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Richard Wagner

Page 60

by Martin Geck


  productions: Brussels (2010), 90; Dresden (1845), 73, 80, 87, 92, 99, 100

  Tristan und Isolde (WWV 90), 229–59; alleged superfluity of act 3, 237–39, 244; and the “art of transition,” 84, 122; and Auerbach, 289; and Bloch, 238, 239, 247, 248, 252, 260–61; Celtic origins, 328; as coherent musical structure, 83, 258–59; color, 249; composition sketches, 234–35, 248–49, 255; continuing fascination of, xvi, 317; criticized by Heidegger and Härtling, 254; dialectics of desire and fulfillment, 240–41, 244–45, 248, 249, 258, 264; Eros and Thanatos, 242–43, 245, 248, 250, 258; harmonic parallel with act 3 of Siegfried, 292; influence of Bellini, 24–25; Isolde’s Transfiguration, xi, 13, 238, 239, 243, 252, 310; language of the libretto, 245–46; leitmotifs, 248, 254, 255; and Lohengrin, 118; love potion, 245, 258; and Mahler, 353; Mathilde Wesendonck as muse, xi, 229–30, 234–35, 250; motif of black and white flags, 17, 232; multiplicity of interpretations, 241–42, 244; mythic dimension, 245, 248; Nietzsche’s “opus metaphysicum of all art,” 12, 255, 258, 359; parallels with Die Meistersinger von Nürnberg, 263, 264, 265, 270, 272, 273, 274, 276, 277, 281, 282, 284, 287; and Parsifal, 235, 236, 239, 324, 327, 338–39, 349; prelude to act 1, 236, 240, 249, 251, 324–25; publication of libretto, 258; redemption, 11, 12, 13, 253; redemption through destruction, 235, 239; relationship between Tristan and Isolde, 13, 52, 241–43; revolutionary force of, 49; and the Ring, 165, 236, 241, 244, 247, 248, 258, 291–92, 295, 302, 338; RW’s longing to experience love, 17, 232–33, 234–35; RW’s work on the score, 35; and Schopenhauer, 232, 235, 239, 243, 244, 250; sets aside Siegfried in favor of, 225, 238; synesthetic aspect of, 6; and Tannhäuser, 86; transcendence of ending, 11, 12, 13, 258; “traurige Weise,” 251–52, 253–54, 277, 281, 342, 362, 391n74; “Tristan” chord, 251, 284, 349; Tristan’s delirium, 244, 292, 316, 331

  productions: Bayreuth (1962), 240; (1993), 240; (2005); Munich (1865), 255; Vienna (1903), 353

  Wieland the Smith (WWV 82), 139, 142, 147

  WRITINGS

  “Annals,” 234

  Art and Revolution, xiv, 134, 143, 147, 159, 272

  Artwork of the Future, The, 131, 142, 147, 272, 357

  “Autobiographical Sketch,” 7, 66

  Beethoven, 219–20

  “Beethoven’s ‘Heroic’ Symphony,” 137–38

  Brown Book, 17, 263, 321

  Collected Writings, 66, 128, 137, 246, 305, 371n20

  A Communication to My Friends, 12, 15, 24, 29, 51, 74, 158, 177, 264

  Complete Edition, xii

  “Draft for the Organization of a German National Theater for the Kingdom of Saxony,” 128

  Dresden Abend-Zeitung, articles for, 65

  “An End in Paris,” 47

  German Art and German Politics, 265

  “Germany and Her Princes,” 103

  “A Happy Evening,” 47

  “Heroism and Christianity,” 328

  “How Do Republican Aspirations Stand in Relation to the Monarchy?” 129–30

  “Jews in Music,” 14, 19, 43, 124, 142, 147, 148, 287, 289

  “Know Thyself,” 304

  “Man and Existing Society,” 103, 131

  “Music of the Future,” 49, 183, 247

  My Life: early reminiscences, 1, 3, 6, 26, 27, 29, 47, 66; reliability of, x, xi, xiii, 6, 29, 232; publication, xv, 2; reminiscences of 1842–64, xiii, 70, 72, 134; tendentiousness of, xiii, 66, 232; title page, xv, 2

  “Need,” 142

  “Nibelung Myth, The,” 180

  On Actors and Singers, 36

  “On the Application of Music to the Drama,” 116, 117, 209, 210

  “On German Opera,” 25

  “On Meyerbeer’s Les Huguenots,” 44

  Opera and Drama: and alliterative verse, 154–57; and counterpoint, 281; “emotionalizing of the intellect,” 57, 60, 81, 99, 149, 153, 207, 217–18, 336; on motifs of presentiment and recollection, 113, 152, 154, 182, 296; music as a woman, 9, 151; on Meyerbeer, 45; and myth, 160; and “opera” as a moribund genre, 54, 148; “orchestral melody,” 89, 186, 194, 200, 209, 210, 212, 281, 298; as preparation for the Ring, 157–58; “prose melody,” 182; publication, 158; summary of contents, 150–54; “verse melody,” 154

  “Religion and Art,” 328, 363

  “Revolution,” 103, 131

  “Some Explanations Concerning ‘Jews in Music,’” 289

  “The Stage Consecration Festival Drama in Bayreuth,” 17–18, 214

  “To the German Army Outside Paris,” 311

  “Venice Diary,” 243, 247

  Wagner Werk-Verzeichnis, xvi

  “What Is German?” 328

  Wibelungs, The, 132, 137, 312

 

 

 


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