T
"Tannhäuser," [250] et 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, [264] et seq.;
music, finished, [252];
music, nature of, [264] et seq.;
music, principal ideas, see [Leading 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, [112] et 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, [254] et 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], [263]
Tausig, Carl, [109], [110], [137]
Text of Wagner Dramas, importance of knowing, [219]
Thomas, Theodore, [139]
Tichatschek, [48], [51], [131]
"Tristan und Isolde," study of, [293] et 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, [295] et 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, [316] et 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, [315] et seq.;
see also [Leading Motives];
music, general plan of, [318] et 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], [295] et seq.;
sources of, Wagner's treatment, [300] et seq.;
story, completions of, [299], [300], [314];
story, Gottfried's, [297];
story, oldest versions of, [297];
story, origin of, [295] et seq.;
story, Wagner's version, [300] et seq.;
text, character of, [317];
torch in Act II., [305];
wound, Tristan's, meaning of, [307], [308]
Troubadours, influence on German song, [330]
Troyes, Chrétien de, [297]
"Two Grenadiers," [42]