every imaginable artifice." This
is a sufficient description of this new "Jupiter" movement, which
ends with a stirring peroration, presto, closing with as many chords
of the tonic and dominant as there are at the finish of the fifth
symphony of Beethoven.
APPENDIX B
WAGNER AND THE BALLET
The difficulties which have always stood in the path of a realisation
of Wagner's ideals in regard to the ballet in opera are worthy of
some consideration, because they are the results of a high conception
of the functions of the dance in the drama. Wagner's troubles in
this department began with his "Rienzi." In his "Communication" he
says: "I by no means hunted about in my material for a pretext for
a ballet, but with the eyes of the opera composer I perceived in it
a self-evident festival that Rienzi must give to the people, and at
which he would have to exhibit to them in dumb show a drastic scene
from their ancient history, this scene being the story of Lucretia
and the consequent expulsion of the Tarquins from Rome." He confesses
in a note that this ballet had to be omitted from all the stage
performances of "Rienzi."
Why? Simply because the pantomimic ballet called for imagination on
the part of the ballet-master and mimetic skill in the dancers. If
these elements in the ballet were wanting in Wagner's day, they are
almost wholly absent now. Yet, except in cases where the ballet is
seen by the spectator to be a mere entertainment for the personages
on the stage, as in the garden scene of "Les Huguenots," it ought
to have some connection with the drama. That later composers than
Wagner have had some desires of this sort is proved by the presence
of the Brocken scene in Boïto's "Mefistofele," the inferno scene in
Franchetti's "Asrael," and other such episodes. But nowhere is there
such an opportunity for a highly significant ballet as in the first
scene of "Tannhäuser."
Whoever cares to read it, may find in the essay of Wagner on the
"Art-work of the Future" a long disquisition on the nature of the
dance. In brief, he says that in the dance the material is man
himself, and the method of expression is motion. This motion is
governed by rhythm, but its purpose is the communication of the
essence of the material to the spectator. In other words--not
Wagner's--dance approaches speech from one side just as absolute
music does from the other. It is a painter of mood pictures, just as
an orchestra is. It therefore reaches its highest form in pantomime,
or mimetic action. Again, in "Opera and Drama," Wagner tells us at
some length how ballet music as written by the conventional opera
composer has cramped the development of this beautiful art of mimetic
dancing, the very art, in a sense, from which the drama itself
originated at the altar of Bacchus. By writing in the prescribed
dance-forms and rhythms the composer compelled the dancer to confine
himself to certain conventional steps and figures. Wagner's ideal
was a symphonic poem of motion, mimetic in its essence, following
the incidents of a story, and moving to the strains of an orchestral
background which should free the dancer from formulas and at the same
time paint in tone-colours the moods of the pantomime.
The difficulty in the way of realising this ideal at present is the
total separation of the arts of dancing and pantomime. Only a few
of the dancers of to-day possess the old-fashioned schooling which
would make possible a performance of Auber's "La Muette de Portici."
To this unique work Wagner owed much of the food for thought which
resulted in his opinions upon the office of the ballet in opera.
I have witnessed some representations of this work in recent
years--not many--but always with sorrow at the utter inability of the
impersonator of the dumb girl to realise the author's conception.
She has always been a mere ballet-dancer, striving to perform her
work on the strict lines of the conventional stage dance. Now what
such a part requires is some one who can dance, but who does act. And
that is what the Wagner ballet, especially in "Tannhäuser," needs.
The conventional ballet steps and arm movements are at once seen to
be absurd, or else they make the scene appear so to the thoughtless
spectator, who notes only what he sees. To interpret properly the
Venusberg scene of Wagner's third opera there should really be a
corps of Pilar-Morins. But just here again would come a difficulty.
The Pilar-Morins would not be dancers, and, while they might perform
an intelligible pantomime, they would obliterate from their work
every trace of rhythm, and thus once more be untrue to Wagner's
almost intangible, yet not impracticable, ideal.
And of course in the end we have to reckon with a public which has
no skill in the comprehension of pantomime, and hardly any in the
appreciation of the dance. For in this frivolous age of pictorial
dramatic art the dance means coloured lights and high kicking. Hélas!
Yet I still believe that if Wagner's designs in such scenes as that
of the Venusberg and the Roman festival in "Rienzi" could be properly
carried out, the public would awake to the existence of a poetic and
beautifully graphic art which is now quite unknown to it.
THE END
INDEX
EXPLANATORY NOTE.--Subjects directly connected with
the personal experiences of Wagner will be found alphabetically
indexed under WAGNER, RICHARD. Names of persons and topics
associated with Wagner's life and works, but having importance in
themselves, will be found in the general index. All topics directly
connected with the great music dramas (except leading motives) are
indexed under the titles of the works. All the musical illustrations,
with their explanations, are indexed under LEADING MOTIVES.
A
"Allons à la Courtille," 41
Ander, 118
Anderson, 98
"A Pilgrimage to Beethoven," 42
"Art and Climate," 86
"Art and Revolution," 76, 86, 179, 180
Art, as found by Wagner, 176
Arthurian legends, _see_ "Parsifal" and "Tristan und Isolde"
Artistic career of Wagner, periods of, 213, 214
ART-THEORIES OF WAGNER, 167 _et seq._;
alliteration, 200 _et seq._;
ballet, 487;
commercialism opposed to, 174, 176;
discovery of, 176;
drama, not opera, 204;
early, 18 _et seq._, 228;
emotions, musical treatment of, 183, 185, 197, 205, 208, 209, 216;
ethical ideas, 215;
feeling and understanding, 182;
form, adopted, 186 _et seq._, 198, 199;
forms, abolished, 178, 185 _et seq._, 197;
fully developed, nature of, 167 _et seq._;
good and evil principles, war of, 216;
Greek drama, relations to, 179, 184, 207, 218;
historical drama as opposed to mythical, 183 _et seq._;
ideal of his work, 206;
incompatibility with "opera" discovered, 177;
later, conceived, 53;
later, expanded, 61, 74;
leitmotiv system, 186, 187, 190 _et seq._;
leitmotive classified, 193;
leitmotive, development of, 193 _et seq._;
libretto a drama, 178;
lyric drama, relation to, 168 _et seq._;
materials of poetic drama, 182, 183;
melody, endless, 186, 187;
metaphysics, 216, 217;
misunderstood by admirers, 161;
misunderstood by public, 167;
moods, embodiment of, 198, 205, 206;
music for music's sake, 178;
music, office of, in drama, 190;
musical system, 186, 189 _et seq._, 196, 197, 198, 208, 209;
myth, advantage of in drama, 183 _et seq._;
nationalism, 167, 208;
opera, old style, differences of, 168 _et seq._;
opposed to public taste, 61, 66, 67, 69, 70, 160, 161;
orchestra, 189, 190, 206;
organic union of arts, 178, 180, 186;
philosophical basis of dramas, 216;
propagation of, 67, 85 _et seq._;
prose works embodying, 86 _et seq._, 179 _et seq._;
realism as opposed to high art, 206, 207;
reforms included in, 178;
Schopenhauer's ideas, 184, 216, 217;
staff-rhyme, 200 _et seq._;
symbolism in drama, 204 _et seq._;
text and music, union of, 186, 202, 203, 219;
understood by Liszt, 81;
verse-form, 200 _et seq._;
woman, saving grace, 215;
"Word-tone-speech," 204
"Art-work of the Future," 86, 179, 180
Attila, 369 _et seq._
Auber, "La Muette de Portici," influence on Wagner, 18, 43
Auditorium darkened, 140
Autobiographic sketch, 52
B
Ballet in "Tannhäuser," 114, 115
Ballet, Wagner and the, 114, 487
Barbarossa, Friedrich, 72
Bayreuth, becomes famous, 140;
festivals, deficit of first, 144, 146;
festivals, directed by Mme. Wagner, 153;
festivals, still popular, 153;
plan nearly fails, 139;
theatre, _see_ Festspielhaus; Wagner goes to, 136;
why selected, 137
_Bayreuther Blätter_, 147, 150
"Beethoven," essay by Wagner, 134
Beethoven influences Wagner, 6
Belart, Hans, "Richard Wagner in Zurich," 111
Bellini, Wagner's admiration for, 18, 33
Belloni, 82
Berlioz, Hector, 42, 43, 57, 112
Beroul, 297
Bertram-Mayer, Mme., 131
Borron, Robert de, 297, 454
Boston, Wagner nights, 104
Brandt, Karl, 143
Bruckwald, Otto, 143
Brückner Brothers, 143
C
Caedmon, "Beowulf," 201
"Centennial March," 139
Chivalry, German age of, 331
Chrétien de Troyes, 454
Christian trilogy, 218
"Christopher Columbus" overture, 20, 43
"Communication to My Friends," 16, 30, 61, 66, 67, 92
Concert Ouvertüre mit Fuge, 10
"Conducting," essay on, 58, 134
Conrad III., 331
Cornelius, Peter, 125
Costa, Michael, 100
D
Dannreuther, Edward, on Wagner's character, 154, 156
"Das Liebesverbot," 19 _et seq._
"DAS RHEINGOLD," 388 _et seq._;
_see also_ "Der Ring des Nibelungen";
Alberich, warning and curse, 392;
book finished, 365;
curse, the, 392, 394;
Erda, significance of, 393;
ethical ideas in, 389-392, 394;
first performances, 356;
gold, the, origin of, 389;
gold, the root of evil, 389;
music, 424;
_see also_ LEADING MOTIVES;
music, when written, 365;
mythologic basis, 384;
original casts, 356, 357;
produced at Munich, 131, 132;
renunciation of love, 389;
score written, 94;
sin, entry of among the gods, 391;
sin of gods, connected with "Götterdämmerung" by Wagner, 394;
sin, Wotan's, burden of, 392;
story of, 388 _et seq._;
sword, stage business with, 395;
Wotan's plan, 395;
Wotan's sin, 392
Davidson, _Musical World_, 100
Deputy, 41
"DER FLIEGENDE HOLLÄNDER", 234 _et seq._;
art theories in, 213, 236;
book, Wagner's view of, 243;
book written, 45;
characterisation in, 248;
composition of, 244;
conception of, 237;
Daland as a character, 248;
duet of Dutchman and Daland, Italian style of, 247;
elements of Wagner's system in, 242;
embryonic, 213, 236, 242, 246;
emotional states in, 243;
failure of, 54 _et seq._;
first performances, 234, 235;
Fitzball's play, 237;
foreshadows future Wagner, 248, 249;
Heine's story, 237, 240;
instrumentation, 248;
Italian music in, 247;
legend of, 34, 238;
leitmotiv foreshadowed, 243;
"Lohengrin," resemblance to, 283;
lyricism of, 244;
Marryatt's version, 239;
music, character of, 246, 248;
music, plan of, 243;
music, principal ideas, 244 _et seq._;
mythical development, 239;
original casts, 234, 235;
original story, 238;
overture, 248;
produced at Cassel and Riga, 55;
Dresden, 54;
Munich, 126;
Zurich, 97;
Senta's ballad, 244, 245;
Senta's character, 248;
sources of book, 236 _et seq._, 283;
Spohr on, 55;
thematic germs, 245;
Van der Decken, character of, 248;
Wagner's additions to story, 241;
Wagner's view of story, 241, 242;
when written, 236;
woman's sacrifice in, 240
"Der Liebesmahl der Apostel," 59
"DER RING DES NIBELUNGEN," 355 _et seq._;
_see also_ "Das Rheingold," "Die Walküre," "Siegfried," and
"Götterdämmerung";
abandoned for "Tristan und Isolde," 106, 107, 109, 366;
Æschylean methods in, 390;
art-theories in, 74;
begun, 93;
book completed, 93;
book, conception of, 72 _et seq._, 366;
book published, 120;
Brünnhilde, 401, 402, 416;
critics confused by, 142;
curse, the, 392, 398;
dates of events in the dramas, 370;
Eddas and, 372, 373;
ethical basis of story, 384, 385, 394, 416;
expanded into tetralogy, 93, 364;
expenses of production, how provided, 137, 138;
fate and punishment for sin, 390;
"Final Report" on, 129;
first mentioned by Wagner, 364;
first performances, 355;
free hero, 405;
Hagen, significance of, 399;
"Heldenbuch" and, 369;
King Ludwig and, 126;
legends in, age of, 367;
legends in, origin of, 368;
leitmotiv, method of developing, 424 _et seq._;
leitmotiv system in, 422, 423, 424 _et seq._;
Liszt on, 94, 106;
motives, classification of, 424;
music, 422 _et seq._;
music, advances in, 74;
music, how to enjoy, 423;
music, philosophic nature of, 423;
music, relation of certain themes, 424-426, 428;
myth and history, 366;
"Nibelungen Lied," story of, 371;
Norse legends of, 372 _et seq._;
Norse mythology in, 384 _et seq._;
opposition to, at Munich, 129;
orchestra in, 445;
period of events in, 369, 370;
production at Bayreuth, 140;
resurrection in, 405, 406;
revenge of the Nibelungs, 413;
rights sold to Munich, 144;
Ring, the, Nibelungen Lied account of, 371, 372;
Ring, the Volsunga Saga account of, 380, 382, 383;
Ring, the, Wagner's use of, 389, 391-393, 398, 416, 417, 419;
scenery of, 143;
Sigurd and Brünnhilde, story of, 374, 375;
sin of gods, how treated by Wagner, 391, 394;
sources of, 367 _et seq._;
sources of, historical connections of, 370, 374;
story as told by Wagner, 388 _et seq._;
Volsunga Saga, 373 _et seq._;
Volsunga Saga, story of, 378 _et seq._;
work on in London, 99;
Wotan's eye, how lost, 410;
Wotan's plan, 395-398, 405, 437;
Wotan's sin, 392
"Die Feen," 16 _et seq._, 148
"Die Glückliche Bärenfamilie," 32
"Die Hochzeit," 14, 15
"Die Hohe Braut," 30, 31
"DIE MEISTERSINGER VON NÜRNBERG", study of, 328 _et seq._;
artistic doctrine of, 343, 344;
Beckmesser, character of, 335;
begun, 64, 330;
book finished, 120, 330;
characters historical, 333, 335;
Cosima Wagner on, 341;
critical view of, 342;
first performances, 328, 329;
meisterlied and minnelied, construction and relations of, 334;
meistersingers, customs of, 333;
meistersingers, origin of, 332;
minnesingers, forerunners of meistersingers, 330-332;
Müglin, Heinrich, his "Long Tone" used by Wagner, 345;
music, 344 _et seq._;
music, Act II., finale of, 352;
music, begun, 120, 330;
music, characteristics of, 353;
music, chorale, Act I., and theme, 347;
music, completed, 330;
music, monologue of Sachs, 350;
music, significant beauty of Meistersinger themes, 345;
original casts, 328, 329;
pendant to "Tannhäuser," 330;
period of the comedy, 333;
prelude, 344;
prize song, 340;
produced at Munich, 131, 328;
quintet in, 340;
Sachs, history of, 333, 336;
story of, 336 _et seq._;
symbolism in, 343;
Walther not Wagner, 343
"Die Sarazener," 50, 61;
_see also_ "Manfred"
Dietsch, Pierre Louis, 46, 115
"DIE WALKÜRE," 396 _et seq._;
_see also_ "Der Ring des Nibelungen"; begun, 94;
book finished, 365;
Brünnhilde, character of, 402;
Brünnhilde's punishment, meaning of, 401;
curse, 398;
ethical ideas in, 397-399, 401, 402;
finished, 105;
first performances, 358;
Fricka's importance, 397 _et seq._;
music, 434;
_see also_ LEADING MOTIVES;
when written, 365;
original casts, 358, 359;
produced at Bayreuth, 141;
produced at Munich, 132;
rehearsal at Zurich, 105;
second act, meaning of, 397;
second act, Wagner on, 400;
sin and its punishment in, 397;
sources of, 396;
story of, 396 _et seq._;
sword in, 397;
"Todesverkündigung," 400;
work on at Zurich, 121;
Wotan's plan, 401;
Wotan's plan overthrown by Fricka, 397
"Die Wibelungen," 72
Dom Pedro of Brazil, 109
Dorn, Heinrich, 8, 9, 31
"Dors, mon enfant," 42
Drama, spoken, Wagner's study, 181
Dramas, Wagner's, 213 _et seq._
Dumersan, 38, 41
"Du Métier de Virtuose," 44
E
Edda, the Elder, discovered, 373, 374;
mythology in, 385;
Poetic, 375;
Sigurd and Brünnhilde in, 375
Edda, the Prose, or Younger, mythology in, 385 _et seq._;
when written, 373
Eilhart von Oberge, 297
"Eine Faust" overture, 38-40, 97
Ellis, W.A., "1849, A Vindication," 78;
translation of Wagner's Prose Works, 16
"End of a Musician in Paris," 47
F
Festspielhaus at Bayreuth, 136, 138;
builders and artists of, 143;
described, 142
Feuerbach, 216
Feustel, Frederick, 138, 152
Fischer, Wilhelm, 45, 47
"Flying Dutchman," _see_ "Der Fliegende Holländer"
France, mixture of peoples in, 296
G
Gasparini, A., 41
Geoffrey of Monmouth, 296, 453
German Music, Wagner's essay on, 41
Geyer, Ludwig, 2, 3;
"Slaughter of the Innocents," 3
Gluck, 169 _et seq._
"GÖTTERDÄMMERUNG," 410, _et seq._,
_see also_ "Der Ring des Nibelungen";
Brünnhilde, character of, 416;
Brünnhilde, divinity gone, 411, 416;
Brünnhilde imparts wisdom and strength to Siegfried, 411;
Brünnhilde's deception, 418;
Brünnhilde's self-sacrifice, 421;
curse, in operation on Siegfried, 417;
drink of forgetfulness, 414;
drink of forgetfulness, antidote, 419;
"Dusk of the Gods," described, 415;
ethical ideas in, 416, 417, 421, 422;
expiation of sin of gods, 421, 422;
first performances, 362, 363;
Gibichung, origin of name, 412;
Grani, 412;
Gunther identified, 412;
Gutrune, identified, 412;
Hagen, character of, 413;
Hagen, mother of, 413;
Hagen, the ring and, 420;
music, 442;
_see also_ LEADING MOTIVES;
music, when written, 366;
"Nibelungen Lied," ideas taken from, 372;
Norns scene, 410;
original casts, 362, 363;
penetration of the fire, 409, 410;
produced at Bayreuth, 141;
return of ring to Rhine daughters, 417, 419, 421;
Rhine daughters, meeting with Siegfried, 419;
ring, connected with sin of gods, 416;
runes, Brünnhilde's, 411;
Siegfried matured, 411;
story of, 410 _et seq._;
sword, between Siegfried and Brünnhilde, 417, 418;
Waltraute's narrative, 415;
Wotan's eye, how lost, 410;
Wotan's plan in, 420;
Wotan's spear, 410
Gottfried von Strassburg, 108, 297
Grail, Holy, _see_ "Parsifal"
Greek drama, 168, _see also_ ART-THEORIES of Wagner
Grimm Brothers, "Deutsche Sagen," 272
Gross, Adolph, 152, 153
H
Heine, Ferdinand, 45, 47
"Heldenbuch," 369
Hoffmann, E.T., influence on Wagner, 7, 8
Hoffmann, Joseph, 143
Hohenstauffen dynasty, 331
Holtei, Karl von, 32
"Huldigungs Marsch," 124
J
"Jesus von Nazareth," 71, 72
Jockey Club, of Paris, and "Tannhäuser," 114, 115
Joukowsky, 150
"Judaism in Music," 86, 87
Jullien, Adolphe, 38, 39
K
"Kaisermarsch," 134
Krehbiel, H.E., "Studies in the Wagnerian Drama," 310
L
"La Déscente de la Courtille," 41
"L'Attente," 42
Laube, Heinrich, 41
Leading Motives, _see_ Art-Theories of Wagner, leitmotiv;
leading motives, not essential to know, 219
LEADING MOTIVES.
"Das Rheingold":
Alberich, master of the Nibelungs, 432;
Compact, 429;
Curse, 433;
Departing divinity, 431;
Dragon, 433;
Erda, 424, 425;
Giants, 429;
Gold, the appearing, 427;
Gold, the gleaming, 428;
Götterdämmerung, 425, 428;
Hoard, 433;
Loge, 431;
Nibelung, smiths, 432;
Nibelung's hate, 433;
Primeval Elements, 424;
Renunciation, 429;
Rhine daughters, 427;
"Rhinegold," theme explained, 428;
Ring, 428;
Sword, 195, 395, 434;
Tarnhelm, 195, 429;
Walhalla, 429.
"Der Fliegende Holländer":
Dutchman theme, 245;
Senta, the redeeming element, 245;
Yearning, 246;
"Wie, hor' ich recht?" 247.
"Der Ring das Nibelungen":
_see_ "Das Rheingold," "Die Walküre," "Siegfried," "Götterdämmerung."
"Die Meistersinger":
"Am stillen Herd," 349;
Art of Song, 348;
Beating, the, 350;
Chastisement, 348;
Council, 348;
Derision, 347;
Eva, 351;
Kothner's song, 349;
Meistersinger march, 345;
Meistersingers, 344;
Nuremberg, 350;
Prize Song, 346, 353;
Sachs's monologue, 350;
St. John's Day, 349;
Spring, 346, 347, 349;
"Wahn, Wahn," 352;
Walther's emotion, 346;
Walther, the Knight, 349;
Yearning of Love, 346.
"Die Walküre":
Brünnhilde's divinity, 438;
Departing divinity, 431;
Fate, 437;
Götterdämmerung, 437;
Love, 434;
Siegfried, 438;
Sieglinde's sympathy, 434;
Slumber, 439;
Sword, 435;
"Todesverkündigung," 438;
Valkyr's call, 436;
Valkyrs, 436;
Volsung race, 435;
Volsungs, sorrow of, 435;
Wotan's wrath, 436.
"Götterdämmerung":
Brünnhilde and the Ring, 428, 429;
Brünnhilde, entrance of, 426;
Brünnhilde's despair, 444;
Brünnhilde's divinity, 438;
Brünnhilde the woman, 443;
Forgetfulness, 430;
Gibichung, 430;
Götterdämmerung, 425, 426;
Gutrune, 444;
Rhinegold, 428;
Siegfried, the Man, 443, 444;
Tarnhelm, 430.
"Lohengrin":
Elsa's faith, 287;
Elsa's faith broken, 288;
Grail, 285;
Lohengrin, 286;
Ordeal, 290;
Ortrud, 289;
Prohibition, 288;
Swan, 287.
"Parsifal":
Amfortas's suffering, 475;
Atonement, 479;
Belief, 475;
bells, 478;
Good Friday, 479;
Grail, 474;
Herzeleide, 477;
Klingsor, 477;
Kundry, the helpful, 477;
Lament, the, 478;
Last Supper, 474;
Parsifal, 477;
Promise, the, 476;
Sorcery, 476;
Swan, 478;
Wild Kundry, 476.
"Siegfried":
Brünnhilde's awakening, 441;
Dragon, 433;
Love's greeting, 442;
Siegfried, the sword wielder, 440;
Siegfried, the youth, 440;
World's Heritage, 440;
Wotan, the Wanderer, 440;
Yearning for love, 440.
"Tannhäuser":
Bacchanale, 266;
Pilgrims' Chorus, 266;
Praise of Venus, 267;
Venus's pleading, 267.
"Tristan und Isolde":
Anguish, 326;
Day, 323;
Death, 322;
Fate, 322;
Glance, 321;
Grief, 325;
"Liebestod," themes of, 324, 327;
Love, 321;
Love Call, 324;
Love, Triumph of, 324;
Mark, 325;
Mark's Grief, 325;
Sea, 322.
Lehmann, Lilli, 138
Leitmotiv, _see_ Leading Motives;
not necessary to recognise, 190, 191
"Le Vaisseau-Fantôme," Dietsch, 46
"Liebesmahl der Apostel, der," _see_ "Der Liebesmahl"
"Liebesverbot, das," _see_ "Das Liebesverbot"
Liszt, Franz, 44, 73, 78-84, 93, 94, 98, 104, 105, 150-152
"LOHENGRIN," study of, 270, _et seq._;
Act I. compared with sources, 277;
Act II. compared with sources, 278;
Act III. compared with sources, 282;
begun, 64, 273;
book written, 273;
cadence, dominance of, 284, 285;
combat, use of sword in, 277;
conception of, 51;
"Der Fliegende Holländer," resemblance of story to, 283;
"Der Schwanen-Ritter" ("Chevalier au Cygne"), story of, 274;
dialogue, not recitative, 284;
Elsa, character of, 276, 282, 283;
endless melody approached, 285;
finale to Act III. at Dresden, 70;
first heard by Wagner, 117;
first performances, 270 _et seq._;
Godfrey of Bouillon, relation to, 275;
instrumentation, significant features, 290;
King Henry, character of, 277;
letters on performance of, 91;
Lohengrin's narrative, source of, 283;
music, analysed, 283 _et seq._;
_see also_ LEADING MOTIVES;
music, classification of, 291;
music, popularity, reason for, 291;
music, when written, 273;
old poem, 273;
organic union of text and music, 284;
original casts, 270, 271;
original materials, 273, _et seq._;
Ortrud, character of, 276,279, 280, 281;
prelude, 285, 286;
produced at Munich, 130, 131;
produced at Weimar, 90, 91;
power of Lohengrin to be taken away by a wound, 283;
recitative, abolished in, 284;
rhythm, dominance of, 291;
score sold, 273;
score sent to Liszt, 81;
sources of, 272 _et seq._;
sources, treatment by Wagner, 276 _et seq._;
stage pictures in Act II., 280;
story according to Wagner, 277;
sword, Telramund felled by, 278;
Telramund, character of, 282;
Telramund, his death, source of idea, 283;
time signatures in score, 290, 291
London critics offended, 100
London Philharmonic Society, 97 _et seq._
Ludwig, King of Bavaria, 122, 123, 128, 139, 148, 152
Lully, 170
Lüttichau, von, 44
Lyric drama, birth and development of, 168
M
Mackaye, Steele, 142
"Manfred," 50, 61;
_see also_ "Die Sarazener"
Map, Walter, 296, 453
Meissen, Heinrich von, 333
Meisterlied, nature of, 234
"Meistersinger von Nürnberg, die," _see_ "Die Meistersinger"
Meistersingers, history of, 332 _et seq._
Metternich, Princess, 113
Meyerbeer, 36, 38, 43, 44, 89, 174
Meyerbeer, "Les Huguenots," 89
"Mignonne," 42
Minnelied, nature of, 334;
origin of, 331
Minnesingers, history of, 332, _et seq._
Monteverde, Claudio, 169
Morelli, 113
Mozart, 170
Müglin, Heinrich, 335
Müller, Gottlieb, 7
Muncker, Franz, 138, 152
Munich Conservatory, 125, 126
Munich, new Wagner theatre, 128
Munich, proposed Wagner theatre, 126, 128
"Music of the Future," the, 114
Music, theories as to, _see_ Art-Theories;
_also works under separate titles_
Mystic gulf, the, 141
Myths as subject for drama, 182
N
Neumann, Angelo, 145
Nibelungen Lied, 73, 369
"Nibelung Myth as sketch for a Drama," the, 73
Niemann, Albert, 113
O
"On the Performance of 'Tannhäuser,'" 86
Opera, birth of, 168;
development of, 168 _et seq._;
Wagner's study of, 181;
Meyerbeerian ground-plan, 174
"Opera and Drama," 86, 88, 180, 181
Orchestra, concealed, 140
P
Pagan trilogy, 218
"PARSIFAL," 446 _et seq._;
Arthurian legends, 450 _et seq._;
Arthurian legends, entry of Grail into, 453;
book completed, 447;
book read to friends, 144, 477;
Borron's story of, 457;
Breton epic, 454;
Chrétien's story of, 455 _et seq._;
conception, 447;
conception of, 51, 71;
Celtic legend of Peredur, 449;
date of production changed, 145;
enlightenment of Parsifal, 464;
ethical ideas in, 472;
finished, 147;
first performance, 446;
garden scene, plan of, 468;
Grail, nature of, 449, 450, 451, 452;
Grail stories, origin of, 449 _et seq._;
Grail, the word, origin of, 452;
Kundry, character of, 462, 464, 469, 470;
Kundry the temptress, 470;
Kundry's wandering, 471;
music, 473,
_see also_ LEADING MOTIVES;
music, plan of, 473, 479;
music, second act, 479;
music, when written, 447;
original cast, 446;
panorama's failure, 149;
Parsifal's character, 471;
"Parzival," Wolfram's, 448, 449, 457;
Perceval, derivation of name, 452;
pity, enlightenment by, 471;
prelude played at Wahnfried, 148, 474;
preparations to produce, 146;
problem play, 473;
produced at Bayreuth, 149, 152;
Provençal versions of story, 452;
question, not asked, 467-469;
rehearsals begun, 148;
ended, 149;
relation of "The Victors" to, 470;
religious drama, 472;
score completed, 148;
sources of, 447 _et seq._;
sources of, compared with drama, 467;
subscriptions for production, 148;
Wagner's drama, story of, 461 _et seq._;
Wolfram's story of, 457;
working on, 145, 147.
Patron's certificates, 137, 139.
Peri, Jacopo, 168
Perl, Henry, "Richard Wagner in Venice," 150
Pillet, 45, 46
Plan for music school at Munich, 125
Planer, Minna, death of, 30;
jealousy of, 110;
Wagner's alleged neglect of, 130;
Wagner's marriage to, 27;
Wagner's separation from, 30, 119;
unsuited to Wagner, 27 _et seq._, 62, 63, 83, 160
"Polonia," overture to, 40, 41
Praeger, Ferdinand, account of revolution of 1848, 76 _et seq._;
relations with Wagner, 97;
"Wagner as I Knew Him," 25, 35, 70
Prince Albert, 102
Q
Queen Victoria, 102
R
Rameau, 170
Recitative, early, 168 _et seq._
"Recollections of Spontini," 86
Reissiger, 45, 51
"Rheingold, das," _see_ "Das Rheingold"
Richter, Hans, 125, 130-132, 134, 144
"RIENZI," 221 _et seq._;
Adriano, air of, 232;
art-theories in, 52, 172, 176, 223, 225, 227, 228;
Berlin performances, 70, 71;
character of hero, 230;
completed, 44;
conception of, 223, 224;
divided into two parts, 52;
first performances to 1882, 221, 222;
first mentioned by Wagner, 31;
libretto begun, 224;
libretto, nature of, 228, 229, 230;
materials of, 176, 225, 226;
music begun, 224;
music, nature of, 228, 229;
music, Rienzi's prayer, 231;
offered to Dresden, 44;
opera instead of music-drama, why, 225 _et seq._;
performance of, suggestions as to, 47;
prayer in, 230, 231;
preparations to produce, 47, 48, 51;
produced at Dresden, 51;
Berlin, 52;
Schuré's criticism of, 232
"Ring des Nibelungen, der," _see_ "Der Ring"
Rinuccini, Ottavio, 168
Rochlitz, 11
Roeckel, August, 53, 64
Rossini, 89
Royer, Alphonse, 114, 116
Rudolf of Hapsburg, 332
"Rule Britannia" overture, 30, 31
S
Sachs, Hans, 333, 336
Saemund the Wise, 373-375
Sainton, Prosper, 98
"Sarazener, die," _see_ "Die Sarazener"
Saxe, Marie, 113
Scharfenberg, Albrecht von, "Der Jüngere Titurel," 272
Schladebach, 67, 68
Schlesinger, 38
Schnorr, Ludwig, 125, 127, 128
Schopenhauer, A., 108, 184
Schroeder-Devrient, Wilhelmina, 18, 48, 54, 65
Schumann, Robert, 68
Seidl, Anton, 145
Semper, Gottfried, 126
Siegfried, date of his death, 370;
character as conceived by Wagner, 403;
German hero, 369
"SIEGFRIED," 402 _et seq._;
_see also_ "Der Ring des Nibelungen";
bird's voice a soprano, 407;
book written, 93;
conception of, 93;
conception of hero, 404;
Erda, 408;
first performances, 360;
Forest Bird, voice of, 407;
Forest Bird and the "Lay of Fafner," 376;
free hero, 405;
Mime, origin of name, 403;
Mime, Regin compared with, 403;
Mime's betrayal of himself, Act II., 408;
music, 439,
_see also_ LEADING MOTIVES;
music, when written, 365;
original casts, 360, 361;
originality of Act II., 408;
penetration of the fire, legend of, 409;
produced at Bayreuth, 141;
question scene in Act I., origin of, 405;
Siegfried's nature and character, 403, 404;
story of, 405 _et seq._;
sword, power and name of, 409;
"Vafthrudnersmal," 405;
"Waldweben," 407;
Wotan's plan in, 405, 408
"Siegfried's Death," 367
"Siegfried Idyl," 134
Smolian, Arthur, 265
Snorre Sturleson, 373
Spontini, 60, 68
Standthartner, Dr., 149
"State and Religion," 124
Symphony in C, 11, 12, 151;
analysis of, 482 _et seq._;
history of, 481
T
"TANNHÄUSER," 250 _et seq._;
additions to story by Wagner, 258;
Biterolf, 261;
book written, 50, 252;
characterisation in, 268;
characters historical, 260;
completed, 62;
conception of, 50, 252;
contest of song, origin of idea, 256;
Elizabeth, character of, 257, 261;
essay on performance of, 253;
essence of, Wagner's words on, 269;
ethics of the drama, 261, 262;
failure of, 65;
first performances, 250, 251;
good and evil principles, 261-263;
good and evil principles, music of, 265;
grotto of Venus, 258;
Heinrich of Ofterdingen, identified with Tannhäuser, 256, 259;
Hermann the Landgrave, 256;
Jockey Club of Paris and, 114, 115;
legend of, 254, 255;
leitmotive, absence of, 265;
letter to Carl Galliard on, 65;
Lord Lytton's, 264;
man, a drama for, 263;
misunderstood, 65, 66;
music, analysed, 264 _et seq._;
music, finished, 252;
music, nature of, 264 _et seq._;
music, principal ideas, _see_ LEADING MOTIVES;
mythology, Roman and Teutonic, 257, 258;
narrative of Tannhäuser, 263;
original casts, 250, 251;
original ideas in, 254;
overture in London, 101;
Paris version, nature of, 253;
Paris version, origin of, 114, 115, 252, 253;
praise of Venus, 259;
preparations for production, 64;
produced at: Dresden, 65;
Munich, 130, 131;
Paris, 112 _et seq._;
Weimar, 81;
Zurich, 97;
provisional title, 252;
Reimar, 260;
relations to "Tristan und Isolde," 253, 269;
"Sängerkrieg," 254;
score completed, 252;
Smolian, Arthur, pamphlet on music, 265;
sources of, 254 _et seq._;
Tannhäuser, character of, 258, 259, 261;
"Tannhäuser Lied," 254;
transition period, belongs to, 213, 252;
Venus, 257, 258, 259;
"Venusberg, Romantic Opera," 252;
"Volksbuch," 254;
Wartburg Castle, 255;
"Wartburgkrieg," 256, 259;
Wogelweide, Walther von der, 256, 260;
Wolfram, 255, 256, 260;
woman, the saving grace of, 262, 263
Tausig, Carl, 109, 110, 137
Text of Wagner Dramas, importance of knowing, 219
Thomas, Theodore, 139
Tichatschek, 48, 51, 131
"TRISTAN UND ISOLDE," study of, 293 _et seq._;
Act I., 302;
Act II., 305;
Act III., 308;
abandoned, as impossible, 118;
accepted at Vienna, 118;
art-theories in, 316;
Arthurian legends, now Gallicised, 296;
begun, 109;
book written, 295;
Celtic origin of story, 295 _et seq._;
conception of, 106, 107, 108, 294;
day and night, riddles of, 306-308;
death, basic thought of drama, 304, 306, 311, 312;
death, idea in Isolde's mind, 302, 303;
death, yearning for, 311, 312;
emotions, treatment of, 316 _et seq._;
Fate, workings of, in drama, 311;
finished, 110;
first act written, 109;
first performances, 293;
Gottfried's version, 297;
Isolt of the White Hand, 299, 300, 314;
King Mark, his "sermon," 313, 314;
legend, fundamental idea of, 301;
leitmotiv system in, 315, 316;
love of Tristan and Isolde not caused by the magic drink, 301, 310;
"Liebestod," musical germs of, 324, 327;
Liszt on, 107;
metaphysics in, 312;
musical plan of drama, 314;
music, 315 _et seq._;
_see also_ LEADING MOTIVES;
music, general plan of, 318 _et seq._;
music, third act, 314, 320;
music, when written, 295;
narrative of Isolde, 303;
organic union of arts in, 312, 317, 318;
original casts, 293;
"O sink' hernieder," 307, 324;
pessimism in Act II., 310, 313;
potion, office of, 301, 304, 305, 310;
prelude, 321;
produced at Munich, 127;
production, difficulties of, 111, 125;
pronounced impossible, 122;
Schopenhauer's influence in, 312, 313;
second act sketched, 110;
sources of, 108, 295 _et seq._;
sources of, Wagner's treatment, 300 _et seq._;
story, completions of, 299, 300, 314;
story, Gottfried's, 297;
story, oldest versions of, 297;
story, origin of, 295 _et seq._;
story, Wagner's version, 300 _et seq._;
text, character of, 317;
torch in Act II., 305;
wound, Tristan's, meaning of, 307, 308
Troubadours, influence on German song, 330
Troyes, Chrétien de, 297
"Two Grenadiers," 42
U
"Ueber das Dirigen," 58, 134
Unger, George, 141
V
Viceroy of Egypt, 139
"Victors, The," 108
"Victory," the, 108
Vogl, Heinrich, 131;
Therese, 131, 132
Volsunga Saga, 73;
corollaries of, 378;
origin of, 377;
story told in, 378 _et seq._
Von Bülow, Cosima, 90, 112, 125, 130, 132, 133
Von Bülow, Hans, 90, 112, 124, 130, 131, 132
Von Bülows, the, separation of, 130, 132;
divorce of, 133
W
Wagenseil, Johann Christoph, 335
Wagner, Albert, 2, 15;
wife and daughter, 2
Wagner, Cosima, 133, 134, 153, 160;
_see also_ Von Bülow
Wagner, Friedrich, 1
Wagner, Johanna, 2, 65, 138
WAGNER, RICHARD, abandonment of career contemplated, 119;
affection of, 103;
ambition to reach Paris, 30;
America, asked to visit, 104, 159;
amnesty, 118;
ancestry, 1;
appearance of, 162;
appreciates his own genius, 121;
approach of death, 149, 150;
artistic aims of, 167 _et seq._;
artistic impulse, 158, 159;
art-theories, _see separate title_;
attachment to Cosima von Bülow, beginning of, 125;
attitude toward public, 55, 67;
autobiographic sketch, 52;
autobiography, unpublished, 153;
ballet and, 487;
Bayreuth, goes to, 136;
Bayreuth, work at, 137 _et seq._;
Biebrich, visit to, 120;
birth, 2;
boyhood, 3 _et seq._;
boyish tragedies, 4;
Buddhistic drama, rumours about, 153;
burial of, 152;
calumniated, 130;
character of, 29, 103, 154 _et seq._;
chorus master at Würzburg, 15;
church music, director of, 58;
clothes, rich, love of, 157;
"Communication to My Friends," _see separate title_;
concert tours, 118, 119, 144;
conducting, essay on, 48;
conductor at Dresden, 56, 59, 60;
conductor at Königsberg, 25, 27 _et seq._;
conductor at London, 94 _et seq._, 144;
conductor at Magdeburg, 19;
conductor at Riga, 31;
conducts at Zurich, 89;
conducts juvenile symphony, 151;
conducts "Flying Dutchman," 54, 97;
corner-stone of Festspielhaus laid by, 138;
Cosima von Bülow, love for, 125, 130;
critics on, 69, 142;
death, 152;
debts, troubled by, 74, 85, 95, 116, 120;
depression, 158;
despair, period of, 119-121;
disappointed by public misunderstanding, 53, 55, 119, 121, 147,
148, 160, 161;
dissatisfied with theatre, 32, 174, 175, 179;
Dresden, flight from, 79;
Dresden, work in, 59 _et seq._;
drudgery in Paris, 46, 47 _et seq._;
dual individuality, 154 _et seq._;
dyspepsia, 92, 94, 151;
early models, 16;
early musical studies, 5 _et seq._;
enemies of, 155;
erysipelas, 92;
extravagant habits, 157 _et seq._;
faints at rehearsal, 149;
Fantaisie Castle, lives in, 136;
Fatherland Union, speech before, 75;
final illness, 151;
finding himself, 53-56;
first compositions, 7, 8;
first compositions published, 9 _et seq._;
_see also separate titles_;
friendship with Liszt, 74, 80;
friends of, 155;
funeral in Venice, 152;
funeral in Bayreuth, 152;
Geneva, visits, 129;
habits of, 156;
heart trouble, 149-151;
household, 150;
improvidence of, 83, 85, 86, 157, 158;
insomnia, 94;
Italy, visits to, 94, 110, 147;
King Ludwig's friendship, 122 _et seq._, 128;
King Ludwig's friendship, scandals about, 114, 128;
Königsberg period, 25, 27 _et seq._;
Lachner's prize symphony, objects to conducting, 99;
Leipsic period, 17;
"Lohengrin," first heard by Wagner, 92, 117;
London, concerts in, 100, 101;
London, criticism in, 102;
London, critics offended, 100;
London, first visit to, 34;
London, residences in, 99;
London, second visit to, 96 _et seq._;
London Philharmonic Society, conductor of, 97 _et seq._;
Lucerne, visits, 110, 129;
luxury, love of, 156, 157;
manners of, 156;
Marienbad, visit to, 64;
marriage to Minna Planer, 25, 27 _et seq._, 83, 160;
marriage to Cosima von Bülow, 132-134, 160;
meets Meyerbeer, 36;
mother of, 2;
Munich, goes to, 123;
Munich, leaves, 129;
Munich, opposition in, 128;
myth in dramas, 72;
_see also separate title_;
Nibelungen Lied taken up as a subject, 73;
_see also separate titles_: "Nibelungen Lied," "Siegfried's
Death," and "Der Ring des Nibelungen";
opposition to, 63, 67, 68, 94, 100, 102, 112, 114;
Palace, Vendramin, 150;
Palestrina, admirer of, 58;
Paris, first sojourn in, 36, 37, 38 _et seq._;
Paris, revisited, 82, 103;
Paris, second sojourn in, 112;
Paris, concerts in, 112;
Paris, leaves for Germany, 48;
Paris, leaves for Vienna, 116;
Paris, residences in, 39, 46, 112;
"Parsifal," work during rehearsals of, 149;
Penzing, visit to, 120;
Peps, his dog, 92, 103;
performances unsatisfactory to, 161;
poverty, 95;
Prague, visit to, 14;
prose writings, beginning of, 67;
_see also separate titles_;
purpose of his life, 167;
Queen Victoria and, 102;
Religious mysticism, 148;
Revolution of 1848, 71, 73 _et seq._;
Riga engagement, 31;
Riga engagement, its end, 33;
rudeness of, 155;
school days, 4;
Schopenhauer's influence on, 108;
search for by King Ludwig's messengers, 123;
Seelisberg, visit to, 103;
sense of humour, 99, 100;
sensuous enjoyment, 19;
separation from first wife, 119;
silk garments, fond of, 157;
songs, 42;
_see also separate titles_;
Starnberg, Lake, villa on, 123;
starving his wife, charged with, 130;
suicidal thoughts, 158;
symphony in C, 11, 12;
symphony in C performed in Venice, 151;
"Tannhäuser," effect of its failure on Wagner's life, 67;
Teplitz, visit to, 19, 50;
Triebschen, settles at, 129;
Vendramin Palace, goes to, 150;
Vendramin Palace, household in, 150;
Vendramin Palace, life in, 150;
Venice, first visit, 110;
Venice, last days in, 150 _et seq._;
Vevay, visits, 129;
Vienna, visits, 117;
Wahnfried, goes to, 136;
weakness in character, 158;
Weber's remains removed by, 60;
Weimar, goes to, 80, 118;
Wesendonck, Mrs., intrigue with, 110, 111;
worship of Weber, 5, 6;
Würzburg period, 15 _et seq._;
Zurich, concerts at, 106;
Zurich, goes to, 81;
Zurich, return to from London, 103
Wagner, Rosalie, 2, 15
Wagner, Siegfried, 133, 153
Wagner Societies formed, 138;
consolidated, 153
Wagnerites, English, 103
"Walküre, die"; _see_ "Die Walküre"
Weber, art-theories of, 175
Weber, influence on Wagner, 175
Weber's remains removed by Wagner, 60
Weinlig, Theodore, 9
Wesendonck, letter to, 111
Wesendonck, Mathilde, 107, 110, 111
"Wieland the Smith," 89
Wilhelmj, 144
Wille, 94, 120, 121, 123
Wittgenstein, Countess, 105
Wolff, O.L.B., 81
Wolfram von Eschenbach, history of, 448;
"Parzival," story of, 457
Wolzogen, Hans von, 147
Würzburg, Konrad von, "Der Schwanen-Ritter," 272
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