Revival: Life of Richard Wagner, Vol. I (1900)

The Art Work of the Future

Carl Friedrich Glasenapp

• Publisher: Routledge
• Year: 2018
• ISBN:
  9781351342391
• Edition: 1
• Topic: Arte
• Subtopic: Arte generale

This volume brings our story down to 1843, an important era in Richard Wagner's Life, with his entry, as composer, of two successful operas, upon a so-called "practical" career at one of the principal German theatres.

CONTENTS OF VOLUME I

PRÆNATALIA (1769-1813).

INTRODUCTORY

I. FAMILY HISTORY.—Excise-officer Gottlob Friedrich Wagner and his forefathers—“Urahnherr war der Schönsten hold.”—Leipzig after the Seven-years War.—Friends and descendants of G. F. Wagner

II. ADOLF WAGNER.—Years of study at Leipzig and Jena.—Friendship with Arnold Kanne and Joh. Falk.—“Two Epochs of Modern Poetry.”—Personal and literary connections: August Apel, Wendt and Brockhaus.—Apel’s “Polyidos.”—Translations and original poems

III. FRIEDRICH WAGNER.—Birth and childhood.—Impressions derived from Schiller’s works.—Legal studies and general culture.—“Gerichtsaktuarius” Wagner in Leipzig amateur theatricals.—Marriage with Johanna Bertz.—Friends of the house.—A quiverful.—The “Maid of Orleans” and “Bride of Messina”

IV. LUDWIG GEYER.—Friendship of F. Wagner and L. Geyer.—Geyer’s youth: taste for painting.—Talent for playacting.—Years of wandering, with military interludes: Magdeburg, Stettin, Breslau.—Return to Leipzig; engagement in the Seconda company.—Relations with the Wagner family

FIRST BOOK: CHILDHOOD AND YOUTH (1813-1833).

I. THE YEAR 1813.—The King of Prussia’s call to arms and Germany’s uprising.—Birth of Richard Wagner.—E. T. A. Hoffmann at Leipzig.—Geyer at Dresden and Teplitz.—The October-days: “Napoleon without a hat.”—Friedrich Wagner’s death.—Jean Paul’s prophecy

II. REMOVAL TO DRESDEN.—Fresh troubles.—Geyer weds the widow.—Removal to Dresden.—Dresden’s pigtailery.—Company at Geyer’s house: puppet-plays and comedies. Débuts of Louise and Rosalie.—Richard’s infancy

III. GEYER’S LAST YEARS.—Relations with K. M. v. Weber.—The “German Opera.”—Starring at Prague and Leipzig.—Occupation as painter.—Comedy “The Slaughter of the Innocents.”—Albert and Rosalie.—Failing health.—Representation of his comedy.—Journey to Breslau.—Illness and death

IV. RICHARD WAGNER AS CHILD.—First journey.—Impressions of Eisleben.—Return to Dresden.—Admission into the Kreuzschule.—The new suit.—Sister Cäcilie as playfellow.—Dread of ghosts.—Loschwitz: tale of a pumpkin.—Love of Nature and dumb animals.—“The history of my dogs.”—Affection for his mother

V. THE KREUZSCHüLER.—Enthusiasm for classical antiquity.—Adventure on the roof of the Kreuzschule.—Weber and “Der Freischütz.”—First music-lessons.—Hankering after theatricals.—Clara’s début as singer.—First attempts at poetry.—Weber’s death.—Homer and Shakespeare.—Confirmation.—The great Tragedy.—Changes in the household.

VI. LEIPZIG.—Quarters in the “Pichhof.”—Louise’s artistic successes.—She marries Friedrich Brockhaus.—Uncle Adolf and aunt Sophie.—The S. Nicholas School.—Beethoven’s Symphonies and “Egmont” music.—Richard resolves to become a musician.—Intercourse with uncle Adolf.—Reading Hoffmann.—First lessons in harmony

VII. LEIPZIG COURT-THEATRE, AND JULY-REVOLUTION.—Court - theatre at Leipzig.—Goethe’s Faust: Rosalie Wagner as Gretchen.—Auber’s Muette: Rosalie as Fenella.—Rossini’s Tell.—The July Revolution makes Richard “a revolutionary.”—Leipzig riots.—From the Nicholas to the Thomas School.—Overtures for grand orchestra.—Performance of the “big drum” overture at the Court-theatre.—Transference to the University

VIII. THE STUDENT OF MUSIC—The university.—A “smollis” offered to the Senior of the Saxonia.—Student excesses.—Return to music.—Study with Weinlig: his method.—Immersed in Beethoven.—Personal relations.—Three overtures.—Polish emigrants.—Overtures in D minor and C at the Gewandhaus

IX. THE C MAJOR SYMPHONY.—Composition of the Symphony in C: its construction and themes.—Journey to Vienna: “Zampa” and Strauss’s waltzes.—Prague: Dionys Weber has the Symphony played by his Conservatoire pupils.—Mozart traditions.—Tomatschek; Friedrich Kittl.—“Die Hochzeit.”—Return to Leipzig.—Heinrich Laube.—“Kosziusko” text.—Performance of the Symphony at the Gewandhaus.—Departure for Würzburg

SECOND BOOK: STRAYINGS AND WANDERINGS (1833-1843).

I. WURZBURG: “DIE FEEN.”—Albert Wagner.—Richard as Chorus-master.—Birth of “Die Feen”; text and music.—“You have only to dare!”—The “Vampyr” aria.—Performances at the Wurzburg Musical Union.—Completion of “Die Feen.”—Return to Leipzig

II. “DAS LIEBESVERBOT.”—Return to Leipzig.—“Feen” negotiations.—Director Ringelhardt and Regisseur Hauser.—Representation postponed.—Schroder-Devrient as Romeo.—Article on “German Opera”: against “learnedness in music.”—Relations with Robert Schumann.—Poem of “Das Liebesverbot” written at Teplitz.—Off to Magdeburg

III. MAGDEBURG.—Lauchstädt and Rudolstadt.—Symphony in E.—Magdeburg.—Apathy of the Public.—Last fortunes of “Die Feen.”—New Year’s music.—Columbus-overture.—Betrothal to Minna Planer.—The “Schweizerfamilie” at Nuremberg.—Death of uncle Adolf.—Auber’s “Lestocq.”—Performance of “Das Liebesverbot”

IV. ROSALIE WAGNER.—External straits.—Leipzig: attempts to get “Das Liebesverbot” accepted.—Solicitude of sister Rosalie.—Her temporary eclipse as actress.—Rosalie’s marriage with Oswald Marbach: birth of a daughter, and the mother’s death

V. KöNIGSBERG.—Berlin disappointments.—Königsberg.—Letter to Dorn.—Draft of “Die hohe Braut” despatched to Scribe for Paris.—Marriage with Minna Planer.—“Rule Britannia” overture.—Concerts in the crush-room.—Incidental music to a play.—Relations with A. Lewald.—Dresden: Bulwer’s “Rienzi”.

VI. RIGA.—First impressions.—Dorn, Löbmann, Karl von Holtei.—Wagner’s endeavours to obtain good performances.—Amalie Planer.—National hymn “Nikolai.”—Bellini’s “Norma,” and reflections thereon.—Removal to the suburbs.—Concert in the Schwartzhäupter Haus.—“Comedians’ ways.”—Longing to escape from narrow bounds

VII. “RIENZI, DER LETZTE DER TRIBUNEN.”—“Rienzi” as drama.—Impressions during the first spell of composition: Méhul’s “Joseph.”—Dorn on the inception of the Rienzi-music.—Dorn’s “Schöffe von Paris.”—Letter to August Lewald.—Loneliness at Riga; compassion for a young delinquent; the Newfoundland dog Robber.—Wagner replaced by Dorn

VIII. FROM RIGA TO PARIS.—Difficulties of leaving Russia.—Last performances at Mitau.—Crossing the Russian frontier.—Embarcation at Pillau.—Norway: the Sound and the “Champagne-mill.”—London.—Arrival at Boulogne.—Meyerbeer.—Paris at the end of the thirties.

IX. FIRST PARISIAN DISAPPOINTMENTS.—Introductions.—Meeting with Laube; dinner at Brocci’s; Heinrich Heine.—Pecht, Kietz, Anders, Lehrs.—Grand Opéra and Théâtre des Italiens.—Conservatoire de Musique: Ninth Symphony.—Scribe and Berlioz.—Composition of French romances.—Fortunes of the “Liebesverbot” at the Renaissance theatre.—A “Faust” overture.—Removal to Rue du Helder.—Bankruptcy of the Renaissance

X. COMPLETION OF “RIENZI.”—Return to “Rienzi.”—Musical hack-work.—“Der fliegende Holländer” for the Grand Opéra.—Friendship of the needy: evening reunions at Wagner’s.—Contributions to the Gazette Musicale.—Meeting with Liszt.—“Rienzi” finished.—More journeyman-work.—Napoleon’s re-interment.—New Year’s eve.

XI. “DER FLIEGENDE HOLLANDER.”—“An End in Parish.”-Failure of the Columbus-overture.—News-letters to the Abendzeitung.—Projected Life of Beethoven.—Henri Vieuxtemps, Schindler, Liszt.—...

Table of contents

• Cover
• Half Title
• Title Page
• Copyright Page
• Preface
• Contents of Volume I
• Prænatalia. (1769-1813.)
• Introductory
• First Book: Childhood and Youth. (1813-1833.)
• Second Book: Strayings and Wanderings. (1833-1843.)
• Appendices
• Index