"Allons à la Courtille," [41]
Ander, [118]
Anderson, [98]
"A Pilgrimage to Beethoven," [42]
"Art and Climate," [86]
"Art and Revolution," [76], [86], [179], [180]
Art, as found by Wagner, [176]
Arthurian legends, see "[Parsifal]" and "[Tristan und Isolde]"
Artistic career of Wagner, periods of, [213], [214]
Art-Theories of Wagner, [167] et seq.;
alliteration, [200] et seq.;
ballet, [487];
commercialism opposed to, [174], [176];
discovery of, [176];
drama, not opera, [204];
early, [18] et seq., [228];
emotions, musical treatment of, [183], [185], [197], [205], [208], [209], [216];
ethical ideas, [215];
feeling and understanding, [182];
form, adopted, [186] et seq., [198], [199];
forms, abolished, [178], [185] et seq., [197];
fully developed, nature of, [167] et seq.;
good and evil principles, war of, [216];
Greek drama, relations to, [179], [184], [207], [218];
historical drama as opposed to mythical, [183] et seq.;
ideal of his work, [206];
incompatibility with "opera" discovered, [177];
later, conceived, [53];
later, expanded, [61], [74];
leitmotiv system, [186], [187], [190] et seq.;
leitmotive classified, [193];
leitmotive, development of, [193] et seq.;
libretto a drama, [178];
lyric drama, relation to, [168] et seq.;
materials of poetic drama, [182], [183];
melody, endless, [186], [187];
metaphysics, [216], [217];
misunderstood by admirers, [161];
misunderstood by public, [167];
moods, embodiment of, [198], [205], [206];
music for music's sake, [178];
music, office of, in drama, [190];
musical system, [186], [189] et seq., [196], [197], [198], [208], [209];
myth, advantage of in drama, [183] et seq.;
nationalism, [167], [208];
opera, old style, differences of, [168] et seq.;
opposed to public taste, [61], [66], [67], [69], [70], [160], [161];
orchestra, [189], [190], [206];
organic union of arts, [178], [180], [186];
philosophical basis of dramas, [216];
propagation of, [67], [85] et seq.;
prose works embodying, [86] et seq., [179] et seq.;
realism as opposed to high art, [206], [207];
reforms included in, [178];
Schopenhauer's ideas, [184], [216], [217];
staff-rhyme, [200] et seq.;
symbolism in drama, [204] et seq.;
text and music, union of, [186], [202], [203], [219];
understood by Liszt, [81];
verse-form, [200] et seq.;
woman, saving grace, [215];
"Word-tone-speech," [204]
"Art-work of the Future," [86], [179], [180]
Attila, [369] et seq.
Auber, "La Muette de Portici," influence on Wagner, [18], [43]
Auditorium darkened, [140]
Autobiographic sketch, [52]
B
Ballet in "Tannhäuser," [114], [115]
Ballet, Wagner and the, [114], [487]
Barbarossa, Friedrich, [72]
Bayreuth, becomes famous, [140];
festivals, deficit of first, [144], [146];
festivals, directed by Mme. Wagner, [153];
festivals, still popular, [153];
plan nearly fails, [139];
theatre, see [Festspielhaus]; Wagner goes to, [136];
why selected, [137]
Bayreuther Blätter, [147], [150]
"Beethoven," essay by Wagner, [134]
Beethoven influences Wagner, [6]
Belart, Hans, "Richard Wagner in Zurich," [111]
Bellini, Wagner's admiration for, [18], [33]
Belloni, [82]
Berlioz, Hector, [42], [43], [57], [112]
Beroul, [297]
Bertram-Mayer, Mme., [131]
Borron, Robert de, [297], [454]
Boston, Wagner nights, [104]
Brandt, Karl, [143]
Bruckwald, Otto, [143]
Brückner Brothers, [143]
C
Caedmon, "Beowulf," [201]
"Centennial March," [139]
Chivalry, German age of, [331]
Chrétien de Troyes, [454]
Christian trilogy, [218]
"Christopher Columbus" overture, [20], [43]
"Communication to My Friends," [16], [30], [61], [66], [67], [92]
Concert Ouvertüre mit Fuge, [10]
"Conducting," essay on, [58], [134]
Conrad III., [331]
Cornelius, Peter, [125]
Costa, Michael, [100]
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]
E
Edda, the Elder, discovered, [373], [374];
mythology in, [385];
Poetic, [375];
Sigurd and Brünnhilde in, [375]
Edda, the Prose, or Younger, mythology in, [385] et seq.;
when written, [373]
Eilhart von Oberge, [297]
"Eine Faust" overture, [38-40], [97]
Ellis, W.A., "1849, A Vindication," [78];
translation of Wagner's Prose Works, [16]
"End of a Musician in Paris," [47]