Richard Wagner and His Poetical Work, from "Rienzi" to "Parsifal" — Text and Context

and his Poetical Work

"RIENZI" TO "PARSIFAL"

TRANSLATED WITH THE AUTHOR'S SPECIAL

A. WILLIAMS AND COMPANY

AMERICAN INTRODUCTION.

Richard Wagner was born May 22, 1813, in Leipsic, Germany. He died in Venice on February 13, 1883. His father was a Leipsic city official, who gave his son the benefit of the illustrious Thomas School, preparatory to a university career. The latter, however, was not of much advantage to him, as young Wagner devoted himself mainly to musical studies. He led a theatre orchestra in Magdeburg, then in Königsberg, then in Riga.

From the latter place he went, in 1839, to Paris, where he completed "Rienzi" and the "Flying Dutchman," in 1841. The latter was suggested by a gale which Wagner experienced during a short voyage. "Rienzi" was first brought out at Dresden in 1842, and led to Wagner's appointment as orchestra leader in Dresden, where he brought out his "Tanhäuser" in 1845. In 1849 Wagner had to leave Germany for political reasons, and went to Switzerland, where "Lohengrin" was finished and the tetralogy of the "Nibelung" was begun. Wagner then lived in Italy, Vienna, and Paris, where "Tanhäuser" met with a disastrous presentation in 1861, and led accidentally to the following pages.

In 1864 Wagner became intimate with Louis II., the young King of Bavaria, under whose zealous patronage he brought out his "Tristan" in 1857 the "Mastersingers" in 1768, "Rhinegold" in 1853 and the "Walkyria" in 1870,--all at Munich, wrote the text for his operas, and also numerous pamphlets, most of which led to acrimonious discussions. Wagner's musical ideals received some outward impulses from the Oberammergau passion play and the success of the Franco-Prussian war, which led to the establishment of the German Empire. A special Wagner theatre was begun in 1872 at Bayreuth, where the master has since lived, and his works were first presented in 1876, in entire harmony with his vast requirements. Wagner's last work, "Parsifal," was published in 1878.

Wagner's early writings were collected in an edition of nine volumes, published in Leipsic, 1871 to 1873. His life was written by Glasenapp in two volumes, 1876 to 1878. Kastner published a Wagner catalogue. But it will take years, perhaps decades, before a final and just estimate can be formed of so great a master. The following pages were written by Judith Gautier, the Paris writer, and translated by an American lady. They have gone through several European editions, as they give an account of Wagner's opera texts, and pay a tribute to the genius of the great composer, who was also a remarkable and original author.

Will the reader kindly look upon the first pages of this book as a fragment of reminiscences, which I hope some day to publish; not that my life in itself is worth relating, but it has been frequently brought in contact with that of celebrated artists. It treats here of certain experiences only, written as if for myself,--reminiscences gathered during several years of uninterrupted relations with Richard Wagner. The books already published on the master, in every language and every style, either to combat or glorify him, would fill a shelf; the catalogue of these criticisms, studies, and biographies would form a volume. Thus, the subject of his defeats, victories, and what is termed his musical system, has been exhausted; repetition is therefore useless.

Beside this, I have of late renounced all idea of proselytism; after a long struggle I abandon the contest, at the moment when, to many, victory seems most probable. I have reasons for this which I do not care to indicate, but which seem to me decisive. What I have for so long a time taken to be the customary and fatal resistance, the instinctive hatred which is experienced by every public in every country for the innovations of genius, is, I fear, in France something even more. Our quick intelligence, so light, so mobile, so disposed to mockery, deprives us of that quality so indispensable to the comprehension of master works--simplicity. We cannot refrain from finding something to ridicule in grand sentiments, sublimity, and noble or terrible passions; what pleases us above all is graceful, spirited art, slightly sentimental, quick observation, and arrows of satire; also, no people can rival us when comic operas, vaudevilles, and comedies of manners are in question.