The end of the gigantic _Ring_, specifically Brünnhilde’s scene of
immolation, is frequently performed in concert with a soprano soloist.
The heroine’s great monologue, delivered in the hall of the Gibichungs,
writes finis to a drama that takes four separate operas to tell. In her
grief over the death of her hero-husband she stills the “loud, unworthy”
lamentations of the others who are gathered about the slain Siegfried.
She commands them to erect a funeral pyre and to place the hero’s body
upon it. His ring is taken from his finger and she puts it on her own.
After applying a torch to the pyre she leaps on her horse Grane and
rushes into the flames.
Prelude and ‘Love-Death’ from “Tristan und Isolde”
In 1854, when Wagner was in the midst of composing the _Ring_, the idea
for an opera on the Tristan theme came to him. Not till three years
later, however, did he begin actual work on it, and the music-drama was
finished in August 1859. Complications of various kinds interfered with
the production of the opera, but it finally obtained its première at the
Royal Court Theater in Munich, on June 10, 1865, under the direction of
Hans von Bülow.
Wagner’s version of the tale combines features from numerous legends.
Very likely of Celtic origin, the story, as the German composer utilized
it, makes room for myriad delvings into psychology and metaphysics, some
of which are not easy to follow. We must assume, as Ernest Newman
suggests, that the characters and their motivations were perfectly clear
to the composer, if they seem not to be altogether to the listener. Here
is the essence of the music-drama’s plot, extracted from Wagner’s own
description:
We are told of Tristan and Isolde in an ancient love poem, which is
“constantly fashioning itself anew, and has been adopted by every
European language of the Middle Ages.” Tristan, a faithful vassal of
King Marke, woos Isolde for his king, yet not daring to reveal to her
his own love. “Isolde, powerless to do otherwise, follows him as a bride
to his lord.” In the meantime the Goddess of Love, balked by all this,
plans revenge. The Love Potion, which had been intended for the king in
order to insure the marriage, is given to Tristan and Isolde to drink, a
circumstance which “... opens their eyes to the truth and leads to the
avowal that for the future they belong only to each other.... The world,
power, fame, splendor, honor, knighthood, fidelity, friendship, all are
dissipated like an empty dream. One thing only remains: longing,
longing, insatiable longing, forever springing up anew, pining and
thirsting. Death, which means passing away, perishing, never awakening,
their only deliverance.... Shall we call it death? Or is it the hidden
wonder-world from out of which an ivy and vine, entwined with each
other, grew upon Tristan’s and Isolde’s grave, as the legend tells us?”
The Prelude, A minor, 6-8, makes a very gradual and long _crescendo_ to
a mighty _fortissimo_, followed by a briefer _decrescendo_, which leads
to a whispered _pianissimo_. Free as to form and ever widening in scope
of development, it offers two chief themes: a phrase, uttered by the
’cellos, is united to another, given to the oboes, to form a subject
called the “Love Potion” theme, or the theme of “Longing.” Another
theme, again announced by the ’cellos, “Tristan’s Love Glance,” is
sensuous, even voluptuous in character.
After the Prelude, the orchestra enters into the “Liebestod” or
“Love-Death,” that passionate flow of phrases, taken mostly from the
material in the second act Love-Duet. Isolde (in the opera) sings her
song of sublimated desire. Franz Liszt is responsible for the
application of the term “Liebestod” to that part of the music which
originally had been named “Verklärung” by Wagner himself.
Prelude to “Die Meistersinger von Nürnberg”
“The completion of _Die Meistersinger_, Triebschen, Thursday, October
24, 1867, 8 o’clock in the evening, R. W.” These words were inscribed on
the last sheet of the manuscript of Wagner’s only operatic comedy. This
was some twenty-two years after the very first drafts were drawn at
Marienbad. The doctor had ordered a complete rest. But rest to Wagner
meant ennui. Perhaps, he thought, he might be able to rest while
composing a lighter work. The idea took hold. He gave it considerable
thought. He could just about see this airy piece’s “rapid circulation
through the European opera houses.” Indeed, he judged that “something
thoroughly light and popular” might be just the thing to make his
everlasting fame.
Hans Sachs, of course, is the hero of this masterpiece. A historic
character, Sachs was built by the composer into something of an ideal of
homespun charm and wit and philosophy. But Wagner also evened a score
with an old enemy in his composition of this work. The music critic
Eduard Hanslick appears as the crotchety, pedantic and unprincipled
Beckmesser, thus earning for himself a ridiculous immortality.
How Wagner could have written this opera with all the troubles besetting
him is hard to comprehend. Yet no financial snarls, domestic
tribulations, romantic attachments or what-not could stay it even though
it took years to come forth.
As for the Prelude, Wagner himself has written an interesting analysis,
which is here appended:
“The opening theme for the ’cellos has already been heard in the third
strophe of Sachs’ cobbler-song in Act II. There is expressed the bitter
cry of the man who has determined to renounce his personal happiness,
yet who shows the world a cheerful, resolute exterior. That smothered
cry was understood by Eva, and so deeply did it pierce her heart that
she fain would fly away, if only to hear this cheerful-seeming song no
longer. Now, in the Introduction to Act III, this motive is played alone
by the ’cellos, and developed in the other strings till it dies away in
resignation; but forthwith, and as from out the distance, the horns
intone the solemn song wherewith Hans Sachs greeted Luther and the
Reformation, which had won the poet such incomparable popularity. After
the first strophe the strings again take single phrases of the cobbler’s
song, very softly and much slower, as though the man were turning his
gaze from his handiwork heavenwards, and lost in tender musings. Then,
with increased sonority, the horns pursue the master’s hymn, with which
Hans Sachs, at the end of the act, is greeted by the populace of
Nuremberg. Next reappears the strings’ first motive, with grandiose
expression of the anguish of a deeply-stirred soul; calmed and allayed,
it attains the utmost serenity of a blest and peaceful resignation.”
The plot of _Die Meistersinger_ deals with a song contest which is to be
held in Nuremberg on St. John’s Day. Naturally, there is to be a
handsome prize for the winner and in this case it is the hand of Eva,
daughter of the goldsmith Veit Pogner. A young knight, Walther von
Stolzing, has seen Eva meanwhile, and he has fallen in love with her.
Because he is a likeable young man, he is given permission to enter the
contest. Another contestant is Beckmesser, the town clerk, who attempts
to bring Walther to ruin.
However, Walther and Eva have confessed their love for each other to
Hans Sachs, a cobbler, who happens also to be in love with Eva. But he
makes the supreme sacrifice, rejoicing at the same time in the knowledge
that the maid will be deliriously happy with her young knight. He helps
their cause along, writing down the notes of a song Walther has heard in
a dream. At the contest Beckmesser tries to sing that same song,
offering it as his own, but his raucous efforts make him the laughing
stock of the affair. Of course, Walther’s song is adjudged the best and
he wins his Eva.
Excerpts from “Die Meistersinger”
Often heard in the concert hall are several other excerpts from _Die
Meistersinger_. These include the Procession of the Guilds, the Dance of
the Apprentices, the Procession of the Masters, the Homage to Sachs, and
the Finale.
Prelude, Transformation Scene and Grail Scene from Act 1 of “Parsifal”
Most of the _Ring_, all of _Tristan_, and a considerable portion of _Die
Meistersinger_ had been written by Wagner before he started actual work
on the “consecrational festival stage play,” _Parsifal_, in 1865. He
made a first outline of the libretto in August of that year, some two
decades after he had become acquainted with the Parsifal poem of Wolfram
von Eschenbach, the Minnesinger. Not till 1877, however, did the text
attain its final shape, and it was published in December. Sometime
previously Wagner had turned to the task of composing the music and
completed it in 1879. The orchestration was finished in January 1882.
The opera was given for the first time at Bayreuth on July 26, 1882. The
Prelude, written in December 1878, had been given its première
performance at Wagner’s house, Wahnfried, on Christmas Day, with the
composer conducting for the occasion, his wife Cosima’s birthday.
[Illustration: Wagner with Franz Liszt and Liszt’s daughter, Cosima,
ex-wife of the conductor Hans von Bülow, whom Wagner married in 1870.]
[Illustration: The Wagner villa, _Wahnfried_, at Bayreuth, scene of the
Wagnerian Festivals.
_Publisher’s Photo Service_]
The ethical essence of _Parsifal_ has thus been expressed:
“Enlightenment coming through conscious pity brings salvation.” Wagner,
whose earlier music-dramas each revolved about some _idée fixe_ of
philosophical or moral implication, brought to _Parsifal_, besides,
religious elements derived from the twin sources of Christian doctrine
and Buddhism. Some years before he had done the sketch for a play on the
subject of Jesus of Nazareth, and, parenthetically, it is quite likely
that he had no intention to write music for it. Nevertheless, here is
shown the composer’s religious urge, mingled with other aspects of his
creative bent. He says, “I was burning to write something that should
take the message of my tortured brain, and speak in a fashion to be
understood by present life. Just as with my Siegfried, the force of my
desire had borne me to the fount of the Eternal Human: so now, when I
found this desire cut off by modern life from all appeasement, and saw
afresh that the sole redemption lay in flight from out this life,
casting off its claims on me by self-destruction, did I come to the
fount of every modern rendering of such a situation—Jesus of Nazareth,
the Man.”
During that period Wagner drafted another play, which he titled _Die
Seger_ (_The Victors_), one of Buddhistic import, whose story centers on
the dictum that Prakriti, the hero, may not become one with Amanda, the
heroine, unless he “shares the latter’s vow of chastity.” In these two
works may be found qualities and tones of thought also incorporated in
_Parsifal_.
The locale of _Parsifal_ is Montsalvat in the Spanish Pyrenees. The
castle of the Holy Grail is tenanted by a company of Knights, guardians
of the Spear which pierced Jesus’ side as He hung on the Cross, and of
the Cup He drank from the Last Supper and which received His precious
blood from the Spear-wound. This brotherhood of Knights of the Grail
refuses membership to all, save the pure in heart, and the Knights go
about the world doing good through the high powers given them by the
Grail.
A certain other knight, Klingsor, sinful and scheming, enraged against
the Knights for having been denied admission to the Brotherhood, has
built a magic garden, whose many charms have proved strong enough to
tempt several of the weaker-willed Knights. Amfortas, king of the Grail,
is one of these. He has fallen victim to the wiles of Kundry, a creature
of Klingsor. The latter has seized the Spear from Amfortas and has
humiliated him further by wounding him with it. The wound may be cured
only by being touched with the point of the Spear held by a Guileless
Fool, a youth who can withstand all temptation. This youth, of course,
is Parsifal, a forest lad who enters into the picture through having
killed a swan sacred to the Grail. Parsifal is made to go through the
rituals prescribed by the libretto; namely, he is present at the
ceremony of the Eucharist or the Lord’s Supper without grasping anything
of its meaning; he resists the lures thriving in Klingsor’s garden; then
he seizes the Spear, flung at him by Klingsor and, as he makes the sign
of the cross, the garden is destroyed. He wanders about the world and
returns to Montsalvat. Kundry, now a repentant woman dedicated to the
Grail’s service, washes his feet and dries them with her hair. Next he
goes with Gurnemanz to the temple where he restores Amfortas to health,
and, as the latter bends before him in homage, Kundry dies. Having thus
attained “enlightenment ... through conscious pity,” Parsifal has become
the saviour of Montsalvat.
The Prelude is an abbreviated exposition of the purposes, musical and
dramatic, of the opera. It opens with the phrase which dominates the
religious scene of the first act during the feast of the Lord’s Supper.
The phrase, sung first in unison by violins, ’cellos, English horn,
clarinet and bassoons, is marked _sehr langsam_ (Lento assai), A-flat
major, 4-4. It is taken up by trumpet, oboes, and half the first and
second violins to the accompaniment of arpeggios in the violas and the
other violins, and chords for flutes, clarinets, and English horn with
the bassoons and horns sustaining harmony notes. After a series of
broken chords, the trombones and trumpets announce a second theme, the
Grail motive, which is a phrase long known as the _Dresden Amen_ of the
Saxon liturgy. There is a change of tempo to 6-4 with the entrance of a
third theme, that of Faith. Its first figure is frequently repeated
against changing harmonies. A fourth theme appears, suggestive of the
suffering of Christ and Amfortas, which originates in the Lord’s Supper
motive; its first two measures are also employed to characterize the
Spear. In the words of Maurice Kufferath, “Like the Prelude to
‘Lohengrin,’ the introduction to ‘Parsifal’ is developed by successive
degrees until it reaches a maximum of expression, thereafter to diminish
imperceptibly to a pianissimo. Thus the synthesis of the whole drama is
clearly exposed. That which remains is merely a peroration, a logical,
necessary conclusion brought about by the ideas associated with the
different themes.”
The music of the Transformation Scene in this act is that which is
played during the walk of the venerable Gurnemanz and Parsifal through
the wood to the Hall of the Grail. The music is of a march-like quality
for a spell, subsequently gradually expanding in color and richness to
the climactic theme representative of the Penitence of Amfortas, which
is given out three times in succession.
The Grail Scene follows. There is the tolling of bells, the Grail
Knights march into the hall in stately fashion. One hears the chanting
of boys in the lofty dome. The ritual is interrupted by the impassioned
song of Amfortas, who, suffering great torment, begs his father,
Titurel, in words of self-abasement, to celebrate the Communion in his
place. Titurel answers, however, “Serve thou, and so thy guilt atone!
Uncover the Grail!” Presently the ceremony is ended, the knights have
departed, and only Gurnemanz and Parsifal remain. The former inquires of
the latter how much of the proceedings he has understood. The youth’s
only answer is to clutch at his heart and shake his head. Gurnemanz, who
by this time is convinced that Parsifal is truly a fool, sends him away
angrily and then follows the Knights out the door. From somewhere above
an unseen singer delivers the motive of the Pure Fool. The theme of the
Grail is sung by still other voices. Bells peal once again. The act
ends.
[Illustration: Rough draft of one of Wagner’s last compositions,
dedicated to his wife, Cosima.]
It is interesting to note that these excerpts from _Parsifal_ represent
the only ones authorized by Wagner for concert performance.
Good Friday Spell from “Parsifal”
The Good Friday Spell is placed at the end of the first scene in Act III
of the opera. Gurnemanz is now an old hermit who lives in a humble abode
at the edge of a forest. He comes out of the hut when he hears a
groaning sound in the distance. Presently Parsifal arrives. He is a
knight clad in black armor, carrying the sacred spear and a buckler. He
is weary. The old Gurnemanz plies him with questions, but Parsifal will
not answer until he is apprised of the fact that it is Good Friday.
Whereupon he drives the spear into the ground, removes his helmet, and
kneels in prayer.
Subsequently Kundry fetches water and washes his feet and anoints him
with holy oil. And Gurnemanz, recognizing in him the Guileless Fool now
worthy of the title King of the Grail, blesses him and greets him as the
king. They soon set out for Montsalvat.
The music of the Good Friday Spell comprises thematically a hymn of
thanksgiving, the music of Kundry’s Sigh, of the Holy Supper, of the
Spear, of the Grail, of the Complaint, of the Flower Girls. All of these
are finally fused into a pastoral poem ending with the Good Friday
melody, which is suddenly interrupted by the doleful sound of bells.
During Gurnemanz’s blessing of Parsifal, horns, trumpets and trombones
play the Parsifal motive. This is given out in an impressive manner, and
it leads into the Grail theme. There follows a series of chords which
usher in the motives of Baptism and Faith.
COMPLETE LIST OF RECORDINGS
BY THE
PHILHARMONIC-SYMPHONY SOCIETY OF NEW YORK