Explanatory Note.—Subjects directly connected with the personal experiences of Wagner will be found alphabetically indexed under Wagner, Richard. Names of persons and topics associated with Wagner's life and works, but having importance in themselves, will be found in the general index. All topics directly connected with the great music dramas (except leading motives) are indexed under the titles of the works. All the musical illustrations, with their explanations, are indexed under Leading Motives.

A

"Allons À la Courtille," 41
Ander, 118
Anderson, 98
"A Pilgrimage to Beethoven," 42
"Art and Climate," 86
"Art and Revolution," 76, 86, 179, 180
Art, as found by Wagner, 176
Arthurian legends, see "Parsifal" and "Tristan und Isolde"
Artistic career of Wagner, periods of, 213, 214
Art-Theories of Wagner, 167 et seq.;
alliteration, 200 et seq.;
ballet, 487;
commercialism opposed to, 174, 176;
discovery of, 176;
drama, not opera, 204;
early, 18 et seq., 228;
emotions, musical treatment of, 183, 185, 197, 205, 208, 209, 216;
ethical ideas, 215;
feeling and understanding, 182;
form, adopted, 186 et seq., 198, 199;
forms, abolished, 178, 185 et seq., 197;
fully developed, nature of, 167 et seq.;
good and evil principles, war of, 216;
Greek drama, relations to, 179, 184, 207, 218;
historical drama as opposed to mythical, 183 et seq.;
ideal of his work, 206;
incompatibility with "opera" discovered, 177;
later, conceived, 53;
later, expanded, 61, 74;
leitmotiv system, 186, 187, 190 et seq.;
leitmotive classified, 193;
leitmotive, development of, 193 et seq.;
libretto a drama, 178;
lyric drama, relation to, 168 et seq.;
materials of poetic drama, 182, 183;
melody, endless, 186, 187;
metaphysics, 216, 217;
misunderstood by admirers, 161;
misunderstood by public, 167;
moods, embodiment of, 198, 205, 206;
music for music's sake, 178;
music, office of, in drama, 190;
musical system, 186, 189 et seq., 196, 197, 198, 208, 209;
myth, advantage of in drama, 183 et seq.;
nationalism, 167, 208;
opera, old style, differences of, 168 et seq.;
opposed to public taste, 61, 66, 67, 69, 70, 160, 161;
orchestra, 189, 190, 206;
organic union of arts, 178, 180, 186;
philosophical basis of dramas, 216;
propagation of, 67, 85 et seq.;
prose works embodying, 86 et seq., 179 et seq.;
realism as opposed to high art, 206, 207;
reforms included in, 178;
Schopenhauer's ideas, 184, 216, 217;
staff-rhyme, 200 et seq.;
symbolism in drama, 204 et seq.;
text and music, union of, 186, 202, 203, 219;
understood by Liszt, 81;
verse-form, 200 et seq.;
woman, saving grace, 215;
"Word-tone-speech," 204
"Art-work of the Future," 86, 179, 180
Attila, 369 et seq.
Auber, "La Muette de Portici," influence on Wagner, 18, 43
Auditorium darkened, 140
Autobiographic sketch, 52

B

Ballet in "TannhÄuser," 114, 115
Ballet, Wagner and the, 114, 487
Barbarossa, Friedrich, 72
Bayreuth, becomes famous, 140;
festivals, deficit of first, 144, 146;
festivals, directed by Mme. Wagner, 153;
festivals, still popular, 153;
plan nearly fails, 139;
theatre, see Festspielhaus; Wagner goes to, 136;
why selected, 137
Bayreuther BlÄtter, 147, 150
"Beethoven," essay by Wagner, 134
Beethoven influences Wagner, 6
Belart, Hans, "Richard Wagner in Zurich," 111
Bellini, Wagner's admiration for, 18, 33
Belloni, 82
Berlioz, Hector, 42, 43, 57, 112
Beroul, 297
Bertram-Mayer, Mme., 131
Borron, Robert de, 297, 454
Boston, Wagner nights, 104
Brandt, Karl, 143
Bruckwald, Otto, 143
BrÜckner Brothers, 143

C

Caedmon, "Beowulf," 201
"Centennial March," 139
Chivalry, German age of, 331
ChrÉtien de Troyes, 454
Christian trilogy, 218
"Christopher Columbus" overture, 20, 43
"Communication to My Friends," 16, 30, 61, 66, 67, 92
Concert OuvertÜre mit Fuge, 10
"Conducting," essay on, 58, 134
Conrad III., 331
Cornelius, Peter, 125
Costa, Michael, 100

D

Dannreuther, Edward, on Wagner's character, 154, 156
"Das Liebesverbot," 19 et seq.
"Das Rheingold," 388 et seq.;
see also "Der Ring des Nibelungen";
Alberich, warning and curse, 392;
book finished, 365;
curse, the, 392, 394;
Erda, significance of, 393;
ethical ideas in, 389-392, 394;
first performances, 356;
gold, the, origin of, 389;
gold, the root of evil, 389;
music, 424;
see also Leading Motives;
music, when written, 365;
mythologic basis, 384;
original casts, 356, 357;
produced at Munich, 131, 132;
renunciation of love, 389;
score written, 94;
sin, entry of among the gods, 391;
sin of gods, connected with "GÖtterdÄmmerung" by Wagner, 394;
sin, Wotan's, burden of, 392;
story of, 388 et seq.;
sword, stage business with, 395;
Wotan's plan, 395;
Wotan's sin, 392
Davidson, Musical World, 100
Deputy, 41
"Der Fliegende HollÄnder", 234 et seq.;
art theories in, 213, 236;
book, Wagner's view of, 243;
book written, 45;
characterisation in, 248;
composition of, 244;
conception of, 237;
Daland as a character, 248;
duet of Dutchman and Daland, Italian style of, 247;
elements of Wagner's system in, 242;
embryonic, 213, 236, 242, 246;
emotional states in, 243;
failure of, 54 et seq.;
first performances, 234, 235;
Fitzball's play, 237;
foreshadows future Wagner, 248, 249;
Heine's story, 237, 240;
instrumentation, 248;
Italian music in, 247;
legend of, 34, 238;
leitmotiv foreshadowed, 243;
"Lohengrin," resemblance to, 283;
lyricism of, 244;
Marryatt's version, 239;
music, character of, 246, 248;
music, plan of, 243;
music, principal ideas, 244 et seq.;
mythical development, 239;
original casts, 234, 235;
original story, 238;
overture, 248;
produced at Cassel and Riga, 55;
Dresden, 54;
Munich, 126;
Zurich, 97;
Senta's ballad, 244, 245;
Senta's character, 248;
sources of book, 236 et seq., 283;
Spohr on, 55;
thematic germs, 245;
Van der Decken, character of, 248;
Wagner's additions to story, 241;
Wagner's view of story, 241, 242;
when written, 236;
woman's sacrifice in, 240
"Der Liebesmahl der Apostel," 59
"Der Ring Des Nibelungen," 355 et seq.;
see also "Das Rheingold," "Die WalkÜre," "Siegfried," and "GÖtterdÄmmerung";
abandoned for "Tristan und Isolde," 106, 107, 109, 366;
Æschylean methods in, 390;
art-theories in, 74;
begun, 93;
book completed, 93;
book, conception of, 72 et seq., 366;
book published, 120;
BrÜnnhilde, 401, 402, 416;
critics confused by, 142;
curse, the, 392, 398;
dates of events in the dramas, 370;
Eddas and, 372, 373;
ethical basis of story, 384, 385, 394, 416;
expanded into tetralogy, 93, 364;
expenses of production, how provided, 137, 138;
fate and punishment for sin, 390;
"Final Report" on, 129;
first mentioned by Wagner, 364;
first performances, 355;
free hero, 405;
Hagen, significance of, 399;
"Heldenbuch" and, 369;
King Ludwig and, 126;
legends in, age of, 367;
legends in, origin of, 368;
leitmotiv, method of developing, 424 et seq.;
leitmotiv system in, 422, 423, 424 et seq.;
Liszt on, 94, 106;
motives, classification of, 424;
music, 422 et seq.;
music, advances in, 74;
music, how to enjoy, 423;
music, philosophic nature of, 423;
music, relation of certain themes, 424-426, 428;
myth and history, 366;
"Nibelungen Lied," story of, 371;
Norse legends of, 372 et seq.;
Norse mythology in, 384 et seq.;
opposition to, at Munich, 129;
orchestra in, 445;
period of events in, 369, 370;
production at Bayreuth, 140;
resurrection in, 405, 406;
revenge of the Nibelungs, 413;
rights sold to Munich, 144;
Ring, the, Nibelungen Lied account of, 371, 372;
Ring, the Volsunga Saga account of, 380, 382, 383;
Ring, the, Wagner's use of, 389, 391-393, 398, 416, 417, 419;
scenery of, 143;
Sigurd and BrÜnnhilde, story of, 374, 375;
sin of gods, how treated by Wagner, 391, 394;
sources of, 367 et seq.;
sources of, historical connections of, 370, 374;
story as told by Wagner, 388 et seq.;
Volsunga Saga, 373 et seq.;
Volsunga Saga, story of, 378 et seq.;
work on in London, 99;
Wotan's eye, how lost, 410;
Wotan's plan, 395-398, 405, 437;
Wotan's sin, 392
"Die Feen," 16 et seq., 148
"Die GlÜckliche BÄrenfamilie," 32
"Die Hochzeit," 14, 15
"Die Hohe Braut," 30, 31
"Die Meistersinger von NÜrnberg", study of, 328 et seq.;
artistic doctrine of, 343, 344;
Beckmesser, character of, 335;
begun, 64, 330;
book finished, 120, 330;
characters historical, 333, 335;
Cosima Wagner on, 341;
critical view of, 342;
first perf ormances, 328, 329;
meisterlied and minnelied, construction and relations of, 334;
meistersingers, customs of, 333;
meistersingers, origin of, 332;
minnesingers, forerunners of meistersingers, 330-332;
MÜglin, Heinrich, his "Long Tone" used by Wagner, 345;
music, 344 et seq.;
music, Act II., finale of, 352;
music, begun, 120, 330;
music, characteristics of, 353;
music, chorale, Act I., and theme, 347;
music, completed, 330;
music, monologue of Sachs, 350;
music, significant beauty of Meistersinger themes, 345;
original casts, 328, 329;
pendant to "TannhÄuser," 330;
period of the comedy, 333;
prelude, 344;
prize song, 340;
produced at Munich, 131, 328;
quintet in, 340;
Sachs, history of, 333, 336;
story of, 336 et seq.;
symbolism in, 343;
Walther not Wagner, 343
"Die Sarazener," 50, 61;
see also "Manfred"
Dietsch, Pierre Louis, 46, 115
"Die WalkÜre," 396 et seq.;
see also "Der Ring des Nibelungen"; begun, 94;
book finished, 365;
BrÜnnhilde, character of, 402;
BrÜnnhilde's punishment, meaning of, 401;
curse, 398;
ethical ideas in, 397-399, 401, 402;
finished, 105;
first performances, 358;
Fricka's importance, 397 et seq.;
music, 434;
see also Leading Motives;
when written, 365;
original casts, 358, 359;
produced at Bayreuth, 141;
produced at Munich, 132;
rehearsal at Zurich, 373, 374;
mythology in, 385;
Poetic, 375;
Sigurd and BrÜnnhilde in, 375
Edda, the Prose, or Younger, mythology in, 385 et seq.;
when written, 373
Eilhart von Oberge, 297
"Eine Faust" overture, 38-40, 97
Ellis, W.A., "1849, A Vindication," 78;
translation of Wagner's Prose Works, 16
"End of a Musician in Paris," 47

F

Festspielhaus at Bayreuth, 136, 138;
builders and artists of, 143;
described, 142
Feuerbach, 216
Feustel, Frederick, 138, 152
Fischer, Wilhelm, 45, 47
"Flying Dutchman," see "Der Fliegende HollÄnder"
France, mixture of peoples in, 296

G

Gasparini, A., 41
Geoffrey of Monmouth, 296, 453
German Music, Wagner's essay on, 41
Geyer, Ludwig, 2, 3;
"Slaughter of the Innocents," 3
Gluck, 169 et seq.
"GÖtterdÄmmerung," 410, et seq.,
see also "Der Ring des Nibelungen";
BrÜnnhilde, character of, 416;
BrÜnnhilde, divinity gone, 411, 416;
BrÜnnhilde imparts wisdom and strength to Siegfried, 411;
BrÜnnhilde's deception, 418;
BrÜnnhilde's self-sacrifice, 421;
curse, in operation on Siegfried, 417;
drink of forgetfulness, 414;
drink of forgetfulness, antidote, 419;
"Dusk of the Gods," described, 415;
ethical ideas in, 416, 417, 421, 422;
expiation of sin of gods, 421, 422;
first performances, 362, 363;
Gibichung, origin of name, 412;
Grani, 412;
Gunther identified, 412;
Gutrune, identified, 412;
Hagen, character of, 413;
Hagen, mother of, 413;
Hagen, the ring and, 420;
music, 442;
see also Leading Motives;
music, when written, 366;
"Nibelungen Lied," ideas taken from, 372;
Norns scene, 410;
original casts, 362, 363;
penetration of the fire, 409, 410;
produced at Bayreuth, 141;
return of ring to Rhine daughters, 417, 419, 421;
Rhine daughters, meeting with Siegfried, 419;
ring, connected with sin of gods, 416;
runes, BrÜnnhilde's, 411;
Siegfried matured, 411;
story of, 410 et seq.;
sword, between Siegfried and BrÜnnhilde, 417, 418;
Waltraute's narrative, 415;
Wotan's eye, how lost, 410;
Wotan's plan in, 420;
Wotan's spear, 410
Gottfried von Strassburg, 108, 297
Grail, Holy, see "Parsifal"
Greek drama, 168, see also Art-Theories of Wagner
Grimm Brothers, "Deutsche Sagen," 272
Gross, Adolph, 152, 153

H

Heine, Ferdinand, 45, 47
"Heldenbuch," 369
Hoffmann, E.T., influence on Wagner, 7, 8
Hoffmann, Joseph, 143
Hohenstauffen dynasty, 331
Holtei, Karl von, 32
"Huldigungs Marsch," 124

J

"Jesus von Nazareth," 71, 72
Jockey Club, of Paris, and "TannhÄuser," 114, 115
Joukowsky, 150
"Judaism in Music," 86, 87
Jullien, Adolphe, 38, 39

K

"Kaisermarsch," 134
Krehbiel, H.E., "Studies in the Wagnerian Drama," 310

L

"La DÉscente de la Courtille," 41
"L'Attente," 42
Laube, Heinrich, 41
Leading Motives, see Art-Theories of Wagner, leitmotiv;
leading motives, not essential to know, 219
Leading Motives.
"Das Rheingold":
Alberich, master of the Nibelungs, 432;
Compact, 429;
Curse, 433;
Departing divinity, 431;
Dragon, 433;
Erda, 424, 425;
Giants, 429;
Gold, the appearing, 427;
Gold, the gleaming, 428;
GÖtterdÄmmerung, 425, 428;
Hoard, 433;
Loge, 431;
Nibelung, smiths, 432;
Nibelung's hate, 433;
Primeval Elements, 424;
Renunciation, 429;
Rhine daughters, 427;
"Rhinegold," theme explained, 428;
Ring, 428;
Sword, 195, 395, 434;
Tarnhelm, 195, 429;
Walhalla, 429.
"Der Fliegende HollÄnder":
Dutchman theme, 245;
Senta, the redeeming element, 245;
Yearning, 246;
"Wie, hor' ich recht?" 247.
"Der Ring das Nibelungen":
see "Das Rheingold," "Die WalkÜre," "Siegfried," "GÖtterdÄmmerung."
"Die Meistersinger":
"Am stillen Herd," 349;
Art of Song, 348;
Beating, the, 350;
Chastisement, 348;
Council, 348;
Derision, 347;
Eva, 351;
Kothner's song, 349;
Meistersinger march, 345;
Meistersingers, 344;
Nuremberg, 350;
Prize Song, 346, 353;
Sachs's monologue, 350;
St. John's Day, 349;
Spring, 346, 347, 349;
"Wahn, Wahn," 352;
Walther's emotion, 346;
Walther, the Knight, 349;
Yearning of Love, 346.
"Die WalkÜre":
BrÜnnhilde's divinity, 438;
Departing divinity, 431;
Fate, 437;
GÖtterdÄmmerung, 437;
Love, 434;
Siegfried, 438;
Sieglinde's sympathy, 434;
Slumber, 439;
Sword, 435;
"TodesverkÜndigung," 438;
Valkyr's call, 436;
Valkyrs, 436;
Volsung race, 435;
Volsungs, sorrow of, 435;
Wotan's wrath, 436.
"GÖtterdÄmmerung":
BrÜnnhilde and the Ring, 428, 429;
BrÜnnhilde, entrance of, 426;
BrÜnnhilde's despair, 444;
BrÜnnhilde's divinity, 438;
BrÜnnhilde the woman, 443;
Forgetfulness, 430;
Gibichung, 430;
GÖtterdÄmmerung, 425, 426;
Gutrune, 444;
Rhinegold, 428;
Siegfried, the Man, 443, 444;
Tarnhelm, 430.
"Lohengrin":
Elsa's faith, 287;
Elsa's faith broken, 288;
Grail, 285;
Lohengrin, 286;
Ordeal, 290;
Ortrud, 289;
Prohibition, 288;
Swan, 287.
"Parsifal":
Amfortas's suffering, 475;
Atonement, 479;
Belief, 475;
bells, 478;
Good Friday, 479;
Grail, 474;
Herzeleide, 477;
Klingsor, 477;
Kundry, the helpful, 477;
Lament, the, 478;
Last Supper, 474;
Parsifal, 477;
Promise, the, 476;
Sorcery, 476;
Swan, 478;
Wild Kundry, 476.
"Siegfried":
BrÜnnhilde's awakening, 441;
Dragon, 433;
Love's greeting, 442;
Siegfried, the sword wielder, 440;
Siegfried, the youth, 440;
World's Heritage, 440;
Wotan, the Wanderer, 440;
Yearning for love, 440.
"TannhÄuser":
Bacchanale, 266;
Pilgrims' Chorus, 266;
Praise of Venus, 267;
Venus's pleading, 267.
"Tristan und Isolde":
Anguish, 326;
Day, 323;
Death, 322;
Fate, 322;
Glance, 321;
Grief, 325;
"Liebestod," themes of, 324, 327;
Love, 321;
Love Call, 324;
Love, Triumph of, 324;
Mark, 325;
Mark's Grief, 325;
Sea, 322.
Lehmann, Lilli, 138
Leitmotiv, see Leading Motives;
not necessary to recognise, 190, 191
"Le Vaisseau-FantÔme," Dietsch, 46
"Liebesmahl der Apostel, der," see "Der Liebesmahl"
"Liebesverbot, das," see "Das Liebesverbot"
Liszt, Franz, 44, 73, 78-84, 93, 94, 98, 104, 105, 150-152
"Lohengrin," study of, 270, et seq.;
Act I. compared with sources, 277;
Act II. compared with sources, 278;
Act III. compared with sources, 282;
begun, 64, 273;
book written, 273;
cadence, dominance of, 284, 285;
combat, use of sword in, 277;
conception of, 51;
"Der Fliegende HollÄnder," resemblance of story to, 283;
"Der Schwanen-Ritter" ("Chevalier au Cygne"), story of, 274;
dialogue, not recitative, 284;
Elsa, character of, 276, 282, 283;
endless melody approached, 285;
finale to Act III. at Dresden, 70;
first heard by Wagner, 117;
first performances, 270 et seq.;
Godfrey of Bouillon, relation to, 275;
instrumentation, significant features, 290;
King Henry, character of, 277;
letters on performance of, 91;
Lohengrin's narrative, source of, 283;
music, analysed, 283 et seq.;
see also Leading Motives;
music, classification of, 291;
music, popularity, reason for, 291;
music, when written, 273;
old poem, 273;
organic union of text and music, 284;
original casts, 270, 271;
original materials, 273, et seq.;
Ortrud, character of, 276,279, 280, 281;
prelude, 285, 286;
produced at Munich, 130, 131;
produced at Weimar, 90, 91;
power of Lohengrin to be taken away by a wound, 283;
recitative, abolished in, 284;
rhythm, dominance of, 291;
score sold, 273;
score sent to Liszt, 81;
sources of, 272 et seq.;
sources, treatment by Wagner, 276 et seq.;
stage pictures in Act II., 280;
story according to Wagner, 277;
sword, Telramund felled by, 278;
Telramund, character of, 282;
Telramund, his death, source of idea, 283;
time signatures in score, 290, 291
London critics offended, 100
London Philharmonic Society, 97 et seq.
Ludwig, King of Bavaria, 122, 123, 128, 139, 148, 152
Lully, 170
LÜttichau, von, 44
Lyric drama, birth and development of, 168

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

W

Wagenseil, Johann Christoph, 335
Wagner, Albert, 2, 15;
wife and daughter, 2
Wagner, Cosima, 133, 134, 153, 160;
see also Von BÜlow
Wagner, Friedrich, 1
Wagner, Johanna, 2, 65, 138
Wagner, Richard, abandonment of career contemplated, 119;
affection of, 103;
ambition to reach Paris, 30;
America, asked to visit, 104, 159;
amnesty, 118;
ancestry, 1;
appearance of, 162;
appreciates his own genius, 121;
approach of death, 149, 150;
artistic aims of, 167 et seq.;
artistic impulse, 158, 159;
art-theories, see separate title;
attachment to Cosima von BÜlow, beginning of, 125;
attitude toward public, 55, 67;
autobiographic sketch, 52;
autobiography, unpublished, 153;
ballet and, 487;
Bayreuth, goes to, 136;
Bayreuth, work at, 137 et seq.;
Biebrich, visit to, 120;
birth, 2;
boyhood, 3 et seq.;
boyish tragedies, 4;
Buddhistic drama, rumours about, 153;
burial of, 152;
calumniated, 130;
character of, 29, 103, 154 et seq.;
chorus master at WÜrzburg, 15;
church music, director of, 58;
clothes, rich, love of, 157;
"Communication to My Friends," see separate title;
concert tours, 118, 119, 144;
conducting, essay on, 48;
conductor at Dresden, 56, 59, 60;
conductor at KÖnigsberg, 25, 27 et seq.;
conductor at London, 94 et seq., 144;
conductor at Magdeburg, 19;
conductor at Riga, 31;
conducts at Zurich, 89;
conducts juvenile symphony, 151;
conducts "Flying Dutchman," 54, 97;
corner-stone of Festspielhaus laid by, 138;
Cosima von BÜlow, love for, 125, 130;
critics on, 69, 142;
death, 152;
debts, troubled by, 74, 85, 95, 116, 120;
depression, 158;
despair, period of, 119-121;
disappointed by public misunderstanding, 53, 55, 119, 121, 147, 148, 160, 161;
dissatisfied with theatre, 32, 174, 175, 179;
Dresden, flight from, 79;
Dresden, work in, 59 et seq.;
drudgery in Paris, 46, 47 et seq.;
dual individuality, 154 et seq.;
dyspepsia, 92, 94, 151;
early models, 16;
early musical studies, 5 et seq.;
enemies of, 155;
erysipelas, 92;
extravagant habits, 157 et seq.;
faints at rehearsal, 149;
Fantaisie Castle, lives in, 136;
Fatherland Union, speech before, 75;
final illness, 151;
finding himself, 53-56;
first compositions, 7, 8;
first compositions published, 9 et seq.;
see also separate titles;
friendship with Liszt, 74, 80;
friends of, 155;
funeral in Venice, 152;
funeral in Bayreuth, 152;
Geneva, visits, 129;
habits of, 156;
heart trouble, 149-151;
household, 150;
improvidence of, 83, 85, 86, 157, 158;
insomnia, 94;
Italy, visits to, 94, 110, 147;
King Ludwig's friendship, 122 et seq., 128;
King Ludwig's friendship, scandals about, 114, 128;
KÖnigsberg period, 25, 27 et seq.;
Lachner's prize symphony, objects to conducting, 99;
Leipsic period, 17;
"Lohengrin," first heard by Wagner, 92, 117;
London, concerts in, 100, 101;
London, criticism in, 102;
London, critics offended, 100;
London, first visit to, 34;
London, residences in, 99;
London, second visit to, 96 et seq.;
London Philharmonic Society, conductor of, 97 et seq.;
Lucerne, visits, 110, 129;
luxury, love of, 156, 157;
manners of, 156;
Marienbad, visit to, 64;
marriage to Minna Planer, 25, 27 et seq., 83, 160;
marriage to Cosima von BÜlow, 132-134, 160;
meets Meyerbeer, 36;
mother of, 2;
Munich, goes to, 123;
Munich, leaves, 129;
Munich, opposition in, 128;
myth in dramas, 72;
see also separate title;
Nibelungen Lied taken up as a subject, 73;
see also separate titles: "Nibelungen Lied," "Siegfried's Death," and "Der Ring des Nibelungen";
opposition to, 63, 67, 68, 94, 100, 102, 112, 114;
Palace, Vendramin, 150;
Palestrina, admirer of, 58;
Paris, first sojourn in, 36, 37, 38 et seq.;
Paris, revisited, 82, 103;
Paris, second sojourn in, 112;
Paris, concerts in, 112;
Paris, leaves for Germany, 48;
Paris, leaves for Vienna, 116;
Paris, residences in, 39, 46, 112;
"Parsifal," work during rehearsals of, 149;
Penzing, visit to, 120;
Peps, his dog, 92, 103;
performances unsatisfactory to, 161;
poverty, 95;
Prague, visit to, 14;
prose writings, beginning of, 67;
see also separate titles;
purpose of his life, 167;
Queen Victoria and, 102;
Religious mysticism, 148;
Revolution of 1848, 71, 73 et seq.;
Riga engagement, 31;
Riga engagement, its end, 33;
rudeness of, 155;
school days, 4;
Schopenhauer's influence on, 108;
search for by King Ludwig's messengers, 123;
Seelisberg, visit to, 103;
sense of humour, 99, 100;
sensuous enjoyment, 19;