L
"La Déscente de la Courtille," [41]
"L'Attente," [42]
Laube, Heinrich, [41]
Leading Motives, see [Art-Theories of Wagner], leitmotiv;
leading motives, not essential to know, [219]
Leading 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, [138]
Leitmotiv, see [Leading 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, [270] et 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, [283] et seq.;
see also [Leading 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, [272] et seq.;
sources, treatment by Wagner, [276] et 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], [291]
London critics offended, [100]
London Philharmonic Society, [97] et seq.
Ludwig, King of Bavaria, [122], [123], [128], [139], [148], [152]
Lully, [170]
Lüttichau, von, [44]
Lyric drama, birth and development of, [168]