M
Mackaye, Steele, 142
"Manfred," 50, 61;
see also "Die Sarazener"
Map, Walter, 296, 453
Meissen, Heinrich von, 333
Meisterlied, nature of, 234
"Meistersinger von Nürnberg, die," see "Die Meistersinger"
Meistersingers, history of, 332 et seq.
Metternich, Princess, 113
Meyerbeer, 36, 38, 43, 44, 89, 174
Meyerbeer, "Les Huguenots," 89
"Mignonne," 42
Minnelied, nature of, 334;
origin of, 331
Minnesingers, history of, 332, et seq.
Monteverde, Claudio, 169
Morelli, 113
Mozart, 170
Müglin, Heinrich, 335
Müller, Gottlieb, 7
Muncker, Franz, 138, 152
Munich Conservatory, 125, 126
Munich, new Wagner theatre, 128
Munich, proposed Wagner theatre, 126, 128
"Music of the Future," the, 114
Music, theories as to, see Art-Theories;
also works under separate titles
Mystic gulf, the, 141
Myths as subject for drama, 182
N
Neumann, Angelo, 145
Nibelungen Lied, 73, 369
"Nibelung Myth as sketch for a Drama," the, 73
Niemann, Albert, 113
O
"On the Performance of 'Tannhäuser,'" 86
Opera, birth of, 168;
development of, 168 et seq.;
Wagner's study of, 181;
Meyerbeerian ground-plan, 174
"Opera and Drama," 86, 88, 180, 181
Orchestra, concealed, 140
P
Pagan trilogy, 218
"Parsifal," 446 et seq.;
Arthurian legends, 450 et seq.;
Arthurian legends, entry of Grail into, 453;
book completed, 447;
book read to friends, 144, 477;
Borron's story of, 457;
Breton epic, 454;
Chrétien's story of, 455 et seq.;
conception, 447;
conception of, 51, 71;
Celtic legend of Peredur, 449;
date of production changed, 145;
enlightenment of Parsifal, 464;
ethical ideas in, 472;
finished, 147;
first performance, 446;
garden scene, plan of, 468;
Grail, nature of, 449, 450, 451, 452;
Grail stories, origin of, 449 et seq.;
Grail, the word, origin of, 452;
Kundry, character of, 462, 464, 469, 470;
Kundry the temptress, 470;
Kundry's wandering, 471;
music, 473,
see also Leading Motives;
music, plan of, 473, 479;
music, second act, 479;
music, when written, 447;
original cast, 446;
panorama's failure, 149;
Parsifal's character, 471;
"Parzival," Wolfram's, 448, 449, 457;
Perceval, derivation of name, 452;
pity, enlightenment by, 471;
prelude played at Wahnfried, 148, 474;
preparations to produce, 146;
problem play, 473;
produced at Bayreuth, 149, 152;
Provençal versions of story, 452;
question, not asked, 467-469;
rehearsals begun, 148;
ended, 149;
relation of "The Victors" to, 470;
religious drama, 472;
score completed, 148;
sources of, 447 et seq.;
sources of, compared with drama, 467;
subscriptions for production, 148;
Wagner's drama, story of, 461 et seq.;
Wolfram's story of, 457;
working on, 145, 147.
Patron's certificates, 137, 139.
Peri, Jacopo, 168
Perl, Henry, "Richard Wagner in Venice," 150
Pillet, 45, 46
Plan for music school at Munich, 125
Planer, Minna, death of, 30;
jealousy of, 110;
Wagner's alleged neglect of, 130;
Wagner's marriage to, 27;
Wagner's separation from, 30, 119;
unsuited to Wagner, 27 et seq., 62, 63, 83, 160
"Polonia," overture to, 40, 41
Praeger, Ferdinand, account of revolution of 1848, 76 et seq.;
relations with Wagner, 97;
"Wagner as I Knew Him," 25, 35, 70
Prince Albert, 102
Q
Queen Victoria, 102
R
Rameau, 170
Recitative, early, 168 et seq.
"Recollections of Spontini," 86
Reissiger, 45, 51
"Rheingold, das," see "Das Rheingold"
Richter, Hans, 125, 130-132, 134, 144
"Rienzi," 221 et seq.;
Adriano, air of, 232;
art-theories in, 52, 172, 176, 223, 225, 227, 228;
Berlin performances, 70, 71;
character of hero, 230;
completed, 44;
conception of, 223, 224;
divided into two parts, 52;
first performances to 1882, 221, 222;
first mentioned by Wagner, 31;
libretto begun, 224;
libretto, nature of, 228, 229, 230;
materials of, 176, 225, 226;
music begun, 224;
music, nature of, 228, 229;
music, Rienzi's prayer, 231;
offered to Dresden, 44;
opera instead of music-drama, why, 225 et seq.;
performance of, suggestions as to, 47;
prayer in, 230, 231;
preparations to produce, 47, 48, 51;
produced at Dresden, 51;
Berlin, 52;
Schuré's criticism of, 232
"Ring des Nibelungen, der," see "Der Ring"
Rinuccini, Ottavio, 168
Rochlitz, 11
Roeckel, August, 53, 64
Rossini, 89
Royer, Alphonse, 114, 116
Rudolf of Hapsburg, 332
"Rule Britannia" overture, 30, 31
S
Sachs, Hans, 333, 336
Saemund the Wise, 373-375
Sainton, Prosper, 98
"Sarazener, die," see "Die Sarazener"
Saxe, Marie, 113
Scharfenberg, Albrecht von, "Der Jüngere Titurel," 272
Schladebach, 67, 68
Schlesinger, 38
Schnorr, Ludwig, 125, 127, 128
Schopenhauer, A., 108, 184
Schroeder-Devrient, Wilhelmina, 18, 48, 54, 65
Schumann, Robert, 68
Seidl, Anton, 145
Semper, Gottfried, 126
Siegfried, date of his death, 370;
character as conceived by Wagner, 403;
German hero, 369
"Siegfried," 402 et seq.;
see also "Der Ring des Nibelungen";
bird's voice a soprano, 407;
book written, 93;
conception of, 93;
conception of hero, 404;
Erda, 408;
first performances, 360;
Forest Bird, voice of, 407;
Forest Bird and the "Lay of Fafner," 376;
free hero, 405;
Mime, origin of name, 403;
Mime, Regin compared with, 403;
Mime's betrayal of himself, Act II., 408;
music, 439,
see also Leading Motives;
music, when written, 365;
original casts, 360, 361;
originality of Act II., 408;
penetration of the fire, legend of, 409;
produced at Bayreuth, 141;
question scene in Act I., origin of, 405;
Siegfried's nature and character, 403, 404;
story of, 405 et seq.;
sword, power and name of, 409;
"Vafthrudnersmal," 405;
"Waldweben," 407;
Wotan's plan in, 405, 408
"Siegfried's Death," 367
"Siegfried Idyl," 134
Smolian, Arthur, 265
Snorre Sturleson, 373
Spontini, 60, 68
Standthartner, Dr., 149
"State and Religion," 124
Symphony in C, 11, 12, 151;
analysis of, 482 et seq.;
history of, 481
T
"Tannhäuser," 250 et seq.;
additions to story by Wagner, 258;
Biterolf, 261;
book written, 50, 252;
characterisation in, 268;
characters historical, 260;
completed, 62;
conception of, 50, 252;
contest of song, origin of idea, 256;
Elizabeth, character of, 257, 261;
essay on performance of, 253;
essence of, Wagner's words on, 269;
ethics of the drama, 261, 262;
failure of, 65;
first performances, 250, 251;
good and evil principles, 261-263;
good and evil principles, music of, 265;
grotto of Venus, 258;
Heinrich of Ofterdingen, identified with Tannhäuser, 256, 259;
Hermann the Landgrave, 256;
Jockey Club of Paris and, 114, 115;
legend of, 254, 255;
leitmotive, absence of, 265;
letter to Carl Galliard on, 65;
Lord Lytton's, 264;
man, a drama for, 263;
misunderstood, 65, 66;
music, analysed, 264 et seq.;
music, finished, 252;
music, nature of, 264 et seq.;
music, principal ideas, see Leading Motives;
mythology, Roman and Teutonic, 257, 258;
narrative of Tannhäuser, 263;
original casts, 250, 251;
original ideas in, 254;
overture in London, 101;
Paris version, nature of, 253;
Paris version, origin of, 114, 115, 252, 253;
praise of Venus, 259;
preparations for production, 64;
produced at: Dresden, 65;
Munich, 130, 131;
Paris, 112 et seq.;
Weimar, 81;
Zurich, 97;
provisional title, 252;
Reimar, 260;
relations to "Tristan und Isolde," 253, 269;
"Sängerkrieg," 254;
score completed, 252;
Smolian, Arthur, pamphlet on music, 265;
sources of, 254 et seq.;
Tannhäuser, character of, 258, 259, 261;
"Tannhäuser Lied," 254;
transition period, belongs to, 213, 252;
Venus, 257, 258, 259;
"Venusberg, Romantic Opera," 252;
"Volksbuch," 254;
Wartburg Castle, 255;
"Wartburgkrieg," 256, 259;
Wogelweide, Walther von der, 256, 260;
Wolfram, 255, 256, 260;
woman, the saving grace of, 262, 263
Tausig, Carl, 109, 110, 137
Text of Wagner Dramas, importance of knowing, 219
Thomas, Theodore, 139
Tichatschek, 48, 51, 131
"Tristan und Isolde," study of, 293 et seq.;
Act I., 302;
Act II., 305;
Act III., 308;
abandoned, as impossible, 118;
accepted at Vienna, 118;
art-theories in, 316;
Arthurian legends, now Gallicised, 296;
begun, 109;
book written, 295;
Celtic origin of story, 295 et seq.;
conception of, 106, 107, 108, 294;
day and night, riddles of, 306-308;
death, basic thought of drama, 304, 306, 311, 312;
death, idea in Isolde's mind, 302, 303;
death, yearning for, 311, 312;
emotions, treatment of, 316 et seq.;
Fate, workings of, in drama, 311;
finished, 110;
first act written, 109;
first performances, 293;
Gottfried's version, 297;
Isolt of the White Hand, 299, 300, 314;
King Mark, his "sermon," 313, 314;
legend, fundamental idea of, 301;
leitmotiv system in, 315, 316;
love of Tristan and Isolde not caused by the magic drink, 301, 310;
"Liebestod," musical germs of, 324, 327;
Liszt on, 107;
metaphysics in, 312;
musical plan of drama, 314;
music, 315 et seq.;
see also Leading Motives;
music, general plan of, 318 et seq.;
music, third act, 314, 320;
music, when written, 295;
narrative of Isolde, 303;
organic union of arts in, 312, 317, 318;
original casts, 293;
"O sink' hernieder," 307, 324;
pessimism in Act II., 310, 313;
potion, office of, 301, 304, 305, 310;
prelude, 321;
produced at Munich, 127;
production, difficulties of, 111, 125;
pronounced impossible, 122;
Schopenhauer's influence in, 312, 313;
second act sketched, 110;
sources of, 108, 295 et seq.;
sources of, Wagner's treatment, 300 et seq.;
story, completions of, 299, 300, 314;
story, Gottfried's, 297;
story, oldest versions of, 297;
story, origin of, 295 et seq.;
story, Wagner's version, 300 et seq.;
text, character of, 317;
torch in Act II., 305;
wound, Tristan's, meaning of, 307, 308
Troubadours, influence on German song, 330
Troyes, Chrétien de, 297
"Two Grenadiers," 42
U
"Ueber das Dirigen," 58, 134
Unger, George, 141
V
Viceroy of Egypt, 139
"Victors, The," 108
"Victory," the, 108
Vogl, Heinrich, 131;
Therese, 131, 132
Volsunga Saga, 73;
corollaries of, 378;
origin of, 377;
story told in, 378 et seq.
Von Bülow, Cosima, 90, 112, 125, 130, 132, 133
Von Bülow, Hans, 90, 112, 124, 130, 131, 132
Von Bülows, the, separation of, 130, 132;
divorce of, 133