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Richard Wagner's Wesendonck Lieder. Isolde Personified

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Richard Wagner's Wesendonck Lieder. Isolde Personified Weiler, S. (2006). Richard Wagner's Wesendonck Lieder: Isolde Personified. Journal of Singing, 62(3), 267-278. Retrieved from https://www.nats.org/cgi/page.cgi/_article.html/Journal_of_Singing/Richard_Wagner_s_Wesendonck_Lieder_Isolde_Personified_2006_Jan_Feb © National Association of Teachers of Singing Sherri Moore Weiler Richard Wagner's Wesendonck Lieder. Isolde Personified ing been seeded by Beethoven, estab- ten 'li i Ic enamored with t he phi h s- lished by Schubert, and lovingly nour- ophy of Ludwig Feuerbach 2 were ished by Schumann and Mendelssohn, behind him, and he had begun to all before 1840. In this earlier Roman- espouse the Weltanschauung of Arthur tic musical paradigm, art embodied Schopenhauer; and his preoccupa- nature. To Wagner, art embodied phi- tion with the 7',Lta,i myth, based on losophy. He became the very essence the Gottfried von Strassburg legend of post-Romanticism. Verdi, Massenet, of 1210, continued to develop and Puccini, Humperdinck, Debussy, expand." At the center of it all stood Mahler—no composer of song or his lodestar, his impassioned attach- Opera escaped untouched by the fruit ment to Mathilde Wesendonck. of Wagner's noble passions and burn- Wagner had fled Dresden due to ing ideals. Wagner's intense alliance his political involvement in the failed with Mathilde Wesendonck trans- uprising of May 1849 and was shel- Sherri Moore Weiler formed his personal and artistic tered by Liszt at Weimar before even- Wagner's earliest operas (Die Fern, philosophies and became the prelude tually making his way on a false Das Liebesverbot, Rienzi, Derfliegende to his music of the future. passport to Switzerland. He settled Holländer, Tannhä user, and Lohen- The elements of Richard Wagner's in Zurich—German-speaking, polit- grif i) were designated "grofe roman- distinctive musical style in Fiinf ically liberal, outside the confines of tische Oper" by Wagner himself, and Gedich tefu r cine F,-a uenstinnne u nd the German states, yet teeming with were patterned in the German Ro- Kiavier serve as the gravitational force fellow Germans. It was here that he mantic opera tradition of Weber and that binds Mathilde Wesendonck's met the Wesendoncks, Otto and Marschner (see Table 1 for a list of poetry to the composer's unique, Mathilde, who themselves had arrived Wagner's music dramas). It was not futuristic musical ideas. Commonly in Zurich in April 1851. Wagner was until he started work on the Ring known as the Wesendonck Lieder, the conducting regularly for the civic cycle in the early 1850s that Wagner five poems personify the profound Music Society in Zurich, and the began, for primarily philosophical nature of the couple's extraordinary Wesendoncks had become culturally reasons coupled with his burgeoning relationship, while the music com- involved in the small scale music life creative genius, to depart from the posed for them unmistakably fore- of the city, so it was not surprising established operatic style of his day. shadows Wagner's music drama that their paths would eventually The Ring project intrigued Wagner Tristan und Isolde. In fact, two of the cross, as they did in February 1852. immensely, and although he made songs, "Träume" and "Tm Treibhaus," The two families—Richard and musical sketches of all the Ring operas were musical studies for the Act II Minna Wagner, Otto and Mathilde during the decade of the 1850s, Tris- Love Duet and the Act III Prelude, Wesendonck—became good friends. tan und Isolde persistently intervened respectively (see Table 2 for a chart Wagner, who had always had a com- and directly coincided with his inti- of the poetry, dates, and musical keys). pulsion to teach and convert others, macv with Mathilde Weseridonck, Surrounding Wagner's personal delighted in initiating this new, atten- Nineteenth-century Romanticism sphere during the 1850s were sev- tive pupil into his art and his theo- was in full flower in Germany, hay- eral key determining influences. His ries. Mathilde referred to Richard as twenty-year marriage to Minna con- "the Master" in her diaries, and Journal of Singing, January/February 2006 tinued to be a source of general unhap- Richard affectionately called Mathilde Volume 62. No. 3, pp. 267-278 Copyright 2006 piness, making him emotionally "the Child." Mathilde was able to National Association of Teachers of Singing vulnerable; his seminal essays writ- respond to Richard's musical schemes JANUARY/FEBRUARY 2001i 267 Weiler, S. (2006). Richard Wagner's Wesendonck Lieder: Isolde Personified. Journal of Singing, 62(3), 267-278. Retrieved from https://www.nats.org/cgi/page.cgi/_article.html/Journal_of_Singing/Richard_Wagner_s_Wesendonck_Lieder_Isolde_Personified_2006_Jan_Feb © National Association of Teachers of Singing Richard Wagner's Wesendonck Lieder: Isolde Personified lahlc 1. Wagners ( )peras and Music Dramas: Cwnjositional Chronology.! 1854 letter to Liszt. Wagner bewailed his impetuous marriage to Minna, Title Dates of Composition Date of First Performance whom he claimed to respect but could Die Fern 1833-34 Munich, 1888 not actually love. In such a painful mood he further wrote, l)as Liebesverhot 1835 Magdeburg, 1836 Rienzi 1838-4() Dresden, 1842 I now take a delight in living for my wife: I)rr Holländrr 1841 Dresden, 1843 flieqende if love is to be measured according to sac- Thnnhäuser 1843-45 Dresden, 1845 rifices, no one was ever loved so much, Lohengrin 1846-48 Weimar, 1850 since for no one have such heavy, delib- Der Ri;zjj des Nibelunjen Poems begun 1848, Bayreuth. 1876 erate sacrifices been made . As I have completed 1852 never enjoyed the real happiness of love Das Rheingold 1853-54 Munich, 1869 in my life, I now intend to erect a monu- Die Walkiire 1854-56 Munich, 1870 ment to this loveliest of all dreams, a work Sicyjfried 1856-57, 1864-65, Bayreuth, 1876 in which love shall really have its fill from 1869-71 beginning to end: in my head I have Tristan und isolde. (Mt rerdii,nmerunq 1869-74 Bayreuth, 1876 evolved a Tristan and Isolde 1857-59 Munich, 1865 In September 1854 Wagner had Die Meistersinger ion 1862-67 Munich, 1868 been introduced to the quietist, renun- NiArnbrr ciatory philosophy of Arthur Schopen- Pai'dftil 1877-82 Bayreuth, 1882 hauer, which had a profound effect on his future outlook on life. Schopen- hauer had written his three major Gedicine ron Mathilde WcsendonckJuir Frauenstimmr und Klarirr Table 2. Fu nf aesthetic treatises under the direct (Wesendonck Lieder). influence of Ludwig Feuerbach, whose Title [Studej reference] Date composed Kejj attacks on orthodox theology caused the philosopher to become the idol of Der Engel 3() November 1857 G major young German intellectuals sympa- Stehe still! 22 February 1858 C minor thetic to the uprisings of 1849 and Im Treibhaus I May 1858 D minor had even attracted the interest of Karl Study for Act 3 Prelude. Marx and Friedrich Engels.' Feuer- Tristan und Isoldel bach's philosophy was materialistic, December 1857 C minor Schmerzen 17 man centered, and atheistic." Scho- 5 December 1857 A" major 'l'rume penhauer's philosophy had many par- ISrudy for Act 2 Love Duct, allels with Buddhist thinking. In his Tristan and lsoldel 1819 book 7w World as Will and Idea, Schopenhauer wrote of the will as and dreams in a way Minna had never they underwent a transformation; the the primal force of all being, as the been able to respond. Minna's own kind adviser and teacher amiably source of all pain and misery on earth, health demanded frequent treatments instructing his adoring student as well as of all happiness." Wagner, and spa cures, which necessitated her became the musical genius dispens- from his first readings of the philoso- being gone for weeks at a time. During ing his gifts to his "tutelary goddess," pher in late 1854, was attracted more these absences Wagner fell hack his muse.' to Schopenhauer's moral philosophy increasingly on Mathilde Wesendonck Wagner's growing romantic inter- than to his views on aesthetics, and he as his attentive female sympathizer. est in Frau Wesendonck during the was delighted to learn that he had She was undoubtedly overwhelmed six year period after February 1852 already subconsciously incorporated l)y his genius and his attention. Their "precipitated, or at least paralleled, a much of the philosopher's ideas into relationship became steadily more philosophical preoccupation with the his own writings. 2 He subsequently cordial, and it was not long before nature of love itself."7 In a December integrated specific aspects of Schopen- 268 JOURNAL OF SINGING Weiler, S. (2006). Richard Wagner's Wesendonck Lieder: Isolde Personified. Journal of Singing, 62(3), 267-278. Retrieved from https://www.nats.org/cgi/page.cgi/_article.html/Journal_of_Singing/Richard_Wagner_s_Wesendonck_Lieder_Isolde_Personified_2006_Jan_Feb © National Association of Teachers of Singing Sherri Moore Weiler hauer's philosophy of music into began the composition sketches for Mathilde as his angel. The missive Tristan und isolde. Music was corisid- the first act, but he interrupted his marked the completion of the draft ered to he a direct objectification of Tristan absorption to set to music five of the first act of Tristan, which the the will; not a mere copy of ideas that poems written by Math ilde. This Fünf composer celebrated in poetic form. tried to mirror the will, but instead a Gedichte collection represents one of Tristan und Isolde, copy of the will itself. Therefore, the very few occasions on which he in keuscher Tone Golde, wrote music to words written by any- through music all individuals had itir Weinen und ihr Küssen 17 direct access to the will. Furthermore, one other than himself. leg' ich zu deinen Füssen, Schopenhauer (and b y extension Frail Wesendonck's literary aspi- dass sic den Engel loben, Wagner) held that music was the most rations on the whole may not have der mich so hoch erhoben!2° powerful of all the arts, not needing been particularly noteworthy, but the words or actions to be effective.
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