Richard Wagner

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Richard Wagner Page 58

by Martin Geck


  Neue Zeitschrift für Musik, 142, 378n40

  Neumann, Angelo (1838–1910), 112, 162, 169–70, 289

  New German school, 55

  Newlin, Dika (1923–2006), 123

  Newman, Ernest (1868–1959), 306

  New York, 170

  Nibelungenlied, 160, 300

  Nicholas of Cusa (1401–64), 190

  Niederwald Memorial, 140

  Niemann, Albert (1831–1917), 34–35, 37

  Nietzsche, Friedrich (1844–1900): on the Christianity of Lohengrin, 91, 99; on the ending of the Ring, 142, 305–6; and fascism, 362–63; and Franco-Prussian War, 311; Heidegger on, 254; knowledge of RW’s works, 261; on the narcotic effect of Wagner’s music, 91, 366; on the need for art in our lives, 13, 142, 361; and nihilism, 149; and Overbeck, 320; and the power of RW’s music, 119, 254, 366; on redemption in Wagner’s works, 12, 14, 325; runs errands for RW and his wife, xv, 93; and RW’s alleged dilettantism, 175; as RW’s disappointed admirer, xvii, 175, 317, 325; on RW as “miniaturist,” 364; on Lohengrin, 91, 99, 105; on Die Meistersinger von Nürnberg, 281–82, 284; on Opera and Drama, 150; on Parsifal, 77, 325, 329, 331–32; on the Ring, 161, 164, 175, 296, 305, 314; on Schumann’s Manfred, 52; “tangled passions” of Götterdämmerung, 231; on Tristan und Isolde, 12, 255, 359; visits RW at Tribschen, 9, 253, 307; visits RW in Bayreuth, 308

  Writings: Beyond Good and Evil, 77, 314; The Birth of Tragedy, 12, 79; “Nachgelassene Fragmente,” 31, 91, 142, 296, 361; “Richard Wagner in Bayreuth,” 75; “The Wagner Case,” 305

  Nuremberg, 265–66, 269, 271, 273, 275, 286

  Oehme, Carl Wilhelm (brass-founder in Dresden), 131

  O’Neill, Eugene (1888–1953), 160

  opéra comique, 25

  Otto, Rudolf (1869–1937): The Idea of the Holy, 345

  Overbeck, Franz (1837–1905), 320

  Ovid (43 BC – AD 17), 240

  Palermo, 93, 356

  Papo (RW’s parrot), 39

  Paris, xi, 84, 127, 138, 361; Académie Royale de Musique (i.e., Paris Opéra), 18, 24, 43, 44, 48; concerts in 1860, 78; Institut National de Musique, 358; July Revolution, 27; Louvre, 84; Musée d’Orsay, 356; RW in Paris between 1839 and 1842, xv, 18, 22, 30, 31, 43, 47–49, 66, 69, 70, 74, 82, 99; RW in Paris in 1849 and 1850, 44–45, 96, 133, 134; RW in Paris in 1860–61, 68, 79, 85, 92; RW’s hopes that it would be “burned to the ground,” 135, 310; Salle Taitbout, 49; Théâtre du Châtelet, 16

  Peduzzi, Richard (b. 1943), 162

  Peißenberg, 274

  Peiting, 274

  Pentagon, 348

  Petit, Pierre (1831–1909), 68

  Picasso, Pablo (1881–1973), 253

  Pillau (Baltiysk), 31, 144

  Planer, Gotthelf (1770–1855) and Johanna Christiana (?–1856), 29

  Planer, Minna. See Wagner, Wilhelmine (“Minna”)

  Planer, Natalie (1826–99?), 31

  Plato (427–347 BC), 232, 347

  poetic-musical period, 117, 154, 156, 157, 158, 178, 249

  Polling, 274

  Possendorf, 2

  Praeger, Ferdinand (1815–91), 216, 369n43

  Prague, 2

  Princeton, 216

  Prometheus, 71, 224

  Proust, Marcel (1871–1922): on the creative process, 5–6, 249; knowledge of RW’s works, 261; on Parsifal, 332; on the “traurige Weise,” 252–53

  Writings: À la recherche du temps perdu, 5, 249, 361–62

  Pusinelli, Anton (1815–78), 288

  Rathert, Wolfgang (b. 1960), 218

  realism and real idealism, 62, 253, 267, 268, 272, 273, 288, 364

  Regensburg: Walhalla, 67

  Reger, Max (1873–1916), 273

  Renoir, Auguste (1841–1919), 356

  Revue européenne, 79

  Ribot, Théodule-Armand (1839–1916), 357

  Rienäcker, Gerd (b. 1939), 264, 298, 363, 364

  Riga, 30, 31

  Rio de Janeiro, 241

  Ritter, Julie (1794–1869), 5, 230

  Robber (RW’s dog), 31

  Robespierre, Maximilien de (1758–94), 358

  Röckel, August (1814–76): as editor of the Volksblätter, 103, 131; political activities, 102, 129; and RW’s letter of January 1854, 15, 180, 202, 208, 212, 213, 303, 304; and RW’s letter of August 1856, 112, 304, 235

  Roller, Alfred (1864–1935), 353

  Romanshorn, 275

  romanticism, 11, 25, 32, 35, 37, 52, 53, 54, 71, 78, 83, 97, 98, 101, 102, 103, 105, 111, 112, 118, 121, 131, 132, 136, 163, 174, 185, 239, 244, 247, 267, 271, 281, 330, 334, 342, 345, 358, 359, 361, 364

  Rome, 77, 170

  Rossini, Gioachino (1792–1868), 60, 92

  Works: La Cenerentola, 3

  Rothschild, Mayer Carl von (1820–86), 398n2

  Rubinstein, Josef (1847–84), 79, 87, 92–94, 99, 280

  Sachs, Hans (1494–1576), 283

  Saga of the Volsungs, 160

  Sagi, Emilio (b. 1948), 16

  Saint-Simon, Claude-Henri de Rouvroy, comte de (1760–1825), 49

  San-Marte (i.e., Albert Schulz) (1802–93), 105

  Scheier, Claus-Artur (b. 1942), 86

  Schelling, Friedrich Wilhelm Joseph von (1775–1854), 163

  Schenker, Heinrich (1868–1935), 282

  Schickling, Dieter (b. 1939), 180, 297

  Schiller, Friedrich von (1759–1805), 3, 8, 275

  Works: The Maid of Orleans, 4, 156; Ode to Joy, 151, 215, 358

  Schleef, Einar (1944–2001), 341

  Schlegel, Friedrich von (1772–1829), 130, 246

  Schleiermacher, Friedrich Daniel Ernst (1768–1834), 32

  Schleinitz, Alexander von (1807–85), 170

  Schlesinger, Maurice (1798–1871), 48

  Schlingensief, Christoph (1960–2010), 331, 350

  Schloss Berg, 274

  Schnädelbach, Herbert (b. 1936), 162, 208

  Schnappauf, Bernhard (1852?–1904), xi

  Schneckenburger, Max (1819–49): Die Wacht am Rhein, 311

  Schoenberg, Arnold (1874–1951), 55, 85, 123–24, 176, 218, 255, 273, 316, 341; analysis of Lohengrin, 123

  Works: Die glückliche Hand op. 18, 124; Gurre-Lieder, 123; Moses und Aron, 124; Two Songs op. 1, 123; Verklärte Nacht op. 4, 123; “Program to Help and Build Up the Party,” 124; Style and Idea, 123

  Schopenhauer, Arnold (1788–1860): as an influence on Nietzsche, 12, 149; and Die Meistersinger von Nürnberg, 271; and music, 219, 259, 337, 342; and Parsifal, 235; and the Ring, 235, 306; RW reads The World as Will and Representation, 148, 201–2, 214, 232, 239; RW’s attempts to change Schopenhauer’s view of love, 243; RW’s quietistic interpretation, 149, 235, 239; and the will, 58, 72, 214, 244, 250, 304, 342

  Writings: “Essay on Spirit Seeing,” xii–xiii; The World as Will and Representation, 148, 201–2, 232, 239, 306

  Schröder-Devrient, Wilhelmine (1804–60), 36, 42

  Schubert, Bernhard (b. 1950), 274

  Schubert, Franz (1797–1828): as “expressionist,” 144; harmonic writing, 250; as victim of repression and censorship, 28

  Works: My Dream, 330; Piano Sonata in B-Flat Major D 960, 250

  Schuch, Ernst von (1846–1914), 61

  Schumann, Robert (1810–56): autonomy of the music in his lieder, 215; as “expressionist,” 144; and German nationalism 73, 265; revises his opinion of Tannhäuser, xiv, xvi, 92; RW’s opinion of, 339; search for opera libretto, 32; as victim of repression and censorship, 28

  Works: Genoveva, 32; Liederkreis op. 39, 335; Manfred, 52

  Schweitzer, Albert (1875–1965), 82–83

  Scriabin, Alexander (1872–1915), 119

  Scribe, Eugène (1791–1861), 32, 38

  Scruton, Roger (b. 1944), 248

  Seidl, Anton (1850–98), 170

  Semper, Gottfried (1803–79), 135

  Shakespeare, William (1564–1616), 240; RW’s early exposure to, 3, 7, 8

  Works: Hamlet, 6; King Lear, 6; Macbeth, 6; Measure for Measure, 24, 27; Midsummer Night’s Dream, A, 1
8, 271; Much Ado about Nothing, 24; Romeo and Juliet, 7–8

  Shaw, Bernard (1856–1950), 162, 293

  Writings: The Perfect Wagnerite, 306

  Shostakovich, Dmitri (1906–75), 225

  Simrock, Karl (1802–76): Lay of the Amelungs, 160

  Sisyphus, 71, 231

  Skelton, Geoffrey (1916–98), ix

  Sloterdijk, Peter (b. 1947), 12

  Sophocles (ca. 496–406/5 BC), 161; Adolf Wagner as translator of, 3; RW’s enthusiasm for, 6, 8, 103, 151

  Spohr, Louis (1784–1859), 11, 25

  Spontini, Gaspare (1774–1851): and grand opera, 33

  Works: Fernand Cortez, 30

  Stabreim, 154–56

  Stalin, Joseph (1879–1953), 225, 227

  Steiner, George (b. 1929), 179, 196–97

  Stieler, Joseph (1781–1858), 262

  Stockar-Escher, Clementine (1816–86), 146

  Stockhausen, Karlheinz (1928–2007): Studie II, 157

  Stölzl, Philipp (b. 1967), 40

  Strauß, Johann (1825–99), 92

  Strauss, Richard (1864–1949): characterization in his operas, 35; illustrative music, 253; and modernism, 283; on Opera and Drama, 150

  Works: Der Rosenkavalier, 271

  Strauß, Salomon (1795–1866), 66

  Stravinsky, Igor (1882–1971), 123, 282

  Works: Piano Scherzo, 283

  Strecker, Ludwig (1853–1943), 9, 87, 322

  Strindberg, August (1849–1912), 357, 363, 364

  Works: Miss Julie, 357

  Stuttgart, 299, 313

  symbolism, 246, 336, 337, 344

  Tacitus (56/57–after 117), 300

  Tannenberg, 106, 377n17

  Taylor, Charles (b. 1931), 136

  Tchaikovsky, Peter Ilyich (1840–93), 119

  Teatr, 226

  Thebes, 140

  Tichatschek, Joseph (1807–86), 36–37, 135

  Tieck, Ludwig (1773–1853), 70

  Writings: Der getreue Eckart und der Tannhäuser, 105

  Titian (ca. 1480/85–1576): Assunta, 274

  Träger, Adolf (RW’s godfather), 4

  Treadwell, James (b. 1968), 194

  Tribschen, ix, 9, 93, 253

  Trieste, 170

  Tübingen, 320

  Turin, 170

  Über Land und Meer, 93

  Uhlig, Theodor (1822–53), 44, 115, 139, 142, 149, 183, 220, 378n40

  Ulrich von Türheim (fl. 1235), 232, 388n13

  Urmoneit, Sebastian, 248

  Vaget, Hans Rudolf (b. 1938), 273

  Valéry, Paul (1871–1945), 122, 321, 361

  Van Dyck, Sir Anthony (1599–1641), 2

  Varnhagen von Ense, Karl August (1785–1858), 130

  Vasari, Giorgio (1511–74), 230

  Venice: Neumann’s touring Ring, 170; Palazzo Corner Spinelli, 230; Palazzo Giustiniani, 230; RW in, 34, 93, 230, 274; Teatro La Fenice, 10

  Verdi, Giuseppe (1813–1901): characterization in his operas, 35, 181, 241; comparison with RW, 35, 181, 211–12, 230, 241, 255

  Works: Don Carlo, 211; La forza del destino, 259; Otello, 42, 181, 241; Les vêpres siciliennes, 32

  Verne, Jules (1828–1905), 162

  Vienna, 123, 271, 288, 328; Burgtheater, 140; Congress of Vienna, 27; Lohengrin in 1876, 101, 112; Mahler as director, 353; RW’s visit in 1848, 130; Secession, 337, 353; Tannhäuser in, 26; Theater auf der Wieden, 54

  Volksblätter, 103, 131

  Völuspá, 162

  Vormärz, 27, 102

  Voss, Egon (b. 1938), xii, 239, 285, 327

  Wagner, Adolf (1774–1835), 228; important figure in Leipzig’s artistic life, 3; influence on RW’s youth, 2

  Wagner, Albert (1799–1874), 3

  Wagner, Clara. See Wolfram, Clara

  Wagner, Cosima née Liszt (1837–1930): alleged affair with Levi, 320; anti-Semitism of, 289, 320; birthday celebrations in 1882, 10; and the Brown Book, 17, 321; Christian beliefs, 319; and composition sketches, 234, 340; corresponds with Eduard von Lippmann, 308–9; court case over Isolde, ix–x; edition of Rienzi, 34, 38; ends RW’s affair with Judith Gautier, xi; and Götterdämmerung, 308–9; housekeeping skills, 169; and Mahler, 352; and Die Meistersinger von Nürnberg, 275; portrait by Lenbach, 2; premarital affair with RW, ix, 17; relations with RW, x, xi, 275, 338; and Rubinstein, 92–94; RW dictates his autography to, x, xv

  Writings: Diaries, xii, 1, 2, 4, 9, 12, 24, 36, 43, 79, 93, 94, 112, 149, 152, 159, 169, 180, 220, 231, 240–41, 249, 276, 285, 289, 293, 303, 307, 309, 310, 314, 320, 321, 325, 339, 340–41, 343, 349, 359; as reliable, “documentary” source, ix–x, xi, xii, 24

  Wagner, Elise née Gollmann (1800–64), 26

  Wagner, Eva. See Chamberlain, Eva

  Wagner, Friedrich (1770–1813), 1, 3, 8

  Wagner, Isolde. See Beidler, Isolde

  Wagner, Johanna Rosine née Pätz (1774–1848): moves to Prague, 2; RW’s relations with, 1, 3, 8, 53

  Wagner, Minna. See Wagner, Wilhelmine (“Minna”)

  Wagner, Nike (b. 1945): on Parsifal, 331; on Thomas Mann, 216; on act 3 of Tristan und Isolde, 237; on Wotan, 213

  Wagner, Ottilie. See Brockhaus, Ottilie

  Wagner, Richard (1813–83): on actors and singers, 29, 36–37, 61, 91, 112, 113, 181, 217, 294; on his adolescence, 2; acquires a knowledge of music, 8–9; alleged Oedipal desires, 53; archetypal scenario, 7–8, 10, 11, 12, 13, 17, 29, 33, 338; art as an antidote to life, 13, 142, 361; art as religion, 99, 103, 127, 133, 138, 174, 230, 245, 322, 324, 327, 329, 330, 334, 345, 353, 358, 359, 360; art of transition, 64, 84, 122, 175, 189, 293, 296, 364; attitude to French and Italian opera, 24, 25, 151, 153, 283; autobiographical tendentiousness. x–xiii, 66, 232; and calling, xiii, 6, 9, 10, 13, 28, 29, 31, 43, 99, 103, 169; and capital, 15, 20, 44, 103, 162, 306; as champion of a new mythology, xiii, 8, 17, 137, 158, 160, 161, 163, 174; chaotic early life, 1, 2, 3, 5, 8; childhood fears, 2; childhood memories, 1–2, 3–4, 8; and Christianity, 74, 79, 80, 81, 98, 99, 133, 134, 135, 163–64, 281, 288, 307, 320, 321, 323, 326, 328–29, 344, 345, 360; composing in a “somnambulistic” state, xii, xiii, 177–78; concern that his works should be adequately staged, 35–36, 112, 113; and the creative process, 5, 9, 31, 231, 357, 391n74; death wish, 17; and debts, 29, 31, 70, 130, 232; and dilettantism, 175–76, 258; disenchantment with the present, 29, 31, 47, 49, 51, 65, 74, 97, 98, 99, 103–4, 111, 142, 148–49, 159, 212–13; as divino artista, 230; early literary endeavors, 6–9; early musical influences, 3–4, 9, 11, 24; “emotionalizing of the intellect,” 57, 60, 81, 99, 149, 153, 207, 217–18, 336; “endless melody,” 247, 248, 250, 251, 281, 366; feelings of inadequacy as a composer, 8, 19, 231; and “free love,” 26, 27, 28, 29, 305, 314; and German nationalism, 70, 72, 101, 106, 107, 108, 110, 155, 164, 189, 265, 270, 272, 275, 284, 300, 323, 328; and the German Reich, 14, 106, 108, 265, 295, 311, 312, 318; harmonic writing, xiv, 59, 85, 86, 89, 119, 123, 157, 178, 194, 209, 251, 254, 292, 298, 301, 335, 341, 342, 347; hypersensitivity, 2, 4, 5; identifies with characters, 15, 17, 51–52, 74, 97, 99, 100, 104, 198, 201, 202, 203, 220, 268; on improvisation, 55, 106, 176, 181, 184, 347; instrumentation, 24, 61, 85, 116, 119, 249, 250, 252, 292, 294, 365; interrelationship of music and onstage action, 58–60, 92, 113, 115, 177, 185–86, 200, 204, 248; and the “Jewish question,” x, xvi–xvii, 14, 18, 19, 43, 94, 142, 147–48, 285, 289, 320, 326, 345, 356; as kapellmeister in Dresden, 19, 30, 44, 70, 72, 100, 131; lack of affection in early life, 1, 5, 8; letters as authentic source, x; as his own librettist, 10, 24, 27, 30, 32, 37, 49, 51, 53, 56, 61, 70, 74, 101, 132, 137, 138, 149, 154, 155, 159, 160, 168, 185, 200, 202, 204, 207, 239, 246, 258, 265, 266, 267, 269–70, 278, 305, 310, 311, 322, 323, 325, 327, 343, 345; love as a source of torment, 8, 232, 233, 235, 236, 244, 245, 263; musical prose, 91, 124, 353; music as an expression of desire and fulfillment, 13, 236, 246, 254; music as an expression of the inexpressible, 113, 152, 246; music as an expression of love, 12–13; music as a reflection of inner reality, 17, 57, 121; music as the romantic art par excellence, 54; as mu
sic director in the German provinces, 23–24; mystifica tion of the creative process, xi, xii–xiii, 178, 194, 274; neuroses, 2; “orchestral melody,” 89, 186, 294, 200, 209, 210, 212, 281, 298; and pacifism, 109, 266, 328; the paternity issue, 1–2, 8; pessimism at cultural decline, 14, 17, 97, 322, 328; as political adviser to Ludwig II, 104, 265–66; and popular monarchy, 103–4, 107, 129–30; portraits, xviii, 22, 46, 68, 96, 126, 146, 172, 198, 228, 262, 290, 318, 356; predilection for silk fabrics and French perfumes, xi, 5–6; prescriptions for staging his works, 60–61; and the “purely human,” 50, 74, 97, 101, 132, 138, 151, 164; racist theories, 93, 164, 326, 341; and redemption, xiv, 8, 11, 12, 14, 15, 17–18, 34, 50, 57, 58, 80, 86, 87–88, 132, 162, 214, 226, 235, 239, 247, 253, 254, 302–3, 306, 308, 309, 314, 323, 324–30, 334, 345, 353, 359; redemption through destruction, 8, 13, 14–15, 50, 52, 57, 71, 72, 74, 75, 142, 143, 148, 164, 235, 239, 363; and reflection in the creative process, 255; and revolution, 13, 15, 27–28, 33, 44, 49, 80, 102–4, 107, 127–31, 134–39, 142, 143, 144, 148, 149, 150, 161, 162, 163, 177, 180, 212, 213, 226, 228, 258, 265, 267, 272, 288, 304, 310, 327, 358, 359; rootlessness, 2–3; and Saint-Simonism, 49, 74; and social reform, 19, 26, 100, 144; as sorcerer, 168, 255, 317, 334, 360; as stage director, 34–35, 112–13, 290, 350; and the symphony, 55, 118, 153, 209; the theater in RW’s early life, 1, 3, 4, 6, 9; and theater reform, 128, 129, 130, 144; the theatricality of RW’s life in general, 31; and total artwork: see Gesamtkunstwerk; the transfiguring force of music, 8–9, 10, 11, 12, 13, 15, 34, 50, 65, 83, 122, 219–20, 244, 247, 253–54, 258, 307–8, 308–9, 310, 315, 327, 363–64; “unconscious” approach to composition, 55, 91, 160, 185; unwillingness to distinguish between dreams and reality and between art and life, xiii–xiv, 4, 6, 15, 52, 53, 97, 103–4, 144, 160, 201, 203, 272; views on politics, x, 19, 26, 27, 28, 29, 33, 35, 37, 66, 93, 100, 101, 102, 103, 104, 107, 108, 109, 110–11, 127, 128, 129, 130, 131, 132, 135, 136, 137, 143, 144, 147, 158, 164, 165, 166, 192, 203, 204, 208, 212, 213, 230, 265, 266, 267, 268, 270, 273, 275, 295, 307, 359; and vivisection, x, xiv; word-tone relationship, 101, 214, 215, 216, 360. See also Auerbach; Baudelaire; Beethoven; Heine; Liszt; Mendelssohn; Meyerbeer; Mozart; Neumann; Nietzsche; Schopenhauer; and Index of Wagner’s Works

  Wagner, Rosalie. See Marburg, Rosalie

  Wagner, Siegfried (1869–1930), 2, 94, 109

  Wagner, Wieland (1917–66), 240, 286

  Wagner, Wilhelmine (“Minna”) née Planer (1809–66): correspondence with RW, 2; courtship of, xviii, 26; marries Wagner, xviii, 29; miscarriage, 31; and “neighborly embarrassment” in Zurich, 230; and Paris, 31; professional engagement in Königsberg and Riga, 29, 31; RW’s infidelities. xiv, 244; her “unsuitability” as RW’s wife, 233; in Zurich, 234

 

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