Neumann, Angelo, 356
New Grove Dictionary of Music, 209, 346
Newman, Ernest: on musicality of Tristan, 210; on Tristan as Schopenhauerian, 223–4; on RW's unwritten opera Die Sieger, 225; on RW's creative powers, 258; on RW's mystical-metaphysical thinking, 282; The Life of Richard Wagner, 134, 142; Wagner Nights, 210, 225, 265, 283
Newton, Sir Isaac, 44, 63, 192
Nibelung myth: and social injustice, 58
Nietzsche, Elisabeth (Friedrich's sister) see Forster-Nietzsche, Elisabeth
Nietzsche, Friedrich: friendship with RW, 14, 80–81, 286–8, 293–7, 300–305, 311, 317, 332, 338–41; and will to power, 74, 318–19; attacks RW, 80–81, 287, 290, 319–30, 337; breach with RW, 81, 287, 291, 295, 302, 304, 310–12, 330, 332–3, 337–8, 342, 353; adopted by Nazis, 82; on RW as actor, 85, 323–4, 340; and Greek drama, 86, 296–9, 303, 305; letter from Cosima Wagner, 139; studies and reveres Schopenhauer, 142, 291–2, 294–5 301, 302–3; on RW's committal to Schopenhauer, 173, 277–8; discusses Schopenhauer with RW, 176, 277, 286, 293; self-awareness, 238; criticizes RW for belief in theatre's social role, 285; background and career, 289–90, 293, 312; ill-health and mental decline, 289, 313, 342; musical interests, 290–93; devotion to Cosima Wagner, 295–6, 328, 337; on Dionysian and Apollonian/ Romantic, 296, 298, 323; proposes founding community of elect, 300; contrast between mild manner and aggressive writing, 301; on RW's operas, writings and character, 307–10; reacts to RW's worldly success, 310–11; writings, 313–14, 342; philosophical ideas, 315–19; pronounces death of God, 315; concept of superman, 317; renounces Schopenhauer's philosophy, 318–19; misses RW's works in performance, 325–6; ambiguous attitude to RW, 327–9, 334; disparages great men, 328–9; hostility to Christianity, 330–31; dislike of theatre, 331; frustration at lack of recognition, 333–4; praises RW, 334, 341; RW believes threat of blindness caused by masturbation, 335–8; on RW's paternity, 339–40, 358–60; as source of information on RW, 339–40; on RW's paranoia, 344; on RW's lack of pride, 346; abandons anti-semitism, 354; criticizes RW's anti-semitism, 374; Also Sprach Zarathustra (Thus Spake Zarathustra), 290, 314, 341; Beyond Good and Evil, 314, 327; The Birth of Tragedy, 80, 297–301, 312, 331; Dawn, 314; Ecce Homo, 310, 314, 316, 327, 341; The Gay Science, 314, 323; The Genealogy of Morals, 314; Götzendämmerung (Twilight of the Idols), 312, 314–15, 329, 359; Human, All Too Human, 306, 341; Nietzsche Contra Wagner, 312, 319, 329; Richard Wagner in Bayreuth, 307, 309, 324–5; Schopenhauer as Educator, 292; Thoughts out of Season, 302; Untimely Meditations, 307; The Wagner Case, 312, 321, 323–4, 327–9, 331, 358–9
Oedipus myth, 85
On Franz Liszt's Symphonic Poems (RW), 187
On the Term Music-Drama (RW), 212
opera: preeminence of music, 7–8, 211–12, 229–30; libretto, 8–10; RW's conception of as musical drama, 87–90, 93, 175, 195, 228, 230, 232, 238, 240, 246, 250, 259; Schopenhauer on, 171–2; improvisation in performance, 234–5
Opera and Drama (RW), 13, 81, 103, 195, 201, 205, 228–9, 232, 240, 247–8, 256, 259, 262, 296
orchestra: functions as Greek chorus, 91–2, 201, 203, 232; predominance in The Valkyrie, 197–9; in Siegfried, 198–201, 260; in The Mastersingers, 249–50, 260, 262; predominance in Götterdämmerung, 262; in Parsifal, 274–5
Oxenford, John: Iconoclasm in German Philosophy, 148
Paris: RW's degradation in, 66, 71, 344–6; cultural dominance, 72
Parsifal (character), 264–5, 268–72
Parsifal (RW): compassion (Mitleid) in, 2, 215, 251, 267–9, 273, 283; composition, 13, 21, 133, 224, 264, 276, 288, 312; character development in, 105–7; influence of Schopenhauer on, 129, 140, 193, 196, 212, 225, 264–5, 273, 276–8; and redemption, 137, 269, 272; and religious faith, 192, 278, 280, 282–4, 331, 339; freedom from tonality, 209–10; and denial of individual sexuality, 223; Buddhistic influence, 225, 282–4, 329; text in, 231, 240; story and action, 265–70, 272, 276; sources, 270–72; renunciation of will in, 273–5; orchestral qualities in, 274–5; leitmotifs, 275; metaphysical elements, 276–8; individuality, 277; supposed racist and anti-semitic content, 279–80, 379; as theatrical work, 285; Nietzsche's hostility to, 290, 319–20, 325, 329, 331, 339; première, 311, 333, 356; influence of Nietzsche on, 319; Nietzsche first hears and admires, 325, 327; Hitler dislikes, 366; Nazis' disapproval of, 366
patriotism, 70–71
Pedro II, Emperor of Brazil, 77
Pindar, 303
Plato, 119, 129, 145, 170, 291
Pogner (character), 244–5
Ponte, Lorenzo da, 10
Popper, Sir Karl: The Open Society and Its Enemies, 113
Porges, Heinrich, 356
Porter, Andrew, 18
property: RW's attitude to, 42, 118, 122, 348
Proudhon, Pierre Joseph, 35–6, 46, 64, 355; What is Property?, 42
Puccini, Giacomo, 365
Racine, Jean, 332
rape, 117–20
Rape of the Rhinegold, The (RW; excerpt), 117
reality: human experience of, 153–9, 161; and noumenon, 163–4; RW's idea of, 174–5, 192
redemption: RW's notion of, 137, 178, 190–91, 269, 272
Reiner, Fritz, 356
religion: Feuerbach's view of, 42, 49–50, 52–5, 65, 111, 122, 283; RW on as human construct, 52–3, 122, 191–2, 278, 280–84; Schopenhauer's view of, 167–9, 191–2, 278, 280–81
Religion and Art (RW), 281
revolutions of 1848–9, 42–3, 46, 65, 75
Rhinegold, The (RW): composition, 13, 66, 110, 175, 225, 243; gods in, 54; première, 76, 117, 130; expository function, 108; loss of freedom in, 113; use of force in, 116; socio-political content, 127; as apprentice work, 130–31; coldness and inhumanity, 131–2; embodies RW's operatic theories, 133, 175, 185, 195, 231; orchestral finale, 197; leitmotifs in, 199, 260; and RW's self-consciousness, 239; staged, 256
Rienzi (RW), 12, 20–21, 38, 195, 346
Ring of the Nibelung, The (RW): composition, 13, 103, 108, 127, 130, 201–2, 243, 256–7, 259; and anarchistic ideas, 38, 41, 118–19, 126, 240, 257, 285, 311; and final destruction, 40, 107, 179–82; and liberation through love, 50; RW writes libretto, 51, 56, 68, 90, 102–3, 108–9, 126, 130, 179–81, 187, 189–90, 202, 257, 259; Feuerbach's ideas in, 54–5, 181, 355; on art and revolution, 58–60, 263; divided views on qualities of, 74–5; characterization in, 85; and RW's social vision, 87; leading ideas, 102–3; presentation, 105; structure and division, 108–10; title, 109; Nature in, 110–11, 120; power in, 111–16; conflict of social and humane values in, 113, 119; rape and violation in, 117–20; sexual relationships in, 117–18, 120; philosophical ideas in, 123, 130; and RW's changing views, 127, 201–2; musicalized speech in, 130; incorporates Schopenhauer's ideas, 179–82, 259; repudiation and redemption in, 190; text, 231; staging, 256; leitmotifs in, 257, 259–61; gods in, 284; Nietzsche on, 307, 322; world première at Bayreuth, 310; Dr Eiser writes on, 334; Porges records rehearsals of, 356; Nazis' attitude to, 366; supposed anti-semitism in, 374, 377; see also Götterdämmerung; The Rhinegold; Siegfried; The Valkyrie
Röckel, August: conducting post in Dresden, 38; political activism, 38, 42; and RW's creation of Siegfried character, 58, 189; and RW's views on sexual love, 121; in prison, 185, 189; RW confesses influence of Schopenhauer to, 185; and RW's understanding of own artistry, 187–9
Röckl, Sebastian: Ludwig II und Richard Wagner, 236–7
Rohde, Erwin, 292–4, 300, 307, 313, 330–31
romanticism: and erotic, 24
Romundt, Heinrich, 331
Rose, Paul Lawrence: Wagner, Race and Revolution, 373, 377
Rossini, Gioachino Antonio, 12, 18
Rousseau, Jean-Jacques, 328
Royal Philharmonic Society, 147
Rubinstein, Joseph, 356
Sabor, Abraham, 357
Sabor, Rudolph, 357
Sachs, Hans (character), 106, 244–7, 251–4
Saint-Simon, Henri de, 24
Schelling, Friedrich Wilhelm Joseph von, 96, 98, 134, 145, 301; System of Transcendental Idealism, 94
Schlesinger, Gustav, 94–5
Schoenberg, Arnold, 290, 356; Verklärte Nacht, 356
Schopenhauer, Arthur: admiration for Bellini, 28; influence on RW, 32, 40, 64, 76, 123, 128–9, 133–44, 149–51, 172–3, 174–6, 182–3, 185–6, 189–93, 194–7, 203, 205, 212, 224–6, 229, 231, 243–4, 251, 264, 276–8, 282, 322, 339; influence on Nietzsche, 80, 291–2, 294, 301, 302–3; influence of Kant on, 129, 138, 145, 152, 159, 162, 169, 191; literary style, 129, 143, 145, 314; RW sends Ring libretto to, 136, 149–50; RW promotes, 138–9; career and reputation, 144–8; RW defers to, 150; view of RW's talents, 150; philosophical ideas, 152, 156–7, 159, 162–72, 190, 191, 218; differs from Kant on noumenon and phenomenon, 162–4, 231; attitude to religion, 163, 167–9, 191–2, 278, 280–81; and Eastern religions, 164–6, 226, 252, 329; pessimism and misanthropy, 165–7, 184; on metaphysics of sex, 169–70; and experience of art, 170–71; on music, 170–71, 176, 185, 206–7; Nietzsche discusses with RW, 177, 277, 286, 293; ideas incorporated in The Ring, 179–82, 259; similarity of personality with RW's, 184; influence on Wittgenstein, 191; on humans as embodiments of metaphysical will, 206–8, 215, 231, 252, 308; on love and death, 221–2; refers to other writers, 226; on human history as conflict of egos, 251; on dreams, 253–4; Nietzsche renounces philosophy of, 318–19, 329; Nietzsche considers Romantic, 323; and Jewish Question, 373; Manuscript Remains, 170; On the Basis of Morality, 146; Parerga and Paralipomena, 146, 292; The World as Will and Representation, 133–4, 137, 144, 149, 156–7, 171–2, 192, 198, 205–6, 221, 225, 244, 252, 280–81, 291, 322
Schubert, Franz, 233
Schumann, Robert, 290–91, 304, 347,
Scott, Sir Walter, 138
Semper, Gottfried, 42
Senta (character), 249
sex: Schopenhauer on, 169–70
sexual love see love
Shakespeare, William: plays as source of operas, 9; artistry, 15; evil in, 78–9; characters in, 83–5; RW idealizes, 193; sources, 213; nationalism, 223; as man of theatre, 234, 332; and improvisation, 235; status, 326; Henry V, 78; Measure for Measure, 25; The Merchant of Venice, 79, 371
Shaw, George Bernard, 99, 104, 124, 142, 231, 262, 326
Shylock (Shakespeare character), 79, 371–2
Sibelius, Jan: Seventh Symphony, 236
Sieger, Die (The Conquerors; RW; projected opera), 225, 283
Siegfried (RW): composition, 13, 103, 133, 138, 196, 198, 202–3, 224, 259, 294; the Wanderer in, 28; title, 109; role of orchestra in, 198–201; leitmotifs, 199–200; RW abandons for Tristan, 204, 243, 264
Siegfried (character): creation of, 58; death, 103; relations with Brünnhilde, 104, 117, 120, 322; life story, 105; and Wotan, 106, 111; destruction of, 180; growing awareness, 270; Nietzsche on, 321–2
Siegfried Idyll (RW), 295
Siegfrieds Tod (RW), 103–4, 110, 242
Sieglinde (character), 111, 117–18, 120
Siegmunde (character), 111, 117–18, 120
socialism: as ideal, 59–61; and means of production, 61–2
Socrates, 299, 316, 328–9, 359
Solti, Sir Georg: Solti on Solti, 357
Sorrento (Italy), 311
Soviet Union: anti-semitism in, 69
Spontini, Gasparo Luigi Pacifico, 12
Spotts, Frederic: Bayreuth: A History of the Wagner Festival, 365–6
Staël, Anne Louise Germaine Necker, baronne de, 369
Stein, Jack: Richard Wagner and the Synthesis of the Arts, 176, 200, 259–60
Strauss, Richard, 10–11, 21, 326; Also Sprach Zarathustra, 290; Capriccio, 11; Guntram, 11; Intermezzo, 11
Strindberg, August, 332
Switzerland: RW's exile in, 34, 51, 68, 149, 202
Symbolist movement, 99
Tannhäuser (character), 270
Tannhäuser (RW): composition, 13; distinctive sound, 18; popularity, 20; sexuality in, 26–7; repudiation of the world, 178, 190, 219; and The Mastersingers, 242–3; first produced, 243; Nietzsche on, 297; Heine influences, 355
Tausig, Carl, 255–6
Taylor, Ronald: Richard Wagner: his Life, Art and Thought, 134
Tietjen, Heinz, 366
Tippett, Sir Michael, 11
tonality (musical), 207–10
Toscanini, Arturo, 342
tragedy: Nietzsche on, 297–9
Tristan (character), 211, 214, 218–22, 253, 270
Tristan and Isolde (RW): composition, 13, 66, 124, 133, 203–4, 205, 224–5, 228–9, 232–3, 242–3, 259, 264; music and libretto in, 16, 210–12, 217, 220, 222, 224, 230, 231, 239, 240, 250; distinctive sound, 17, 208–9; sexuality in, 26–7, 215; première, 76, 236, 288; influence of Schopenhauer on, 129, 136, 138, 140, 150–51, 193, 195–6, 203, 205, 217–19, 222, 223–4, 276; innovative nature, 131; Verdi on, 192; love in, 208, 214–16, 218, 221–2; opening chord, 208–10; story and action, 213–18, 221, 267, 270, 276; day and night imagery in, 217–20; leitmotifs and themes, 220–21; rehearsals, 236; and Sehnen, 251; musically quoted in The Mastersingers, 253; staged, 256; and composition of Parsifal, 264–5, 272; worldly elements, 278; Nietzsche on, 290, 307–8, 327, 329; effect on Toscanini, 342; and anti-semitism, 373
Tynan, Kenneth, 321
Unbeauty of Civilization, The (RW; projected), 111
Valk, Frederick, 372
Valkyrie, The (RW): composition, 13, 66, 104, 133, 136, 149, 195–200, 225, 243; sexuality in, 26–7, 117; premiére, 76; and political compromise, 115; love and power in, 120, 208; emotional content, 132–3; humans introduced, 132; predominance of music in, 197–9, 239; leitmotifs in, 199–200, 260; staged, 256
‘Venice Diary’ (RW), 282
Verdi, Giuseppe: early works, 18; collaboration with Boito, 21; supports Italian national unification, 68, 124; on Tristan and Isolde, 192; religious disbelief, 282; played in Nazi Germany, 365; Falstaff, 196; Otello, 196
Vigny, Alfred de, 217
Volksblätter (journal), 42
Vossische Zeitung, 148
Wagner, Albert (RW's eldest brother), 96
Wagner, Cosima (RW's second wife): marriage to RW, 14, 19, 256, 341; on RW's views on Jews, 40; RW tells of revolutionary attitudes, 42; on impact of Schopenhauer on RW, 139; on resemblance of Schopenhauer to RW, 184; and RW's theatrical bent, 237; refers to RW as ‘the Maestro’, 293n; and birth of son Siegfried, 295; Nietzsche's devotion to, 295–6, 328, 337; RW tells about dream of Mendelssohn, 353–4; Diaries, 73, 129, 139, 143, 150, 180, 196, 284, 376
Wagner, Friedelind (RW's granddaughter): The Royal Family of Bayreuth, 370
Wagner, Minna (née Planer; RW's first wife): character, 14; marriage to RW, 20, 25; encourages RW's writing, 51; RW supports, 66; marriage fails, 202–3, 243; shocked by RW's anti-semitism, 343
Wagner, Richard: changing political attitudes, 1–3, 29–32, 34, 75–6, 126, 240, 257, 263, 366; vegetarianism, 2; in Dresden uprising (1849), 4, 14, 33–4, 39, 43, 51; biographical outline, 11–17; writes own libretti, 11; evolves new operatic form, 12–13; borrowings and debts, 14, 202, 243, 256, 347, 357; marriages and illegitimate children, 14, 19, 256; relations with Nietzsche, 14, 80–81, 286–8, 290–91, 293–7, 300–307, 311–12, 332, 338–41; study and reading, 15; on writing music and libretti, 15–17; creative genius, 17–18, 123–4, 184–5, 258–9; early acomplishments, 18–19; sense of difference from others, 19; suicidal inclinations, 19, 183; importance of erotic to, 20; intuitive powers, 20–1, 180–82, 188–91, 195, 233, 258–9; self-belief, 21–2; intellectual qualities, 23–4, 287; reading, 23–4, 35; writings, 23, 33–4, 87, 98–100; in Young Germany movement, 25, 64, 122; on sexual love, 26–7, 93–4, 121; Schopenhauer's influence on, 32, 40, 64, 76, 123, 128–9, 133–44, 149–50, 172–3, 174–6, 182–3, 185–6, 189–93, 194–7, 203, 205, 221–2, 224–6, 229, 231, 243, 264, 277–8, 282, 322, 339; on role of art in life, 33–4, 58, 60, 77, 177, 186, 284–5; political exile in Switzerland, 34, 51, 68, 149, 202; appointed Kapellmeister in Dresden (1843), 38; early political activism, 38, 40, 240; anti-semitism, 40, 68–9, 71, 73, 77, 81–2, 141,279–80, 343–80; destructive urges, 40–42, 64, 66; advocates revolution and change, 41–2, 57–90, 64, 68, 122, 126, 177; Feuerbach influences, 48, 50–52, 54, 64–5, 122, 126, 133–4, 283, 320; and religious belief, 52–3, 122–3, 191–2, 278, 280–84; early beliefs and values, 56–61, 66–7; utopianism, 59; personal poverty and lack of resources, 65–6, 344–5; sexuality, 66; image and reputation, 68, 76–82; nationalism, 69–73; paranoia and persecution-mania, 71, 344–5; metaphysical interests, 76; devotion to Greek culture, 80–81, 84, 86–7, 176–7, 193, 296; Nietzsche attacks, 80–81, 287, 290, 319–30, 337; Nietzsche's breach with, 81, 287, 291, 295, 302, 304, 310–12, 330, 332–3, 337–8, 342, 353; on art and inner life, 83; characterization in operas, 83–5; acting abilities, 85, 237, 323–4, 340; anti-Christian views, 93–4, 191–2, 329, 339; early interest in philosophy, 94–6; literary turgidity, 95, 97–8; and theoretical system, 99–100; maturation as artist, 105–7; use of leitmotifs, 115–16, 199–200, 202, 257, 259–62, 275; conflict over established social institutions, 118–19, 122, 348; confused reactions to, 124–5; disillusionment with politics, 127–8, 186; depression, 128; idea of reality, 174; as embodiment of will, 183; pessimism and frustrations, 183–4, 186; conducting, 184; similarity of personality to Schopenhauer's, 184; on understanding of own art,187–9, 238; accused of megalomania, 193; plans to write symphonies, 196, 235–6; first marriage failure, 203, 243; ill-health, 203; musical innovation, 208–9; and improvisation, 233–5; at rehearsals, 236; eccentric behaviour, 236–7; reputation established, 256; second marriage (to Cosima), 256; and assertion of will, 274; death, 276, 333–4; attends Christian communion, 278–9; on suffering and compassion, 282–3; domineering personality, 288; inspires Nietzsche's The Birth of Tragedy, 297–300; intellectual insecurity, 304–5; Nietzsche writes on, 307–10; relishes success, 310–11; and Nietzsche's superman, 317; Nietzsche praises, 334; believes Nietzsche's eye trouble caused by masturbation, 335–8; paternity, 339–40, 358–60; hatred of property, 348; dreams of Mendelssohn, 353–4; coat of arms, 360–61; Nazi attitude to, 364–8
Wagner, Siegfried (RW's son): marriage, 78, 366; birth, 295; death, 367
Wagner, Winifred (née Williams; Siegfried's wife), 78, 367
Wahn (word): in The Mastersingers, 251–2
Wahnfried (RW's home), 182, 251, 379
Walter Bruno, 356
Walther (character), 106, 244–7, 252, 254
Waugh, Evelyn, 357
Weber, Carl Maria von: influence, 12, 18; romanticism, 24; RW meets, 304; Oberon, 147
Weinlig, Christian Theodor, 136
Weisse, Christian Hermann, 95
Wesendonk, Mathilde, 151, 184, 265, 282
Westernhagen, Curt von, 184
Westminster Review, 148
Wilde, Oscar, 281
Wilhelm I, Kaiser, 77
Wilhelm II, Kaiser, 363
Wittgenstein, Ludwig, 194; Tractatus Logico-Philosophicus, 191
Wittgenstein, Marie, 203–4
Wolf, Hugo, 79
Wolzogen, Hans von, 265, 335–6
women: forcible subjugation of, 117–20
Work of Art of the Future, The (RW), 13, 51, 103, 135, 137
Wotan (character): dominance in The Ring, 104–5; and Siegfried, 106, 111; and Alberich, 109, 378; and maintenance of order, 111–15, 120; spear, 111–12, 114, 116; disgraces Brünnhilde, 117, 197; on Sieglinde-Siegmunde love relationship, 118; RW's understanding of, 135; and breaking of will, 180
Wotan's Farewell (RW; concert piece), 197
Young Germany (movement), 24–5, 35, 64–5, 73, 113, 118, 122, 208
Young Siegfried, The (RW), 104
Zeitung für die Elegante Welt, Die (newspaper), 24
Zola, Emile, 328