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in: 1813 births, 1883 deaths

Richard Wagner

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Wilhelm Richard Wagner (Leipzig, 22 may 1813 – Venice, February 13, 1883) was a German composer.

Richard Wagner was an important innovator in the music of his time. He has composed a number of major works as opera's that music dramas has designated and for which he also wrote the texts (libretti). He strove to a Gesamtkunstwerk, the ideal Association of Word, music and theatre.Eventually sprung up there, its grand music dramas that end up in a specially built theatre were (and are) performed in the Bavarian town ofBayreuth.

Wagner has virtually all his life in political and financial difficulties wrong; It was only in the later years of his life he came to success and prestige. He was initially married to Minna Planer, later had a (Platonic?) relationship with Mathilde Wesendonck, and eventually married Cosima, the daughter ofFranz Liszt, much younger than he (he himself was of the generation of Liszt), which for decades has survived him. He had one son, Siegfried Wagner. His sons Wolfgang and Wieland Wagner have after their grandmother Cosima still steered the Affairs of Bayreuth for decades. Wagner, Isolde had also (1864) and Eva (1867), both by Cosima's first husband, Hans von Bülow were recognized.

Wagner, as a person and as a musician, remains subject of controversy and emotional discussions; both come as an absolute rejection for idolatry.Its meaning, however, as composer and musical innovator. There is extensive literature on Wagner that this controversy reflects.

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[hide]*1 Biography

Biography[Edit][]

[1]Wagner and his son Siegfried

Richard Wagner was born on 22 may 1813 to Leipzig. His father Karl Friedrich Wilhelm Wagner, who was clerk to the police, died when Richard was five months old. [3] his mother Johanna moved to Dresden and remarried in 1814 with the actor and painter Ludwig Geyer. After the death of Geyer family returned back to Leipzig, where in 1830 an Overture written by Wagner in the local theater was conducted by Heinrich Dorn. The fate of father will a leading theme for his heroes: Tristan, Parsifal, Siegmund and Sieglinde, Siegfried.

The young Richard Wagner had ambition to be playwright. However, In 1831 , he enrolled to the University of Leipzig to study music. The music ofBeethoven had an important musical influence on him, Wagner initially set out to compose.

Wagner was appointed choirmaster In 1833 to the theater of Würzburg and in the same year he completed his first opera, Die Feen, with clear influences of Carl Maria von Weber. He had short employment relationships in Magdeburg and Königsberg. He married the actress Minna Planer in1836. The following year they moved to Riga where he was conductor of the opera. Minna had a brief, disastrous relationship with an army officer.However, it would be thirty years before the marriage ended. By creditors on their heels they fled Norway and in 1839 via London to Paris. The long stormy sea voyage was an inspiration for Der Fliegende Holländer opera he wrote in 1841 . The Wagners lived two and a half years in Paris, where he earned money with writing articles and editing of operas by others. In the autumn of 1840 wrote Wagner Rienzi.

In 1842 the Wagners moved for a period of six years to Dresden, where Richard Kapellmeister (opera conductor) was. The premiere of Rienzi in 1842 took place in Dresden. This was one of the greatest triumphs in Wagner's life and laid the Foundation for his celebrity. A few months later there was an opera staged in Dresden, that the "actual Wagner" Der fliegende Holländer mentioned. At the premiere of his opera Tannhäuser (1845) in Dresden gave him back the public preferred.

Richard, however, was very politically active and had connections with revolutionaries and anarchists, including Mikhail Bakunin. In the year 1848, in which it was seething with anywhere in Europe and was constantly on the revolution outbreak, he was politically active so he, when the old state order got the upper hand, eventually had to flee yet again because there is a warrant for his arrest was issued.

He sought asylum in Switzerland, where Mathilde Wesendonck, a fervent admirer, who was married with a rich patron and industrialist, donated him help. She was his muse in the writing ofTristan und Isolde and the Wesendonck-Lieder. He also worked on the text and music of Der Ring des Nibelungen. He has lived in Switzerland for 12 years and here are many important works (partly) arise.

In 1862 Wagner established himself in Biebrich, where he worked to That Meistersinger . However, by the end of that year he was in Vienna, where he remained until early 1864 .

Eventually he region toward the end of his life down in the North Bavarian Bayreuth, where he with the support of the Bavarian King Ludwig II and Wagner lover could let build an opera house.In this exclusively its own Festspielhaus, where work performed, the Orchestra itself invisible in an orchestra pit below the stage. The Bayreuth Festival held every year. Who wants to get hold of a ticket comes a long waiting list. To as a musician to be invited to come in singing or playing is considered a great honor.

[2]Richard Wagner in Bayreuth

Wagner died of a heart attack after an argument with his wife, Cosima, on 13 February 1883 in the Palazzo Vendramin-Calergi Venice to.

The composer was buried in the garden behind the Haus Wahnfried on a chosen place by himself. At the opening of the Festival there is song of the festival chorus to it with Laurel wreaths bearing the grave of the master and his dogs Marke and Russ.

Wagner's home in Bayreuth, Haus Wahnfried, is now a museum.

Meaning of Wagner for the music[Edit][]

Wagner left the classical music in a very different State than he found it. Harmonies that for its time nobody had dare try, appeared in operas that almost nothing on what's in front of that time known under that name, orchestrations and melodies which no one had previously tried, oerthema's from themythology with a universal validity and attraction. Wagner introduced in Ring are the idea of Leitmotiv (the usual term, Wagner spoke, however, always about Gefühlsmomentitself), a fragment, melodic line or theme that for a certain idea or person. This will take the music a life of its own in addition to the text; the main character swears on stage the Orchestra growls under the scene all about ' betrayal '; Wodan is talking about a contract and the Orchestra underlines this with the theme of his spear in which the runes are etched by the Treaty. The motives mutate slowly as their role changes or otherwise applied. This makes attending a performance of the Ring (four full-length operas) to a completely unique experience in which the listener is submerged. It does take great perseverance to achieve such an appreciation of the art of this composer to come. For beginners might be Der fliegende Holländer and Lohengrin is a good choice. Wagner has also had a major influence on the cultural philosophy of Friedrich Nietzsche, who initially was his idolatrous, but Wagner's rigorously later being turned away.

Exile, Schopenhauer and Mathilde Wesendonck[Edit][]

Wagner was limited not to compose, he was also politically active (he has together with his Russian friend and revolutionary Bakunin participated in the unsuccessful rebellion in Dresden during the revolution in 1848-1849). Siegfried, the hero of Wagner's Der Ring des Nibelungen is based in part on the character of Bakunin.

He also had a keen eye for its own sake; He was jealous of his fellow composers who achieved easy successes (in his view incorrectly). He reacted strongly against Jews and has a long anti-Semitic article Das Judenthum in der Musik (1850) written. He is also described as one of the precursors of the anti-Semitism such as that in the second half of the nineteenth and the first half of the twentieth century in Europe revealed. When he wasn't allowed to someone, then "concluded" he that those "so" had to be a Jew, or otherwise mínstens his móeder a Jewess. [1] It anti-Semitism of Wagner joined a long European tradition and, according to journalist Jonathan Carr also facilitated by the debts that Wagner had constantly at Jewish bankers stand. Yet his attitude to Jews previously ambivalent as evidenced by his contacts with the popular Jewish composer Giacomo meyerbeer and other Jewish musical friends. It was rather Cosima Liszt, Wagner's wife, who was a jodenhaat star as later demonstrated by her journals. It was she who, after his death, the imaging of Richard and his ideas and manipulated him a useful mascot for the later ' Blut und Boden'-trailer kneaded.

Unlike his political writings Wagners opera texts are barely readable. Wagner had a great influence on King Ludwig II of Bavaria, who over the years (up to concerns of his ministers) has provided a lot of money to achieve his ideals.

Patronage of King Ludwig II[Edit][]

In the literature of the Dutch fin de siècle Wagner has major influence, so much so that there can be spoken by a so-called Wagner cult. His music was so violently, pompous and exciting, that they in literature for the insane is intended. Literati saw the composer as "the Guide to the labyrinth of the human soul", which can make the disturbed los in man. A good example of this can be found in the short story The binocle (1920) by Louis Couperus, in which the music of Wagner led a man to throw a heavy binocle floats on the head of a bald man, who at the Concertgebouw under the balcony is.

Nietzsche and Wagner[Edit][]

The relationship between Wagner and Friedrich Nietzsche was very striking. The young Nietzsche initially saw the great innovator in Wagner, the decadent Germany at the time could lead to a thriving renaissance . The time they spent together in Tribschen belonged to the best time of his life, according to Nietzsche. [2] the tide turned dramatically at the opening of the opera inBayreuth, a fact that Nietzsche could see no different than if the denial of their respective ideas on art and culture. It is certain that Nietzsche's maintained his love of Wagner but as a philosopher forced him to penetrate into the world of music by Wagner. This resulted in increasingly fierce criticism on the work of the renowned composer, until eventually the friendship has ended completely. The criticism that Nietzsche gave up on Wagner got (and still get) little acclaim, probably partly because they by the personal background between the two men is associated with parricide.

Nietzsche had the mainly about Wagner's decadence; the moral choice in Wagner's stories alone was according to Nietzsche completely wrong:

"Who else but Wagner taught us, that the innocence preferably interesting sinners redeemed? (the case in Tannhäuser). Or that even the wandering Jew is redeemed, domestic is, when he marries? (the case in the Flying Dutchman). Or that wicked old man prefer it to be redeemed by chaste youths? (the case Kundry). Or that beautiful girls want to be saved by a Knight who prefer Wagneriaan is? (the case in the Meistersinger). Whether that includes married women like to be saved by a Knight? (the case Isolde). Or that "the old god", after he has compromised itself in every possible way, in the long run by a freethinker and immoralist is redeemed? (the case in the Ring). You are especially surprised about this last profundity! Do you understand it? I — only to on, that to understand ... "[3]

He was perhaps the most incensed about the way Wagner in Parsifal again his last drama Overture to Christianity, a religion that had to be overcome precisely in Nietzsche's vision.

But also musically there was criticism. For Nietzsche gold that music "the spirit to do dancing", "with light feet". Hence, he also repeatedly pointed out that the opera Carmen by Georges Bizettowering jutted above the dark and bulky world of Wagner. Never a "Gesamtkunstwerk" could further benefit the individual parts, but rather at the expense of going and finally lead to cheap sensationalism.

The contribution of Wagner to the music is just set in its competence according to Nietzsche as a miniaturist. In stark contrast to the prevailing image of Wagner as Grand Master in the theatrical, is his music according to Nietzsche in reality nothing but a number of short musical gems associated with far too long, boring, repetitive and unnecessary music blocks himself.

Compositions[Edit][]

Completed operas and incidental music[Edit][]

youth work[Edit][]

intermediate period[Edit][]

later works[Edit][]

Unfinished opera's, not composed libretti and plays[Edit][]

  • Leubald, Trauerspiel in five acts 1826-1828
  • Early Stage (fragment, lost) 1830
  • That Hochzeit, opera (unfinished) 1832-1833 (premiere of the completed part 1933)
  • That hohe Braut, opera in five acts (text: based on the novel by Heinrich Koenig) 1836/1842
  • Männerlist Frauenlist oder glückliche Bärenfamilie gandh as That, comic opera in two acts (text: to a thousand and one nights) 1838?
  • That Sarazenin, opera in five acts 1841?/1843
  • That Bergwerke zu Falun, opera in three acts (text: named after the narration of Ernst Theodor Amadeus Hoffmann) 1842
  • Friedrich I. in five acts 1846/1848-1849
  • Jesus von Nazareth 1849 in five acts
  • Achilleus in three companies 1849-1850
  • Wieland der Schmied, heroes opera in three acts 1849-1850
  • That Sieger 1856
  • Luthers Hochzeit 1868
  • Ein Lustspiel in one act 1868
  • , Eine Kapitulation"Lustspiel in antiker way" in one act 1870

Incidental Music[Edit][]

  • Ouvertüre of Friedrich Schiller's tragedy with choirs "which Braut von Messina" (lost) 1830
  • Ouvertüre in e-moll und Theatermusik Ernst Raupachs , to historical tragedy in five acts "König Enzio" (incidental music lost) 1831- 1832 1832 (premiere)
  • Entractes tragiques No. 1 in D major; nr. 1832 2 in c minor?
  • Musik zu Wilhelm Schmales allegoriscch Festival Beim Antritt des neuen Jahres 1835 " in one act 1834 (premiere 1835)
  • Overture in Es-Dur und historischem Theatermusik zu Theodor Apels Drama "Columbus" in five acts (première 1834-1835 1835
  • Theatermusik zu historischem Schauspiel mit Gesang j. romantic Singers-"Heidenverschörung in Preussen oder Der letzte Ritter That Deutsche orden in Königsberg" in four parts (première1837 1837?)

Orchestral Works[Edit][]

  • Overture in B-great Drumbeat-Ouvertüre (lost) 1830 ( 1830 premiere)
  • Overture Political Ouvertüre (lost) 1830?
  • 1830 orchestral work in e minor?
  • Overture in C major (in 6/8 size) (lost) 1830
  • Orchestration of a Sonata for piano four hands in b flat major (lost) 1831
  • Overture in e flat major (lost) 1831
  • Overture in d minor Konzert-Ouvertüre No. 1 (premiere 1831 1831)
  • Overture in C major Konzert-Ouvertüre No. 2 1832 1832 (premiere?)
  • Symphony in C major ( 1832 1832 premiere)
  • Symphony in E major (fragment) 1834
  • Overture in C major 1836 Polonia (premiere 1836-1837? or 1905
  • Overture in D major Rule Britannia 1837 1838 (premiere?)
  • Eine Faust-Ouvertüre in d minor 1839-1840 ( 1844Premiere), Premiere 1855 1855 (rework)
  • Trauermusik nach Motiven aus Carl Maria von Weber's "Euryanthe" 1844 ( 1844 premiere)
  • two or three Symphony fragments 1846-1847
  • Träume for solo violin and Orchestra in a-flat major (arrangement of the Fünf Gedichte für eine Frauenstimme mit Pianoforte-Begleitung: No. 2 (later no. 5)) (première 1857 1857)
  • Romeo und Julie between 1868 and 1879?
  • Siegfried-Idyll in E major ( 1870 1870 premiere)
  • plans for overtures and symphonies between 1874 and 1883

Works for wind Orchestra[Edit][]

Works for chamber music[Edit][]

  • String Quartet in D major (lost) 1829

Works for piano[Edit][]

  • Sonata in d minor (lost) 1829
  • Sonata in f minor (lost) 1829
  • Sonata for piano four hands in b flat major (lost) 1831
  • Sonata in b flat major, opus 1 1831
  • fantasy in f sharp minor 1831
  • polonaise in D major 1831-1832
  • polonaise for piano four hands in D major 1831-1832
  • Grosse Sonata in A major, opus 4 1832
  • Klavierstück (Albumblatt für E.B. Kietz "song ohne Worte" 1840?
  • polka in G major 1853
  • Sonata in 1853 As-large
  • Zurich Vielliebchen-Walzer 1854 in e flat major
  • In das Album der Fürstin M [etternich] (Albumblatt) in C major 1861
  • Ankunft bei den schwarzen Schwänen (Albumblatt) in1861 As-large
  • Albumblatt in e flat major 1875

Works for choir[Edit][]

  • Folk Hymn (Nicolay) in G major (text: Harald von Brakel) 1837 1837 (premiere
  • Gesang am Grabe (lost) (text: Harald von Brakel) 1838-1839 ( 1839 premiere
  • Festgesang "Der Tag erscheint" (text: Christian Christoph Hohlfeld) version for male choir a capella 1843 (premiere 1843), version for male choir and brass 1843? (premiere 1911?)
  • Das Liebesmahl der Apostel, a biblical scene (premiere 1843 1843)
  • Gruss seiner Treuen an Friedrich August den Geliebten "Im trauen Sachsenland" version for male choir and band 1844 ( 1844 premiere
  • An Webers Grabe, vocal piece for male choir in Des-large 1844 ( 1844 premiere
  • Wahlspruch für die deutsche Feuerwehr, song for male choir in G major (text: Franz Gilardone) 1869

Works for solo voice and Orchestra[Edit][]

  • aria (lost) 1829
  • aria for soprano and Orchestra (lost) 1830
  • scene and aria for soprano and Orchestra (lost) (première 1832 1832

Works for solo voice or choir and piano[Edit][]

  • four fragments of Lieder between 1828 and 1830
  • Sieben Kompositionen zu Goethes "Faust" 1831:
    • nr. 1 for male chorus and piano
    • nr. 2 for soprano, tenor, mixed choir and piano
    • nr. 3 for bass, unison male chorus and piano
    • nr. 4 for bass, unison male chorus and piano
    • nr. 5 for bass and piano
    • nr. 6 for soprano and piano
    • nr. 7 for recitante and piano
  • Glockentöne, song for voice and piano (text: Theodor Apel (lost) 1832
  • Der Tannenbaum, song for voice and piano in e flat minor (text: Georg Scheurlin) 1838?
  • Dors mon enfant, song for voice and piano in F major (text: NN) 1839
  • Ecstasy, song for voice and piano in D major (text: Victor Hugo) 1839
  • Attentive, song for voice and piano in G major (text: Victor Hugo) 1839
  • La tombe this à la rose, song for voice and piano in e minor (text: Victor Hugo) 1839
  • Mignonne, song for voice and piano in E major (text: Pierre de Ronsard) 1839
  • Tout n'est qu'images fugitives (Soupir), song for voice and piano in b flat major (text: Jean Reboul) 1839
  • Les deux grenadiers, song for baritone and piano in a minor (text: Heinrich Heine in translation of François Adolphe Lange-Veimar) 1839-1840
  • Adieux de Marie Stuart, song for soprano and piano in e flat major (text: Pierre Jean de Béranger 1840
  • Fünf Gedichte für eine Frauenstimme mit Pianoforte-Begleitung ("Wesendonck-Lieder") (text: Mathilde Wesendonck) 1857-1858first version, second version 1857-1858, 1858 third version:
    • nr. 1 Der Engel in G major
    • nr. Träume in As 2 major (later no. 5)
    • nr. 3 Schmerzen in e flat major (later no. 4)
    • nr. Stehe still! 4 in c minor (later no. 2)
    • nr. 5 Im Treibhaus in d minor (later no. 3)
  • Es ist bestimmt in Gottes Rat, song for voice and piano in a minor (text: Ernst Freiherr von Feuchtersleben) 1858

Other short song and choral compositions[Edit][]

  • Der Worte many gemacht sind (Kraft-Song), unison Song in F major 1871
  • Kinder-Katechismus version for children's voices and piano 1873 ( 1873Premiere), version for children's voices and Orchestra (premiere 1874 1874)
  • Willkommen in Wahnfried, du heil'ger Christ, song for children's voices in C major (diatonic) 1877 ( 1877 premiere)
  • Geschwinde, Ihr Kinder, geschwinde, song for three children's voices in G major 1880? (première 1880)

Stage Work[Edit][]

  • Neues Schlussallegro zur Arie No. 15 (Aubry) aus Heinrich Marschners grosser more romantic Oper in zwei Akten "Der Vampyr" for tenor and Orchestra (premiere 1833 1833
  • Instrumentation einer Kavatine aus Oper in zwei Akten Vincenzo Bellinis "Il parata" (lost) 1833
  • Arie "Sanfte Wehmut will sich rain" as Einlage (Max) in einem Aufzug Carl Blums komische Oper in "Mary, Max und Michel" (text: Karl von Holtei) for bass and Orchestra in G major (première1837 1837)
  • Arie (Bet) as Joseph Weigls Einlage in lyric Oper in drei Aufzügen "Die Schweizerfamilie" (lost) (text: NN) for bass and Orchestra (premiere 1837 1837?)
  • Instrumentation improvements in Vincenzo Bellini's "Norma" (premiere 1837 1837?)
  • transcription of the harp party from the cavatine "Robert toi que j'aime" (nr. 18 c) from Giacomo Meyerbeers "Robert le diable" for strings (première 1838 1838?)
  • herinstrumentering the Hunter's Chorus (No. 18) from Carl Maria von Weber's "Euryanthe" for male choir and 12 horns 1839 1839 (premiere
  • Arie "Norma il predise" mit Einlage Männerchor as (Orovist) in Vincenzo Bellini's Tragedia lirica in zwei Akten "Norma" (text: NN) for bass, male choir and Orchestra in G major 1839
  • suites for cornet à pistons (operapotpourris) 1840?
  • packages for Gaetano Donizetti's opera in four acts "La Favorite" 1840-1841
  • packages for Fromental Halévy's opera in three acts "Le Guitarrero" 1841
  • packages for Fromental Halévy's opera in five acts "La Reine de Chypre" 1841-1842?
  • arrangements for Daniel François Esprit Aubers opera in three acts "Zanetta ou Jouer avec le feu" 1842
  • Chor "Descendons gaiment la courtille" Dumersans und Dupeutys Einlage in Marion as Vaudeville-Ballett-Pantomime in zwei Bildern "La descente de la courtille" (text: Dumersan?) for mixed choir and Orchestra 1841? (premiere 1841)
  • instrumentatieaanvulligen in Gaspare Spontini's tragédie lyrique in three acts "La Vestale" 1844 ( 1844 premiere)
  • Christoph Willibald Gluck's operation of tragédie lyrique in three acts "Iphigénie en Aulide" for soloists and Orchestra (premiere1847 1846- 1847
  • adaptation of Wolfgang Amadeus Mozart's dramma giocoso in two acts "Don Giovanni" 1850 ( 1850 premiere)

Other works[Edit][]

Study Work[Edit][]

  • four-part vocal Fugue "Dein ist das Reich" 1831-1832
  • four-part Double Fugue in C major (diatonic) 1831-1832
  • counterpoint exercises?

Loose themes and melodies[Edit][]

  • theme in a-flat major (often wrongly called "Porazzi-Theme") 1858
  • some themes for symphonies (including the "Porazzi-Theme") between 1874 and 1883

Writings[Edit][]

Richard Wagner's writings were partly already during his life collected and edited. After his death, the release continued.

  • Richard Wagner: Gesammelte Dichtungen und Regulations (part I to X) (Leipzig, 1871-' 73, 1883); This first edition was supervised by Wagner himself
  • starting from the Fifth Edition (1911): Richard Wagner: Sämtliche Dichtungen und Rules (with the addition of part XI and XII)
  • from the Sixth Edition (1914): the same (with the addition of part XIII to XVI)

Content of the different parts (each time chronologically):

Part I:

  • "Das Liebesverbot": message über eine erste Opernaufführung (1836)
  • Über deutsches Musikwesen (1840)
  • Der Virtuos und der Künstler (1840)
  • Über die Ouvertüre (1840)
  • Eine Pilgerfahrt zu Beethoven (short story, 1840)
  • "Der Freischütz": an das Publikum Pariser (1841)
  • "Le Freischütz" in Paris: message nach Deutschland (1841)
  • Rossini's "Stabat mater" (1841)
  • Der Künstler und die Öffentlichkeit (1841)
  • Ein Ende in Paris (short story, 1841)
  • Ein glücklicher Abend (short story, 1841)
  • Message über eine neue Oper (1842)
  • Autobiographische Skizze (1842)
  • Vorwort zur Gesamtausgabe (1871)

Part II:

  • Über die Heimbringung der sterblichen Überreste Message Karl Maria von Weber's aus London nach Dresden (1844)
  • Trinkspruch am Gedenktage des königlichen Bestehens der musikalischen 300jährigen Kapelle in Dresden (1848)
  • That Wibelungen: Weltgeschichte aus der Sage (1848, revised 1849)
  • Der Nibelungen-Mythos as Entwurf zu einem Drama (1848)
  • Entwurf zur Organisation für das Königreich Sachsen eines deutschen National-Theaters (1849)

Part III:

  • Die Kunst und die Revolution (1849)
  • Das artwork der Zukunft (1849)
  • Kunst und Klima (1850)
  • Wieland, der Schmied (prose-design of an opera, 1850)
  • Oper und Drama (1851)

Part IV:

  • Eine Mitteilung an meine Freunde (1851)
  • Oper und Drama (revised 1868)

Part V:

  • Das Judenthum in der Musik (1850, revised 1869)
  • Ein Theater in Zurich (1851)
  • Über die 'Goethe-Stiftung ": letter to Franz Liszt (1851)
  • Erinnerungen an Spontini (1851)
  • Über Kritik an den Herausgeber der musikalische: Letter "Neuen Zeitschrift für Musik" (1852)
  • Über die Aufführung des "Tannhäuser": eine Mitteilung an die Conductors und Darsteller dieser Oper (1852)
  • Bemerkungen zur Aufführung der Oper "Der fliegende Holländer" (1852)
  • Beethoven's "Heroic Symphony" (1852)
  • Ouvertüre zu "Koriolan" (1852)
  • Vorspiel zu "Lohengrin" (1853)
  • Ouvertüre zum "fliegenden Holländer" (1853)
  • Ouvertüre zu Gluck's "Iphigénie in Aulis" (1854)
  • Über Franz Liszt's Symphonische Dichtungen: letter to M. W. " (1857)
  • "Tristan und Isolde": vorspiel (1859)
  • Nachruf an l. Spohr und Chordirektor w. Fischer: brieflich an einen Freund in Dresden alteren (1860)

Part VI:

  • Vorwort zur Herausgabe der Dichtung des Bühnenfestspieles "Der Ring des Nibelungen" (1862)
  • Über die Umstände und Schicksale, welche Epilogischer Message that Ausführung des Bühnenfestspieles "Der Ring des Nibelungen" bis zur Veröffentlichung der begleiteten Dichtung desselben (1871)

Part VII:

  • Ein letter to Hector Berlioz (1860)
  • 'Zufkunftsmusik ': an einem Vorwort zu einer französischen Freund as Prosa-Übersetzung meiner Operndichtungen (1860)
  • Message über die Aufführung des "Tannhäuser" in Paris (1861)
  • Das Wiener Hofoperntheater (1863)

Part VIII:

  • Über State und Religion (1864)
  • Message Seine Majestät den König Ludwig IIan. von Bayern über eine deutsche Musikschule in Munich zu errichtende (1865)
  • Censures i: "w. h. Riehl: Neues Novellenbuch" (1867)
  • Censorship II: "f. Hiller: Aus dem Tonleben unserer Zeit" (1867)
  • Deutsche Kunst und deutsche Politik (1867)
  • Meine Erinnerungen an Ludwig Schnorr von Carolsfeld (1868)
  • Censorship III: Eine Erinnerung an Rossini (1868)
  • Über das Dirigieren (1869)
  • Censures IV: "e. Dean: Meine Erinnerungen an Felix Mendelssohn-Bartholdy" (1869)
  • Aufklärungen über Censures V: "Das Judenthum in der Musik": an Frau Marie Muchanoff, geb. Gräfin Nesselrode (1869)
  • Censorship: Vorbericht (1872)

Part IX:

  • Beethoven (1870)
  • Eine Lustspiel in antiker Kapitulation: way (poem, 1870)
  • Über die Bestimmung der Oper (1871)
  • Erinnerungen an Auber (1871)
  • Letter an einen Freund Italiënischen über die Aufführung des "Lohengrin" in Bologna (1871)
  • An Friedrich Nietzsche (1872)
  • Über Schauspieler und Sänger (1872)
  • Schreiben an den Bürgermeister von Bologna (1872)
  • Letter über das Schauspielerwesen an einen Schauspieler (1872)
  • Ein Einblick in das heutige deutsche Opernwesen (1872)
  • Über die Benennung "Musikdrama" (1872)
  • Der Einleitung zu einer Vorlesung "Götterdämmerung" vor einem auserwählten Zuhörerkreise in Berlin (1873)
  • Zum Vortrag der neunten Beethovens Symphonie (1873)
  • Schlussbericht über die Ausführung des Bühnenfestspieles Umstände und Schicksale, welche that "Der Ring des Nibelungen" bis zur Gründung von Wagner-Meisterschaft begleiteten(1873)
  • Das Bühnenfestspielhaus zu nebst einem Message Bayreuth: über die Grundsteinlegung desselben (1873)

Part X:

  • Was ist deutsch? (1865-' 78)
  • Über eine Opernaufführung in Leipzig: letter an den Herausgeber des "Musikalischen Wochenblattes" (1874)
  • An die geehrten Wagnervereine der Vorstände Richard (1877)
  • Entwurf, veröffentlicht mit den Patronatvereines des Statutes (1877)
  • Zur Einführung (1878)
  • Modern (1878)
  • Publikum und Popularität (1878)
  • Das Publikum in Zeit und Raum (1878)
  • Ein Rückblick aus die Bühnenfestspiele des Jahres 1876 (1878)
  • Ein Wort zur Einführung der Arbeit Hans von Wolzogens "Über Verrottung und Errettung der deutschen Sprach" (1879)
  • Creighton an die Mitglieder des Patronatvereines (1879)
  • Zur Einführung in das Jahr 1880 (1879)
  • Wool wir hoffen? (1879)
  • Komponieren und Über das Close (1879)
  • Über das Opern-und Besonderen Komponieren in Closing (1879)
  • Über die Anwendung der Musik auf das Drama (1879)
  • Offenes Schreiben an Herrn Ernst von Weber, Verfasser der Scripture "That Folterkammern der Wissenschaft" (1879)
  • Religion und Kunst (1880)
  • Zur Mitteilung an die geehrten der Bühnenfestspiele in Bayreuth Patrone (1880)
  • Zur Einführung der Arbeit des Graphs Gobineau "Ein Urteil über die jetzige Weltlage" (1881)
  • Ausführungen zu "Religion und Kunst" Erkenne dich selbst ': '; Christentum und Heldentum (1881)
  • Letter to h. v. Wolzogen (1882)
  • Offenes Schreiben an Herrn Friedrich Schön in Worms (1882)
  • Das Bühnenweihfestspiel Bayreuth in 1882 (1882)
  • Message: Wiederaufführung eines Jugendwerkes über die an den Herausgeber des "Musikalischen Wochenblattes" (1882)
  • Letter to h. v. Stein (1883)

Part XI:

  • That hohe Braut (prose-design for an opera, 1836 and 1842)
  • Männerlist Frauenlist oder glückliche Bärenfamilie gandh, if That (poem for a comic opera, 1837)
  • That Sarazenin (prose-design for an opera, 1841-' 43)
  • That Bergwerke zu Falun (prose-design for an opera, 1841-' 42)
  • Friedrich I. (prose-design for a play, 1846-' 48)
  • Jesus von Nazareth (prose-design for a play, 1849)
  • That Sieger (prose sketch, 1856)

Part XII:

  • Die deutsche Oper (1834)
  • Pasticcio (1834)
  • Aus Magdeburg (1836)
  • Der dramatic Gesang (1837)
  • Bellini (1837)
  • Über Meyerbeers "Huguenot" (1837?)
  • "Stabat mater" the Pergolèse par Lvoff (1840)
  • Pariser Amüsements (1841)
  • Pariser Fatalitäten für Deutsche (1841)
  • [9] Pariser Reported für die "Dresdner Abendzeitung reports" (1841)
  • Halévy und die französische Oper (1842)
  • "La reine de Chypre" d'Halévy (1842)
  • Das Oratorium "Paulus" von Mendelssohn Bartholdy (1843)
  • Concerning That Königliche Kapelle (1846)
  • Zu Neunter Beethoven's Symphony (1846)
  • Mit besonderen Bezug auf einem Künstler und Kritiker, Fall (1846)
  • Republikanische verhalten sich gegenüber dem Königthume Bestrebungen Who? (1848)
  • Deutschland und seine Fürsten (1848)
  • Über Eduard Devriendt's "Geschichte der deutschen Schauspielkunst" (1849)
  • Theater-Reform (1849)
  • Nochmals Theatre-Reform (1849)
  • Der Mensch und die bestehende Gesellschaft (1849)
  • That Revolution (1849)
  • Achilleus (toneestuk, 1849-' 50, fragment)
  • sketches and designs for prose writings (1849-' 58)
  • Beethoven's cis moll-Quartett (1854)
  • Zur Erwiderung des Aufsatzes "Richard Wagner und die öffentliche Meinung" (1865)
  • Das Münchener court theater: zur Berichtigung (1869)
  • Angriffen auf mich warum ich den zahllosen: Persönliches und meine Art ansichten nicht erwidere (1869)
  • Meistersinger von Nürnberg: vorspiel zum That 3. Akt (1869)
  • An die Patrone der Bühnenfestspiele in Bayreuth (1873)
  • Der Bühnenfestspiele von geehrten An die Patrone 1876 (1876)
  • Ansprache an die Abgesandten des Bayreuther Patronats (1877)
  • Ankündigung der Aufführung des "Parsifal" (1877)
  • Parsifal: Vorspiel (1882)
  • Über das Weibliche im Menschlichen (1883, unfinished)

Part XIII:

  • Mein Leben (part I and II) (1865-' 71, privately printed together with part III 1870-' 75)(*)

Part XIV:

  • Mein Leben (part III) (1875, privately printed together with part I and II 1870-' 75) (*)

Part XV:

  • "Tannhäuser" Einzug der Gäste auf Wartburg, i:; II: Tannhäusers Romfahrt (1853)
  • Mein Leben (part IV) (1879-' 80, privately printed 1881) (*)

(*) The truncated autobiography Mein Leben (all parts) was issued in Munich in 1911. The censored segments were published in 1929-1930 . The full version appeared in 1963. Part XVI:

  • Leubald (poem, 1828, fragment)
  • "Lohengrin", i: Männerszene und Brautzug; II: Hochzeitmusik und Brautlied (1853)
  • "Die Walküre", I: Liebesgesang Siegmunds; II: Der Valkyries; III: Wotans Abschied und Feuerzauber (1864)
  • "Götterdämmerung", I: Vorspiel; II: H Wait; III: Siegfrieds Tod; IV: Schluss des letzten Acts (1875)
  • poems, aphorisms, fragments (1840-' 42) in the parts VIII, IX, XII and XVI
  • sketches, designs and texts, libretti for operas and Musikdramen (1832-' 77) in parts I, II, V, VII, X and XI

Not included in the joint publication:

  • Über die Aufführung des Bühnenfestspieles "Der Ring des Nibelungen" (1871)
  • Luthers Hochzeit (play, 1868, fragment)
  • many articles that originally appeared in "Neue Zeitschrift für Musik" (1834, 1841-' 42, 1850-' 61, 1868-70), in "Gazette musicale" (1840-' 42), in "Dresdner Abendzeitung reports" (1841-' 42), in "Musikalisches Wochenblatt" (1870-' 75, 1883) and in "Bayreuth Blätter" (1878-' 82).

Quotes[Edit][]

  • Gioacchino Rossini: Wagner has wonderful moments, but annoying sessions.
  • Mark Twain: Wagner's music is better than it sounds.
  • Friedrich Nietzsche: Den hab ich mal sehr geliebt.
  • Pyotr Ilyich Tchaikovsky: After the last show of the Götterdämmerung I felt like I was released from a prison. Could be that the Nibelungen is a magnificent work, but it is certain that there has never been a work so endless and tedious drawn-out is. [4]
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