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RICHARD WAGNER HIS LIFE AND HIS DRAMAS A Biographical Study of the Man and an Explanation of His Work
RICHARD WAGNER HIS LIFE AND HIS DRAMAS A Biographical Study of the Man and an Explanation of His Work
BY W.J. HENDERSON AUTHOR OF “THE STORY OF MUSIC,” “PRELUDES AND STUDIES,” “WHAT IS GOOD MUSIC?” ETC. G.P. PUTNAM’S SONS NEW YORK AND LONDON The Knickerbocker Press 1902 Copyright, 1901 BY W.J. HENDERSON Set up, electrotyped, and printed, November, 1901 Reprinted February, 1902 The Knickerbocker Press, New York Set up, electrotyped, and printed, November, 1901 Reprinted February, 1902 The Knickerbocker Press, New York Wagner Richard Wagner...
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PREFACE
PREFACE
The purpose of this book is to supply Wagner lovers with a single work which shall meet all their needs. The author has told the story of Wagner's life, explained his artistic aims, given the history of each of his great works, examined its literary sources, shown how Wagner utilised them, surveyed the musical plan of each drama, and set forth the meaning and purpose of its principal ideas. The work is not intended to be critical, but is designed to be expository. It aims to help the Wagner love
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CHAPTER I THE BOYHOOD OF A GENIUS
CHAPTER I THE BOYHOOD OF A GENIUS
“O kindischer Held! O herrlicher Knabe.”— Siegfried The ancestry of Richard Wagner has been traced as far as his grandfather. This good man was Gottlob Friedrich Wagner, a custom house official, whose life-work it was to see that nothing was smuggled into Leipsic through the city gates. Gottlob Friedrich had a son to whom was given the second name of his father. Friedrich Wagner was a clerk of police. He had a considerable acquaintance with languages, and spoke French so well that when the Frenc
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CHAPTER II THE FIRST OPERAS
CHAPTER II THE FIRST OPERAS
“You are a young man indeed!”— Rochlitz to Wagner In the year 1832, while he was in Prague, Wagner began his career as a composer of operas, and in his first attempt, as in all later ones, wrote his own libretto. His friend Heinrich Laube [3] had offered him a libretto on the subject of Kosciuszko, but he refused it, saying that he was engaged wholly on instrumental music. But his genius was for the stage, and his boyhood had been surrounded by the immediate influences of the theatre. It is, the
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CHAPTER III KÖNIGSBERG AND RIGA
CHAPTER III KÖNIGSBERG AND RIGA
“To extricate myself from the petty commerce of the German stage.”— Wagner Minna Planer , as she was called, was the daughter of a spindle-maker, and according to Praeger, [8] who knew her well, went on the stage not because she was endowed with histrionic talent, but because it was necessary for her to contribute to the support of her father's family. Wagner had become engaged to her while at Magdeburg, and he married her on Nov. 24, 1836, at Königsberg. He was twenty-three years old and the wi
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CHAPTER IV “THE END OF A MUSICIAN IN PARIS”
CHAPTER IV “THE END OF A MUSICIAN IN PARIS”
“I, poor artist, swore eternal fidelity to my fatherland.”— Wagner On arriving in Paris Wagner took a furnished apartment in the Rue de la Tonnelerie. This was in an unfrequented quarter, but the house was said to have been occupied once by Molière. The apartment was cheap, a matter of much moment to Wagner. The young man at once started out with his letters from Meyerbeer. They not only secured him an offer for the immediate performance of one of his operas, but they also opened many doors to h
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CHAPTER V BEGINNING OF FAME AND HOSTILITY
CHAPTER V BEGINNING OF FAME AND HOSTILITY
“Before the world of modern art I now could hope no more for life.”— Wagner The excursion to Teplitz in the early summer of 1842 for his wife's health was of great importance in the development of Richard Wagner, for it was there and then that he completed the outline of the book of "Tannhäuser." When he had finished "Der Fliegende Holländer," he searched for a new subject. That he had not yet discovered in what direction his genius called him is demonstrated by the fact that he was attracted by
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CHAPTER VI “LOHENGRIN” AND “DIE MEISTERSINGER”
CHAPTER VI “LOHENGRIN” AND “DIE MEISTERSINGER”
“How curious I am to hear Liszt about it.”— Wagner When "Tannhäuser" had been completed Wagner went to Marienbad to spend the summer. While there he made the first drafts of his "Meistersinger" and "Lohengrin." He says: "As with the Athenians a merry satyr-play followed the tragedy, so, during that excursion, I suddenly conceived the idea of a comic play which might follow my minstrel's contest in the Wartburg as a significant satyr-play. This was the Mastersingers of Nuremberg with Hans Sachs a
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CHAPTER VII “ART AND REVOLUTION”
CHAPTER VII “ART AND REVOLUTION”
“Behold Mercury, and his docile handmaid, Modern Art!”— Wagner The period of Wagner's life which we have now reached was one of much complication and of important results. With the decision to abandon the subject of Barbarossa he made another, namely that the story of the Nibelungen Lied and its original material as found in the Volsunga Saga would provide excellent material for a music drama. His conception was first formulated in an article entitled "The Nibelung Myth as Sketch for a Drama" (E
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CHAPTER VIII PREACHING WHAT HE PRACTISED
CHAPTER VIII PREACHING WHAT HE PRACTISED
“Doch ich bin so allein.”— Siegfried The first years of Wagner's residence at Zurich were occupied with the writing of works designed to propagate the reformatory ideas which he aimed at introducing into the composition and performance of opera. It has been noted that after the first performances of "Tannhäuser" he felt that the public would have to be educated up to his conception of art, and he now set to work to produce the necessary doctrinary essays. Through the kindness of Otto Wesendonck,
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CHAPTER IX A STRANGER IN A STRANGE LAND
CHAPTER IX A STRANGER IN A STRANGE LAND
“This red republican of music is to preside over the Old Philharmonic of London, the most classical, orthodox, and exclusive society on this globe.”—Letter of Ferdinand Praeger to the New York Musical Gazette . The musical activities of this period were about to be interrupted by a voyage so strange that we can hardly conceive it as possible. That Richard Wagner, the reformer, should go to England to conduct the then most stagnant musical organisation in the world, the London Philharmonic, befor
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CHAPTER X A SECOND END IN PARIS
CHAPTER X A SECOND END IN PARIS
“People treat this unfortunate Wagner as a scamp, an impostor, an idiot.”— Hector Berlioz The composer now set to work right gladly on his "Walküre." He was eager to finish it and begin the writing of what was still called "Jung Siegfried." For a time he was impeded by the illness of his wife and afterwards his own, but on October 3, 1855, he was able to send to Liszt the first two acts of "Die Walküre." Liszt and his beloved Countess Wittgenstein went over them together and both wrote to Wagner
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CHAPTER XI A MONARCH TO THE RESCUE
CHAPTER XI A MONARCH TO THE RESCUE
“My King, thou rarest shield of this my living.”— Wagner Wagner went from Paris to Vienna, where he hoped that a production of "Tristan und Isolde" might be arranged. The manager of the opera house, when he learned that the composer was about to visit the city, prepared a special performance of "Lohengrin." This took place on May 15, 1861, and for the first time Wagner himself heard the work which has touched the hearts of so many thousands of his fellow-creatures. At the end of each act the aud
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CHAPTER XII SOME IDEALS REALISED
CHAPTER XII SOME IDEALS REALISED
“Lausch’, Kind! Das ist ein Meisterlied.”— Die Meistersinger And now, under the guidance of a monarch to whom Wagner's art was almost the inspiration of life, Munich, which in 1858 had rejected "Der Fliegende Holländer" as unsuitable to the German stage, was about to produce "Tristan und Isolde," the supreme essence of Wagner's matured genius. In April, 1865, the composer wrote a general letter inviting his friends everywhere to go to Munich and attend this first of all Wagner festivals, three p
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CHAPTER XIII FINIS CORONAT OPUS
CHAPTER XIII FINIS CORONAT OPUS
It was in April, 1872, that Wagner went to Bayreuth to live. He at first occupied rooms in the small hotel belonging to the Castle Fantaisie, in the village of Donndorf, an hour's ride from Bayreuth. Subsequently he moved into hired apartments in the town. Meanwhile a new home for him was in process of erection, and in 1874 he and his family took possession of the Villa Wahnfried, where his widow and children still live. This house was built in accordance with Wagner's own ideas, and in it at la
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CHAPTER XIV THE LAST DRAMA
CHAPTER XIV THE LAST DRAMA
“Alles wird mir nun frei.”— Götterdämmerung In the fall of 1877 Wagner's mind was occupied with a plan to found at Bayreuth a music school similar in plan to that which he had once hoped to have in Munich. Delegates from the Wagner societies were invited to the city to consider the project, but they, alarmed by the large deficit remaining from the festival of 1876, declined to further the scheme. At this gathering of delegates the various societies were reorganised into one general association,
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CHAPTER XV THE CHARACTER OF THE MAN
CHAPTER XV THE CHARACTER OF THE MAN
" The noble and kindly man as his friends knew him, and the aggressive critic and reformer addressing the public, were as two distinct individuals." These words of Edward Dannreuther are the explanation of the many contradictory reports as to the personality of Wagner. Those to whom he opened his inner self, to whom he addressed his feelings and his hopes, who, in a word, understood him as both man and artist, were united in praise of his personality. Liszt, Praeger, Uhlig, Roeckel, Fischer, Von
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PART II THE ARTISTIC AIMS OF WAGNER
PART II THE ARTISTIC AIMS OF WAGNER
“Every bar of dramatic music is justified only by the fact that it explains something in the action or in the character of the actor.”— Wagner to Liszt, September, 1850....
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CHAPTER I THE LYRIC DRAMA AS HE FOUND IT
CHAPTER I THE LYRIC DRAMA AS HE FOUND IT
What was this man Wagner trying to do? Broadly stated, the purpose of his life was to reform the lyric drama, to restore to it the artistic nature with which it was born, and to bring it into direct relation to the life of the German people. His ideal was the highest form of the drama, with music as the chief expository medium; and his most earnest desire, to make that drama national, both in its expression of the loftiest artistic impulses of the Teutonic people and in their recognition of that
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CHAPTER II THE REFORMS OF WAGNER
CHAPTER II THE REFORMS OF WAGNER
We may now approach the study in detail of Wagner's artistic aims. I have already said that his purpose was to restore artistic truth, dramatic sincerity, to the opera, and to bring it into some relation to the life of the German people. Recapitulated with more particulars, then, the reforms at which he aimed were these: (1)—The music had come to be the end instead of a means of expression, and consequently musical forms dominated. Wagner strove to confine music to its proper function of express
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CHAPTER III THE MUSICAL SYSTEM
CHAPTER III THE MUSICAL SYSTEM
In its details this Wagnerian system of musico-textual speech divides itself into music constructed of leading motives, or themes with a specified meaning, and music of the picture, or purely scenic music, such as that of the sailors in the first scene of "Tristan und Isolde," or the "Waldweben" of "Siegfried." And again the sung parts of the score divide themselves into ordinary speech, or quasi-recitative, and the speech of the high emotional situation, which is either intensely declamatory or
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CHAPTER IV THE SYSTEM AS COMPLETED
CHAPTER IV THE SYSTEM AS COMPLETED
Wagner , in striving for a complete and natural revelation of the emotional content of his dramas, discovered that the continual flow of music which he had adopted was not possible if fixed verse-figures were employed. The verse-figure prescribes and limits the musical figure. Nevertheless there must be some rhythmic principle in the verse. Wagner found that which was most suited to his needs in the ancient staff-rhyme, or alliterative verse. The fundamental basis of this verse is consonance of
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INTRODUCTORY
INTRODUCTORY
It is customary to divide the artistic career of Wagner into three periods, the first embracing the production of the early works and "Rienzi," the second that of "Der Fliegende Holländer," "Tannhäuser," and "Lohengrin," and the third that of the remaining works. It is the opinion of the present writer that the recognition of four periods would make the matter clearer to the lover of this master's creations. The early works, which are not heard except in one or two places, may be left out of con
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RIENZI
RIENZI
The first of the series of great musical works by which the fame of Wagner was made does not call for extended discussion. Its source is familiar to every reader of English literature, and its method of construction and style of composition are those employed in the operas of the Meyerbeerian school. In the fact that Wagner wrote his own libretto, which awakened the interest even of Hector Berlioz, and in the immense vigour and wonderful colour of the score, lie the chief indications of the Wagn
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THE FLYING DUTCHMAN
THE FLYING DUTCHMAN
“ Der Fliegende Holländer ” is the first of the works of Wagner which shadow forth the style, the system, and the mastery of lyrico-dramatic art found in his later works. All these elements of this master's art, however, are here found in an embryonic and experimental stage. Nothing is developed, and nothing is definite. Wagner himself did not realise the significance or possible extent of his movement. He was at this time wholly unconscious of the fact that he was laying the foundations of a ne
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TANNHÄUSER
TANNHÄUSER
With "Tannhäuser" we enter upon what may fairly be called the transition period of the genius of Wagner. While in certain passages this work is quite as much indebted to older opera as "Der Fliegende Holländer," and in others falls into a cheap and tawdry style of melody quite unworthy of its composer, it nevertheless contains parts which rise to heights never before attained except perhaps in Beethoven's "Fidelio." The book will especially repay study, for in it we find the first complete demon
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LOHENGRIN
LOHENGRIN
When he was collecting the materials for "Tannhäuser," Wagner, as we have seen, read the "Parzival" of Wolfram von Eschenbach. The last one hundred lines of that poem contains one of the versions of the story of Lohengrin. It is an insufficient story, however, and would not in itself have provided the foundation of Wagner's most popular work. As I have said in my introduction to the Schirmer edition of the vocal score of "Lohengrin," "Wagner's method of literary composition was to gather all the
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TRISTAN UND ISOLDE
TRISTAN UND ISOLDE
From the dramatic and musical style of "Lohengrin" to that of "Tristan und Isolde" is a far cry, and the reader must brace his intellectual forces to assault a new world. It would be easier for some reasons to take up the consideration of this work after that of the "Meistersinger" and "Der Ring," but such a proceeding would lead to a confusion of historical facts in the mind of the reader, and therefore we shall take it up in the order of its production. We must bear in mind that before writing
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DIE MEISTERSINGER VON NÜRNBERG
DIE MEISTERSINGER VON NÜRNBERG
"Tannhäuser" was finished in April, 1844, and in the summer of that year, while at Marienbad, Wagner made the sketch of "Die Meistersinger von Nürnberg." He designed this comic opera as a pendant to the serious "Tannhäuser" (see Chapter VI. of the biographical part of this work), and no doubt the historical relations of the minnesingers, who figured in the tragedy, with the meistersingers, who provided him with the characters for his comedy, suggested the nature of the humorous opera and the gen
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DAS RHEINGOLD
DAS RHEINGOLD
Prologue to "Der Ring des Nibelungen." First performed at the Royal Court Theatre, Munich, September 22, 1869. Original Cast. This performance was against the wish of Wagner. The first authorised performance was that at the Festspielhaus, Bayreuth, August 13, 1876, when the cast was as follows: Weimar, Vienna, Leipsic, Hamburg, Brunswick, 1878; Mannheim, Cologne, 1879; Frankfort, London, 1882. First performed in America at the Metropolitan Opera House, New York, Jan. 4, 1889. Cast. Conductor, An
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DIE WALKÜRE
DIE WALKÜRE
Music Drama in Three Acts. First evening of the trilogy, "Der Ring des Nibelungen." First performed at the Royal Court Theatre in Munich, contrary to the author's wish, on Aug. 26, 1870. Original Cast. First authorised performance in the Festspielhaus at Bayreuth, Aug. 14, 1876. Original Bayreuth Cast. Vienna, New York, 1877; Rotterdam, Leipsic, Hamburg, Schwerin, 1878; Weimar, Mannheim, Cologne, Brunswick, 1879; Königsberg, Frankfort, 1882. First performed in America at the Academy of Music, Ne
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SIEGFRIED
SIEGFRIED
Music Drama in Three Acts. Second evening of the trilogy, "Der Ring des Nibelungen." First performed at the Festspielhaus, Bayreuth, August 16, 1876. Original Cast. Hamburg, Vienna, Munich, Leipsic, 1878; Schwerin, Brunswick, 1879; Cologne, 1880. First performed in America at the Metropolitan Opera House, New York, Nov. 9, 1887. Cast. Conductor, Anton Seidl....
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GÖTTERDÄMMERUNG
GÖTTERDÄMMERUNG
Music Drama in Three Acts. Third evening of the trilogy, "Der Ring des Nibelungen." First performed at the Festspielhaus in Bayreuth, August 17, 1876. Original Cast. Munich, Leipsic, 1878; Vienna, Hamburg, Brunswick, 1879; Cologne, 1882. First performed in America at the Metropolitan Opera House, New York, Jan. 25, 1888. Cast. Conductor, Anton Seidl. (The Waltraute and Norn scenes were omitted. They were first given at the Metropolitan on January 24, 1899, when Mme. Schumann-Heink was the Waltra
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DER RING DES NIBELUNGEN
DER RING DES NIBELUNGEN
The gigantic tetralogy of Wagner must be studied as a single opus, for such indeed it is. A poem in four cantos, a dramatic sequence after the manner of the Greeks, it is the story of a single action, a single crime and its tragic atonement. What that story is we shall presently see. How Wagner conceived and created his new and wonderful version of the Norse mythology, the Volsunga Saga, and the "Nibelungen Lied," is what must first occupy our attention. Wagner's first mention of this work is fo
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PARSIFAL
PARSIFAL
The last of the great music dramas of Richard Wagner began to occupy his mind as early as 1857. Professor William Tappert says: "Wagner told me (in 1877) that in the fifties, when in Zurich, he took possession of a charming new house, and that, inspired by the beautiful spring weather, he wrote out the sketch that very day of the Good Friday music." A letter to the tenor Tichatschek defines the year as 1857. The poem was completed in 1877, and on May 17 of that year was read to an assembly of Wa
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APPENDIX A THE YOUTHFUL SYMPHONY
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,'
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APPENDIX B WAGNER AND THE BALLET
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 tha
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BROWNING, POET AND MAN
BROWNING, POET AND MAN
A Survey. By Elisabeth Luther Cary . With 25 illustrations in photogravure and some other illustrations. Large 8 o , gilt top (in a box) $3.75 Popular Edition , illustrated, 8 o "It is written with taste and judgment.... The book is exactly what it ought to be, and will lead many to an appreciation of Browning who have hitherto looked at the bulk of his writings with disgust.... It is beautifully illustrated, and the paper and typography are superb. It is an edition de luxe that every admirer of
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TENNYSON
TENNYSON
His Homes, His Friends, and His Work. By Elisabeth Luther Cary . With 18 illustrations in photogravure and some other illustrations. Second edition. Large 8 o , gilt top (in a box) $3.75 Popular Edition , illustrated, 8 o "The multitudes of admirers of Tennyson in the United States will mark this beautiful volume as very satisfactory. The text is clear, terse, and intelligent, and the matter admirably arranged, while the mechanical work is faultless, with art work especially marked for excellenc
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THE ROSSETTIS: DANTE GABRIEL AND CHRISTINA
THE ROSSETTIS: DANTE GABRIEL AND CHRISTINA
By Elisabeth Luther Cary . With 27 illustrations in photogravure and some other illustrations. Large 8 o , gilt top (in a box) $3.75 Popular Edition , illustrated, 8 o "The story of this life has been told by Mr. Hall Caine, Mr. William Sharp, Mr. Watts-Dunton and Mr. William Rossetti, his brother, but never quite so well as by Miss Cary, who, thoroughly conversant with all the materials which their writings furnish, has turned it to better advantage than they were capable of from their personal
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PETRARCH
PETRARCH
The First Modern Scholar and Man of Letters. A Selection from his Correspondence with Boccaccio and other Friends. Designed to illustrate the Beginnings of the Renaissance. Translated from the original Latin together with Historical Introductions and Notes, by James Harvey Robinson , Professor of History in Columbia University, with the Collaboration of Henry Winchester Rolfe , sometime Professor of Latin in Swarthmore College. Illustrated. 8 o $2.00 "The authors of this book have produced a ver
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Where Ghosts Walk.
Where Ghosts Walk.
The Haunts of Familiar Characters in History and Literature. By MARION HARLAND, author of "Some Colonial Homesteads," etc. Second impression. With 33 illustrations, 8 o , gilt top, in a box $2.50 "In this volume fascinating pictures are thrown upon the screen so rapidly that we have not time to have done with our admiration for one before the next one is encountered.... Long-forgotten heroes live once more, we recall the honored dead to life again and the imagination runs riot. Travel of this ki
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Some Colonial Homesteads
Some Colonial Homesteads
AND THEIR STORIES. By MARION HARLAND. Second impression. With 86 illustrations. 8 o , gilt top, in a box $3.00 In this volume the author tells the stories of some Colonial Homesteads whose names have become household words. The book is charmingly written and is embellished by a large number of illustrations, very carefully selected and engraved. Among the homesteads presented are: Brandon, Westover, Shirley, Marshall House, Cliveden (Chew House), Morris House, Van Cortlandt Manor House, Oak Hill
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More Colonial Homesteads
More Colonial Homesteads
AND THEIR STORIES. By MARION HARLAND, author of "Some Colonial Homesteads and Their Stories," "Where Ghosts Walk," etc. With 56 illustrations. 8 o , gilt top, in a box $3.00 Among the Homesteads presented are: Johnson Hall (Johnstown, New York), La Chaumière Du Prairie (near Lexington, Kentucky), Morven (the Stockton Homestead, Princeton, New Jersey), Scotia (the Glen-Sanders House, Schenectady, New York), Two Schuyler Homesteads (Albany, New York), Doughoregan Manor (the Carroll Homestead, Mary
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Little Journeys to the Homes of
Little Journeys to the Homes of
Or 5 vols. in box, $8.75. Also sold separately, each, $1.75 G.P. PUTNAM’S SONS, New York & London...
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