by Martin Geck
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______, ed. Richard Wagner: Die Walküre (Textbuch). Stuttgart: Reclam, 1997.
______. “Siegfrieds Musik.” In Das musikalische Kunstwerk: Geschichte, Ästhetik, Theorie; Festschrift Carl Dahlhaus zum 60. Geburtstag, ed. Hermann Danuser and others, 259–68. Laaber: Laaber-Verlag, 1988.
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______. “Wagner und kein Ende”: Betrachtungen und Studien. Zurich: Atlantis, 1996.
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______. “‘Es war ein Verhältnis’: Thomas Mann und Richard Wagner.” In Vom weltläufigen Erzählen: Die Vorträge des [Thomas-Mann-]Kongresses in Zürich 2006, ed. Manfred Papst and Thomas Sprecher, 43–62. Frankfurt: Vittorio Klostermann, 2007.
______. Wagner Theater. Frankfurt: Insel, 1998. Translated by Ewald Osers and Michael Downes as The Wagners: The Dramas of a Musical Dynasty. London: Weidenfeld & Nicolson, 1998.
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______. Die Meistersinger von Nürnberg: Faksimile der Reinschrift des Textbuchs von 1862. Edited by Egon Voss. Mainz: Schott, 1983.
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______. Jesus von Nazareth: Ein dichterischer Entwurf aus dem Jahre 1848. Leipzig: Breitkopf & Härtel, 1887.
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GENERAL INDEX
RW = Richard Wagner
WWV = Wagner Werk-Verzeichnis
Abbate, Carolyn (b. 1955): on Brünnhilde’s peroration, 309; on Tannhäuser’s Narration, 89; on Wotan’s Narration, 212
Abend-Zeitung, 65
Aberbach, David Alan (1932–2010), 134
Adam, Adolphe (1803–56), 371n20
Adorno, Theodor W. (1903–69), xiv, 313, 315–17; ambivalence toward RW, 255, 315–17; as disappointed admirer, xvii; on the ending of the Ring, 306; innovation in Parsifal, 333; phantasmagoria, 79, 315, 362, 364; on the prelude to Das Rheingold, 178, 179; sonority in Tannhäuser, 85; on Tannhäuser’s Rome Narration, 89; and “untruthfulness” in Tannhäuser, 86
Writings: In Search of Wagner, 315–17, 398n1; Minima moralia, 104; “Postscript to a Discussion on Wagner,” 306
Aeschylus (525–456 BC), 103, 151, 159, 161, 359
Works: Oresteia, 133; Prometheus, 159
Ahasuerus myth, 17, 50, 51, 71, 81, 288, 345
Albert, Josef (1825–86), 172
Amsterdam, 170
anti-Semitism: as a nineteenth-century phenomenon, 93, 162, 289, 320, 322, 353; its relationship to Wagner’s music dramas, xvi–xvii, 285–87, 326, 328; and Schoenberg, 124; in Wagner’s life, 18, 94, 100, 144, 169, 289, 320, 326; in Wagner’s writings, 14, 19, 20, 43, 66, 124, 142, 147–48, 287, 289
Antwerp, 104, 170
Apel, Theodor (1811�
�67), 26
Aristotle (384–322 BC), 161, 365
Asmus, Bernd (b. 1959), 347
Auber, Daniel-François-Esprit (1782–1871), 11, 30, 93, 371n20
Works: Diamants de la couronne, Les, 358; Fra Diavolo, 32; Muette de Portici, La, 24, 32
Auerbach, Berthold (1812–82), 267, 288–89
Works: “Richard Wagner and the Self-Respect of the Jews,” 289; Schwarzwälder Dorfgeschichten, 288; Spinoza, 288
Augusta, Princess of Prussia (1811–90), 288
Aussig (Ústi nad Labem), 84
Avenarius, Cäcilie née Geyer (1815–93), 2, 3, 4
Bach, Carl Philipp Emanuel (1714–88), 195
Bach, Johann Sebastian (1685–1750), xvi, 82, 85, 117, 124, 185, 203, 253, 255, 316, 329, 357, 360; and Die Meistersinger von Nürnberg, 279–81, 284
Works: Art of Fugue, The, xvi, 157, 203; Brandenburg Concerto no. 2, 280; Cantata 18, 280; Chromatic Fantasy, 92; Goldberg Variations, 195; St. Matthew Passion, 18; Well-Tempered Clavier, The, 92, 196, 280
Bad Lauchstädt, 23
Bakunin, Mikhail (1814–76), 130, 135, 137, 162
Balzac, Honoré de (1799–1850): Fille d’Ève, Une, 53
Bartels, Ulrich (b. 1965), 235
Basel, xv, 170
Baudelaire, Charles (1821–67): as artist figure, 271, 361; correspondence with RW, 78–79; and the creative process, 5–6; on Der fliegende Holländer, 52; on the ills of modern society, 48; on Lohengrin, 78, 119; and Tannhäuser, 78–79, 82, 85
Writings: “Richard Wagner et Tannhäuser à Paris,” 52, 78–79
Baudrillard, Jean (1929–2007), 365
Bayreuth; Festspielhaus, 101–2, 263, 294, 311; Hofgarten, 208; Jewish Cemetery, 94; Nibelung chancellery, 93; Wagner in, xi, 17, 19, 36, 37, 45, 54, 92, 93, 99, 170, 258, 280; Wagner Museum, 198, 310, 365; Wahnfried, 17, 92, 93, 94, 170, 308, 322
Bayreuth Festival, 17, 37, 62, 99, 109, 110, 120, 121, 161, 162, 240, 257, 286, 301, 305, 311, 314, 320, 323, 328, 329, 331, 332, 337, 344, 348, 350, 352, 353; in 1876, xi, 61, 169–70, 195, 241, 290, 295; in 1882, 236, 322–23, 338; in 1976, 161, 162, 192, 196, 305, 348; and Hitler, 108; New Bayreuth, xii
Bayreuther Blätter, 93
Beaumarchais, Pierre-Augustin Caron de (1732–99), 9
Bechstein, Ludwig (1801–60), 70, 74
Beckett, Samuel (1906–89), 71, 165, 240
Beethoven, Ludwig van (1770–1827): early influence on RW, 9, 25, 117, 357, 359; and genius, 176; and the German symphonic tradition, 60, 85, 124, 255, 284, 316, 357, 359; and Klimt, 337; and Mahler, 116, 353; and Die Meistersinger von Nürnberg, 284; motivic writing in late string quartets, 118, 277; as the ne plus ultra of four-movement symphonic form, 55; “poetic features,” 116; and revolutionary music, 138, 358; RW as the living embodiment and heir, 138, 151, 357, 359; sketches, 310; as victim of repression and censorship, 28
Works: Fidelio op. 72, 58, 87, 277; “Hammerklavier” Sonata op. 106, 94; Incidental Music to Goethe’s Egmont op. 84, 9; piano sonatas, 92; String Quartet in C-sharp Minor op. 131, 284; Symphony no. 3 op. 55 (“Eroica”), 116, 137–38, 195; Symphony no. 6 op. 68, 233; Symphony no. 9 op. 125, 19, 58, 151, 215–16, 219–20, 337, 358
Beidler, Franz (1872–1930), ix
Beidler, Isolde née von Bülow (1865–1919), ix
Beijing: Forbidden City, 348
Bekker, Paul (1882–1937), 143–45
Bellini, Vincenzo (1801–35), 11
Works: Capuleti e i Montecchi, 24, 42; Norma, 30
Benjamin, Walter (1892–1940): and historical materialism, xvii, 109; and myth, 221; on RW’s view of Greek tragedy, 161, 163; on Tannhäuser, 86
Writings: Storyteller, The, 221; Theses on the Philosophy of History, 165
Benz, Bernhard, 209, 210, 296
Berg, Alban (1885–1935): admiration for RW’s music, 258, 302, 332
Works: Lulu, 348; Wozzeck, 332
Berger, Christian (b. 1951), 194
Berghaus, Ruth (1927–96), 180
Berka, 196
Berlin, 290; Academy of the Arts, 44; Court Opera, 69; critics in, 72, 103; Deutsche Oper, 40; Der fliegende Holländer in, 19; Mendelssohn’s revival of the St. Matthew Passion, 18; and Rienzi, 30, 34, 103; Royal Orchestra, 18; State Opera, 53, 110, 327; Victoria Theater, 169–70, 289
Berliner Figaro, 34
Berlioz, Hector (1803–69), 92, 136, 144; fondness for Rienzi’s Prayer, 39; and Lohengrin, 119
Works: Symphonie Fantastique, 56
Bermbach, Udo (b. 1938), xiv; on Die Meistersinger von Nürnberg, 273; on Rienzi, 33; on Parsifal, 324; on the Ring 164, 202–3, 212, 306; on Tannhäuser, 80
Bernhardt, Joseph (1805–85), 262
Bethmann, Heinrich (1774–1857), 23
Biessenhofen, 274
Billroth, Theodor (1829–94), 289
Birmingham Festival, 370n8
Bloch, Ernst (1885–1977), 259–61, 315; on Der fliegende Holländer, 58, 65; on Die Meistersinger von Nürnberg, 271; on the Ring, 248; on Tristan und Isolde, 238, 239, 247, 248, 252, 260–61
Writings: “Paradoxes and the Pastorale in Wagner’s Music,” 260; Principle of Hope, 252; Spirit of Utopia, The, 247, 259
Böcklin, Arnold (1827–1901), 162, 176
Böhme, Rudolf (Wagner’s landlord in Dresden), 2
Bohr, Niels (1885–1962), xiii
Boieldieu, François-Adrien (1775–1834): Dame blanche, La, 32
Bologna, 170
Bonfantini, G. A., xv
Borchmeyer, Dieter (b. 1941), 17, 77, 271
Bordeaux, 96
Börne, Ludwig (1786–1837), 66
Bortolotto, Mario: on Parsifal, 341; on Rienzi, 35; on Tristan und Isolde, 252
Botticelli, Sandro (1444/45–1510): Mystic Nativity, 177
Boulez, Pierre (b. 1925), 306, 330, 337, 352
Brahms, Johannes (1833–97): and Billroth, 289; and German patriotism, 311; and the German symphonic tradition, 124, 176, 218, 255, 265, 273; and Herzogenberg, 329; and Kalbeck, 326; and Mahler, 353; RW on, 118, 153
Works: “Schwesterlein, Schwesterlein, wann geh’n wir nach Haus?” 336; Triumphlied, 308
Brand, Hans Bartolo (1854–1945), 348
Brandt, Marianne (1842–1921), 348
Braun, Christina von (b. 1944), 346
Braunschweig, 33
Brecht, Bertolt (1898–1956), 82, 83, 140
Breig, Werner (b. 1932), 39, 86, 333
Breitkopf & Härtel, 232
Breslau, 106
Brockhaus, Ottilie née Wagner (1811–83), 2
Bronfen, Elisabeth (b. 1958), 346
Bruckner, Anton (1824–96), 265, 353
Works: Symphony no. 3, 216
Brussels: Palais de Justice, 140; Théâtre Royal de la Monnaie, 90
Budapest, 170
Buddhism, 148, 236, 323; metempsychosis, 345; nirvana, 236, 244, 314
Bülow, Bernhard von (1849–1929), 300
Bülow, Hans von (1830–94), 232; as legal father of Isolde Beidler, ix; and “Lyric Pieces from Lohengrin,” 84–85; on Die Meistersinger von Nürnberg, 267; and Rienzi, 38
Bulwer-Lytton, Edward George Earle Lytton, first Baron Lytton (1803–73): Rienzi: The Last of the Roman Tribunes, 29, 32
Burianek, Stephan, 166
Burrell, Mary (1850–98), xv
Büsching, Johann Gustav Gottlieb (1783–1829): Ritterzeit und Ritterwesen, 10
Buxtehude, Dietrich (ca. 1637–1707): In dulci jubilo, 240
Byron, George Gordon, sixth Baron (1788–1824): Manfred, 52
Campenhout, Herman van (b. 1943), 111
Camus, Albert (1913–60), 71
Caradori-Allan, Maria (1800–65), 370n8
Castelli, Ignaz Franz (1781–1862): Waise und der Mörder, Die, 4
Chafe, Eric (b. 1946), 255
Chamberlain, Eva (1867–1942), ix, 321
Chéreau, Patrice (b. 1944), 161, 162, 178, 180, 192, 196, 305, 306, 348
Chopin, Frédéric (1810–49), 92
Christianity: Christ as a soc
ial revolutionary, 134–35; Christian Catholicism, 74; Christianization of Europe, 156; and eschatological annihilation, 135–36; Judaic-Christian tradition, 133, 134, 320, 326; RW’s views on, 79, 80, 130, 163–64, 281, 307, 319–21, 323, 326–27, 328, 344, 345. See also the entries under Lohengrin, Parsifal, and Tannhäuser in the Index of Works
Cola di Rienzo (ca. 1313–54), 32
commedia dell’arte, 29
Communism, 15, 129–30, 144
Coppola, Francis Ford (b. 1939): Apocalypse Now, 362
Cornelius, Peter (1824–74), 279, 280
counterpoint, 39, 117, 203, 279, 280, 281, 282, 284, 287
Craft, Robert (*1923), 342
Dahlhaus, Carl (1928–89): on “absolute music,” 358; on Die Feen, 11; on Der fliegende Holländer, 56; on Lohengrin, 118; on Die Meistersinger von Nürnberg, 264; on Parsifal, 326; on the Ring, 163, 224, 296; on Tannhäuser, 72, 84; on Tristan und Isolde, 251
Dante Alighieri (1265–1321), 78, 331
Danuser, Hermann (b. 1946), 322
Darcy, Warren, 273
Daverio, John (1954–2003), 343–44
David, Jacques-Louis (1748–1825), 358
Deathridge, John (b. 1944), 310, 398n1
Debussy, Claude (1862–1918), 332, 337, 342
Works: Mer, La, 337; Pelléas et Mélisande, 342; Prélude à l’après-midi d’un faune, 337
décadence, 75, 78, 153, 175, 241, 323, 346, 357
deconstruction, 80, 81, 89, 121, 168, 305, 306, 314
Delacroix, Eugène (1798–1863): Liberty Leading the People, 305
Devrient, Eduard (1801–77), 132
Dickens, Charles (1812–70), 162
Döge, Klaus (1951–2011), 115
Döhring, Sieghart (b. 1939), 74
Dolci, Carlo (1616–86), 84
Dom Pedro II, emperor of Brazil (1825–91), 241
Donizetti, Gaetano (1797–1848), 24; establishes a name for himself in Paris, 48
Works: Favorite, La, 48
Dorschel, Andreas (b. 1962), 244
Dresden, 2, 66, 130, 183, 220, 288, 289; Court Opera, 34, 61, 69, 70, 73, 99, 100, 132; “Dresden Amen,” 88, 338, 344, 349; Dresden Uprising, 15, 66, 102, 128, 130, 131, 134, 135, 136, 144, 147, 159; Fatherland Association, 107, 129; Kreuzschule, 2; Mendelssohn’s role in, 19; Minna flees to in 1837, 29; Postplatz, 135; RW as Kapellmeister to the Royal Court, 39, 44, 48, 51, 56, 77, 79, 84, 130, 131, 133, 144, 232, 264, 265; RW moves to in 1814, 1; RW returns to in 1822, 2; RW settles there in 1842, 65, 70; subscription concerts, 137; Waldschlößchen, 103
