Life of Wagner Part 3

"Tristan" belongs, like "Siegfried" and "Parcival," to the circle of the sun-heroes of the primeval myth. He also is forced to use deception and is compelled to deliver his own bride to his friend, then to discern his danger and voluntarily disappear. Thus Wagner remained within his poetic sphere. But while in "Siegfried" the Nibelungen-myth in its historic relations had to be maintained and only the sudden destruction of the hero through the vengeance of the woman who sacrifices herself with him, could be used in "Tristan," on the other hand the main subject lies in the torture of love. The two lovers become conscious of their mutual love through the drinking of the love-potion that dooms them to death. It is a death preferred to life without each other. What in "Siegfried" is but a moment of decisive vehemence appears here in psychological action of endless variety, wherein Wagner has woven the whole tragic nature of our existence, which he had learned from the great philosopher Schopenhauer, to esteem as a "blessing." There was however in this similarity, and at the same time difference, a peculiar charm which invested the work. It is supplementary to the Nibelungen-material which in reality embraces human life in all its relations.

It is wonderful how readily he found the means to unfold before our eyes the revelation which involved the death of the two lovers.

Commissioned by his uncle, King Marke, Tristan has conquered the tributary Celts and slain their leader, Morold, in battle. Isolde, the betrothed of the latter, to whose care the wounded Tristan is consigned, is completely captivated when at last her eyes meet his, but unconscious of this he wooes the beautiful woman for the "wearied King" and conducts her to him. Inwardly aroused by this and the death of her former lover, she plans to kill him and while yet on the vessel offers him the cup of poison in retaliation for the slain Morold. Here Brangaene appears and secretly changes the draught so that these two who imagine they had drunk a coming death in which all love should pa.s.s away, in this fancied final moment became conscious of life, and confess to each other that love with which they cannot part. It is therefore not the drink in itself but the certainty that death will ensue, which relieves them from constraint. The act of drinking betokens only the moment of consciousness and confession. Nevertheless they cannot live, now that King Marke has discovered their love.

Tristan raises himself from the couch where he lies suffering from the wound inflicted by the King's "friend" and tearing open the wound with his own hand, embraces the approaching Isolde, who is now in death united with him forever.

While composing the work, which the prospect of speedy representation hastened forward rapidly, and which he hoped would secure for him a temporary return to his fatherland, an agreeable sensation of complete unrestraint seized him. With utter abandon he could reach the very depths of those soul-emotions which are the very essence of music, and fearlessly shape from them the external form as well. Now he could apply the strictest rules. He even felt, in the midst of his work, that he surpa.s.sed his own system. The impressive second act was projected in Venice, where he spent the winter of 1858-59, owing to ill-health. Thence he removed to Lucerne.

From his native land new rays of hope meanwhile penetrated his retirement. Not only Carlsruhe but Vienna and Weimar now grew interested. He ardently longed to strengthen himself, by hearing his own music. "I dread to remain much longer, perhaps, the only German who has not heard my 'Lohengrin,'" he writes to Berlioz, in 1859. He begged permission to return, and sought the intervention of the grand-duke of Baden, as otherwise he would have to go to Paris.

The grand-duke took all possible steps to help him, but it was of no avail. His efforts failed, he says, because of the obstinate opposition of the King of Saxony, but it was probably due more to the dislike the unhappy minister, von Beust, himself an amateur composer, entertained for the author-composer. Wagner, therefore, in the autumn of 1859, again went to hated Paris, where he could, at least occasionally, hear good music.

He found in Paris a few really devoted friends of his art as well as of himself, who promised to make his stay home-like in this respect at least. They were Villot, Champfleury, Baudelaire, the young physician Gasperini, and Ollivier, Liszt's son-in-law. The press, however, commenced at once its vicious and corrupt practices against the "musical Marat." Wagner replied with actions. He invited German singers and in three concerts performed selections from his compositions. The beau monde of Paris attended, and the applause was universal, especially after the Lohengrin Bridal-Chorus. The critics however remained indifferent and even malicious. At this juncture, at the solicitation of some members of the German legation, particularly the young princess Metternich, Napoleon gave the order for the performance of "Tannhaeuser," in the Grand Opera-house, much to Wagner's surprise. It must have caused a curious mixture of joy and anxiety in the artist's breast. Standing on the soil of France, he, for the first time, was destined to conquer his fatherland, but on a spot which belonged to the "Grand Opera," and where all the inartistic qualities were fostered that he endeavored to supplant. As his native land was closed to him, he went to work with his usual earnestness, and, as though it were a reward for his faithfulness, there came during the preparations the long-desired amnesty, with the exclusion, however, of Saxony.

In the summer of 1860 he availed himself of his regained liberty to make an excursion to the Rhine and then returned to the rehearsals.

Niemann, cast in an heroic mould, had been secured for the t.i.tle-role.

For the instruction of the public he wrote the letter about the "Music of the Future" adopting the current witty expression, which appeared as preface to a translation of his four completed lyric works, exclusive of the Nibelungen-Ring. With admirable clearness he disclosed the purpose of his work. The press on the other hand made use of every agency at its disposal to prejudice Paris from the start against the work. To aggravate matters, Wagner would not consent to introduce in the second act the customary ballet which always formed the chief attraction for the Jockey-club, whose members belonged to the highest society. He simply gave to the scene in the Venusberg greater animation and color. It was for this reason that the press and this club, the malicious Semitic and unintelligent Gallic elements, the former unfortunately of German origin, united in the effort to make the work a failure when presented in the spring of 1861. The history of art discloses nothing more discreditable. The gentlemen of the Jockey-club with their dog-whistles in spite of the protests of the audience succeeded in making the performances impossible and the press declared the work merited such a fate! Wagner withdrew it after the third performance and thereby incurred a heavy debt which it required years of privation to liquidate. At the same time as far as he personally was concerned the occurrence gave rise to a feeling of joyous exaltation. The affair caused considerable excitement and brought him, as he says, "into very important relations with the most estimable and amiable elements of the French mind," and he discovered that his ideal, being purely human, found followers everywhere. The performances themselves could not have pleased him. "May all their insufficiencies remain covered with the dust of those three battle-evenings," he wrote shortly after to Germany.

He realized afresh that for the present his native land alone was the place for a worthy presentation of his music and the enthusiasm which he witnessed at a performance of "Lohengrin" in Vienna, then the German imperial city, convinced him that the insult which had just been offered to the German spirit was keenly felt. Vienna as well as Carlsruhe now requested "Tristan," but the request was not conceded.

At a musicians' union which met in Weimar in August, 1861, under Liszt's leadership, Wagner found that the better part of the German artists had also measurably been converted to his views. These experiences and the hope that with a humorous theme selected from German life he might finally obtain possession of the domestic stage and speak heart to heart to his dearly loved people and remind them that even their every day life ought to be transfused with the spirit of the ideal, prompted him to resurrect his "Mastersingers of Nuremberg." It was in foreign Paris that he wrote, in the winter of 1862, the prize song of German life and art which enchants every true German heart. This was the last work he created in a foreign land and in a certain sense he freed himself with it from the sad recollections of a banishment endured for more than ten years to reappear now "sound and serene" before his nation. That this would finally come to pa.s.s had always been his last star of hope. "To the Pleiades and to Bootes"

Beethoven had likewise marked in his copy of the Odyssey.

We close therefore this chapter of banishment and dire misfortunes with the prospect of a brighter future by communicating the plan of the text of that work as he had already framed it in 1845.

"I conceived Hans Sachs to be the last appearance of the artistic spirit of the people" he says, "and placed him in opposition to the narrow-minded citizens from whom the Mastersingers were chosen. To their ridiculous pedantry, I gave personal expression in the Marker whose duty it was to pay attention to the mistakes of the singers, especially of those who were candidates for admission to the guild."

Whenever a certain number of errors had been committed the singer had to step down and was declared unworthy of the distinction he sought.

The eldest member of the guild now offered the hand of his young daughter to that master who should win the prize at the public song-festival.

The Marker, who already is a suitor, finds a rival in the person of a young n.o.bleman who, inspired by heroic tales and the minnesingers'

deeds, leaves his ruined ancestral castle to learn the art of the mastersingers in Nuremberg. He announces himself for admission prompted mainly by his sudden and growing love for the prize-maiden who can only be gained by a "master." At the examination he sings an inspired song which however gives constant offense to the Marker, so much so, that before he is half through he has exhausted the limit of errors. Sachs, who is pleased with the young n.o.bleman, for his own welfare frustrates the desperate attempt to elope with the maiden. In doing this he finds at the same time an opportunity to greatly vex the Marker. The latter, who to humiliate Sachs had upbraided him because of a pair of shoes which were not yet ready, posts himself at night before the window of the maiden and sings his song as a test, for it is important to gain her vote upon which rests the final decision when the prize is bestowed. Sachs, whose workshop lies opposite the house for which the serenade is intended, when the Marker opens, begins to sing loudly also because as he declares to the irate serenader, this is necessary for him, if he would remain awake while at work so late, and that the work is urgent none knows better than he who had so harshly rebuked him for tardiness. At last he promises to desist, on condition however that he be permitted to indicate the errors which, after his own feeling, he may find in the song, by striking with the hammer upon the last. The Marker sings, Sachs repeatedly and vigorously strikes the last, and the Marker jumps up angrily but is met with the question whether he is through with the song. "Far from it," he cries. Sachs now laughingly hands him his shoes and declares that the strokes of disapproval sufficed to complete them. With the rest of the song, which in desperation he sings without stopping, he lamentably fails before the female form at the window who shakes her head violently in disapproval, and, to add to his own misfortune, he receives a thrashing at the hands of the apprentices and journeymen whom the noise has roused from slumber. The following day, deeply dejected, he asks Sachs for one of his own songs. Sachs gives him one of the young n.o.bleman's poems, pretending not to know whence it came.

He cautions him to observe the melody to which it must be sung. The vain Marker, however, believes himself perfectly secure in this, and now sings the poem before the public master and peoples-court to a melody which completely disfigures it, so that he fails again, and this time decisively. Rendered furious, he accuses Sachs of deceit in that he gave him an abominable poem. Sachs declares the poem to be quite good, but that it must be sung according to the proper melody.

It is now determined that whoever knows this melody shall be the victor. The young n.o.bleman sings it and secures the bride. The admission into the guild however he declines. Thereupon Hans Sachs humorously defends the mastersingers and closes with the rhyme:

"The Holy Roman Empire may depart, Yet will remain our Holy German art."

A few years later the German empire arose to new glory and blessing, and yet a l.u.s.trum, and with the rise of Baireuth, came the German art.

CHAPTER V.

1862-1868.

MUNICH.

Successful Concerts--Plans for a New Theatre--Offenbach's Music Preferred--Concerts Again--New Hindrances and Disappointments--King Louis of Bavaria--Rescue and Hope--New Life--Schnorr--"Tannhaeuser"

Reproduced--Great Performance of "Tristan"--Enthusiastic Applause--Death of Schnorr--Opposition of the Munich Public--Unfair Attacks Upon Wagner--He Goes to Switzerland--The "Meistersinger"--The Rehearsals--The Successful Performance--Criticisms.

_O, thus descendest thou at last to me, Fulfilment, fairest daughter of the G.o.ds._ Goethe.

The pressure of circ.u.mstances, as well as the natural desire, to break ground for himself and his new creations, induced him for a time to give concerts with selections from them. He met with marked success before the unprejudiced hearers of Vienna, Prague, St. Petersburg, and Moscow. His visit to Russia especially yielded him a handsome sum, with which he returned to Vienna to await the representation of "Tristan," but owing to the physical inability of Ander, the work finally had to be laid aside. Wagner felt also that intelligence as well as good-will for the cause were lacking; even the Isolde-Dustman did not at heart believe in it. "To speak frankly, I had enough of it and thought no more about it," he tells us.

During this time he published the Nibelungen-poem, and in April, 1863, wrote the celebrated preface which eventually led to the consummation of his desires. He had with Semper conceived the design of a theatre which after the Grecian style should confine the attention of the entire audience to the stage, by its amphitheatric form, thus rendering impossible the mutual staring of the public or at least making it less likely to occur. Because of the oft repeated experience of the deeper effect of music when heard unseen, the orchestra was to be placed so low that no spectator could see the movements of the performers, while at the same time it would result in the more complete harmony of sound from the many and various instruments. In such a place, consecrated to art alone and not to pleasure of the eye, the "stage-festival-play" was to be produced. But would it be possible for lovers of art to provide the means, or was there perhaps a prince willing to spend for this purpose only as much as the maintenance for a short period of his imperfect Opera-house cost him? "In the beginning was the deed," he says with _Faust_, and adds sadly enough in a postscript: "I no longer expect to live to see the representation of my stage-festival-play, and can barely hope to find sufficient leisure and desire to complete the musical composition."

He next thought that the court Opera-house in process of erection in Vienna might be utilized by limiting the number of performances and securing a careful representation of the style of the works produced.

Had not Joseph II. recognized the theatre as "contributing to the refinement of manners and of taste"? He even offered to prepare specially for Vienna a more condensed work, the "Meistersingers." The reply was, however, that the name of Wagner had for the present received sufficient consideration, and that it was time to give a hearing to some other composer. "This other name was Jacques Offenbach," adds Wagner. It needs no comment.

Again followed concerts, first in Prague, where "Tristan" was requested, then in Carlsruhe, where he had long been forgotten, although the prince's own love for art had not been extinguished. The Carlsruhe and Mannheim orchestras acknowledged that they now first fully realized that they were artists. A negotiation for permanent settlement at the grand-ducal court failed, owing to the opposition of the courtiers. Wagner had demanded a court-carriage! Frederick the Great has said, it is true, that geniuses rank with sovereigns; but then this was too much, too much! Then too, he had, O horror! spent the beautiful ducats which the grand-duke had presented him, in entertaining of an evening the musicians who had executed the work.

Where would such pretensions, such extravagance lead? The same courtiers, however, did not consider it robbery for many years shamefully to abridge the income of their n.o.ble prince until they finally stood disgraced themselves and escaped punishment only through the inexhaustible kindness of their monarch.

In Loewenberg, in Breslau, and again in Vienna, everywhere Wagner met with abundant success. But what of the real goal? "The public met him with enthusiasm wherever he showed himself, but on the other hand the leading critics remained cold or hostile and the directors of the theatres closed their doors to him," his biographer, Glasenapp, says truthfully enough. Of the Nibelungen-poem also no notice had been taken except in a very narrow circle. Here and there a copy of the little volume, bound in red and gold, could be found, but the owner was sure to belong to the school of Liszt or Wagner. "How could the poetic work of an opera-composer bear serious consideration in contrast with the elaborate literary productions of professional poets?" Wagner says with justice. He felt himself rejected everywhere, and just where alone he desired admission.

"For me there shone no star that did not pale, No cheering hope of which I was not reft; To the world's whim, changing with every gale, And all its vain caprices, I was left; To n.o.bler art my aspirations soared, Yet I must sink them to the common horde.

"He that our heads had crowned with laurels green, By priestly staff whose verdure had decayed, Robbed me of Hope's sweet solaces, and e'en The last delusive comfort caused to fade; Yet thus was nourished in my soul serene An inward trust, by which my faith was stayed; And if to this trust I prove ever true The withered staff shall blossom forth anew.

"What deep in my own heart I did discern, Dwelt also, silent, in another's breast; And that which in his eager soul did burn, Within my youthful heart peaceful did rest; And as he half unconsciously did yearn For all the Spring-time joys that were in quest, The Spring's delightsomeness our souls shall nourish, And newer verdure round our faiths shall flourish."

On his seventeenth birthday, the 25th of August, 1861, the grandson of that King Louis of Bavaria who was the first among the princes of Germany to again take an active interest in the plastic arts, witnessed a performance of "Lohengrin," the first play that he had seen. Full of enthusiasm, he inquired for the other works of this master. Wagner's writings convinced him, who now had on his desk only the busts of Beethoven and Wagner, that the one seemed likely to meet the same fate that the other had in fact encountered--to sink into the grave before the attainment of his goal and of his fame. His silent vow was to reach out his hand to this "one" as soon as he should be king. Two years later, the "Ring of the Nibelungen" appeared in print. In it was the question: "Will this prince be found?" In the following spring the author of the work was in dire distress in Vienna. The silver rubles had rapidly disappeared. How could such common treasures be heeded by him who had at his disposal the Holy Grail? But inexorably approached the danger of loss of personal liberty. He had to fly. A friend had provided him a refuge on his estate in Switzerland. On the way there he remained a few days in Stuttgart. Of a sudden the friend's door-bell is rung, but Wagner's presence is denied. The stranger urges pressing business, and on inquiry informs the master of the house--who was none other than Carl Eckert, subsequently Hofkapellmeister at Berlin--that he comes in the name of the King of Bavaria! Louis II. by the sudden death of Maximilian II. had been called to the throne in March, 1864, and one of his first acts was the invitation extended to the artist, so enthusiastically admired.

"Now all has been won, my most daring hopes surpa.s.sed. He places all his means at my disposal," with these words he sank upon his friend's breast. In a short time he was in Munich.

"He has poured out his wealth upon me as from a horn of plenty," was the expression he used immediately after the first audience. "What shall I now tell you? The most inconceivable and yet the only thing I need has attained its full realization. In the year of the first representation of my 'Tannhaeuser,' a queen gave birth to the good genius of my life, who was destined to bring me out of deepest want into the highest happiness. He has been sent to me from heaven.

Through him I am, and comprehend myself," he wrote, a few months later, after he had settled down in Munich, to a lady friend.

King Louis was a youth of true kingly form. In his beautiful eye there was at the same time a quiet enthusiasm. His keen understanding was accompanied by a lively imagination and a true soul, so that nature had endowed him with the three princ.i.p.al mental powers in n.o.ble proportions. His disposition is indicated by the words: "You are a Protestant? That is right. Always liberal." And after the style of youthful inexperience: "You likewise do not like women? They are so tedious." His soul and mind were open to the joyous reception of all ideal emotions. This was indeed a youthful king, as only such an artist could have wished, and permanently attracted. "To the Kingly Friend," is the t.i.tle of the dedication of the "Walkuere," in the summer of 1864.

"O gracious king! protector of my life!

Thou fountain of all goodness, all delight; Now, at the goal of my adventurous strife, The words that shall express thy grace aright I seek in vain, although the world is rife With speech and printed book; and day and night I still must seek for words to utter free The grat.i.tude my heart doth bear to thee."

Thereupon follow the three verses quoted above, and it comes to a close:

"So poor am I, I keep but only this-- The faith which thou hast given unto me; It is the power by which to heights of bliss My soul is lifted in proud ecstacy; But partly is it mine, and I shall miss Wholly its power, if thou ungracious be; My gifts are all from thee, and I will praise Thy royal faith that knows no change of days."

Of the latter there was to be no lack, although it was put to a severe test, and thus the artist reached at last the goal of his effort, referred to above, where he stands to-day, the artistic savior of his nation and his time.

As the main thing, the completion of the Nibelungen-Ring was taken in hand. In the meantime, however, a model exhibition of the new art-style was to be given, with "Tristan." For this purpose Schnorr was invited, at that time residing in Dresden. Wagner says, when he first met him at Carlsruhe, in 1862: "While the sight of the swan-knight, approaching in his little boat, gave me the somewhat odd impression of the appearance of a young Hercules (Schnorr suffered from obesity), yet his manner at once conveyed to me the distinct charm of the mythical hero sent by the G.o.ds, whose ident.i.ty we do not study but whom we instinctively recognize. This instantaneous effect which touches the inmost heart, can only be compared to magic. I remember to have been similarly impressed in early youth by the great actress, Schroeder-Devrient, which shaped the course of my life, and since then not again so strongly as by Schnorr in Lohengrin." He had found in him a genuine singer, musician, and actor, possessing above all unbounded capacity for tragic roles.

He was put to the test at first in "Tannhaeuser," and in this new role he also produced an entirely new impression, of which the Munich public, led by Franz Lachner, in the worn-out tracks of the latter-day cla.s.sics, had its first experience. Then followed the rehearsals for "Tristan," which Schnorr had already fully mastered, with the exception of a single pa.s.sage, "Out of Laughter and Weeping, Joys and Wounds," the terrible love-curse in the third act. By his wonderful power of expression, the master had "made this clear to him." At the rehearsal of this act, Wagner staggered to his feet, profoundly moved, and embracing his wonderful friend, said softly that he could not express his joy over his now realized ideal, and Schnorr's dark eye flashed responsive pleasure. Buelow, who, as concert-master to the king, now resided in Munich, likewise conducted with wonderful precision the orchestra which Wagner himself had thoroughly rehea.r.s.ed, and so the invitation was issued to this "art-festival" wherever Wagner's art had conquered hearts. It was to show how far the problem of original and genuine musico-dramatic art had been solved, and whether the people were ready for it and prepared to share in its grandest and n.o.blest triumphs.

The public rehearsal was festive in its character. The whole musical press of Germany and some of the foreign critics were present.

Wagner was called after every act. Unfortunately, the representation proper was delayed for nearly four weeks through the sickness of Frau Garrigues-Schnorr, who took the role of Isolde, so that the Munich people were after all the princ.i.p.al attendants. The applause was nevertheless enthusiastic, and the success of the memorable "art-festival" of June 10, 1865, admission to which was not to be had for money, but by invitation of Wagner and his royal friend, was an accomplished fact, notwithstanding the work had been by no means fully comprehended, for this required time. Unfortunately, the n.o.ble artist died a short time after, in Dresden, from the effects of a cold, to which the utter disregard of the theatre managers in Munich had exposed him in the scene where he had to lie wounded on a couch.

Wagner was deeply affected. He conceived he had lost the solid stone work of his edifice, and would now have to resort to mere bricks. It is certain he never found a Siegfried as great as this Tristan.

Another contingency temporarily interfered with the undertaking of the two friends, and that was the opposition of the Munich public, which resulted in Wagner's permanent withdrawal from the city. To this public a person was indeed strange who made such unusual artistic demands, while the personal character and habits of Wagner at that time were probably nowhere more strange than in Bavaria, which had obtained its education at the hands of the Jesuit priests. It is true, the good qualities, such as simplicity of manners and habits of life, had remained, but the intellectual horizon had become a comparatively narrow one, and, what was worse, the clerical and aristocratic Bavarian party feared it would lose its power if a man like Wagner were to remain permanently about the king. George Herwegh has described comically enough the Witches-Sabbath, which that party, in 1865, with the aid of other hostile factions, enacted, and which forced Wagner once more into foreign lands.

Munich, accustomed to simplicity, took exception to the rich style in which Wagner furnished the villa presented by the king, and to the expansion of the civil-list for the construction of the theatre, which was to cost seven million marks, though it would have made Munich a festival-place for all Germany, and cultivated society the world over.

The press from day to day printed some fresh calumny. It even a.s.sailed the private character of the artist after a fashion that provoked him to a very effective public defense. Even very sensible people became possessed, in an unaccountable manner, with the prevalent idea that Wagner was destroying Bavaria's prosperity. A not unknown author of oriental poetry, said ignorantly enough, that it was well such a tramp was finally to be driven off the street; and a college professor, who, it is true, had a son, a self-composer in Beethoven's meaning of the word, and who could therefore have performed all that Wagner did, added to this the brutal, insolent a.s.sertion, "the fellow deserves to be hanged." At last they prevailed upon the king, to whom this had been foolsplay, to listen at least to what unprejudiced men would tell him of public opinion in Bavaria. To the minister and the police-superintendent were added an esteemed ultra montane government counselor, an arch bishop and others who were reputed to be unprejudiced. His reply, "I will show to my dear people that I value their confidence and love above everything," proves that they finally succeeded in misleading even the greatest impartiality. The king himself requested the artist to leave Munich for some time and gave him an annuity of 15,000 marks. When this had been done, a public declaration of the princ.i.p.al party in Bavaria showed that the so-called "displeasure of the people" about political machinations and the like had been empty talk. Political, social, and artistic intrigues and base envy alone had given birth to this ghost.