Richard Wagner
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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