The German musical genius Richard Wagner (1811-1883) could be considered to be one of the ideological fathers of early 20th century German nationalism. He was well-suited for this role. Highly intelligent, sophisticated, complex, capable of imagining whole systems of humanistic philosophy, and with an intense need to communicate his ideas, he created great operas which, in addition to their artistic merits, served the peculiar role of promoting a jingoistic, chauvenistic kind of Germanism. There

The best introduction to this important correspondence of the two great musicians will be found in the following extract from an autobiographical sketch written by Wagner in 1851. It has been frequently quoted, but cannot be quoted too often, describing, as it does, the beginning and the development of a friendship which is unique in the history of art. "Again I was thoroughly disheartened from undertaking any new artistic scheme. Only recently I had had proofs of the impossibility of making my

If I take the liberty to trouble you with these lines, I must in the first instance rely solely on the great kindness with which you received me during your last short stay in Paris in the late autumn of last year, when Herr Schlesinger casually introduced me to you. There is, however, still another circumstance which encourages me to this step: My friend Heinrich Laube, the author, wrote to me last summer from Carlsbad that he had there made the acquaintance of one of your countrymen, who boast

**************************************************************** Almost everything occurring in brackets [ ] are original footnotes inserted into the text. Also, special German characters like U with an umlaut, and French characters like a's and e's with various markings above them were ignored, replaced with their closet single-letter equivalents. U with an umlaut is U, A with a caret above it is A, and so on. This electronic text was prepared by John Mamoun with help from numerous other proofr

The German musical genius Richard Wagner (1811-1883) could be considered to be one of the ideological fathers of early 20th century German nationalism. He was well-suited for this role. Highly intelligent, sophisticated, complex, capable of imagining whole systems of humanistic philosophy, and with an intense need to communicate his ideas, he created great operas which, in addition to their artistic merits, served the peculiar role of promoting a jingoistic, chauvenistic kind of Germanism. There

143. Yesterday (Saturday, January 7th) first performance of "Lohengrin" at Leipzig. The public, very numerous in spite of double prices, displayed much sympathy and admiration for this wonderful work. The first act went tolerably well as far as the artists were concerned. Rietz conducted in a precise and decent manner, and the ENSEMBLES had been carefully studied. The second and third acts, however, suffered much from the faults and shortcomings of both chorus and principals. Further performance

For a long time I have been wishing to write to you, but had not the courage to do so. Alas! how can I speak to you from my heart? Today a sheet of paper with a red border comes under my hand; so many symbols are comprised in that colour! It is devoted to love, it is the purple of kings, and the image of human blood. It is therefore suited to both of us: to you as the emblem of your sovereign genius, to me as that of an ardent attachment, the flames of which are my happiness and my glory; to bot

I returned here yesterday from the Dusseldorf Musical Festival, tired and dull. Hiller, who conducted the whole, had invited me, and it interested me to go through the whole thing for once, to hear "Paradise and the Peri," and to applaud Jenny Lind. I need not tell YOU anything about it, and I am not much the wiser myself. Although the whole festival may be called a great success, it wanted something which, indeed, could not have been expected from it. In the art world there are very different k

From Berlin I brought home so dreadful a cold that I had to go to bed for a few days, and to delay my journey till this evening. I have to supplement my Berlin telegram by the following notes:— Johanna was beautiful to see and touching to hear as Elizabeth. In the duet with Tannhauser she had some splendid moments of representation, and her great scene in the finale she sang and realised in an incomparable manner. Formes's intonation was firm, pure, and correct, and there was no sign of fatigue

How could I think of you otherwise than with constant love and sincerest devotion in this city, in this room where we first came near to each other, when your genius shone before me? "Rienzi" resounds to me from every wall, and when I enter the theatre I cannot help bowing to you before every one, as you stand at your desk. With Tichatschek, Fischer, Heine, and others of your friends in the orchestra here I talk of you every day. These gentlemen appear well inclined towards me, and take a warm i

People take care to give me plenty of diversion. From the enclosed letter, which please seal before you forward it to the person in question, you will see that in addition to other troubles I have been robbed. The thief is near you at Jena, where he has had to go for a short time on military duty. You will, I hope, find no difficulty in finding a person attached or semi- attached to the police, who could deal with E. W., late waiter at the hotel here, in the manner indicated by the letter. I thi

**************************************************************** Almost everything occurring in brackets [ ] are original footnotes inserted into the text. Also, special German characters like U with an umlaut, and French characters like a's and e's with various markings above them were ignored, replaced with their closet single-letter equivalents. U with an umlaut is U, A with a caret above it is A, and so on. This electronic text was prepared by John Mamoun with help from numerous other proofr