Wagner as Man & Artist

by Ernest Newman

CONTENTS

	INTRODUCTION
		PAGE
	General Credibility of "Mein Leben"	[1]
	The Hornstein Case	[6]
	The Lachner Case	[12]
	The Hanslick Case	[19]
	CHAPTER I
	THE MAN
I.	Childhood	[24]
II.	The Apel Correspondence	[26]
III.	Dislike of Critics	[28]
IV.	Asperities of Temper	[33]
V.	Minna and the Wagnerians: The Case of Fips	[36]
VI.	Wagner and Minna	[42]
VII.	The Jessie Laussot Episode	[45]
VIII.	In Love with Minna	[57]
IX.	After Marriage	[67]
X.	The Mathilde Wesendonck Affair	[84]
XI.	His Dual Nature	[100]
XII.	Later Loves	[106]
XIII.	Cosima von Bülow	[114]
XIV.	Contrarieties of Character: Love of Luxury	[120]
XV.	Egoism in Friendship	[128]
XVI.	General Characteristics	[137]
	CHAPTER II
	THE ARTIST IN THEORY
I.	His Early Italianism	[146]
II.	Coming to Himself	[150]
III.	The Awakening in Paris	[155]
IV.	Æsthetic Principles	[157]
V.	Essay on the Overture	[163]
VI.	Fermentation in Dresden	[172]
VII.	Political and Artistic Ideals	[174]
VIII.	"Art and Revolution"	[176]
IX.	"The Art-Work of the Future"	[180]
X.	"Opera and Drama"	[185]
XI.	His Insensitiveness to the Other Arts	[203]
XII.	The Musician dominating the Poet	[208]
XIII.	Wagner and Beethoven	[212]
XIV.	Beethoven a Tone-Poet	[215]
XV.	Symphonic and Dramatic Form	[220]
XVI.	Wagner's Symphonic Lineage	[223]
XVII.	Poetic Music and the Programme	[228]
XVIII.	Contradictions between Theory and Practice	[230]
	CHAPTER III
	THE ARTIST IN PRACTICE
I.	The Early Miscellaneous Works	[238]
II.	The Earliest Operas	[246]
III.	The Operas of the Second Period	[257]
IV.	The Mature Artist:
1.	The "Philosophy" of the Operas	[266]
2.	The New Style of the "Ring"	[270]
3.	The Early Leit-Motive	[272]
4.	The Leit-Motive in the "Ring"	[274]
5.	The Later Condensation of the Leit-Motive	[277]
6.	Singularities in his Use of the Leit-Motive	[282]
7.	The Voice and the Orchestra	[288]
8.	Poetry, Drama, and Music	[292]
9.	The Pregnancy of his Themes	[301]
10.	His Power of Dramatic Characterisation	[302]
11.	The Pictorial Element in his Music	[307]
12.	Some General Characteristics of his Style	[312]
13.	"Parsifal"	[315]
14.	His Lineage and Posterity	[321]
	Appendix A. The Racial Origin of Wagner	[326]
	" B. Wagner and Super-Wagner	[335]
	Synthetic Table of Wagner's Life and Works and Synchronous Events	[359]
	Index	[381]

ILLUSTRATIONS

RICHARD AND COSIMA WAGNER	[Frontispiece]
(From Chamberlain, "Richard Wagner," published by F. Bruckmann, Munich.)
WAGNER'S MOTHER	face page [26]
(From Chamberlain, "Richard Wagner," published by F. Bruckmann, Munich.)
MINNA WAGNER	" " [56]
(From Chamberlain, "Richard Wagner" published by F. Bruckmann, Munich.)
WAGNER.From a photograph taken in Paris in 1861,with facsimile of signature	" " [106]
(From Chamberlain, "Richard Wagner," published by F. Bruckmann, Munich.)
WAGNER IN THE TRISTAN PERIOD	" " [144]
(By permission, F. Bruckmann, Munich.)
RICHARD WAGNER, 1877	" " [236]
(From Chamberlain, "Richard Wagner," published by F. Bruckmann, Munich.)
RICHARD WAGNER	" " [278]
(From the painting by H. Herkomer at Bayreuth.)
WAGNER: THE LAST PHOTOGRAPH	" " [320]
(From Chamberlain, "Richard Wagner," published by F. Bruckmann, Munich.)
LUDWIG GEYER	" " [326]
(From Chamberlain, "Richard Wagner," published by F. Bruckmann, Munich.)