D
Dannreuther, Edward, on Wagner's character, [154], [156]
"Das Liebesverbot," [19] et seq.
"Das Rheingold," [388] et 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 also [Leading 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 of among the gods, [391];
sin of gods, connected with "Götterdämmerung" by Wagner, [394];
sin, Wotan's, burden of, [392];
story of, [388] et seq.;
sword, stage business with, [395];
Wotan's plan, [395];
Wotan's sin, [392]
Davidson, Musical World, [100]
Deputy, [41]
"Der Fliegende Holländer", [234] et 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, [54] et 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, [244] et 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, [236] et 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," [355] et 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, [72] et 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, [424] et seq.;
leitmotiv system in, [422], [423], [424] et seq.;
Liszt on, [94], [106];
motives, classification of, [424];
music, [422] et 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, [372] et seq.;
Norse mythology in, [384] et 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, [367] et seq.;
sources of, historical connections of, [370], [374];
story as told by Wagner, [388] et seq.;
Volsunga Saga, [373] et seq.;
Volsunga Saga, story of, [378] et 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," [16] et seq., [148]
"Die Glückliche Bärenfamilie," [32]
"Die Hochzeit," [14], [15]
"Die Hohe Braut," [30], [31]
"Die Meistersinger von Nürnberg", study of, [328] et 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, [344] et 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, [336] et seq.;
symbolism in, [343];
Walther not Wagner, [343]
"Die Sarazener," [50], [61];
see also "[Manfred]"
Dietsch, Pierre Louis, [46], [115]
"Die Walküre," [396] et 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, [397] et seq.;
music, [434];
see also [Leading 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, [396] et seq.;
sword in, [397];
"Todesverkündigung," [400];
work on at Zurich, [121];
Wotan's plan, [401];
Wotan's plan overthrown by Fricka, [397]
"Die Wibelungen," [72]
Dom Pedro of Brazil, [109]
Dorn, Heinrich, [8], [9], [31]
"Dors, mon enfant," [42]
Drama, spoken, Wagner's study, [181]
Dramas, Wagner's, [213] et seq.
Dumersan, [38], [41]
"Du Métier de Virtuose," [44]