And now, under the guidance of a monarch to whom Wagner's art was almost the inspiration of life, Munich, which in 1858 had rejected "Der Fliegende HollÄnder" as unsuitable to the German stage, was about to produce "Tristan und Isolde," the supreme essence of Wagner's matured genius. In April, 1865, the composer wrote a general letter inviting his friends everywhere to go to Munich and attend this first of all Wagner festivals, three performances of a work already eight years old, set down for May 15, 18, and 22. But postponements took place, and the work was not produced until June 10. It was repeated on June 13 and 19 and July 1. Each performance was attended by a large audience, and the applause was of the most vigorous kind. Much of the success was due to the superb conducting of Von BÜlow, whom Wagner called his second self, and the inspired interpretation of Tristan by Ludwig Schnorr. Wagner declared that his ideal was fully realised by this great artist, and he bemoaned Schnorr's subsequent untimely death as the greatest possible loss to him and his work. It may easily be understood that this was a period of unalloyed happiness for Wagner. His highest dreams were being realised, and he was working out his artistic purposes with a free hand. But such an Elysium could not last. His enemies were striving against him with might and main. The newspapers were used unscrupulously to spread all kinds of damaging reports. It was said that he was endeavouring to substitute art for religion in the State, that he was leading the young King into reckless extravagances which threatened the stability of the national treasury. The King was, indeed, considering the plan to build a special theatre for the production of the Nibelung dramas. Such a theatre was subsequently built at Bayreuth, and Munich might have had the honour and the profit which have since accrued to that little city, had it not been for the determined opposition of narrow-minded intriguers. The story was published that the new theatre was "Now that I and my usual project had been placed in broad daylight, it really appeared as if all the ill will that had lurked before in ambush was determined to make an open attack in full force. Indeed, it seemed as though no single interest, of all those represented by our press and our society, was not stung to the quick by the composition and plan of production of my work. To stay the disgraceful direction taken by this feud in every circle of society, which recklessly assailed alike protector and protected, I could but decide to strip the scheme of that majestic character which my patron had accorded it, and turn it into a channel less provocative of universal wrath. Indeed, I even tried to divert public attention from the whole affair by spending a little hard-won rest on the completion of the score of my 'Meistersinger,' a work with which I should not appear to be quitting the customary groove of performances at the theatre." It may not be out of place to add here that calumny pursued him after his retirement from Munich, and one of the most interesting stories was that he had left his wife to starve. To this falsehood the unhappy Minna replied with great dignity and a touch of pathos in a statement published in January, 1866, a fortnight before her death. She said: "The malicious reports which certain Vienna and Munich papers have been publishing for some time concerning my husband compel me to declare that I have received from him up to date a pension which amply suffices for my support. I seize this opportunity with so much the more pleasure since it enables me to destroy at least one of the many calumnies which people are pleased to launch against my husband." This statement is indisputable evidence that there was no harsh feeling in the heart of the wife who had parted from him. Mme. von BÜlow with her children joined Wagner at Triebschen, while Hans was obliged to go to Basle to teach. In his place he left Hans Richter, who thus became intimately associated with the creative work of Wagner. The separation between Von BÜlow and his wife proved to be final, and the daughter of Liszt imitated her illustrious father by recognising the supremacy of the claims of love over all other obligations. In 1866 the public feeling against Wagner had somewhat declined, and the King decided to have model performances of "TannhÄuser" and "Lohengrin" at Munich. Von BÜlow was made Kapellmeister and devoted himself, heart and soul, to the preparations for these performances. In March, 1867, Wagner went to Munich to supervise some of the rehearsals, and again he visited the capital in May for To his intense surprise, the next day the King sent away Tichatschek and Mme. Bertram-Mayer, who had been especially engaged, and announced that their places would be taken by Heinrich Vogl and Therese Thoma, afterward his wife. This was the result of a new intrigue against Wagner, and he, despairing of a perfect performance in these conditions, at once left the city. The first of these "model" performances took place on June 16 and was successful in spite of the sudden changes. But it was not what Wagner would have called an ideal performance, and some of the customary cuts were made. Despite the continued opposition to Wagner the King retained his love for the "music of the future," and he determined that "Die Meistersinger" should be produced in the year 1868. Public feeling against Wagner still further diminished, and he was able to visit Munich frequently to superintend the rehearsals, which were under the direction of Von BÜlow as conductor and Richter as chorus master. The best obtainable artists in Germany were secured, and no pains were spared in the preparation of the troublesome but essential details of nuance and stage business. On June 21, 1868, the opera was produced, and its success was most decided. And now Wagner returned to his magnum opus, "Der Ring des Nibelungen." But the King could not wait. He was eager to hear at least a part of it, and so he gave orders that "Das Rheingold" should be prepared. Again there were troubles of all kinds. It was at this period that an event occurred which Wagner's friends had for some time expected. The marriage of Cosima Liszt and Hans von BÜlow had not been happy, and the estrangement between them was accelerated by the woman's quick conception of a passion for Wagner. When Von BÜlow went to Basle to teach, the beginning of the end had come, and it was not long after that when the relations between Wagner and Mme. von BÜlow could no longer be kept secret. "If it were only someone whom I could kill," said Von BÜlow, "he would have been dead before this." The great conductor could not think of slaying the great master. In the autumn of 1869 the Von BÜlows were divorced. In July, 1870 Wagner wrote to Praeger: "My dear Ferdinand, you will no doubt be angry with me when you hear that I am soon to marry BÜlow's wife, who has become a convert in order to be divorced." A little later Praeger received the wedding cards announcing that they had been married on Aug. 25 at the Protestant Church of Lucerne. The attitude of Liszt toward this union may be understood from Wagner's statement that he was more annoyed by his daughter's change of religion than by her divorce. That the divorce and the marriage had to come about, however, may be inferred from the fact that in the summer of 1869 Mme. von BÜlow had borne to Wagner a son. "Often do I now think of you because of your love for children. My house, too, is full of children, the children of my wife, but beside there blooms for me a splendid son, strong and beautiful, whom I dare call Siegfried Richard Wagner. Now think what I must feel that this at last has fallen to my share. I am fifty-seven years old." Cosima Wagner was twenty-nine years old at the time of her marriage to the composer. Many foolish In 1870 Wagner published two important prose works, "On Conducting" and "Beethoven." The former arraigns the mechanical Kapellmeisters of Germany in good round terms, and sets forth Wagner's ideas as to the proper manner of directing the performance of the classic orchestral works. It is an eloquent and instructive little book, and should be read by all music-lovers. The study of Beethoven is less clear in style and dips into metaphysical discussion, but it contains artistic views of high dignity. In 1871 the composer wrote the familiar "Kaisermarsch," intending it as a musical celebration of Germany's triumph in the conflict with France. It may be noted that the Emperor accorded to this attention the very scantest courtesy. We have now reached the period when Wagner left Munich for Bayreuth. The time |
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