Mackaye, Steele,142"Manfred,"50,61;see also"Die Sarazener"Map, Walter,296,453Meissen, Heinrich von,333Meisterlied, nature of,234"Meistersinger von Nürnberg, die,"see"Die Meistersinger"Meistersingers, history of,332et seq.Metternich, Princess,113Meyerbeer,36,38,43,44,89,174Meyerbeer, "Les Huguenots,"89"Mignonne,"42Minnelied, nature of,334;origin of,331Minnesingers, history of,332,et seq.Monteverde, Claudio,169Morelli,113Mozart,170Müglin, Heinrich,335Müller, Gottlieb,7Muncker, Franz,138,152Munich Conservatory,125,126Munich, new Wagner theatre,128Munich, proposed Wagner theatre,126,128"Music of the Future," the,114Music, theories as to,seeArt-Theories;also works under separate titlesMystic gulf, the,141Myths as subject for drama,182
Neumann, Angelo,145Nibelungen Lied,73,369"Nibelung Myth as sketch for a Drama," the,73Niemann, Albert,113
"On the Performance of 'Tannhäuser,'"86Opera, birth of,168;development of,168et seq.;Wagner's study of,181;Meyerbeerian ground-plan,174"Opera and Drama,"86,88,180,181Orchestra, concealed,140
Pagan trilogy,218"Parsifal,"446et seq.;Arthurian legends,450et seq.;Arthurian legends, entry of Grail into,453;book completed,447;book read to friends,144,477;Borron's story of,457;Breton epic,454;Chrétien's story of,455et seq.;conception,447;conception of,51,71;Celtic legend of Peredur,449;date of production changed,145;enlightenment of Parsifal,464;ethical ideas in,472;finished,147;first performance,446;garden scene, plan of,468;Grail, nature of,449,450,451,452;Grail stories, origin of,449et seq.;Grail, the word, origin of,452;Kundry, character of,462,464,469,470;Kundry the temptress,470;Kundry's wandering,471;music,473,see alsoLeading Motives;music, plan of,473,479;music, second act,479;music, when written,447;originalcast,446;panorama's failure,149;Parsifal's character,471;"Parzival," Wolfram's,448,449,457;Perceval, derivation of name,452;pity, enlightenment by,471;prelude played at Wahnfried,148,474;preparations to produce,146;problem play,473;produced at Bayreuth,149,152;Provençal versions of story,452;question, not asked,467-469;rehearsals begun,148;ended,149;relation of "The Victors" to,470;religious drama,472;score completed,148;sources of,447et seq.;sources of, compared with drama,467;subscriptions for production,148;Wagner's drama, story of,461et seq.;Wolfram's story of,457;working on,145,147.Patron's certificates,137,139.Peri, Jacopo,168Perl, Henry, "Richard Wagner in Venice,"150Pillet,45,46Plan for music school at Munich,125Planer, Minna, death of,30;jealousy of,110;Wagner's alleged neglect of,130;Wagner's marriage to,27;Wagner's separation from,30,119;unsuited to Wagner,27et seq.,62,63,83,160"Polonia," overture to,40,41Praeger, Ferdinand, account of revolution of 1848,76et seq.;relations with Wagner,97;"Wagner as I Knew Him,"25,35,70Prince Albert,102
Queen Victoria,102
Rameau,170Recitative, early,168et seq."Recollections of Spontini,"86Reissiger,45,51"Rheingold, das,"see"Das Rheingold"Richter, Hans,125,130-132,134,144"Rienzi,"221et seq.;Adriano, air of,232;art-theories in,52,172,176,223,225,227,228;Berlin performances,70,71;character of hero,230;completed,44;conception of,223,224;divided into two parts,52;first performances to 1882,221,222;first mentioned by Wagner,31;libretto begun,224;libretto, nature of,228,229,230;materials of,176,225,226;music begun,224;music, nature of,228,229;music, Rienzi's prayer,231;offered to Dresden,44;opera instead of music-drama, why,225et seq.;performance of, suggestions as to,47;prayer in,230,231;preparations to produce,47,48,51;produced at Dresden,51;Berlin,52;Schuré's criticism of,232"Ring des Nibelungen, der,"see"Der Ring"Rinuccini, Ottavio,168Rochlitz,11Roeckel, August,53,64Rossini,89Royer, Alphonse,114,116Rudolf of Hapsburg,332"Rule Britannia" overture,30,31
Sachs, Hans,333,336Saemund the Wise,373-375Sainton, Prosper,98"Sarazener, die,"see"Die Sarazener"Saxe, Marie,113Scharfenberg, Albrecht von, "Der Jüngere Titurel,"272Schladebach,67,68Schlesinger,38Schnorr, Ludwig,125,127,128Schopenhauer, A.,108,184Schroeder-Devrient, Wilhelmina,18,48,54,65Schumann, Robert,68Seidl, Anton,145Semper, Gottfried,126Siegfried, date of his death,370;character as conceived by Wagner,403;German hero,369"Siegfried,"402et seq.;see also"Der Ring des Nibelungen";bird's voice a soprano,407;book written,93;conception of,93;conception of hero,404;Erda,408;first performances,360;Forest Bird, voice of,407;Forest Bird and the "Lay of Fafner,"376;free hero,405;Mime, origin of name,403;Mime, Regin compared with,403;Mime's betrayal of himself, Act II.,408;music,439,see alsoLeading Motives;music, when written,365;original casts,360,361;originality of Act II.,408;penetration of the fire, legend of,409;produced at Bayreuth,141;question scene in Act I., origin of,405;Siegfried's nature and character,403,404;story of,405et seq.;sword, power and name of,409;"Vafthrudnersmal,"405;"Waldweben,"407;Wotan's plan in,405,408"Siegfried's Death,"367"Siegfried Idyl,"134Smolian, Arthur,265Snorre Sturleson,373Spontini,60,68Standthartner, Dr.,149"State and Religion,"124Symphony in C,11,12,151;analysis of,482et seq.;history of,481
"Tannhäuser,"250et seq.;additions to story by Wagner,258;Biterolf,261;book written,50,252;characterisation in,268;characters historical,260;completed,62;conception of,50,252;contest of song, origin of idea,256;Elizabeth, character of,257,261;essay on performance of,253;essence of, Wagner's words on,269;ethics of the drama,261,262;failure of,65;first performances,250,251;good and evil principles,261-263;good and evil principles, music of,265;grotto of Venus,258;Heinrich of Ofterdingen, identified with Tannhäuser,256,259;Hermann the Landgrave,256;Jockey Club of Paris and,114,115;legend of,254,255;leitmotive, absence of,265;letter to Carl Galliard on,65;Lord Lytton's,264;man, a drama for,263;misunderstood,65,66;music, analysed,264et seq.;music, finished,252;music, nature of,264et seq.;music, principal ideas,seeLeading Motives;mythology, Roman and Teutonic,257,258;narrative of Tannhäuser,263;original casts,250,251;original ideas in,254;overture in London,101;Paris version, nature of,253;Paris version, origin of,114,115,252,253;praise of Venus,259;preparations for production,64;produced at: Dresden,65;Munich,130,131;Paris,112et seq.;Weimar,81;Zurich,97;provisional title,252;Reimar,260;relations to "Tristan und Isolde,"253,269;"Sängerkrieg,"254;score completed,252;Smolian, Arthur, pamphlet on music,265;sources of,254et seq.;Tannhäuser, character of,258,259,261;"Tannhäuser Lied,"254;transition period, belongs to,213,252;Venus,257,258,259;"Venusberg, Romantic Opera,"252;"Volksbuch,"254;Wartburg Castle,255;"Wartburgkrieg,"256,259;Wogelweide, Walther von der,256,260;Wolfram,255,256,260;woman, the saving grace of,262,263Tausig, Carl,109,110,137Text of Wagner Dramas, importance of knowing,219Thomas, Theodore,139Tichatschek,48,51,131"Tristan und Isolde," study of,293et seq.;Act I.,302;Act II.,305;Act III.,308;abandoned, as impossible,118;accepted at Vienna,118;art-theories in,316;Arthurian legends, now Gallicised,296;begun,109;book written,295;Celtic origin of story,295et seq.;conception of,106,107,108,294;day and night, riddles of,306-308;death, basic thought of drama,304,306,311,312;death, idea in Isolde's mind,302,303;death, yearning for,311,312;emotions, treatment of,316et seq.;Fate, workings of, in drama,311;finished,110;first act written,109;first performances,293;Gottfried's version,297;Isolt of the White Hand,299,300,314;King Mark, his "sermon,"313,314;legend, fundamental idea of,301;leitmotiv system in,315,316;love of Tristan and Isolde not caused by the magic drink,301,310;"Liebestod," musical germs of,324,327;Liszt on,107;metaphysics in,312;musical plan of drama,314;music,315et seq.;see alsoLeading Motives;music, general plan of,318et seq.;music, third act,314,320;music, when written,295;narrative of Isolde,303;organic union of arts in,312,317,318;original casts,293;"O sink' hernieder,"307,324;pessimism in Act II.,310,313;potion, office of,301,304,305,310;prelude,321;produced at Munich,127;production, difficulties of,111,125;pronounced impossible,122;Schopenhauer's influence in,312,313;second act sketched,110;sources of,108,295et seq.;sources of, Wagner's treatment,300et seq.;story, completions of,299,300,314;story, Gottfried's,297;story, oldest versions of,297;story, origin of,295et seq.;story, Wagner's version,300et seq.;text, character of,317;torch in Act II.,305;wound, Tristan's, meaning of,307,308Troubadours, influence on German song,330Troyes, Chrétien de,297"Two Grenadiers,"42
"Ueber das Dirigen,"58,134Unger, George,141
Viceroy of Egypt,139"Victors, The,"108"Victory," the,108Vogl, Heinrich,131;Therese,131,132Volsunga Saga,73;corollaries of,378;origin of,377;story told in,378et seq.Von Bülow, Cosima,90,112,125,130,132,133Von Bülow, Hans,90,112,124,130,131,132Von Bülows, the, separation of,130,132;divorce of,133