Wilhelm Richard Wagner, genius of the music drama, was born in Leipzig,
Germany, on May 22, 1813. In his academic studies (at the Kreuzschule in
Dresden, the Nikolaischule in Leipzig, and the University of Leipzig) he
was an indifferent, lazy, and irresponsible student. But his intensity
and seriousness of purpose where music was concerned were evident from
the beginning. He studied theory by memorizing a textbook and then by
receiving some formal instruction from Theodor Weinlig. In short order
he completed an overture and a symphony that received performances
between 1832 and 1833; in 1834 he completed his first opera, _Die Feen_,
never performed in his lifetime. In 1834 he was appointed conductor of
the Magdeburg Opera where, two years later, his second opera, _Das
Liebesverbot_, was introduced. Between 1837 and 1838 he conducted opera
in Riga. Involvement in debts caused his dismissal from this post and
compelled him to flee to Paris, where he arrived in 1839. There he lived
for three years in extreme poverty, completing two important operas,
_Rienzi_ in 1840, and _The Flying Dutchman_ in 1841. His first major
successes came with the first of these operas, introduced at the Dresden
Opera on October 20, 1842. This triumph brought Wagner in 1843 an
appointment as Kapellmeister of the Dresden Opera which he held with
considerable esteem for six years. During this period he completed two
more operas: _Tannhaeuser_, introduced in Dresden in 1845, and
_Lohengrin_, first performed in Weimar under Liszt’s direction, in 1850.
As a member of a radical political organization, the Vaterlandsverein,
Wagner became involved in the revolutionary movements that swept across
Europe in 1848-1849. To avoid arrest, he had to flee from Saxony. He
came to Weimar where he was warmly welcomed by Liszt who from then on
became one of his staunchest champions. After that Wagner set up a
permanent abode in Zurich. He now began to clarify and expound his new
theories on opera. He saw opera as a drama with music, a synthesis of
many arts; he was impatient with the old clichés and formulas to which
opera had so long been enslaved, such as formal ballets, recitatives and
arias, production scenes, and so forth. And he put his theories into
practice with a monumental project embracing four dramas, collectively
entitled _The Nibelung Ring_ (_Der Ring des Nibelungen_) for which, as
had always been his practice, he wrote the text as well as the music;
the four dramas were entitled _The Rhinegold_ (_Das Rheingold_), _The
Valkyries_ (_Die Walkuere_), _Siegfried_, and _The Twilight of the Gods_
(_Goetterdaemmerung_). It took him a quarter of a century to complete
this epic. But during this period he was able to complete several other
important music dramas, including _Tristan and Isolde_ in 1859 and _The
Mastersingers_ (_Die Meistersinger_) in 1867.
In 1862, Wagner was pardoned for his radical activities of 1849 and
permitted to return to Saxony. There he found a powerful patron in
Ludwig II, king of Bavaria, under whose auspices premières of Wagner’s
mighty music dramas were given in Munich beginning with _Tristan and
Isolde_ in 1865. In 1876 there came into being one of Wagner’s most
cherished dreams, a festival theater built in Bayreuth, Bavaria,
according to his own specifications, where his music dramas could be
presented in the style and manner Wagner dictated. This festival opened
in August 1876 with the first performance anywhere of the entire _Ring_
cycle. Since then Bayreuth has been a shrine of Wagnerian music drama to
which music lovers of the world congregate during the summer months.
Wagner’s last music drama was the religious consecrational play,
_Parsifal_, first performed in Bayreuth on July 26, 1882. Wagner died in
Venice on February 13, 1883, and was buried in the garden of his home,
Wahnfried, in Bayreuth.
Of his turbulent personal life which involved him in numerous and often
complex love affairs, mention need here be made only of his relations
with Cosima, daughter of Liszt, and wife of Hans von Buelow. Wagner and
Cosima fell in love while the latter was still von Buelow’s wife. They
had two illegitimate children before they set up a home of their own at
Lake Lucerne; and one more (Siegfried) before they were married on
August 25, 1870.
Wagner’s creative career divides itself into two phases. In the first he
was the composer of operas in more or less a traditional style. To the
accepted formulas of operatic writing, however, he brought a new
dimension—immense musical and dramatic power and invention. In the
second phase he was the prophet of a new order in music, the creator of
the music drama. It is from the works of his first phase that salon or
pop orchestras derive selections that have become universal
favorites—sometimes overtures, sometimes excerpts. For these earlier
works abound with such a wonderful fund of melody, emotion,
expressiveness and dramatic interest that they have become popular even
with those operagoers to whose tastes the later Wagner is perhaps too
subtle, complex, elusive, or garrulous.
From _The Flying Dutchman_ (_Der fliegende Hollaender_) comes a dramatic
overture. This opera—text by the composer based on an old legend adapted
by Heinrich Heine—was first performed at the Dresden Opera on January 2,
1843. “The Flying Dutchman” is a ship on which the Dutchman must sail
until he achieves redemption through the love of a faithful woman. Only
once in every seven years is he permitted to go ashore to find that
love. He finally achieves his redemption through Senta. They both meet
their final doom together in a raging sea which swallows up the ship.
Turbulent music, intended to describe a storm at sea, opens the
overture. We then hear the theme of the Dutchman in the horns and
bassoons. The stormy music returns and subsides as a motive from Senta’s
beautiful second-act ballad, “_Traft ihr das Schiff_” is presented. This
motive brings up the image of Senta herself. A vigorous sailors’ chorus
is followed by a return of the Senta motive in full orchestra.
Three selections from _The Flying Dutchman_ are of particular appeal:
Senta’s spinning song, “_Summ und brumm_” and her famous ballad, both
from the second act; and the chorus of the sailors in the third act, a
rousing chantey, “_Steuermann! lass die Wacht_.”
_Lohengrin_ was Wagner’s last “opera.” After that he confined himself to
music dramas. He completed it in 1848. After its première in Weimar on
August 28, 1850 it became one of the most successful operas in Germany
of that period. The text, by the composer, was adapted from medieval
legends. Lohengrin is a knight of the Holy Grail who becomes Elsa’s
champion against Telramund when Elsa is unjustly accused of having
murdered Gottfried. Lohengrin arrives on a swan and extracts from Elsa
the promise that she must never try to uncover his true identity. After
defeating Telramund, Lohengrin marries Elsa who, provoked by Telramund’s
wife, cannot stifle her curiosity about her husband’s background and
source. He finally must reveal to her that he is a knight of the Holy
Grail. Having made that revelation he must leave her forever.
The two familiar orchestral preludes, from the first and third acts, are
opposites in mood, texture, and dynamics. The Prelude to Act 1 has
spiritual content, a portrait of a heavenly vision wherein the Holy
Grail is carried by angels. The main theme is heard quietly in the upper
registers of the violins, then repeated by other instruments. This theme
is developed into a _crescendo_ and culminates in an exultant statement
by trumpets and trombones. Now the theme is given in a _decrescendo_,
and the prelude ebbs away _pianissimo_, once again in the strings in the
upper register.
The Prelude to Act 3 is more robust in character, since it depicts the
joy of Elsa and Lohengrin on the eve of their wedding. A forceful melody
is pronounced by the full orchestra, succeeded by a second strong theme
for the cellos, horns, bassoons in unison; a march-like episode for the
wind instruments follows.
What is probably the most famous wedding march ever written comes out of
_Lohengrin_. Its strains are heard after the rise of the curtain for Act
3, Scene 1, as a procession enters the bridal chamber. The chorus hymns
a blessing to the marriage couple (“_Treulich gefuert_”). From one side
ladies conduct Elsa, while from the other the King and his men lead
Lohengrin. The two processions then meet midstage and Elsa joins
Lohengrin to be blessed by the King. The two columns of the procession
then refile and march out of the two sides of the stage.
_The Mastersingers_ (_Die Meistersinger_), while written after Wagner
had set forth on his operatic revolution, is the only one of his music
dramas with a recognizable operatic ritual: big arias, huge production
numbers, even dances. For _The Mastersingers_ is a comedy, the only one
Wagner ever wrote. For purposes of comedy some of the traditions of
opera still prove useful to Wagner, even if fused with techniques,
approaches and esthetics of the music drama. Wagner completed _The
Mastersingers_ in 1867—eight years after _Tristan and Isolde_ and more
than a decade following the first two dramas of the _Ring_ cycle. The
first performance took place in Munich on June 21, 1868. The libretto,
by the composer, was set in Nuremberg in the middle 16th century, and
its plot revolves around a song contest conducted by the Mastersingers,
its winner to receive the hand of lovely Eva, daughter of the
cobbler-philosopher, Hans Sachs. Walther von Stolzing, a knight, and
Beckmesser, a contemptible town clerk, are the main rivals for Eva. At a
magnificent ceremony at the banks of the Pognitz River the contestants
sing their offerings. It is Walther’s eloquent “Prize Song” that emerges
victorious.
This “Prize Song” (“_Morgenlich leuchtend_”) is one of Wagner’s most
famous melodies, the pivot upon which the entire opera gravitates. It is
first heard in the first scene of the third act, where Walther comes to
tell Hans Sachs of a song come to him in a dream. The song is repeated
in the closing scene of the opera during the actual contest. This “Prize
Song” is used by Wagner symbolically. Its victory over the dull and
stilted creation of Beckmesser represents the triumph of inspiration and
freedom of expression over hackneyed rules and procedures. August
Wilhelmj made a famous transcription of the “Prize Song” for violin and
piano.
_Rienzi_, an early Wagner opera, is today remembered primarily for its
overture. But in its own day it was extremely popular. Immediately after
its première performance in Dresden on October 20, 1842, _Rienzi_ made
Wagner’s name known throughout all of Germany for the first time,
appearing in the repertory of virtually every major German opera house
at the time. The novel from which the composer derived his libretto is
that of Bulwer-Lytton. The central character, Rienzi, is a Roman ruler
of the 14th century who meets his destruction at the hands of his
enemies who set the Capitol aflame in which Rienzi perishes. Trumpet
calls in the opening measures of the overture lead to a slow section in
which is prominent an affecting melody for strings, Rienzi’s prayer for
the Roman people. In the main section of the overture, the first main
theme is the battle hymn of the first act (in the brass) set against
Rienzi’s prayer-melody. The opening slow section returns and is
succeeded by the stirring music from the first act finale. In the coda,
the battle-hymn music is powerfully projected for the last time.
_Tannhaeuser_ boasts many popular selections beyond its very famous
overture. The opera was first performed in Dresden on October 19, 1845.
The libretto is by the composer. Tannhaeuser is a minstrel-knight who
has grown weary of the carnal delights on the Hill of Venus and longs
for his own world. By invoking the name of the Virgin Mary, in whom he
places his trust, Tannhaeuser is transported to a valley near the
Wartburg Castle, where he is recognized and welcomed back by Wolfram, a
companion minstrel-knight. Joyously, Tannhaeuser returns with Wolfram to
the Hall of the Minstrels in the Wartburg Castle to find that his
beloved Elisabeth is still in love with him. But only he who can come
out triumphant in a song contest on the subject of love can win
Elisabeth. The song Tannhaeuser presents, glorifying sensual pleasure,
horrifies the audience. Contrite, Tannhaeuser offers to atone for his
sins by joining pilgrims to Rome and seeking absolution from the Pope.
Elisabeth promises to pray for his soul. After several months have
passed, Elisabeth is awaiting the return of the Roman pilgrims, and
Wolfram beseeches heaven to guide Elisabeth and protect her. Suddenly
Tannhaeuser—haggard and decrepit—makes his appearance. He confesses to
Wolfram that his soul will not be redeemed until the staff in the Pope’s
hands sprouts leaves. Only after Elisabeth has died of grief in despair
of ever seeing Tannhaeuser again, do the tidings come from Rome that the
Pope’s staff has, indeed, blossomed with foliage.
The Overture is built from some of the principal melodies of the opera;
in a sense it traces the main events of the story. The religious chant
of the Pilgrims (in clarinets, bassoons and horns) is heard at once.
This is followed by music suggesting Tannhaeuser’s repentance, a
touching melody for strings. After both these ideas have been discussed
we hear in the strings the voluptuous music of Venusberg, a picture of
the carnal life led by Tannhaeuser with Venus on Venus Hill. The music
is brought to a compelling climax with a loud statement of Tannhaeuser’s
passionate hymn to carnal love with which he so horrified the
minstrel-knights at Wartburg Castle. The chant of the pilgrims, which
had opened the overture, also brings it to conclusion.
The Prelude to Act 3 is solemn music that bears the title,
“Tannhaeuser’s Pilgrimage.” Two themes are set forth at once, that of
Tannhaeuser’s repentance, and that suggesting Elisabeth’s intercession.
Tannhaeuser’s suffering is then portrayed by a poignant melody for
strings. Suggestions of the Pilgrim’s Chorus and a motive known as
“Heavenly Grace” are then offered. The prelude ends quietly and
sensitively, as Tannhaeuser at long last achieves salvation.
The sensual, even lascivious, music of the _Bacchanale_ in the opening
scene (recreating the revelry enjoyed by Tannhaeuser and Venus on Venus
Hill) is often performed in conjunction with the Overture, sometimes
independently. Another orchestral episode extremely popular is the
stately _March_ of the second act with which the minstrel-knights of the
Wartburg file into the Castle, followed by the nobles, ladies, and
attendants, as they chant the strains of “_Freudig begruessen wir die
edle Halle_.”
The most popular vocal excerpt from _Tannhaeuser_ is Wolfram’s “Ode to
the Evening Star” (“_O du mein holder Abendstern_”) in the last act.
This atmospheric music, a hymn to the mystery and beauty of the night,
is Wolfram’s prayer to the evening star that it guide and protect
Elisabeth. Elisabeth’s second-act song of praise to the Hall of Wartburg
Castle in which she speaks of her joy in learning of Tannhaeuser’s
return (“_Dich, teure Halle_”) and her eloquent third-act prayer for
Tannhaeuser’s forgiveness (“_Allmaecht’ge Jungfrau_”) are also
deservedly celebrated for their affecting lyricism.
Wagner did not write much music not intended for the stage. Of this
meager repertory one or two items deserve attention in the
semi-classical repertory. One is “_Traeume_” (“Dreams”) a song often
heard in transcriptions, particularly for orchestra. This is one of five
poems by Mathilde Wesendonck which Wagner set to music in 1857-1858, and
it appears as the last song of the cycle. This gentle nocturne derives
some of its melody from the famous love-duet of the second act of
_Tristan and Isolde_ (“_O sink hernieder, Nacht der Liebe_”) but the
overall effect of the song is one of gentle revery rather than sensual
love. Wagner himself arranged “_Traeume_” for small orchestra. On
Mathilde Wesendonck’s birthday on December 23, 1857, he conducted
eighteen musicians in a performance of the song under Mathilde’s window.
The _Kaiser March_ was another of Wagner’s compositions not intended for
the stage. He wrote it in 1871 to celebrate Germany’s victory over
France. A proud, exultant theme is first offered by the full orchestra.
A transition in the brasses and timpani brings on a second theme of
contrasting character in the woodwind. There follows a brief statement
of Martin Luther’s famous chorale, “_Ein feste Burg_.” After dramatic
music depicting the fever of battle, the Luther chorale is repeated
triumphantly by the brasses. The first theme returns loudly in full
orchestra after a fanfare to end the march.