previous knowledge of the action or the motive on the part of the
spectator, or in communicating this knowledge by other means than a
stage presentation, why should we not boldly recognise that the time is
ripe for a new form of art that shall carry the potency of music a step
further than it was carried by Wagner? After all, it is the music that
counts for ninety-five per cent, of our enjoyment of a Wagner opera.
The "philosophy" of the _Ring_ may be something to write or read about
in the study, but in the theatre it really goes for very little. It is
interesting to talk about the Schopenhauerian or Hindoo significance of
the discourse of the lovers, in the second Act of _Tristan_, upon Love
and Death, and Night and Day; but again--for how much does this count
in the theatre? Has there ever been a single spectator, since _Tristan_
was first given, who could make out from the performance alone what
philosophy it was the lovers were talking, or whether they were talking
philosophy at all? And how many people who _do_ know the text at this
point--because they have read it--feel in the theatre that very much
of the essential emotion of the work would be lost if the characters
sang Chinese words, or Choctaw words, or no words at all, so long as
the music was left to tell its own tale? I must guard against possible
misunderstanding here. I am not for a moment urging that speech should
henceforth be banished from opera as a mere superfluity.[417] There are
many subjects in which it will always be a necessity; the world of the
_Meistersinger_, for instance, could have been made real to us in no
other medium than that of music with words. But I do contend that there
are many poetic subjects in which virtually the whole of the expression
could be entrusted with perfect safety to music alone,--not necessarily
in the form of a symphonic poem, but in a sort of drama without
actors--if the paradox may be permitted--or with speechless actors.
And could we not in this way approach a step nearer to the ideal
musical art-work, in which all the needful suggestiveness of poetry
was retained without any admixture of the cruder non-musical elements
that at present merely go to make plot and persons intelligible to the
auditor?
IX
Maeterlinck and others have of late familiarised us with the idea
of a "static" as distinguished from the older "dynamic" drama. It is
highly probable that in the future men will go to the theatre craving
the satisfaction of rather different desires from those they seek to
satisfy there now. That "drama" is capable of more than one meaning is
proved by the existence of dramatic forms so varied as those of the
Greek drama, the Shakespearean drama, the Maeterlinckian drama, the
_Atalanta in Calydon_ of Swinburne, _The Dynasts_ of Mr. Thomas Hardy,
and the _Getting Married_ of Mr. Bernard Shaw. It is quite reasonable
to suppose, therefore, that a new generation may read another new
meaning into the word. Among the finer minds of the present day there
is a decided movement away from what seems to them the crudity of the
old-style "well-constructed" drama of action. Maeterlinck, in one or
two of his essays, has given eloquent expression to the feelings that
inspire this movement of revolt. Many of the time-honoured dramatic
"motives" are already sadly discredited. The dagger and the poison-bowl
no longer play the part in tragedy that they used to play. Humanity has
come to see that things of this kind are the mere excrescences of a
dramatic action,--the mere crude outward and visible signs of desires
and passions working in secret in the souls of men,--and their gaze
is being turned more and more on the psychological springs of action
rather than on the visible actions themselves. Drama, in the hands of
thoughtful poetical writers, is becoming more and more an affair of
the inner rather than the outer man; and it is probable that, as time
goes on, still less reliance will be placed on the crude stage effect
of violent action. It need hardly be said that as drama dispenses with
piece after piece of action and explanation, and comes deeper down
to the essence of tragedy as a war of impulses in a man's soul or of
the fates about his path, it approaches more nearly to the mood of
music. We may look in the future to a yet further purging of poetic
drama of many of the tedious conventional devices on which it is still
dependent so long as it has to play off a number of characters against
each other like chessmen on a few square yards of board in a theatre.
I think I can foresee the time when most of what now passes for "plot
interest"--the pretence on the author's part of hiding something merely
in order that it may in due time be triumphantly found again--will
be regarded as something almost childish in the naïve quality of its
appeal, and will be relegated to forms of art as much below the general
intellectual level of the literature of the day as the detective story
is below the intellectual level of our own better novels and dramas.
The more artistic the race becomes, the less will it crave for mere
facts and events in drama, and the more for an imaginative reading of
the soul on which the facts and events have written their record. Again
let me interpolate a word of warning against a misunderstanding of my
thesis. I am not supposing that a time will ever come when the drama as
we have it now will have disappeared from the stage. I fully recognise
that there are certain dramatic concepts that can never be adequately
expressed except by means of clashing and marching and counter-marching
characters, and action more or less violent or clockworklike. But I
fancy that in the not distant future the more poetic side of man will
demand a form of art in which very little happens or is told, but in
which the soul of the spectator is flooded by emotions of pity and
sorrow and love that are all the more penetrating because they do
not come to us through the relatively cold medium of words and the
childish, creaking clockwork of exits and entrances and surprises and
intrigue.
X
It is this attitude of the artistic mind of the future towards drama
that will, I think, find utterance in a form of quasi-dramatic music
in which we shall be rid of all or most of the mere scaffolding of
narration or action that serves at present simply to give intellectual
support to the music of opera. Even in Wagner are we not painfully
conscious at times of the fact that the music, which matters a great
deal, is being diluted and made turbid by a quantity of baser matter
the only function of which is to make it clear to us why these
particular people are there at that particular moment, and what it
is that they are doing? It cannot be reiterated too often that it is
only the music that can keep alive any form of art into which music
enters. The mere facts in an art-work lose their force with repetition;
it is only artistic emotion that can be born anew again and again and
yet again. Who feels anything but a glow of rapturous anticipation
when the first notes of the _Liebestod_ or of Wotan's _Abschied_ are
sounded? He may have heard it all a hundred times before, and know
every note of it by heart; but it will all be as new and wonderful and
inevitable to him at the hundredth hearing as at the first. But who
does not involuntarily emit a groan from the very depths of his being
when Wagner's first care at the moment is not to kindle us with great
music but to tell us through Wotan's lips at great length, and for the
hundredth time, certain mere facts that have long lost their absorbing
interest for us. And even in his most compact work, _Tristan_, is there
not a great deal that is, from the highest point of view, superfluous?
We can bear to hear the same glorious music time without number; but
we will not bear being told time without number who Tristan and Isolde
and Marke and Morold are, and how Tristan slew Morold, and how Isolde
nursed Tristan back to health, and all the rest of it. I can imagine a
_Tristan_ in which things of this kind would be assumed to be matters
of common knowledge on the part of the audience, as the characters
and motives of Tchaikovski's _Romeo and Juliet_ or _Francesca da
Rimini_ are assumed to be common knowledge, or those of Strauss's
_Macbeth_ or _Till Eulenspiegel_, or those of Beethoven's _Coriolan_
and _Egmont_ Overtures or the _Leonora No. 3_, or those of Dukas's
_L'Apprenti Sorcier_. Then the whole of the composer's time and the
audience's attention could be devoted to that full musical exposition
of nothing else but the protagonists' "soul-states" and "soul-events"
which Wagner avowed as the ideal of music-drama, but which is virtually
an impossible ideal so long as opera is compelled to utilise so many
actors on so much and no more of a stage, and to occupy precisely so
many hours of an evening.
As it happens, we already have in the Greek drama,--especially that
of the older type,--a form of poetic art strongly resembling that
which I am here suggesting might be now produced in music. Not only
did the old Greek dramatist, as we have seen, largely rely on the
audience's knowledge of the characters and events of his play, and so
save himself the necessity of much action or much scene-shifting, but
he cast the drama into a concentrated form that enabled him to appeal
rather to the spectator's sense of poetry than to the mere delight
in external catastrophe and the unravelling of plot; while in the
chorus he had under his hand an instrument capable of extraordinary
emotional expression. The Greek drama, in fact, was singularly akin to
the music-drama of Wagner. As Wagner saw, the true modern equivalent
of the Greek chorus is the orchestra; it is at once part of the action
and aloof from it, an ideal spectator, sympathising, commenting,
correcting. The Greek drama resembles ideal opera, again, in that the
ultimate sentiment disengaged from it is one not of facts shown, or of
interest held by the mere interplay of intrigue, but of a high poetic
spirit, purifying and transfiguring the common life of things.
Is not this form capable of further development? Is it not possible
to construct an art-form in which the mere facts that it is necessary
for us to know are either assumed as known or set before us in the
briefest possible way, so that music can take upon itself the whole
burden of expression, and the whole work of art be nothing but an
outpouring of lofty, quintessential emotion? Can we not imagine
something like the second Act of _Tristan_ with silent and only dimly
visible actors, the music, helped by their gestures, telling us all
that is in their souls, while they are too remote from us for the crude
personality of the actors and the theatrical artificiality of the
stage-setting to jar upon us as they do at present? Cannot some story
be taken as so well known to everyone that only the shadowiest hints of
the course of it need be given to the spectator, the real drama being
in the music? Or, to go a step further, cannot we dispense altogether
with the stage and the visible actor, such external coherence as the
music needs being afforded by impersonal voices floating through a
darkened auditorium?[418] The effect of disembodied voices can be
made extraordinarily moving; in all my experience of concert-going
I can remember no sensations comparable to those I felt during the
Grail scene from _Parsifal_ at one of the Three Choirs Festivals;
the exquisite beauty of the boys' voices floating down from one knew
not where was something almost too much for mortal senses to endure.
Here, in the concealed, impersonal choir, is an instrument, I think,
the full emotional power of which is not yet suspected by composers.
It lends itself admirably to just that desire for the exploration of
the mysteries around us that music is always endeavouring to satisfy.
As the cruder kind of action goes out of drama, the hovering Fates
will come in. Mr. Hardy, in _The Dynasts_, has given us a hint of
what may be done by a partial reversion to the Greek type of drama,
the purblind, struggling human protagonists being surrounded by an
invisible chorus of Fates that see to the hidden roots of things.
A poetic scheme of this kind could be made extremely impressive by
music,--say a series of orchestral pictures of human desires and
passions, having a simple intellectual co-ordination of their own, with
an invisible chorus commenting upon it all now and then in the style of
the Fates of Mr. Hardy or the chorus of Æschylus. There are, I think,
several possible new art-forms open to us when we shall have learned
to dispense, for certain purposes, with the actor and his speech, to
rely upon the audience's previous knowledge of some story of universal
interest and significance, and to leave it to music alone to express
the whole of the dramatic or poetic implications of the story. But
it is perhaps vain to try to forecast these future developments by
means of reason. They will certainly come, but not by theorists taking
thought of them; they will have to be born, as the Wagnerian drama was,
out of the burning need of some great soul.
FOOTNOTES:
[413] See _Paradise Lost_, Book I, lines 44 ff. Compare the passage in
which Lessing (_Laokoön_, Chap. XII) is discussing the felling of Mars
by Minerva by means of a huge stone. The overthrown god, according to
Homer, "covered seven acres." "It is impossible," says Lessing, "that
the painter could give this extraordinary size to the god; but if he
does not give it him, then Mars does not lie upon the ground like the
Homeric Mars, but like a common warrior."
[414] This is the explanation of the fact that good music often floats
a poor poem, while the best of poems has never been able to float poor
music.
[415] We may, of course, get it from a programme note, but this in turn
must have been derived from some experience of the opera, either on the
stage or in the printed score.
[416] A correspondent of the _Musical Times_ objected to this
statement, alleging that the so-called Passion chorale is really the
tune of the Communion chorale _Herzlich tut mich verlangen_, which is
used for a variety of other hymns, including the _O Haupt voll Blut und
Wunden_. "The result is," he said, "that to the German mind it conveys
no particular association, just because it is so frequently used and
at the most varied occasions." As a matter of fact, it is precisely
to "the German mind" that it _does_ convey the Passion association
I suggested, as is shown by the remarks of such writers as Spitta
(_Life of Bach_, Eng. trans., ii. 579), Schweitzer (_J. S. Bach, le
musicien-poète_, p. 281), Arnold Schering (_Bachs Textbehandlung_, p.
19), and Wolfrum (_Johann Sebastian Bach_, ii. 14, 15).
[417] Nor, I should think I scarcely need add, do I imagine that opera
will die out in the near future, though some critics of the original
article naïvely attributed this view to me!
[418] Mr. Rutland Boughton has already made a very suggestive beginning
on this line.
SYNTHETIC TABLE OF WAGNER'S LIFE AND WORKS
AND SYNCHRONOUS EVENTS
YEAR. LIFE. MUSICAL WORKS. PROSE AND SYNCHRONOUS
POETICAL WORKS. EVENTS.
1813 22nd May. Born at Verdi born.
Leipzig.
Rossini's
22nd Nov. His father _Tancredi_.
dies.
1814 14th Aug. His
mother marries
Ludwig Geyer.
August. The family
removes to Dresden.
1815 Weber called
to Dresden
to found a
German Opera.
1818 Spohr's _Faust_.
1819 Schopenhauer's
_Die Welt als
Wille und
Vorstellung_.
1821 30th Sept. Weber's
Death of Geyer. _Der Freischütz_.
1822 César Franck
born.
1823 Weber's
_Euryanthe_.
Schubert's
_Rosamunde_.
1824 Beethoven's
Ninth Symphony.
Bruckner born.
1826 Weber's
_Oberon_.
Death of
Weber.
1827 The family Death of
removes to Leipzig. Beethoven
1828 "Leubald und Adelaide" Death of
(unpublished). Schubert.
Marschner's
_Der Vampyr_.
1829 1st Sonata in Auber's
D minor. _Masaniello_.
Quartet in D major. Rossini's
_William Tell_.
1830 Arrangement of Berlioz'
Beethoven's _Symphonie
9th Symphony Fantastique_.
for two hands.
Auber's
Overture in C major _Fra Diavolo_.
(6/8 time).
Bellini's
Overture in B flat _Romeo and
(performed at Leipzig Juliet_
under H. Dorn
on Christmas Day).
1831 Feb. Studies Pianoforte Sonata in Meyerbeer's
music with B flat major (Op. 1). _Robert the Devil_.
Weinlig.
Polonaise in D major Bellini's
for four hands _La Somnambula_.
(Op. 2). (Both
published by Hérold's _Zampa_.
Breitkopf & Härtel,
1832).
Pianoforte Fantasia
in F sharp minor
(not published in
Wagner's
life-time; first
issued by Kahnt,
Leipzig, 1905).
Overture to
Raupach's _König
Enzio_ (finished
3rd Feb. 1832.
Performed in
Leipzig Theatre, as
prelude to the play,
16th March 1832.
Published by
Breitkopf & Härtel,
1907).
Concert Overture in
D minor (never
published;
performed at a
"Euterpe" Concert,
Leipzig, Christmas
1831, and at a
Gewandhaus Concert,
23rd Feb. 1832).
Concert Overture
in C with fugue
(never published;
performed at a
"Euterpe" concert,
Leipzig, winter
1831-2, and at a
Gewandhaus Concert,
30th April 1832).
1832 Symphony in C major Bellini's
(performed at Prague _Norma_.
Conservatoire under
Dionys Weber, Death of
summer 1832, Goethe.
also at Leipzig,
Christmas 1832
and 10th Jan. 1833).
_Die Hochzeit_ begun.
Text completed, but
music never
finished.
Setting of
"Glockentöne" (poem
by T. Apel).
Seven compositions
for Goethe's
_Faust_ (Op. 5).
(Not published till
1914.)
1833 Jan. At Würzburg.
Returns to Leipzig
at Christmas.
6th Aug. Finishes Sept. Allegro for Marschner's
Act I of _Die Aubry's Aria in _Hans Heiling_.
Feen_. Marschner's _Der
Vampyr_; text and Brahms born.
1st Dec. Finishes music by Wagner
Act II of _Die (not published
Feen_. till 1914).
1834 1st Jan. Finishes 2nd Symphony in Article on "The German Donizetti's
Act III of _Die E major Opera," published _Lucrezia
Feen_. (unfinished). anonymously in the Borgia_.
_Zeitung für die elegante
6th Jan. Finishes Welt_ of 10th June 1834. First number
Overture to _Die of the
Feen_. (Opera first Article "Pasticcio," _Neue Zeitschrift
performed 29th June published in the _Neue für Musik_
1888 at Munich.) Zeitschrift für Musik_, published
6-10th Nov. 1834 (signed
Jan. Returns to "Canto Spianato").
Leipzig. Writes
text of _Das
Liebesverbot_.
July. Conductor
at Magdeburg.
1835 _Columbus Overture_ Halévy's
(performed at Kahnt, _La Juive_.
1835, in Riga,
19th March 1838, Donizetti's
and at Paris, 4th _Lucia di
Feb. 1841; Lammermoor_.
published by
Breitkopf & Härtel Grimm's "German
in 1907). Mythology"
published.
Jan. New Year
Cantata, "Beim
Antritt des
neuen Jahres"
(published 1914).
1836 March. Finished _Das Liebesverbot_ Text of "Männerlist Meyerbeer's
music of _Das (_The Novice of grösser als Frauenlist" _Les Huguenots_.
Liebesverbot_. Palermo_), (music never written).
performed in
August. Settles Magdeburg, Article, "Aus Magdeburg"
at Königsberg. under Wagner, (published anonymously
29th March. in the _Neue Zeitschrift
24th Nov. Marries für Musik_ for 19th
Minna Planer. _"Rule, Britannia"_ April 1836).
Overture
(published by
Breitkopf &
Härtel
in 1907).
_"Polonia" Overture_
(begun in 1832;
published by
Breitkopf & Härtel
in 1907).
1837 May. Leaves Romance in "Die hohe Braut"(Opera Lortzing's
Königsberg. G major, text, sketched in 1836 _Zar und
"Sanfte Wehmut and sent to Scribe in Zimmermann_.
August. Settles will sich regen," 1837. Offered to
in Riga. (for insertion in Reissiger in 1842.
Blum's Singspiel Versified by Wagner
"Marie, Max in 1847, and composed by
und Michel"). Johann Kittl under the
title of "Bianca und
Giuseppa, oder die
Franzosen vor Nizza").
Articles "Der dramatische
Gesang," and "Die _Norma_
von Bellini" (the latter
lost).
Article, "Bellini, Ein
Wort zu seiner Zeit,"
published in the _Rigaer
Zuschauer_, 7-19th
Dec. 1837.
1838 July. Begins "Der Tannenbaum" "Die glückliche Berlioz's
_Rienzi_. (song). Bärenfamilie" (comic _Benvenuto
opera in 2 Acts. Cellini_.
Conceives idea of Text only).
_Flying Dutchman_.
1839 May. Completes A _Faust Overture_
first two Acts of (finished Feb. 1840,
_Rienzi_. rehearsed by
Habeneck at Paris,
July. Leaves Riga. but not performed).
September.
At Paris. Songs:--
"Dors, mon Enfant."
"Mignonne."
"Attente."
"Les deux
Grenadiers."
1840 September. Schumann's
Finishes _Rienzi_. _Myrthen,_
_Frauenliebe_ and
Sketches _Flying _Dichterliebe_.
Dutchman_.
Donizetti's
Meets Liszt for _Favorita_.
first time.
Tchaikovski
Oct. Writes born.
_Rienzi_ Overture.
Nov. Finishes
scoring of
_Rienzi_.
1840-42 Articles written in
Paris: "The Nature of
German Music" (_Gazette
Musicale_, Nos. 44-6,
1840).
"Pergolesi's Stabat Mater"
(_G. M._, No. 57. 1840).
"The Virtuoso and The
Artist" (_G. M._, No. 58.
1840).
"A Pilgrimage to
Beethoven" (_G. M._,
Nos. 65, 66, 68, 69.
1840). "The Overture"
(_G. M._, Nos. 3-5. 1841).
"An End in Paris" (_G. M._,
Nos. 9, 11, 12. 1841).
"Report" for the
_Dresdener Abendzeitung_,
(23rd Feb. 1841).
"The Artist and Publicity"
(_G. M._, No. 26. 1841).
"Parisian Amusements"
(_Europa_, April, 1841).
"Report" for the
_Dresdener Abendzeitung_,
6th April, 1841.
"Report" for the
_Dresdener Abendzeitung_,
5th May, 1841.
"Parisian Fatalities for
Germans" (_Europa_, May
1841).
"Der Freischütz" (_G. M._,
Nos. 34-5. 1841).
"Le Freischütz"
(_Dresdener Abendzeitung_,
20th June 1841).
"Report" for the
_Dresdener Abendzeitung_,
6th July 1841.
"Report" for the
_Dresdener Abendzeitung_
("Impressions of a
Parisian Sunday,"
1st Aug. 1841).
"Report" for the
_Dresdener Abendzeitung_,
8th Sept. 1841.
"A Happy Evening" (_G. M._,
Nos. 56-8. 1841).
"Report" for the
_Dresdener Abendzeitung_,
5th Nov. 1841.
"Report" for the
_Dresdener Abendzeitung_,
1st Dec. 1841.
"Rossini's Stabat Mater"
(_Neue Zeitschrift für
Abendzeitung_
15th Dec. 1841).
"Report" for the
_Dresdener Abendzeitung_
(Halévy's "La Reine de
Chypre"), 23rd Dec. 1841.
"Report" for the
_Dresdener Abendzeitung_
("On a New Paris Opera"),
31st Dec. 1841.
"Halévy et La Reine de
Chypre" (_G. M._, Nos. 9,
11, 17, 18. 1842).
1841 Engaged on the Feuerbach's _Wesen
_Flying Dutchman_, des Christenthums_.
music written
in July and Aug.
1842 April. At 20th Oct. First _Die Bergwerke zu Falun_; Death of Cherubini.
Dresden. Plans performance of opera in three Acts.
_Tannhäuser_ _Rienzi_ at (Sketch only).
("Der Venusberg"). Dresden,
under Reissiger. _Die Sarazenin_; Opera in
five Acts (sketched in
Paris in 1841; text
finished in Dresden
in 1843; music never
written).
Nov. "Autobiographical
Sketch."
1843 Feb. Becomes a 2nd Jan. First Schumann's _Paradise
Court Kapellmeister performance of _The and the Peri_.
at Dresden. Flying Dutchman_
at Dresden, under Robert Franz's
May completes Wagner. first set of songs.
_Tannhäuser poem_.
May and June. _The Grieg born.
July. Begins Love Feast of the
composition of Apostles_.
_Tannhäuser_. (Performed
6th July.)
"Festgesang" for
male chorus
(published 1914).
1844 Oct. Finishes Aug. "Gruss Account of the bringing Verdi's _Ernani_.
Acts I and II seiner Treuen an home of Weber's remains
of _Tannhäuser_. Friedrich den from London to Dresden.
Geliebten" for
male chorus.
Arrangement of the
Triumphal March
from Spontini's
"La Vestale."
Dec. Funeral music
at Weber's grave
(published 1914).
1845 13th April. 19th Oct. First
Completes performance of
scoring of _Tannhäuser_ at
_Tannhäuser_. Dresden under
Wagner.
July. Sketches
poem of
_Lohengrin_.
July. Idea of
_Meistersinger_
and _Parsifal_
conceived but
put aside.
Nov. Poem of
_Lohengrin_
completed.
1846 Palm Sunday Various articles on Berlioz's _Faust_.
(5th April). Beethoven's 9th Symphony,
Produces the _à propos_ of his own Lortzing's
Ninth Symphony performance of the work _Waffenschmied_.
at Dresden. on 5th April.
Mendelssohn's
Sept. 1846 to "Concerning the Royal _Elijah_.
March 1847. Kapelle."
Writes 3rd Act
of _Lohengrin_. "Artist and Critic, with
respect to a particular
case" (in _Dresdener
Anzeiger_).
1847 May to June. Arrangement of Death of
Writes 1st Act Gluck's _Iphigenia Mendelssohn.
of _Lohengrin_. in Aulis_.
June to August.
Writes 2nd Act
of _Lohengrin_
and Prelude.
1848 9th Jan. His mother Feb. Revolution
dies. in Paris.
March. Finishes March. Risings in
scoring of Vienna and Berlin.
_Lohengrin_
14th June.
Makes political
speech to the
"Vaterlandsverein."
Nov. Writes poem Arrangement of (Summer.) "The Schumann's
of _Siegfried's Palestrina's Wibelungen: _Faust_.
Death_. "Stabat Mater." World-history from the
Saga" (not published Schumann's
Plans "Friedrich till 1850). _Manfred_.
Barbarossa."
(Autumn.) "The
Nibelungen Myth as
sketch of a Drama."
Speech at the 300th
Anniversary of the
Foundation of the Royal
Musical Chapel in
Dresden.
(December.) "Jesus von
Nazareth."
"What is the relation
of Republican efforts to
the Monarchy?"
1849 16th Feb. Liszt "Theatrical Reform." May. Risings in
produces Dresden.
_Tannhäuser_ in "A Project for the
Weimar. Organisation of a German Meyerbeer's
National Theatre for _Le Prophète_.
May. Wagner flees the Kingdom of Saxony"
from Dresden to (presented to the Death of Chopin.
Weimar and thence Ministry 16th May 1848).
to Zürich. Later
to Paris; then "Art and Revolution."
returns to Zürich.
(Jan.) "Edouard
Devrient's Geschichte
der deutschen
Schauspielkunst."
(April.) "Man and
Existing Society."
(April.) "The Revolution."
1850 Jan. Goes to Paris, 26th Aug. First "The Art-Work of the Schumann's
hoping to get an performance of Future" (written Nov. _Genoveva_.
opera produced. _Lohengrin_ at and Dec. 1849).
Weimar under Liszt.
Returns to "Wieland the Smith"
Switzerland. (sketched as a drama end
of 1849 or beginning of
1850; worked out more
elaborately in 1850 in
Paris).
"Art and Climate."
"Judaism and Music" (a
pseudonymous article in
the _Neue Zeitschrift
für Musik_; expanded and
re-published under his
own name in 1869).
1851 May-June. Writes "Opera and Drama" Schopenhauer's
poem of _Young (written in winter _Parerga und
Siegfried_. 1850-51). Paralipomena_.
"A Communication to my Verdi's
Friends." _Rigoletto_.
"On the Goethe Death of
Foundation." Spontini.
"A Letter to Franz
Liszt."
"A Theatre in Zürich."
"Recollections of
Spontini."
"Explanatory Programme
to Beethoven's 'Eroica'
Symphony."
1852 Meets the
Wesendoncks.
Writes poems of "On Musical Criticism."
_Valkyrie_ and
_Rheingold_. Explanatory Programmes
to the "Coriolan"
Recasts _Young Overture; "Flying
Siegfried_ and Dutchman" Overture; and
_Siegfried's Death_, "Tannhäuser" Overture.
calling the former
_Siegfried_ and the "On the performing of
latter _Die _Tannhäuser_."
Götterdämmerung_.
The text was
privately printed
as _Der Ring des
Nibelungen_ in
1853.
1853 Oct. Working at Album Sonata in "Remarks on performing 3rd Jan. Death
music of the E flat major (for the _Flying Dutchman_." of Uhlig.
_Rheingold_. Frau Wesendonck).
Explanatory programme to Verdi's
"Züricher the _Lohengrin_ Prelude. _Il Trovatore_.
Vielliebchen"
(Waltz in E flat Verdi's
major). _Traviata_.
1854 Jan. Finishes "Gluck's Overture to Hanslick's _Vom
_Rheingold_ music. _Iphigenia in Aulis_." Musikalisch-Schönen_.
May. Finishes the "A Letter to the Editor
scoring. of _Neue Zeitschrift für
Musik_."
June to Dec.
Writes music of
the _Valkyrie_.
Autumn. Conceives
idea of _Tristan_.
Reading
Schopenhauer.
1855 In London and "A Faust Overture"
Zürich. (second version).
Scoring the
_Valkyrie_.
1856 April. Finishes May. _Die Sieger_ Death of
scoring the (sketch for a Schumann.
_Valkyrie_. Buddhistic drama).
Autumn. Working at
music of
_Siegfried_.
1857 March. Receives Elgar born.
request for an
opera for Rio de
Janeiro.
April. Settles in
the "Asyl" by
Wesendonck's house.
July. Finishes 1st "On Franz Liszt's
and part of 2nd Act Symphonic Poems."
of _Siegfried_.
August. Makes prose
sketch of _Tristan_.
18th Sept. Finishes
poem of _Tristan_.
Idea of _Parsifal_
revives.
31st Dec. Completes
music of 1st Act
of _Tristan_,
also Prelude.
1857-58 Five Songs:
1. The Angel.
2. Be still.
3. In the Hothouse.
4. Grief.
5. Dreams.
1858 In Paris and Cornelius's _Barber
Switzerland. of Bagdad_.
April. Scores 1st Puccini born.
Act of _Tristan_.
Summer. Writes 2nd
Act of _Tristan_.
1859 9th April to 16th "Homage to Spohr and Gounod's _Faust_.
July. Writes 3rd Fischer."
Act of _Tristan_. Death of Spohr.
8th Aug. Scoring of
_Tristan_ finished.
15th Sept. In Paris.
1860 At Brussels and "Letter to Hector Hugo Wolf born.
Paris. Berlioz."
Makes Paris version "Zukunftsmusik."
of _Tannhäuser_.
August. Amnestied,
except in Saxony.
1861 13th, 18th, and 24th Albumblatt in "Account of the Production
March, _Tannhäuser_ A flat major. of Tannhäuser in Paris."
given in Paris.
"Ankunft bei den Article "On Rota's _Gräfin
May. Hears schwarze Schwänen." Egmont_," written for the
_Lohengrin_ for the (An Albumblatt for _Vienna Oesterreichische
first time, in Countess Zeitung_, and signed
Vienna. Pourtalès), based "P. C." (Peter Cornelius).
on Elisabeth's
10th July. Minna aria in Act 2 of
leaves him finally, Tannhäuser.
except for a visit
to him in Biebrich Albumblatt in
in 1862. C major (for
Princess
Dec. 1861 to Metternich).
Jan. 1862. Writes
_Meistersinger_ poem.
1862 Feb. At Biebrich. Liszt's
Commences _St. Elisabeth_.
composition of
_Meistersinger_. Debussy born.
March. Amnestied in
Saxony.
2nd June.
_Meistersinger_
Overture given in
Leipzig.
Nov. In Vienna.
1863 At St. Petersburg, "The Vienna Court Opera
Moscow, &c., trying House."
to raise money by
concerts. "Nibelungen" Poem
published with a preface.
May. In Penzing
(Vienna).
1864 10th March. Huldigungsmarsch. Poem: "To the Kingly Death of
Ludwig II ascends Friend." Meyerbeer.
the Bavarian throne.
23rd March. Wagner "State and Religion" Richard Strauss
flies from his (not printed for public born.
creditors to circulation till 1873).
Mariafeld.
3rd May. Ludwig
sends for him:
Wagner settles at
Starnberg. (In
Munich Oct.)
1865 10th April. Isolde, 10th June, "What is German?" (not
daughter of Wagner 1st performance published as a whole till
and Cosima von of _Tristan_ at 1878).
Bülow, born in Munich, under
Munich. Von Bülow.
July. Resumes "Report to His Majesty
composition of King Ludwig II of Bavaria
_Siegfried_. upon a German Music-School
to be founded in Munich."
27-30 Aug. Sketches
_Parsifal_ for King
Ludwig.
Dec. Leaves Munich;
settles for a while
in Switzerland.
1866 25th Jan. Death of
Minna.
April. Settles at
Tribschen (Lucerne).
May. Cosima von
Bülow leaves her
husband and goes to
live with Wagner
at Tribschen.
June. Composition
of 1st Act of
_Meistersinger_
finished.
Oct. Hans Richter
sent to Wagner by
Esser.
2nd Act of
_Meistersinger_
completed.
1867 18th Feb. Eva, "Critiques"-- Gounod's
daughter of Wagner 1. W. H. Riehl. _Romeo and Juliet._
and Cosima von 2. Ferdinand Hiller.
Bülow, born in
Tribschen. "German Art and German
Policy" (reprinted in
20th Oct. Finishes book form in 1868).
_Meistersinger_.
1868 Nov. Makes 21st June. 1st "Recollections of Ludwig Death of Rossini.
Nietzsche's performance of Schnorr von Carolsfeld."
acquaintance. _Meistersinger_ Brahms's _German
at Munich, under "Critiques":-- Requiem_.
Von Bülow. 3. Recollections of
Rossini. Boïto's
4. Edward Devrient. _Mefistofele_.
5. Appendix to "Judaism
in Music" (accompanying
book-form edition).
1869 Feb. Finishes 2nd 22nd Sept. First "On Conducting." Death of Berlioz
Act of _Siegfried_. performance of
_Rheingold_ at
6th June. Siegfried Munich, under
Wagner born. Wüllner.
Sept. Finishes 3rd
Act of _Siegfried_.
Oct. Begins music of
_Götterdämmerung_.
1870 11th Jan. Finishes
1st Act of
_Götterdämmerung_.
5th July. Finishes 26 June. First 3 poems: "Rheingold"
2nd Act of performance of (1868); "On the
_Götterdämmerung_. _Valkyrie_ at completion of Siegfried"
Munich, under (1869); "25 Aug. 1870."
18 July. Cosima Wüllner.
divorced by "Beethoven."
Von Bülow. _Siegfried Idyll_
(given at
25 Aug. Wagner Tribschen,
marries Cosima 25 Dec.).
Von Bülow
"Open Letter to Dr. F.
Stade."
"Mein Leben" (privately
printed).
1871 Feb. Finishes Kaisermarsch. Poem: "To the German Death of Auber.
scoring of Army before Paris."
_Siegfried_. Verdi's _Aida_.
"A Capitulation" (not
May. Begins published until 1873). Death of Tausig.
publication of
his Collected "Recollections of Auber."
Writings.
"On the Destiny of
June. Emil Heckel Opera."
forms first Wagner
Society at "Letter to an Italian
Mannheim. Friend on the production
of _Lohengrin_ at
Bologna."
"On the production of the
Stage-Festival-Drama _The
Ring of the Nibelung_."
Preface to the Collected
Edition of his Prose and
Poetical Works.
"Report to the German
Wagnerverein."
1872 Feb. Finishes 3rd
Act of
_Götterdämmerung_.
April. Settles in "Actors and Singers." Nietzsche's _Geburt
Bayreuth. der Tragödie aus
"To the Burgomaster of dem Geiste der Musik._
22 May. Foundation Bologna."
stone of the
Bayreuth Theatre "To Friedrich Nietzsche."
laid.
"On the name Music Drama."
"Letter to an Actor."
"Epilogue to the Ring."
1873 Completes "A Glance at the German
re-publication of Operatic Stage of to-day."
nine volumes of
works. "The rendering of
Beethoven's 9th Symphony."
22 May. Begins
building of "Prologue to a reading of
"Wahnfried." the _Götterdämmerung_
before a select audience
May. Begins scoring at Berlin."
_Götterdämmerung_.
"Bayreuth"--Final Report,
2 Aug. The Bayreuth &c.
theatre finished in
the rough. "The Festival Playhouse
at Bayreuth."
1874 May. Enters into "On Spohr's _Jessonda_." Death of Peter
residence at Cornelius.
"Wahnfried." "On an Operatic
Performance in Leipzig."
1875 Albumblatt in E Bizet's _Carmen_.
flat major.
Goldmark's
_Queen of Sheba_.
1876 American Centennial Brahms's
March. 1st Symphony.
Aug. 13-17. First
performance of the
_Ring_ at Bayreuth,
under Richter.
1877 Jan.-April. Writes "To the Committee of Saint-Saëns'
poem of _Parsifal_. the Wagnervereine." _Samson and Dalila_.
Dec. Poem published. "Sketch for a School Massenet's _Le Roi
for Style." de Lahore_.
Autumn. Begins the
music.
7-29 May. Conducts
eight concerts in
Albert Hall, London.
1878 Jan. First number of "What is German?"
"Bayreuther Blätter"
issued. "Modern."
20 April. 1st Act of "Public and Popularity."
_Parsifal_ finished.
"The Public in Time and
Oct. 2nd Act of Space."
_Parsifal_ finished.
"Retrospect of the Stage
Dec. Begins scoring Festivals of 1876."
of _Parsifal_.
"Introduction to the
28 April. Angelo 'Bayreuther Blätter.'"
Neumann gives (in
Leipzig) first
performance of Ring
after Bayreuth.
1879 Jan.-April. Writes "Shall we Hope?"
3rd Act of
_Parsifal_. "Open Letter to Herr E.
von Weber."
"On Poetry and
Composition."
"On Operatic Poetry and
Composition."
"On the Application of
Music to the Drama."
"The Work and Mission of
my Life."
"Introductory Word" (to
Hans von Wolzogen's
"Über Errettung der
deutschen Sprache.")
1880 In Italy. "Religion and Art."
"What boots this
Knowledge?"
"Introduction to the
year 1880." ("Bayreuther
Blätter")
"Communication to the
Patrons of the Stage
Drama."
1881 Jan. Angelo "Introduction to a work of
Neumann begins of Count Gobineau."
(in Berlin) his
European tour "Know Thyself."
with the _Ring_.
"Hero-dom and
Christendom."
1882 13 Jan. Finishes 26 July. First "_Parsifal_ at Bayreuth."
scoring of performance of
_Parsifal_. _Parsifal_ at "On the Production of a
Bayreuth youthful Symphony."
Sept. Goes to under Levi.
Venice. "Letter to Hans von
Wolzogen."
Dec. Conducts his
youthful Symphony "Open Letter to Friedrich
in C major in Schon."
Venice.
1883 13 Feb. Dies at "On the Human Womanly" Saint-Saëns'
Venice. (posthumous fragment). _Henry the Eighth_.
18 Feb. Buried at "Letter to Herr von Dvorak's
Bayreuth. Stein." _Stabat Mater_.
INDEX
Adam, 153, 154 _n._
Adler, Guido, 227
Æschylus, 176, 351, 357
Agoult, Comtesse d', 130 _n._, 131
Alexander, 3
Altnikol, 349
Ander, 19
Anna (Wagner's servant), 113
Apel, Theodor, 25 ff., 62 ff., 69, 70
Aristotle, 194
Arnold, 206
Asquith, Mr., 330
Auber, 151
Avenarius, Cäcilie. _See_ Cäcilie Wagner
Bach, 83, 128, 147, 158 ff., 162 _n._, 212 ff., 218, 236, 239,
284, 301, 305, 307, 314, 321 ff., 335 ff., 348 ff.
Baden, Grand Duke of, 128
Bakunin, 47
Baumgartner, 8, 133
Beethoven, 29, 57 _n._, 146, 150, 155 ff., 160 ff., 164 ff., 172,
182, 189 ff., 200, 212 ff., 220 ff., 225 ff., 230 ff., 236,
238 ff., 272, 278, 301, 305, 321 ff., 329, 334 ff., 356
Bellini, 147, 149, 150, 152, 153, 243
Berlioz, 5 _n._, 33 _n._, 159, 166 _n._, 190, 230, 241, 308 ff.
Bertha (milliner), 122 ff., 125
Bissing, Henriette von, 116, 117, 124
Blake, 159, 320
Bonfantini, 333
Bournot, Otto, 331, 334
Boughton, Rutland, 357 _n._
Brahms, 159, 213, 221, 232, 301, 323, 326 ff.
Brockhaus, Luise. _See_ Luise Wagner
Browning, 159, 339
Bruch, Max, 329
Buddha, The, 316
Busoni, 214
Bülow, Cosima von. _See_ Cosima Wagner
Bülow, Hans von, 4, 24, 31, 38 _n._, 75, 114 ff., 126, 129, 130 _n._,
133, 139 ff., 332
Burrell, Mrs., 329 ff.
Calderon, 90
Calvin, 3
Carroll, 185
Cavalli, 227
Chamberlain, H. S., 45 _n._, 173
Charpentier, 345
Cherubini, 165, 188
Chorley, H. F., 33
Clough, 206
Columbus, 217
Cornelius, 4, 24, 66, 106, 110, 117 _n._, 119, 124, 128, 133,
134 ff., 140
Dannreuther, E., 149 _n._, 162 _n._
Davison, Henry, 33 _n._
-- J. W., 32, 33
Debussy, 172, 305, 322, 336, 345 ff.
Dietrich, 67, 68, 71
Dingelstedt, 13 ff.
Dorn, Heinrich, 153
Draeseke, 144
Dukas, 356
Dustmann, Frau, 20, 109 ff.
Ellis, W. A., 2 _n._, 12 _n._, 13 _n._, 32, 34. 36, 38 ff.,
42 _n._, 52, 83 _n._, 85, 86 _n._, 87 _n._, 92 _n._,
93 _n._, 99 _n._, 112, 114 _n._
Erlanger, 10
Evans, Edwin, 200 _n._
Fétis, 5
Feuerbach, 82, 121, 176
Feustel, 329
Fips (dog), 38 ff.
Fischer, W., 17, 18
France, Anatole, 268, 319
Francis, St., 316
Franck, César, 233, 321, 323
Franz (Wagner's servant), 113
Frays, von, 15, 18
Frederick the Great, 82
Frommann, Alwine, 31, 45
Gaillard, 32
Galsworthy, John, 351
Gautier, Judith, 3 _n._
Geyer, Benjamin, 334
-- Ludwig, 326 ff.
Gladstone, 3
Glasenapp, 15 _n._, 37 _n._, 45 _n._, 56 _n._, 87 _n._, 110 _n._,
127, 133, 138, 236, 249, 331
Gluck, 149, 164 ff., 188, 191, 193, 198, 220, 222, 224, 225, 323
Goethe, 194, 199, 293
Gounod, 35
Greek Drama, 176 ff., 192 ff., 219, 351 ff.
Grieg, 329
Guiata, von, 110
Habeneck, 155
Hafiz, 121
Halévy, 12
Handel, 244
Hanslick, 19 ff., 54, 71 _n._, 112, 140, 143, 303, 304
Hardy, Thomas, 353, 357
Härtinger, 14
Haydn, 221, 323
Heine, 59, 244
Heinse, 59, 149
Herwegh, 133
-- Frau, 95, 97
Heubner, 47
Heyse, Paul, 7
Hofmannsthal, Hugo von, 345
Hoffmann, E. T. A., 146, 221 _n._
Hokusai, 293
Holtei, 153
Hornstein, Ferdinand von, 6, 12
-- Robert von, 6 ff., 23, 35, 54, 67 _n._, 82, 85
Hueffer, F., 123 _n._
Hugo, Victor, 23
Huneker, J. G., 316 ff., 327 ff.
Indy, Vincent d', 323
Julius Cæsar, 3
Kalergis, Mme., 81
Kapp, Julius, 12 _n._, 54 _n._, 62 _n._, 89, 91, 106, 109, 111, 113,
116, 118
Keats, 207
Kellermann, 129, 138
Kietz, 51, 53, 243
Kittl, 260
Köhler, 136
König, 260
Küstner, 12
Lablache, 243
Lachner, 12 ff., 54
Laube, H., 20, 33, 34, 149, 156, 172
Laussot, Eugène, 45 ff., 75
-- Jessie, 5, 31, 37, 44 ff., 58, 76 _n._, 84, 107, 133
Lear, 185
Leonardo, 293
Lessing, 192, 343 _n._
Levi, Hermann, 121 _n._, 249
Levy, Gustav, 173
Lichtenberger, H., 122 _n._
Lingg, Hermann, 7
Liszt, 3, 13, 18 _n._, 24, 50, 51, 73, 85 _n._, 86 _n._, 89, 90, 106,
120, 123, 129 ff., 133, 134, 140 ff., 174 _n._, 207, 208, 240, 324
Logier, 238
Ludwig, Emil, 122 _n._, 295, 320 _n._
-- King, 18 _n._, 19, 81, 110, 116 ff., 124, 133 ff., 144, 249
Lüttichau, 173
Maeterlinck, 353
Mahler, 329
Maier, Mathilde, 109, 111, 112, 117
Marie (Wagner's servant), 115 _n._, 116
Marschner, 241, 247
Mauro, Seraphine, 106, 134, 135
Méhul, 154, 188
_Mein Leben_, Untrustworthiness of, 4 ff., 39 ff., 50, 54, 62,
63 _n._, 88
Meissner, 33 ff.
Mendelssohn, 33, 186, 199, 214, 216 _n._, 240, 328
Meredith, G., 80
Metastasio, 187
Metternich, Princess, 10
Meyer, Friederike, 109 ff., 116, 117
Meyerbeer, 5 _n._, 23, 31, 33 _n._, 36, 173, 190, 191, 203
Milton, 159, 342, 343
Minnaphobia, Wagnerian, 36 ff., 42, 56
Monnaie, Ed., 12 _n._
Monteverdi, 213, 227, 323, 325
Morny, 10
Morris, Wm., 343
Mosel, 224
Mottl, 328, 332 ff.
Mozart, 147, 149, 152, 160, 162, 164 ff., 186, 188, 189, 191, 214,
220, 221, 225, 244, 312
Napoleon I, 3, 82, 162, 163, 195, 306
-- III, 10, 76 _n._
Nietzsche, 23, 27, 30, 36, 47, 67 _n._, 128, 141, 316 ff., 327 ff.
Ollivier, Blandine, 106, 116
Osenbrück, 34
Pachta, Count, 30, 34
Palestrina, 323, 325
Papo (parrot), 41
Payn, James, 208
Pecht, 26 _n._, 34
Peps (dog), 41
Peri, 227
Pforten, von der, 14
Phidias, 182
Planer, Minna. _See_ Minna Wagner
-- Natalie, 64 _n._, 111
Pleyel, 239
Pohlenz, 146, 155
Pope, 159
Porges, Fritz, 124, 135
-- Heinrich, 135, 136
Praeger, F., 56 _n._, 85
Puccini, 345
Pusinelli, 97 _n._, 104 _n._, 105, 109
_Putzmacherin, Die._ _See_ Bertha
Racine, 192
Rameau, 323
Renoir, 320 _n._
Ritter, Frau, 7 _n._, 31, 46, 49, 51 _n._
-- Karl, 8, 10 _n._, 31, 45, 53 ff., 99, 102, 133
Roeckel, August, 3, 47, 175, 186
Röckl, Sebastian, 14 ff.
Rose, Frau, 330, 332
Rossini, 122, 189, 190
Runciman, J. F., 259, 262, 268, 307, 308, 316 ff.
St. Georges, 12, 13
Schiller, 33, 158, 194, 200
Schlesinger, 12 _n._
Schmidt, G., 15
Schmitt, W., 14
Schmitz, Eugen, 224 _n._
Schnorr von Carolsfeld, 4, 139
Schönaich, G., 124
Schopenhauer, 7, 121, 122, 158 _n._, 352
Schott, 6, 137 _n._, 146
Schröder-Devrient, 149, 150, 152, 155, 208, 226
Schubert, 159, 218, 241, 307
Schumann, Clara, 214
-- Robert, 159, 214, 244, 245, 272, 323
Schuré, E., 138 ff.
Schwabe, 63, 65
Scribe, 13, 34, 191
Shakespeare, 58, 151, 159, 182, 192 ff., 203, 205, 249, 301, 303, 315
Shaw, G. B., 97 _n._, 304, 353
Sophocles, 176
Spencer, Herbert, 306
Spinoza, 342
Spitzer, D., 122
Spohr, 147
Spontini, 165, 186, 189
_Stabreim_, 197, 199, 200, 209, 210, 275
Standhartner, Dr., 20, 21 _n._, 106 ff., 136, 137 _n._
Stanford, Sir Charles, 326 ff.
Strauss, D. F., 82
-- Richard, 159, 172, 302 ff., 321 ff., 340 ff., 356
Strindberg, 133
Sulzer, 178
Swinburne, 159, 320, 353
Tappert, W., 20 _n._
Tausig, 4, 24, 127 ff., 135
Taylor, Mrs., 45, 51 _n._, 54, 55
Tchaikovski, 340, 356
Thespis, 182
Tieck, 193
Uhlig, 3, 31, 83 _n._, 179, 204, 209, 215, 244
Verdi, 227
Voltaire, 202
Wagner, Adolf, 330 ff.
-- Albert, 330 ff.
-- Cäcilie, 81 _n._, 331
-- Clara, 84, 85, 92, 94, 109
-- Cosima, 37, 38, 45, 81, 84, 109, 112, 114 ff., 125 _n._, 129,
130 _n._, 328, 332, 333
-- Eva, 37 _n._, 118
-- Franziska, 83
-- Isolde, 37 _n._, 118
-- Johanna, 326 ff.
-- Karl Friedrich Wilhelm, 326 ff.
-- Luise, 82, 110, 112
Wagner, Minna, 5, 6, 13, 22, 24, 30, 36 ff., 42 ff., 57 ff., 106 ff.,
110 _n._, 111, 118, 133, 174
-- Richard:
_Personal Characteristics_
Belief in himself, 2, 22, 24, 75, 77, 121 ff.
Borrowing, habits of, 8 ff., 25, 26 ff., 65
Charm of personality, 3, 4, 28
Complexity of character, 1, 28 ff., 36, 43 ff., 99 ff., 116,
120 ff., 128 ff., 141 ff.
Egoism, 2, 3, 4, 22, 66, 75, 94, 95, 97, 118, 128, 140
Epistolary skill, 22, 87, 104
Exacting with friends, 4, 128 ff.
Excessive sensibility, 127, 133 ff.
Extremes of nature, 138 ff.
Extravagance, 106, 124 ff.
Hatred of critics, 30 ff.
-- of Jews, 32, 121
Indelicacy of soul, 23, 24, 29, 65 ff., 89
Ingratitude, 76
Irritability, 7 _n._, 28 ff., 33 ff., 61, 67, 97 _n._
Love of luxury, 122 ff.
Passion for reading to friends, 137 ff.
-- -- dominance, 3, 4, 21, 128, 143
-- -- self-justification, 23
Purity as an artist, 2, 72, 76
Unconscious actor, 23, 68, 94 ff.
Vitality of temperament, 26
Women, susceptibility to, 43, 45, 58, 83 ff., 111, 112 ff., 269
Youthful wildness, 25 ff., 57 ff, 72
MUSICAL WORKS
_Operas_
_Die Hochzeit_, 238, 241, 246
_Die Feen_, 26, 59, 147, 241, 246 ff., 249, 250, 251, 253, 254,
256 ff., 265, 307, 310
_Das Liebesverbot_, 26, 58, 59, 63, 151, 241, 249 ff., 258, 273
_Rienzi_, 17, 18, 102, 154, 155, 163, 173 _n._, 211, 212, 240,
242, 245, 249, 257 ff., 260, 273 ff., 329
_The Flying Dutchman_, 18, 32, 45, 71 n., 163, 168, 171, 174, 211,
212, 244, 245, 247, 249, 259, 260, 261 ff., 269 ff., 310, 319, 329
_Tannhäuser_, 5 _n._, 8, 9 _n._, 13, 14 ff., 18 _n._, 32, 35, 39 _n._,
76 _n._, 106, 119, 122, 169, 70 ff., 208 _n._, 229, 230, 241, 244,
245, 247, 253, 259, 263 ff., 270, 329, 341, 347, 348, 350
_Lohengrin_, 15, 18 _n._, 19, 50, 69, 79 _n._, 119, 122, 145, 168,
171 ff., 241, 243 ff., 247, 259, 263 ff., 270 ff., 292,
310, 319, 329
_The Ring of the Nibelung_, 77, 79 _n._, 122 _n._, 137, 186 _n._,
209, 212, 220, 245, 266 ff., 297 ff., 328, 352
(a) _The Rhinegold_, 74, 137, 171, 218, 233, 270 ff.
(b) _The Valkyrie_, 35, 74, 85, 137, 171, 210, 271 ff.
(c) _Siegfried_, 120, 138, 210, 269 ff.
(d) _The Twilight of the Gods_, 120, 138, 234, 237, 270 ff.
_Tristan and Isolde_, 11, 17, 20, 35, 85, 88, 91, 94, 101, 106,
107, 109, 111, 125, 126, 139, 145, 171, 209, 220, 247, 257,
262, 266, 269 ff., 288 ff., 300, 310 ff., 321, 339 ff.,
352, 355 ff.
_Die Meistersinger_, 20, 21, 22, 107, 109, 111, 135, 137, 145,
169, 171, 209, 220, 230, 266, 270 ff., 288 ff., 310 ff.,
329, 342, 350, 353
_Parsifal_, 107, 121 n., 171, 209, 266, 290 ff., 300, 312 ff.,
315 ff., 343, 357
PIANOFORTE WORKS
Albumblatt for Betty Schott, 236
-- -- Princess Metternich, 237
-- in E major (for Kietz), 243
Album Sonata for Frau Wesendonck, 237
Ankunft bei den schwarzen Schwänen, 237
Fantasia in F sharp minor, 238
Polonaise in D major, 239
Sonata in A major, 239
-- in B flat major, 238
ORCHESTRAL WORKS
_Columbus_ Overture, 240, 249
_Faust_ Overture, 235, 239, 245, 265, 329
_King Enzio_ Overture, 146, 240, 249
_Polonia_ Overture, 240, 249
_Rule, Britannia_ Overture, 240, 249
Overture in D minor, 146
-- in B flat minor, 238
_Siegfried Idyl_, 235, 236, 237, 314
Symphony in C major, 146, 240, 329
CHORAL WORKS
_Greeting to Friedrich August the Beloved_, 245
_Hymn to the Czar Nicholas_, 242
_La Descente de la Courtille_, 242, 245
_Love-Feast of the Apostles, The_, 245
_New Year Cantata_, 241
_Re-Interment of Weber's Remains_, 245
_Weihegruss to King Friedrich August_, 245
SONGS AND ARIAS
Aria of Orovisto, 243
_Attente_, 243, 244
_Der Tannenbaum_, 242
_Dors, mon enfant_, 243
_Les Adieux de Marie Stuart_, 243, 245
_Les deux Grenadiers_, 244
_Mignonne_, 243
Romance of Max, 241, 242, 244
_Seven Compositions to Goethe's Faust_, 240, 242
_Tout n'est qu'images fugitives_, 243
_Vampyr_ Aria, 241
DRAMATIC WORKS AND SKETCHES
_Bianca und Giuseppe_, 260
_Die Bergwerke zu Falun_, 260
_Die Sarazenin_, 260
_Die glückliche Bärenfamilie_, 154 _n._, 260
_Friedrich Barbarossa_, 173, 205 _n._, 266
_Jesus of Nazareth_, 173, 266, 270, 319
_Siegfried's Tod_, 46, 173, 185, 266, 270 ff., 297 ff.
_Young Siegfried_, 299
_The Victors_, 319
_Wieland der Schmied_, 46, 207, 269
PROSE WORKS
_Account of the Bringing Home of Weber's Remains_, 172
_Application of Music to the Drama, The_, 234
_Art and Revolution_, 176 ff., 185
_Art-Work of the Future, The_, 176, 180 ff., 185
_Autobiographical Sketch_, 156, 172
_Beethoven_, 158, 165 _n._
_Bellini_, 153
_Communication to my Friends, A_, 204, 211, 220 n., 261, 337, 338
_Dramatic Song_, 151
_End of a Musician in Paris, The_, 138
_Franz Liszt's Symphonic Poems, On_, 162, 166 _n._
_German Music, On_, 156
_German Opera, The_, 147
_Happy Evening, A_, 160, 162
_Man and Existing Society_, 175
_Opera and Drama_, 122, 137, 138, 181, 185 ff., 208, 209, 211, 215,
220 n., 272
_Operatic Poetry and Composition_, 209
_Overture, The_, 163 ff.
_Pasticcio_, 148
_Pilgrimage to Beethoven, A_, 138, 156, 158
_Project for the Organisation of a German National Theatre_, 173,
175, 177 _n._
_Report upon a proposed German School of Music for Munich_, 152
_Revolution, The_, 175
_Royal Kapelle, The_, 174
_Speech at Weber's Grave_, 172
_Vaterlandsverein Speech_, 175
_Wibelungen, The_, 173
Wagner, Ottilie, 79, 332
-- Rosalie, 25, 154, 246
Wagner, Siegfried, 37, 118, 120, 133, 328
Wahnfried, editorial ways of, 36, 50, 86 _n._, 87 _n._, 90 _n._,
106 _n._, 131 _n._, 328, 333
Weber, 147, 150, 165, 168, 189, 220, 240, 245, 246, 247
Weingartner, 80 _n._
Weinlig, 238 ff.
Weissheimer, 126, 133, 140, 144
Weitzmann, 115
Werder, 45
Wesendonck, Mathilde, 2 _n._, 5, 6, 13, 16, 35, 37 ff., 43, 54, 56,
57, 69, 83 ff., 107, 108, 112, 114 ff., 120, 129, 131, 133, 237
Wesendonck, Otto, 24, 32, 33 _n._, 35, 39 _n._, 44, 47 _n._, 75, 81,
85 ff., 105, 107, 108, 133
Wilde, Oscar, 71, 208
Wille, Eliza, 81, 82, 99, 110, 116, 117
-- François, 24, 47 n., 82, 133
Winter, 154
Wittgenstein, Princess, 106 _n._, 129, 140, 207
Wolf, Hugo, 159, 308 ff., 310, 320 ff.
Wolfram, Clara. _See_ Clara Wagner
Wolzogen, Hans von, 42 _n._, 138
Zocher, Gustav, 330
THE END
Printed by BALLANTYNE, HANSON & CO.
at Paul's Work, Edinburgh
* * * * *
TRANSCRIBER'S NOTES:
Italic text is denoted by _underscores_.
A number of words in this book have both hyphenated and non-hyphenated
variants. For the words with both variants present the one more used
has been kept.
Obvious punctuation and other printing errors have been corrected.
End of Project Gutenberg's Wagner as Man and Artist, by Ernest Newman