Dannreuther, Edward, on Wagner's character,154,156"Das Liebesverbot,"19et seq."Das Rheingold,"388et seq.;see also"Der Ring des Nibelungen";Alberich, warning and curse,392;book finished,365;curse, the,392,394;Erda, significance of,393;ethical ideas in,389-392,394;first performances,356;gold, the, origin of,389;gold, the root of evil,389;music,424;see alsoLeading Motives;music, when written,365;mythologic basis,384;original casts,356,357;produced at Munich,131,132;renunciation of love,389;score written,94;sin, entry ofamong the gods,391;sin of gods, connected with "Götterdämmerung" by Wagner,394;sin, Wotan's, burden of,392;story of,388et seq.;sword, stage business with,395;Wotan's plan,395;Wotan's sin,392Davidson,Musical World,100Deputy,41"Der Fliegende Holländer",234et seq.;art theories in,213,236;book, Wagner's view of,243;book written,45;characterisation in,248;composition of,244;conception of,237;Daland as a character,248;duet of Dutchman and Daland, Italian style of,247;elements of Wagner's system in,242;embryonic,213,236,242,246;emotional states in,243;failure of,54et seq.;first performances,234,235;Fitzball's play,237;foreshadows future Wagner,248,249;Heine's story,237,240;instrumentation,248;Italian music in,247;legend of,34,238;leitmotiv foreshadowed,243;"Lohengrin," resemblance to,283;lyricism of,244;Marryatt's version,239;music, character of,246,248;music, plan of,243;music, principal ideas,244et seq.;mythical development,239;original casts,234,235;original story,238;overture,248;produced at Cassel and Riga,55;Dresden,54;Munich,126;Zurich,97;Senta's ballad,244,245;Senta's character,248;sources of book,236et seq.,283;Spohr on,55;thematic germs,245;Van der Decken, character of,248;Wagner's additions to story,241;Wagner's view of story,241,242;when written,236;woman's sacrifice in,240"Der Liebesmahl der Apostel,"59"Der Ring Des Nibelungen,"355et seq.;see also"Das Rheingold," "Die Walküre," "Siegfried," and "Götterdämmerung";abandoned for "Tristan und Isolde,"106,107,109,366;Æschylean methods in,390;art-theories in,74;begun,93;book completed,93;book, conception of,72et seq.,366;book published,120;Brünnhilde,401,402,416;critics confused by,142;curse, the,392,398;dates of events in the dramas,370;Eddas and,372,373;ethical basis of story,384,385,394,416;expanded into tetralogy,93,364;expenses of production, how provided,137,138;fate and punishment for sin,390;"Final Report" on,129;first mentioned by Wagner,364;first performances,355;free hero,405;Hagen, significance of,399;"Heldenbuch" and,369;King Ludwig and,126;legends in, age of,367;legends in, origin of,368;leitmotiv, method of developing,424et seq.;leitmotiv system in,422,423,424et seq.;Liszt on,94,106;motives, classification of,424;music,422et seq.;music, advances in,74;music, how to enjoy,423;music, philosophic nature of,423;music, relation of certain themes,424-426,428;myth and history,366;"Nibelungen Lied," story of,371;Norse legends of,372etseq.;Norse mythology in,384et seq.;opposition to, at Munich,129;orchestra in,445;period of events in,369,370;production at Bayreuth,140;resurrection in,405,406;revenge of the Nibelungs,413;rights sold to Munich,144;Ring, the, Nibelungen Lied account of,371,372;Ring, the Volsunga Saga account of,380,382,383;Ring, the, Wagner's use of,389,391-393,398,416,417,419;scenery of,143;Sigurd and Brünnhilde, story of,374,375;sin of gods, how treated by Wagner,391,394;sources of,367et seq.;sources of, historical connections of,370,374;story as told by Wagner,388et seq.;Volsunga Saga,373et seq.;Volsunga Saga, story of,378et seq.;work on in London,99;Wotan's eye, how lost,410;Wotan's plan,395-398,405,437;Wotan's sin,392"Die Feen,"16et seq.,148"Die Glückliche Bärenfamilie,"32"Die Hochzeit,"14,15"Die Hohe Braut,"30,31"Die Meistersinger von Nürnberg", study of,328et seq.;artistic doctrine of,343,344;Beckmesser, character of,335;begun,64,330;book finished,120,330;characters historical,333,335;Cosima Wagner on,341;critical view of,342;first performances,328,329;meisterlied and minnelied, construction and relations of,334;meistersingers, customs of,333;meistersingers, origin of,332;minnesingers, forerunners of meistersingers,330-332;Müglin, Heinrich, his "Long Tone" used by Wagner,345;music,344et seq.;music, Act II., finale of,352;music, begun,120,330;music, characteristics of,353;music, chorale, Act I., and theme,347;music, completed,330;music, monologue of Sachs,350;music, significant beauty of Meistersinger themes,345;original casts,328,329;pendant to "Tannhäuser,"330;period of the comedy,333;prelude,344;prize song,340;produced at Munich,131,328;quintet in,340;Sachs, history of,333,336;story of,336et seq.;symbolism in,343;Walther not Wagner,343"Die Sarazener,"50,61;see also"Manfred"Dietsch, Pierre Louis,46,115"Die Walküre,"396et seq.;see also"Der Ring des Nibelungen"; begun,94;book finished,365;Brünnhilde, character of,402;Brünnhilde's punishment, meaning of,401;curse,398;ethical ideas in,397-399,401,402;finished,105;first performances,358;Fricka's importance,397et seq.;music,434;see alsoLeading Motives;when written,365;original casts,358,359;produced at Bayreuth,141;produced at Munich,132;rehearsal at Zurich,105;second act, meaning of,397;second act, Wagner on,400;sin and its punishment in,397;sources of,396;story of,396et seq.;sword in,397;"Todesverkündigung,"400;work on at Zurich,121;Wotan's plan,401;Wotan's plan overthrown by Fricka,397"Die Wibelungen,"72Dom Pedro of Brazil,109Dorn, Heinrich,8,9,31"Dors, mon enfant,"42Drama, spoken, Wagner's study,181Dramas, Wagner's,213et seq.Dumersan,38,41"Du Métier de Virtuose,"44
Edda, the Elder, discovered,373,374;mythology in,385;Poetic,375;Sigurd and Brünnhilde in,375Edda, the Prose, or Younger, mythology in,385et seq.;when written,373Eilhart von Oberge,297"Eine Faust" overture,38-40,97Ellis, W.A., "1849, A Vindication,"78;translation of Wagner's Prose Works,16"End of a Musician in Paris,"47
Festspielhaus at Bayreuth,136,138;builders and artists of,143;described,142Feuerbach,216Feustel, Frederick,138,152Fischer, Wilhelm,45,47"Flying Dutchman,"see"Der Fliegende Holländer"France, mixture of peoples in,296
Gasparini, A.,41Geoffrey of Monmouth,296,453German Music, Wagner's essay on,41Geyer, Ludwig,2,3;"Slaughter of the Innocents,"3Gluck,169et seq."Götterdämmerung,"410,et seq.,see also"Der Ring des Nibelungen";Brünnhilde, character of,416;Brünnhilde, divinity gone,411,416;Brünnhilde imparts wisdom and strength to Siegfried,411;Brünnhilde's deception,418;Brünnhilde's self-sacrifice,421;curse, in operation on Siegfried,417;drink of forgetfulness,414;drink of forgetfulness, antidote,419;"Dusk of the Gods," described,415;ethical ideas in,416,417,421,422;expiation of sin of gods,421,422;first performances,362,363;Gibichung, origin of name,412;Grani,412;Gunther identified,412;Gutrune, identified,412;Hagen, character of,413;Hagen, mother of,413;Hagen, the ring and,420;music,442;see alsoLeading Motives;music, when written,366;"Nibelungen Lied," ideas taken from,372;Norns scene,410;original casts,362,363;penetration of the fire,409,410;produced at Bayreuth,141;return of ring to Rhine daughters,417,419,421;Rhine daughters, meeting with Siegfried,419;ring, connected with sin of gods,416;runes, Brünnhilde's,411;Siegfried matured,411;story of,410et seq.;sword, between Siegfried and Brünnhilde,417,418;Waltraute's narrative,415;Wotan's eye, how lost,410;Wotan's plan in,420;Wotan's spear,410Gottfried von Strassburg,108,297Grail, Holy,see"Parsifal"Greek drama,168,see alsoArt-Theories of WagnerGrimm Brothers, "Deutsche Sagen,"272Gross, Adolph,152,153
Heine, Ferdinand,45,47"Heldenbuch,"369Hoffmann, E.T., influence on Wagner,7,8Hoffmann, Joseph,143Hohenstauffen dynasty,331Holtei, Karl von,32"Huldigungs Marsch,"124
"Jesus von Nazareth,"71,72Jockey Club, of Paris, and "Tannhäuser,"114,115Joukowsky,150"Judaism in Music,"86,87Jullien, Adolphe,38,39
"Kaisermarsch,"134Krehbiel, H.E., "Studies in the Wagnerian Drama,"310
"La Déscente de la Courtille,"41"L'Attente,"42Laube, Heinrich,41Leading Motives,seeArt-Theories of Wagner, leitmotiv;leading motives, not essential to know,219Leading Motives."Das Rheingold":Alberich, master of the Nibelungs,432;Compact,429;Curse,433;Departing divinity,431;Dragon,433;Erda,424,425;Giants,429;Gold, the appearing,427;Gold, the gleaming,428;Götterdämmerung,425,428;Hoard,433;Loge,431;Nibelung, smiths,432;Nibelung's hate,433;Primeval Elements,424;Renunciation,429;Rhine daughters,427;"Rhinegold," theme explained,428;Ring,428;Sword,195,395,434;Tarnhelm,195,429;Walhalla,429."Der Fliegende Holländer":Dutchman theme,245;Senta, the redeeming element,245;Yearning,246;"Wie, hor' ich recht?"247."Der Ring das Nibelungen":see"Das Rheingold," "Die Walküre," "Siegfried," "Götterdämmerung.""Die Meistersinger":"Am stillen Herd,"349;Art of Song,348;Beating, the,350;Chastisement,348;Council,348;Derision,347;Eva,351;Kothner's song,349;Meistersinger march,345;Meistersingers,344;Nuremberg,350;Prize Song,346,353;Sachs's monologue,350;St. John's Day,349;Spring,346,347,349;"Wahn, Wahn,"352;Walther's emotion,346;Walther, the Knight,349;Yearning of Love,346."Die Walküre":Brünnhilde's divinity,438;Departing divinity,431;Fate,437;Götterdämmerung,437;Love,434;Siegfried,438;Sieglinde's sympathy,434;Slumber,439;Sword,435;"Todesverkündigung,"438;Valkyr's call,436;Valkyrs,436;Volsung race,435;Volsungs, sorrow of,435;Wotan's wrath,436."Götterdämmerung":Brünnhilde and the Ring,428,429;Brünnhilde, entrance of,426;Brünnhilde's despair,444;Brünnhilde's divinity,438;Brünnhilde the woman,443;Forgetfulness,430;Gibichung,430;Götterdämmerung,425,426;Gutrune,444;Rhinegold,428;Siegfried, the Man,443,444;Tarnhelm,430."Lohengrin":Elsa's faith,287;Elsa's faith broken,288;Grail,285;Lohengrin,286;Ordeal,290;Ortrud,289;Prohibition,288;Swan,287."Parsifal":Amfortas's suffering,475;Atonement,479;Belief,475;bells,478;Good Friday,479;Grail,474;Herzeleide,477;Klingsor,477;Kundry, the helpful,477;Lament, the,478;Last Supper,474;Parsifal,477;Promise, the,476;Sorcery,476;Swan,478;Wild Kundry,476."Siegfried":Brünnhilde's awakening,441;Dragon,433;Love's greeting,442;Siegfried, the sword wielder,440;Siegfried, the youth,440;World's Heritage,440;Wotan, the Wanderer,440;Yearning for love,440."Tannhäuser":Bacchanale,266;Pilgrims' Chorus,266;Praise of Venus,267;Venus's pleading,267."Tristan und Isolde":Anguish,326;Day,323;Death,322;Fate,322;Glance,321;Grief,325;"Liebestod," themes of,324,327;Love,321;Love Call,324;Love, Triumph of,324;Mark,325;Mark's Grief,325;Sea,322.Lehmann, Lilli,138Leitmotiv,seeLeading Motives;not necessary to recognise,190,191"Le Vaisseau-Fantôme," Dietsch,46"Liebesmahl der Apostel, der,"see"Der Liebesmahl""Liebesverbot, das,"see"Das Liebesverbot"Liszt, Franz,44,73,78-84,93,94,98,104,105,150-152"Lohengrin," study of,270,et seq.;Act I. compared with sources,277;Act II. compared with sources,278;Act III. compared with sources,282;begun,64,273;book written,273;cadence, dominance of,284,285;combat, use of sword in,277;conception of,51;"Der Fliegende Holländer," resemblance of story to,283;"Der Schwanen-Ritter" ("Chevalier au Cygne"), story of,274;dialogue, not recitative,284;Elsa, character of,276,282,283;endless melody approached,285;finale to Act III. at Dresden,70;first heard by Wagner,117;first performances,270et seq.;Godfrey of Bouillon, relation to,275;instrumentation, significant features,290;King Henry, character of,277;letters on performance of,91;Lohengrin's narrative, source of,283;music, analysed,283et seq.;see alsoLeading Motives;music, classification of,291;music, popularity, reason for,291;music, when written,273;old poem,273;organic union of text and music,284;original casts,270,271;original materials,273,et seq.;Ortrud, character of,276,279,280,281;prelude,285,286;produced at Munich,130,131;produced at Weimar,90,91;power of Lohengrin to be taken away by a wound,283;recitative, abolished in,284;rhythm, dominance of,291;score sold,273;score sent to Liszt,81;sources of,272et seq.;sources, treatment by Wagner,276et seq.;stage pictures in Act II.,280;story according to Wagner,277;sword, Telramund felled by,278;Telramund, character of,282;Telramund, his death, source of idea,283;time signatures in score,290,291London critics offended,100London Philharmonic Society,97et seq.Ludwig, King of Bavaria,122,123,128,139,148,152Lully,170Lüttichau, von,44Lyric drama, birth and development of,168