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
