Robert C. Bagar

“ In the meantime the Goddess of Love, balked by all this, plans revenge. The Love Potion, which had been intended for the king in order to insure the marriage, is given to Tristan and Isolde to drink, a circumstance which “... opens their eyes to the truth and leads to the avowal that for the future they belong only to each other.... The world, power, fame, splendor, honor, knighthood, fidelity, friendship, all are dissipated like an empty dream. One thing only remains: longing, longing, insatiable longing, forever springing up anew, pining and thirsting. ”

“ The young hero Siegfried is left to his own thoughts by the dwarf Mime. The rustling of the leaves is first heard in D minor, then in B major. Siegfried is daydreaming. He ponders on the question of his origin. He knows that he is not of Mime’s blood, and the clarinet, paralleling, and explaining the idea, intones the theme of the Volsungs.
As his thoughts turn to his mother the Love-Life motive emerges through the ’cellos and violas and double basses, next in all the strings, and finally horns and bassoons take it over. ”

“ Now throbs the heart with the pain of ecstasy, now with the heavenly joy which agitates the breast of the beholder; with irresistible might all the repressed germs of love rise up in it, stimulated to a wondrous growth by the vivifying magic of the vision ”

“ It is not a new world, nor is it a brave one, except through the promise of humanity’s elevation. With Tristan und Isolde he rises to metaphysical heights in his argument. The theme generally is again renunciation, the attaining of perfection and solace through it. One comes upon it again in Die Meistersinger, in The Flying Dutchman, in Parsifal, and so on.
Yet for an artist whose works so idealized all that is good and lofty and noble, Wagner did little in his own life that could possibly approach those superior motives. ”

“ Emancipating itself from barren care for gain and possession, the sole arbiter of all worldly intercourse, the human heart’s unquenchable love-longing, again at length craved to appease a want which, the more warmly and intensely it made itself felt under the pressure of reality, was the less easy to satisfy on account of this very reality. ”

“ As the Pilgrim’s Chant draws closer, yet closer, as the day drives farther back the night, that whir and soughing of the air—which had erewhile sounded like the eerie cries of the soul condemned—now rises, too, to ever gladder waves; so that when the sun ascends at last in splendor, and the Pilgrims’ Chant proclaims in ecstasy to all the world, to all that lives and moves thereon, Salvation won, this wave itself swells out the tidings of sublimest joy. ”

“ These are the Venusberg’s seductive spells, that show themselves at dead of night to those whose breast is fired by the daring of the senses. Attracted by the tempting show, a shapely human form draws nigh; ’tis Tannhäuser, Love’s minstrel.... ”

“ In a letter dated June 25, 1870, Wagner wrote of his wife Cosima, “She has defied every disapprobation and taken upon herself every condemnation. She has borne to me a wonderfully beautiful boy, whom I call boldly Siegfried; he is now growing, together with my work [he was working then on the opera Siegfried; hence the name] ; he gives me a new long life, which at last has attained a meaning. Thus we get along without the world, from which we have wholly withdrawn.”
The composer wrote the music of the Idyl—originally called the Triebschen Idyl—as a birthday gift for his wife. ”

“ As for the Prelude, Wagner himself has written an interesting analysis, which is here appended:
“The opening theme for the ’cellos has already been heard in the third strophe of Sachs’ cobbler-song in Act II. There is expressed the bitter cry of the man who has determined to renounce his personal happiness, yet who shows the world a cheerful, resolute exterior. That smothered cry was understood by Eva, and so deeply did it pierce her heart that she fain would fly away, if only to hear this cheerful-seeming song no longer. ”

“ The ethical essence of Parsifal has thus been expressed: “Enlightenment coming through conscious pity brings salvation.” Wagner, whose earlier music-dramas each revolved about some idée fixe of philosophical or moral implication, brought to Parsifal, besides, religious elements derived from the twin sources of Christian doctrine and Buddhism. Some years before he had done the sketch for a play on the subject of Jesus of Nazareth, and, parenthetically, it is quite likely that he had no intention to write music for it. ”

“ The duet in the last act of the opera between Wotan and Brünnhilde is one of the most moving sequences in all Wagner.
The Ride of the Valkyries is an excerpt from the music which leads into Act III, made into a concert piece by Wagner himself. A great rock dominates the scene in the opera. It is the Valkyr Rock where now the maidens are gathering. Fully equipped in shining mail, carrying spears and shields, they ride swiftly through the storm. ”

“ The youth’s only answer is to clutch at his heart and shake his head. Gurnemanz, who by this time is convinced that Parsifal is truly a fool, sends him away angrily and then follows the Knights out the door. From somewhere above an unseen singer delivers the motive of the Pure Fool. The theme of the Grail is sung by still other voices. ”

“ The day of the performance drew nigh and in most circles little good will was confessed. It was stated generally that a protest should be made against the abominable futurist music, and it was rumored that stormy scenes might be expected at the Opera. In the clubs men were annoyed because Wagner would not have a regular ballet, but only a few poses of the ballerinas in the Venusberg. The club subscribers to the Opera expected a ballet at nine-thirty sharp, no matter what the opera. ”

“ On October 20, 1842, Rienzi was given its world première at the Royal Saxon Court Theater, Dresden. Amusingly, the performance began at 6 P.M., and it went on and on until midnight. America was not to become acquainted with the opera until March 4, 1878, when it was given at the Academy of Music, New York.
The thematic material employed in the Overture stems from music in the opera itself, such as the “long-sustained, swelled and diminished A on the trumpet,” which is the signal for the people’s uprising against the nobles; Rienzi’s Prayer; a theme of the chorus, Gegrüsst sei hoher Tag ”

“ No one who knew anything of art could conceive where a ballet could be introduced into the midst of ‘Tannhäuser.’ Wagner declared that he would not accede to the silly wishes of the subscribers, because he could not. ”

“ Shall we call it death? Or is it the hidden wonder-world from out of which an ivy and vine, entwined with each other, grew upon Tristan’s and Isolde’s grave, as the legend tells us?”
36
The Prelude, A minor, 6-8, makes a very gradual and long crescendo to a mighty fortissimo, followed by a briefer decrescendo, which leads to a whispered pianissimo. Free as to form and ever widening in scope of development, it offers two chief themes: a phrase, uttered by the ’cellos, is united to another, given to the oboes, to form a subject called the “Love Potion” theme, or the theme of “Longing.” ”

“ Like the hero’s career in the opera, it begins, as it were, in the clouds, then gradually descends farther and farther until it embraces all the lower tones of the orchestra, and then returns to the clouds again. Its single theme is developed in free polyphony by various successive groups of instruments, each of which groups proceeds with free counter-thematic work as the next group enters with the theme. First we have the violins piano in their higher registers; then come the flutes, oboes, and clarinets; then the violas, ’cellos, horns, bassoons, and double-basses ”

“ It makes no boast about originality, particularly since the bulk of the material involved stems from any number of treatises on the subject of Wagner and his music.
1 Wagner
AND HIS MUSIC-DRAMAS
No artist has known a fiercer urge to create than Richard Wagner. None has labored more mightily to indoctrinate mankind with his convictions. None has been more scathing in his contempt of reaction, of pretense, of outdated mannerisms. ”

“ It is taken up by trumpet, oboes, and half the first and second violins to the accompaniment of arpeggios in the violas and the other violins, and chords for flutes, clarinets, and English horn with the bassoons and horns sustaining harmony notes. After a series of broken chords, the trombones and trumpets announce a second theme, the Grail motive, which is a phrase long known as the Dresden Amen of the Saxon liturgy. There is a change of tempo to 6-4 with the entrance of a third theme, that of Faith. Its first figure is frequently repeated against changing harmonies. ”

“ The wound may be cured only by being touched with the point of the Spear held by a Guileless Fool, a youth who can withstand all temptation. This youth, of course, is Parsifal, a forest lad who enters into the picture through having killed a swan sacred to the Grail. Parsifal is made to go through the rituals prescribed by the libretto ”

“ It is interesting to note that these excerpts from Parsifal represent the only ones authorized by Wagner for concert performance.
Good Friday Spell from “Parsifal”
The Good Friday Spell is placed at the end of the first scene in Act III of the opera. Gurnemanz is now an old hermit who lives in a humble abode at the edge of a forest. He comes out of the hut when he hears a groaning sound in the distance. Presently Parsifal arrives. He is a knight clad in black armor, carrying the sacred spear and a buckler. He is weary. ”

“ A certain other knight, Klingsor, sinful and scheming, enraged against the Knights for having been denied admission to the Brotherhood, has built a magic garden, whose many charms have proved strong enough to tempt several of the weaker-willed Knights. Amfortas, king of 43 the Grail, is one of these. He has fallen victim to the wiles of Kundry, a creature of Klingsor. The latter has seized the Spear from Amfortas and has humiliated him further by wounding him with it. ”

“ At Triebschen he completed Die Meistersinger, Siegfried, and the first two acts of Götterdämmerung, besides writing any number of treatises, articles, and the like. Here, too, the idea of a great festival theater was born in him, and the originality of the thing soon won many influential supporters to the cause. By 1871 a site was found for it at Bayreuth, Germany. The next year he put the finishing touches to the Ring and the Bayreuth project grew in proportion to his frantic efforts to raise money for it. In all, it took some four years to erect this shrine to Wagnerian music. ”

“ However, the composer’s enemies had bought out the house and the result was the same. Whereupon Wagner withdrew his score. Tannhäuser was not given again in Paris until thirty-four years later.
Prelude to “Lohengrin”
In the summer of 1845, while Wagner was at Marienbad, he worked out the plan for Lohengrin. The libretto he wrote during the following winter. Then came a topsy-turvy scheme of creation. In composing the music he began with the hero’s Narrative in the last act, “because 22 the monologue contained the most significant musical germs in the whole score.” ”

“ This compact and brilliantly written Overture calls for the following instrumentation: piccolo, two flutes, two oboes, English horn, two clarinets, four horns, two bassoons, two trumpets, three trombones, bass tuba, kettledrums, harp, and strings.
John Runciman once remarked about this music, “It is the atmosphere of the sea that counts; the roar of the billows, the ‘hui!’ of the wind, the dashing and plunging.... ”

“ Because he is a likeable young man, he is given permission to enter the contest. Another contestant is Beckmesser, the town clerk, who attempts to bring Walther to ruin.
However, Walther and Eva have confessed their love for each other to Hans Sachs, a cobbler, who happens also to be in love with Eva. ”

“ The first concert performance of this well-known Overture took place at Leipzig, on February 12, 1846, under the direction of Mendelssohn. The event was a benefit for the Gewandhaus Orchestra Pension Fund. ”