“The child is father to the man”—Musician, poet, and dramatist—Stage reformer—His grandfather a customs officer—His father, Frederick Wagner, an officer of police, student, and amateur actor—Death of Frederick, 1813—His mother—Eldest brother, Albert, a tenor singer—Sisters Rosalie, Louisa, and Clara, actresses of repute—Ludwig Geyer, a Leipzic actor—Marries Widow Wagner—Family removes to Dresden—Affection of his step-father and mother for him—The girls receive piano-forte lessons—Richard receives a few lessons in drawing from Geyer—Beyond this, up to his ninth year, no regular education is attempted with him—Geyer not of a robust constitution—Wagner plays the bridal chorus from “Der FreischÜtz” by ear—Geyer’s prediction and death

His visit to an uncle Geyer at Eisleben—The Kreuzschule, Dresden—His facility for languages—His modesty—Wagner a small man—Personal appearance described—Wonder of school professors at unusual mental activity of the delicate small boy—A prey to erysipelas—Love of practical joking—Incident of the Kreuzschule roof—An adept in all bodily exercises—His acrobatic feats—Love for his mother—Affection for animals

Richard Wagner enters the Kreuzschule, Dresden, December, 1822—Translation of part of the “Odyssey” by private work—Begins to learn English to read Shakespeare—Writes prize elegy in Germany at eleven years of age—Theodore KÖrner, pupil of the Kreuzschule and poet of freedom—Metrical translation of Romeo’s monologue—His first lessons on the piano—Hatred of finger exercises—Berlioz—Up to fourteen his aspirations distinctly musical

Return to Leipzic—The Stadttheater; Rosalie and Louise—Jews, their treatment by Leipzic townspeople—Wagner’s attitude towards them—His first love a Jewess—At the St. Nicolas school three years, St. Thomas school and the University a few months each—Describes himself during his Leipzic school-days as “wild, negligent, and idle”—Reprehensible gambling of his mother’s pension—Crisis of his life—Haydn’s symphonies at the theatres and Beethoven’s symphonies in the concert-room—Beethoven a pessimist—Haydn and Mozart optimists—Resolve to become a musician—Private study of theory—His first overture, 1830, laughed at—His marvellously neat penmanship—Takes lessons from Cantor Weinlig—Writes a sonata without one original idea or one phrase of more than common interest—Beethoven his daily study—Weber and Beethoven his models—Combines in himself the special gifts of both, the idealism of the former and the reasoned working of the latter

Revolution and romanticism at the beginning of the nineteenth century—Its effect on Wagner—First grand symphony for orchestra—Mendelssohn and Wagner—Wondrous dual gift of music and poesy—Portion of an opera, “The Wedding,” engaged at WÜrzburg—Albert Wagner—Life at WÜrzburg—First opera, “The Fairies”—Schroeder-Devrient and “The Novice of Palermo”—Stage manager at Magdeburg, 1834—Views upon German National drama and national life

Life and troubles at Magdeburg—Wagner marries—Minna Planer: the woman, her home, her trustful love—Reflections on his life at Magdeburg—His ability as a conductor of the orchestra and singers—Popularity of Auber and Rossini—Renewed trials at KÖnigsberg, 1837—Success of Meyerbeer—Paris the ruler of German taste—Wagner’s ambition of going to Paris—Sends sketch of new libretto to Scribe—No answer—Writes an overture on “Rule Britannia,” and sends it to Sir George Smart—Not noticed— Wagner’s impressions of stage life after his experience at WÜrzburg, Magdeburg, and KÖnigsberg—Visit to Dresden and “Rienzi”—Conductor at Riga, 1839—His difficulties increase—Paris the sole hope of relief—Resolves to go to Paris—Sets sail for London—“The Champagne Mill”—Arrival in London

First impression—Puts up at cheap hotel in Old Compton Street, Soho—Loss and return of the dog—Visit to a house in Great Portland Street where Weber died—Thoughts on English character and London sights—Visit to Greenwich Hospital—Leaves by boat for Boulogne

Passage to Boulogne—The Mansons, friends of Meyerbeer—Wagner’s visit to Meyerbeer—Character of Meyerbeer—Interests himself in the youthful Wagner—The reading of “Rienzi” libretto—Eulogium of Meyerbeer and promises of help—Meyerbeer feels his way to the purchase of the “Rienzi” book—Wishes Scribe to write one for him similarly spectacular—Wagner and his wife at a restaurant; champagne the “perfection of terrestrial enjoyment”—The Mansons advise him to stay in Boulogne—The “Rienzi” music pleases Meyerbeer, who also, to Wagner’s annoyance, praises his neat writing—The “Das Liebesverbot” draws further laudation from Meyerbeer, and the success of Wagner is prophesied—“Le petit homme avec le grand chien” leaves Boulogne for Paris

The sanguine Wagner boldly invades Paris—Later reflections of the bitter sufferings he underwent there— Why he went to Paris—Germany offers no encouragement to native talent—Wagner has but a slight acquaintance with the French tongue—Seeks out Monsieur Louis, who becomes and remains his most devoted friend—With assistance of Louis, engages modest apartments—Endeavours to deliver his letters of introduction—Unsuccessful—Without occupation—His poverty—Help from Germany for a short time—Their sadly straitened circumstances—In absolute want—Writes for the press; Schlesinger—“A pilgrimage to Beethoven,” imaginary—He composes three romances, imaginary—Still in want, forced to the uncongenial task of “arranging” popular Italian operas for all kinds of instruments—Minna Wagner: her golden qualities and admiration of Wagner—Minna performs all the menial household duties—Bright and cheerful temperament soothes the disappointed, passionate Wagner—His birthday tribute—His subsequent acknowledgment of her womanly devotion—The artists he met in Paris—Heinrich Laube, an old Leipzic friend, introduces him to Heine—Meeting of the trio—Laube and Heine as workers—Schlesinger, music-publisher, becomes his friend—Schlesinger upon Meyerbeer—Wagner and Berlioz in Paris and London—The two compared—Wagner’s opinion of Berlioz and his agreement with Heine—HalÉvy—Vieuxtemps—Scribe—Kietz

The Paris sojourn the crucial epoch of Wagner’s career—The grand opera the hothouse of spurious art—Concessions to anti-artistic influences—Realism of the historic opera irreconcilable with his own poetic idealism: why?—Is infected with the revolutionary spirit of the age—From now we date the wondrous change in his art work—Protests through the “Gazette Musicale” against Italian composers dominating the French stage to the exclusion of native worth—Rebuked by Schlesinger—The Conservatoire de Musique; its performances solid food to Wagner—“Music a blessed reality”—Probability that the unrealities of the French stage brought Richard Wagner to a quicker knowledge of himself—Wagner’s estimate of French character—Their poesy—His tact—Feeling of aversion towards the military and police—His compositions—A year of non-productivity—Assertion of the poet—Proposal by Schlesinger that he should write a light work for a boulevard theatre—Refuses—Is put to bed with an attack of erysipelas which lasts a week—“Overture to Faust”: “the subjects not music, but the soul’s sorrows transformed into sounds”—Minna and his dog—Wagner’s lugubrious forebodings and short novel, “End of a German Musician in Paris”—Completes “Rienzi,” which is sent to Germany—The “Flying Dutchman”—How the subject came to be adopted—Heine’s treatment of Fitzball’s version—The original story as told by Fitzball—Libretto completed, delivered to the director of the grand opera, who bargains for it—Superiority of legend over history for musical treatment—Wagner and his meaning of the “Dutchman” anecdote related at Munich, 1866—The one of his music-dramas that occupied the shortest time in composition—It is sent to Meyerbeer—News from Dresden—“Rienzi” accepted, leaves for Germany

New and hopeful prospect—Feels assured of “Rienzi” proving successful—Ignored by Paris, received with open arms by Dresden, the hallowed scene of Weber’s labours—Joy at returning home a conqueror—A new life for Minna—Reissiger, chief conductor of the Royal Opera—Fischer, the manager and chorus director, his friend—His “Rienzi” and “Adriano”—First performance of “Rienzi”—Unmistakable success—Wagner appointed co-chief conductor with Reissiger—My own first acquaintance with Richard Wagner—August Roeckel, the man, friend, and musician—His letter describing Wagner—Intimacy and political sway over Wagner—Visit of Berlioz to Dresden—His opinion of the “Dutchman” and “Rienzi”—The father of Roeckel tutored by Beethoven in the part of Florestan—Meetings of Richard Wagner and Hector Berlioz—Cold bearing of the latter

Hostility of the Dresden press—Wagner’s energy and good humour when at the conductor’s desk—A born disciplinarian—Unflagging efforts to improve the spiritless performances of master works—Interest evinced by Spohr, who stigmatizes Beethoven’s third period as barbarous music—Wagner affects to ignore and despise criticism—In reality is abnormally affected by it—Attacks on his personal attire, home comforts, and manner of living—Wagner in seclusion—His tribute to the constancy and devotion of August Roeckel—Wagner’s opinion of Marschner and Mendelssohn’s “Midsummer Night’s Dream”—The “Faust” overture unsuccessful—Spontini and the “Vestal”—Visit of Wagner and Roeckel to Spontini—Weber obsequies—Max von Weber with me in London—Reception of the body in Germany—Funeral oration delivered by Richard Wagner—Comparison between Wagner’s public and private manner of utterance

“TannhÄuser”: story of its composition, poem and music—Its performance, 1845—First mention of Richard Wagner’s name in the London press—The criticisms (?) of 1845—An instance of the thoroughness of Richard Wagner—Dawn of the 1848 revolution and Wagner’s relation thereto—The follower of August Roeckel expresses regret at his heated language—Performance of the Choral Symphony under Wagner—Unusual activity displayed in the preparations—The way he set to work—Part explanation why I came to induce the London Philharmonic to invite him to this country—His grasp of detail—Forethought displayed in writing an analytical programme to acquaint audience with the meaning of the work—Successful performance—Characteristics of Richard Wagner—His opinion of Italian opera and dictum that an art work to endure must be founded in reason and reflection—“Lohengrin”: its popularity—“Music is love”—The network of connection between Wagner’s operas—Thoughts about “Lohengrin” remaining on earth—Wagner never able to control his finances—His position becomes embarrassed—At enmity with the world—Composition of “Lohengrin”—Letter to his mother—Passionate nature of Wagner—Complete identification of himself with his art—The manner of his accepting services—His courage inspires our admiration—The publication by himself of “Rienzi,” “Dutchman,” and “TannhÄuser”—A failure—“TannhÄuser” offered to the firm of Cramer, Beale, & Co. by me for nothing—Refused

Wagner significantly silent as to his participation in the Saxon Revolution, 1848-49—Wagner an active worker—Conclusive proof—A member of the “Fatherland Union”—Paper read by Wagner before the Union—His character—Charge of ingratitude towards his king absurd—Deputation to king of Saxony—The four demands of the people—Refused—Leipzic determines to march en masse on Dresden—Reforms promised—Founding of the “Fatherland Union”—Political leaflets printed and distributed—Wagner reads his paper June 16, 1848: “What is the relation that our republican efforts bear to the monarchy ?”—Printed by the Union—Copy forwarded to me at the time—Reproduced here—It is omitted from Wagner’s “Collected Writings”—An important document, since it forms part of the official indictment against Wagner—The paper treats of (1) relation of republic to monarchy; (2) nobility appealed to and urged to join in the commonwealth; (3) abolition of first chamber; (4) manhood suffrage advocated; (5) creation of national armies; (6) communism a senseless theory and its reign impossible; (7) appeal to improve the impoverished condition of the masses by timely concessions; (8) founding of colonies; (9) the greatest and most far-reaching reforms only possible under a republic of which the monarch is the head; (10) the king logically the first republican ; ( 11 ) “subjects” converted into “free citizens”; (12) war against the office of king and not against the person; (13) laudation of the Saxon potentate; (14) Wagner’s fidelity to the king; (15) advocates the abolition of the monarchy—National armies—Roeckel, Wagner’s assistant conductor, dismissed, autumn, 1848—Founds a political paper; Wagner contributes—Roeckel imprisoned for three days—The elections—Triumph of the democratic party—Roeckel elected a deputy—Revision of taxation and civil list—Subsidy to the theatre: Wagner defends it in paper delivered to minister; Roeckel to defend it in the chamber—Details of the paper

The new Chamber of Deputies—The king of Saxony refuses to accept the constitution formulated by the federated German parliament—The chambers dissolved by the king—Wagner urges Roeckel to leave Dresden for fear of arrest—Roeckel leaves for Prague—Hainberger, Bakunin, and Semper—The outbreak—Wagner’s incriminating note to Roeckel—Return of Roeckel—Wagner in charge of convoys—Characteristic incident—Roeckel taken prisoner—Origin of the revolt—Its character—Source of the government charge against Wagner—Heubner, Bakunin, and Roeckel imprisoned—Sentenced to death—Commuted—Actual part played by Wagner—He carries a musket; heads a barricade—Wagner not personally brave—His flight to Weimar—Liszt and the police official—Wagner in Paris—Naturalized at Zurich—Proclamation by Saxon government, June, 1853, directing the arrest of Wagner—The government indictment summarized—Richard Wagner amnestied, March, 1862—Important letter from Wagner, March 15, 1851, to Edward Roeckel of Bath, detailing his own share in the Revolution—Attempts of biographers to gloss over Wagner’s participation in Revolution—Wagner to blame—Conflicting extracts from Wagner’s early and later writings as to his precise share—The case summarized

Wagner seeks an asylum in Paris—His reception disappointing—Leaves for Switzerland—A second time within the year he returns to Paris—Again vexed at the little recognition he meets with—Finally settles in Zurich and becomes a naturalized subject—Reflections on the French and their attitude towards art—His abruptness of speech, impatience of incapacity, and vehement declamation wear the air of rudeness—Episode at Bordeaux—He possesses the very failings of amorousness, Hebraic shrewdness, and Gallic love of enjoyment denounced by him in others—At Zurich unable to settle to work for some time—His exile the grandest part of his life as regards art—Period of repose—For five years not one single bar of music did he compose—Describes his Zurich life as spent in “walking, reading, and literary work”—His literary activity—Writes “Art and Revolution,” “The Art Work of the Future,” “Art and Climate,” “Judaism in Music,” and “Opera and Drama”—The period of his banishment the cradle of nearly all his great music-dramas: the “Nibelung’s Ring,” “Tristan and Isolde,” the “Mastersingers,” and a fragment of “Parsifal”—His pretty chalet, “The Retreat,” at Zurich. The Wesendoncks—Compares himself to the philosopher Hegel—The first printing of the Nibelung poem, 1853—Resents allusion to it as a work of literary merit—Recites portions of the lied—At Zurich conducts the opera house—Hans von BÜlow his pupil—Wagner’s festival week at Zurich—Chapelmaster Lachner’s prize symphony—His health always bad: dyspepsia and erysipelas—At hydropathic establishments—His love for the animal kingdom—Anecdote of “Peps,” the TannhÄuser dog

The importance attached to the question—The paper said to have been prompted by personal jealousy—Absurdity of the accusation—The London press hostile because of his Jewish criticisms upon Mendelssohn and Meyerbeer—The “Sunday Times” asserts that “the most ordinary English ballad writer would shame him in the creation of melody, and no English harmonist would pen such vile things”— The words he uttered in 1852 in the Judaism paper lay deep in his heart, and he adhered to them in 1855 and 1869—Wagner of opinion that his ostracism and suppression for many years were due alone to the power of the Jews—Publication of the article—Attempt to dismiss Brendel from his professional office at the Leipzic conservatoire—Wagner asserts an involuntary revulsion of feeling towards the Jews—The Jew always a foreigner—Wagner’s Semitic antipathy partly inherited—Cannot understand the natural humane treatment of the Jews by the English—Admits the glorious history of the Jews compared with the annals of the German barbarians—A Jew actor as a hero or lover “ridiculous”—This assertion contradicted by instances—The Jew offensive to Wagner in his speech, as regards intonation and manner—Their absence of passion—Incapable of artistic speech, the Jew is more incapable of artistic song—His unreasoned attack on the lack of Jewish plastic artists—Further indulges in the vulgar charge of usury—Attacks the cultivated Jew—The Jew incapable of fathoming the heart of our civilized life—Cannot compose for those whose feelings he does not understand—The synagogue the legitimate sphere for the Hebraic composer—Outside this the Jewish musician can only imitate Gentile composers—Criticism upon Mendelssohn—Criticism upon Meyerbeer severe and unsparing—Meyerbeer’s attitude towards the critics—Cordially hated by Wagner—Wagner’s own attitude towards the London critics

How Wagner came to be invited to London—I appear before the directors of the Old Philharmonic—I find that they either know very little of him or nothing at all—Richard Wagner visited at Zurich by a director—The New York “Musical Gazette”—The London press upon Wagner—Condemned before he is heard—The cause, “Judaism in Music”—Wagner’s agreement with the Philharmonic directors—Imposes two conditions: (1) a second conductor; (2) several rehearsals—Gives way as to the first, but insists on the second—Will not lend himself to anything unworthy—Letter of 18th January—In accepting the Philharmonic engagement Wagner “makes a sacrifice,” but feels he must do this or renounce forever all relations with the public—Projects a whole concert of his works—The directors refuse—Irritation of Wagner—Letter of the 1st February—No special plan for his London expedition except what can be done with a celebrated orchestra—States he does not know English and is entirely without gift for modern languages—Enmity of the editor of the “Musical World” (London), who confesses that Wagner is a “God in his books, but he shall have no chance here”—Richard Wagner’s arrival, midnight, Sunday, 5th March, 1855—His head-gear—Objects to change his felt hat—His democratic principles of 1849 now modified—Visit to Mr. Anderson—The Lachner symphony proposed—Volcanic explosion of Wagner—Would cancel his engagement rather than conduct Kapellmeister music—Wagner’s objection acceded to—Visit to Sainton and Costa—Wagner refuses to call on any critics or pay any other visits of etiquette—At dinner—Wagner dainty—Quick though moderate eater—His workroom—Self-denial not his characteristic—His intrepidity borders close upon the reckless—Introduction to the Philharmonic orchestra—Briefly addresses them—Diplomatic, but his will law—The concert—Programme—His conducting—The “Times” abuses him—After the concert, at Wagner’s rooms—His playing the piano—His singing like the barking or howling of a Newfoundland dog—Well pleased with his first introduction to an English audience—His volubility—Abuse of fashion and white kid gloves for a conductor—The second concert—“Lohengrin” prelude, overture to “Der FreischÜtz,” “Ninth Symphony”—Overture encored—Wagner objects to encores, but enthusiasm of audience demands the repetition—“Lohengrin” prelude a surprise, as Wagner’s music had been described “noise and fury”

The “Ninth Symphony” rehearsed—Surprise of the orchestra—Guildhall, Fafner, and Falsolt—The mint and his projected theatre—Daily promenade of Richard Wagner with dog to Regent’s Park to feed the ducks—Wagner and the introduction of the animal kingdom upon the stage—Unlimited means the key to his passion for realism—Unlimited means the dream of his life—The third concert; “Euryanthe”—Wagner’s habit of snuff-taking while at the piano—His smoking—His irritability—Love for silks and velvets partly due to physical causes—Anger at shams—“Punch” on Wagner—Fourth concert; Wagner insists on leaving England next morning and breaking his engagement—Dissuaded—Fifth concert; success of the “TannhÄuser” overture—Wagner’s forty-second birthday; violet velvet dressing-gown—Signs himself “Conductor of the Philharmonic omnibus,” in allusion to the “full” programmes—Cyprian Potter—The Queen, Prince Consort, and Richard Wagner—Repetition of “TannhÄuser” overture—Berlioz and Wagner—The press and anonymous articles—Anxiety of Wagner to serve Berlioz—The last concert and departure from London, 26th June—A few quotations from the contemporary press

Letters of Wagner—In Paris—Home at Zurich—Domestic pets—“Cries constantly” at the death of “Peps”—Buries the dog—Minna ill—Wagner on a sick-bed—His acquaintance with the French language—The French of Berlioz and Wagner compared—Letter in French from Wagner—He is “more luxurious than Sardanapalus and all the old Roman emperors”—His frame of mind during the composition of the WalkÜre—Study of Schopenhauer and request for London snuff

A picture of Minna—Wagner an early riser—His acquaintance with Schopenhauer—Wagner a pessimist?—The first promptings of “Tristan and Isolde”—How did Richard Wagner compose?—The manner of Beethoven, Haydn, and Wagner compared—Wagner’s thumping—Admits he is not at his best when improvising—Schaffhausen—The lions—Wagner’s extravagance—Duke of Coburg’s offer—The Wesendoncks

His health “shattered”—Goes to Venice—Returns to Paris—Resides in Octave Feuillet’s house—The strong opposition of the press—The origin of the performance of “TannhÄuser”—The story of the cabal and disaster

Letters from Wagner

Munich—Wagner in low spirits—His relations with the young king of Bavaria—His house—Fearlessness of speech—Presence of mind—Intrigues against him—Leaves for Geneva—Return to Munich—Treatment of the king—Approaching change in Wagner’s life—Madame von BÜlow—Wagner’s second marriage—Letters from him—Under a new light—His love for home—“Siegfried”—Lucerne—Wagner at home—Peace—His autobiography—His opinion of Liszt—The end—Wagner’s work and character