“Richard Wagner composed, like all great musicians, in his brain, and not, as is often imagined, at the piano. It is a delight to examine a manuscript composition from his hand—to see how complete and well-rounded, how ripe and finished everything sprung from his head. Changes are very rarely found in such a manuscript; even in the boldest harmonies and most difficult combinations, not a slip of the pen occurs. In the entire score of ‘Tannhaeuser,’ which Wagner wrote out himself from beginning to end in chemical ink, not one correction is to be found. One note followed the other with easy rapidity. It was his habit to write the musical sketch in pencil—in Baireuth, music-paper was to be found in every corner of ‘Wahnfried,’ on which while wandering about the house during sleepless nights, musing and planning, he made brief jottings, often merely a new idea in instrumentation. The rest was in his head; the vocal parts were added to the score without hesitation, and never needed correction. For the orchestra he employed three staves, one of which was reserved for special notes, as, for instance, when a particular instrument was to enter. From these sketches the vocal parts could be written out immediately, although the instrumentation was by no means finished. Such sketches were carefully collected by Frau Cosima, who tried for a time to fix the notes permanently by drawing the pen through them. This task was, however, soon abandoned. In its stead she grasped the idea of making a collection of Wagner’s manuscripts, to be deposited in ‘Wahnfried.’ For many years she has conducted an extended correspondence for the purpose of obtaining, for love or money, the scattered treasures, and has, in a great measure—principally through the use of the latter persuasive—succeeded.
“Wagner had written his memoirs, which are not only finished, but already printed. The entire edition consists of only three copies, one of which was in the possession of the author, the second an heirloom of Seigfried’s, and the third in the hands of Franz Liszt. This autobiography fills four volumes, and was printed at Basel, every proof-sheet being jealously destroyed, so that there are actually but three copies in existence. To the nine volumes of his works already published (Leipzig, E. W. Fritzsch, 1871-’73) will be added a tenth, containing brief essays and sketches of a philosophical character, and (it is to be hoped) the four volumes of the autobiography.”
After a life of strife such as few men have to encounter; of hatred more intense and love more devoted than usually falls to the fate of humanity; of restless energy, indomitable courage, passionate devotion to the loftiest standards of art and unquestioning allegiance to the “God that dwelt within his breast,” he rests quietly under the trees of Villa “Wahnfried.” He lived to see his work accomplished, his mission fulfilled, his victory won and his fame blown about the world despite the malice of enemies and cabals of critics. As the outcome of his stormy life we have music clothed in a new body, animated with a new spirit. He has lifted art out of its vulgarity and grossness. The future will prize him as we to-day prize his great predecessor—Beethoven.
G. P. U.
“Stirring events are graphically told in this series of
romances.”—Home Journal, New York.