Richard Wagner's ''Occasional Works'' for male chorus (1843-1844): Aspects and influences on Wagner's emerging compositional style during the Dresden years (1843-1849).

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Richard Wagner's "Occasional Works" for male chorus (1843-44): Aspects and influences on Wagner's emerging compositional style during the Dresden years (1843-49)

Jahn, Jeffry Allen, A.Mus.D.

The University of Arizona, 1990

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RICHARD WAGNER'S "OCCASIONAL 'WORKS" FOR MALE CHORUS (1843·44): ASPECTS AND INFLUENCES ON WAGNER'S EMERGING COMPOSITIONAL STYLE DURING THE DRESDEN YEARS (1843·49)

by Jeffry Allen Jabn

A Document Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College TIlE UNIVERSITY OF ARIZONA

1990 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE

As members of the Final Examination Committee, we certify that we have read

the dissertation prepared by Jeffry Allen Jahn

entitled Richard Wagner's "Occasional Works" For Hale Chorus (1843-44):

Aspects and Influences on Wagner's Emerging Compositional

Style During the Dresden Years (1843-49)

and recommend that it be accepted as fulfilling the dissertation requirement

for the Degree of A. Mus. D. ------~~~~~------1/ /J:5 ) 90 Date' , (~d36/h /J //3/10 Date )

Date

Date

Final approval and acceptance of this dissertation is contingent upon the candidate's submission of the final copy of the dissertation to the Graduate College.

I hereby certify that I have read this dissertation prepared under my direction and recommend that it be accepted as fulfilling the dissertation CJ)fement .

. jjljt1/£/U:U /~ /) / I ,;-/ f? 0 Dissertation Director Date 3

STATEMENT BY AUTHOR

This document has been submitted in partial fulfillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library.

Brief quotations from this document are allowable without special permission. provided Lhat accurate acknowledgement of source is made. Requests for permission for extended quotations from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his or her judgement the proposed use of the material is in Lhe interests of scholarship. In all other instances. however. permission must be obtained from the author. 4

T ABLE OF CONTENTS

PAGE

LIST OF ILLUSTRATIONS ...... •...... 5

ABSTR.ACf ...... •.•...... ••.....••...... 6

STATEMENT OF THE PROBLEM ...... 7

NEED FOR THE STUDy ...... 8

LIMITATIONS OF THE STUDy ...... 9

PURPOSE OF THE STUDY ...... 10

CHAPTER

I. A BRIEF mSTORY OF THE HOFKAPEUMEISTER POSITION OF THE DRESDEN COURT ...... 11

II. SPONTINI AND THE DOWNFALL OF THE ITALIAN OPERA ...... 18

m. WAGNER'S PSYCHOLOGICAL REACTION TO FAMILIAL INFLUENCES: GERMAN VS. ITALIAN IDEALS ...... 20

IV. EARL Y INFLUENCES ON THE COMPOSITIONAL STYLE OF WAGNER ...... 23

V. THE INFLUENCES OF WAGNER'S RIENZI ANDDER FUEGENDE HOLLANDER ON DAS LIEBESMAHL DER APOSTEL, AND THE RESULTING INFLUENCE UPON TANNHAUSER ...... 29

VI. "THE BAPTISM OF FIRE" - DAS LIEBESMAHL DER APOSTEL ...... 43

VII. THE SMALL "OCCASIONAL WORKS": WAGNER'S RESPONSE AS SERV ANT AND DISCIPLE ...... 55

vm. CONCLUSION ...... 64 5

LIST OF ILLUSTRATIONS

Figures Page

1a. D3S Liebesverbot, Act I, Nr. 3: "Salve Regina coelj>' ...... 25

1b. TannMuser, Act m (introduction), meastr.'CS 47-49 ...... 26

2a. Rienzi, Act m: "Ewiger Too sei Jenes Los", measures 50-57 ...... 29

2b. Rienzi, Act IV, Nr. 12, Finale: "Intonation of Monks", measures 228-240...... 30

2c. Das Liebesmahl der Apostel, measures 166-168 ...... 30

3. Das Liebesmahl der Apostel, measures 219-232 ...... 31

4 Der fliegende Hlillander, Act II: "Steumann! Lass die Wacht!" ...... 33

5. Das Liebesmahl der Apostel, measures 125-129 ...... 36

6a. Tannhl1user, Act III, sc. 1: "Begliickt darf nun dich" - (pilgrim's Chorus) ...... 40

6b. Das Liebesmahl der Apostel, measures 174-181 ...... 41

7. Das Liebesmahl der Apostel, measures 1-42 ...... 49

8a. Gruss seiner Treuen, measures 17-22 ...... " ...... 59

8b. Das Liebesmahl der Apostel, measures 210-218 ...... : ...... 60

9a. Weihegruss, measures 25-35 ...... 64

9b. Gruss seiner Treuen, measures 17-41 ...... 65

9c. Das Liebesmahl der Aposlel, measures 210-218 ...... 66 6

ABSTRACT

Richard Wagner was appointed Hofkapellmeister to the Dresden Court in 1841. In conjunction with the duties of his office, he composed four works for male chorus, categorized by him as "occasional works". These works written during the fi.r.;t year-and-a-half of his Dresden tenure demonstrate Wagner's early assimilation of his artistic and philosophical ideals that would culminate in the composition of the opera-cycle, Der Ring des Nibelungen. Wagner's association with the male-voice choral unions of Dresden allowed him opportunity to express and derme his compositional goals in his constant quest for a true and pure Gennan art fonn. The "occasional works" influenced and affected his use of male chorus in the operas

Lohengrin, Tannhiiuser and Die Meistersinger. Wagner, forced to flee Dresden after the May

1849 uprising, no longer had access to the Dresden male-voice choral unions. Consequently, the frequency of male choruses in his operas composed after this time diminishes assuming a different position, both musically and dramatically than in those operas composed prior to and during his Dresden tenure.

The "occasional works" demonstrate more than a servial obligation, rather, they encapSUlate the very essence of Wagner's compositional thought in a highly condensed and intensely focused fonn. 7

STATEMENT OF THE PROBLEM

The influences of Wagner's operas Rienzi (1842) and Der /liegende Hollander (1843), on the "occasional works" during the "Dresden years" (1843-49) will be examined, as well as the influence these "occasional works" had on Wagner's compositional evolution demonstrated in his opera Tannhliuser

(1845). What impact or influence did the "occasional works" have on Wagner's treatment of the male chorus in his operatic output dwing the "Dresden years" and the years that followed?

Wagner states in his autobiography, Mein Leben, that due to the responsibilities of his office in the Dresden Court, he was placed at the head of the undertaking of a gala performance that would include all of the male-voice choral societies in Dresden. Wagner composed Das Liebesmahl der Aposlel for the occasion. Did this composition, perhaps the most extensive work of its kind in all of male chorus literature, along with the three other "occasional works", influence his use, or lack thereof, of the male chorus in his operas? Did the use of male chorus in hi!: operas Rienzi and Der /liegende Htjl/ander influence his treatment of male chorus in the "occasional works" outside the opera genre? Why did Wagner no longer compose music for male chorus, other than in opera, after 1845?

Through historical research, utilizing Wagner's own writings (i.e. his personal correspondence, essays, Mein Leben and the music scores), as well as objective criticism and analysis from noted commentators (Ellis, Newman, and Westemagen to mention a few) an hypothesis will be formulated and tested as to the influence the "occasional works" had on Wagner's future operatic compositions. 8

NEED FOR THE STUDY

To date, research on Richard Wagner has centered primarily on theoretical, philosophical,

psychological and analytical examinations of his operas Tristan und Isolde and Der Ring des

Nibelungen. and on his prolific literary writings dealing with political/social refonn of the day and the

aesthetics of music and drama.

The "Dresden years" are a key period in Wagner's personal and compositional development. From

1843 to 1849, Wagner completed two of his operas, Tannhliuser and Lohengrin; sketched a preliminary

outline for his opera Die Meistersinger von Nurnberg; and wrote the essays Theater-Reform,

Nochmals Theater-ReronD. pie Kunst und die Revolution and Per Nibelungen-Mythus als Entwerf zu

einem Drama (the latter being the basis for his monumental opera-cycle Der Ring des Nibelungen).

The "occasional works" composed during the "Dresden years" demonstrate Wagner's compositional

evolution and his auempt at defining his own musical style while being obligated to perform duties in

conjunction with his position in the Dresden Court that were not to his liking. The "occasional works" in

many ways show Wagner trying to assimilate and synthesize numerous theoretical, musical and dramatic

elements into a cohesive and workable uniL A study of the "occasional works" defines Wagner's goals of

musical and dramatic unity by giving better understanding to his musical, dramatic and psychological concepts as demonstrated in his later operas. The "occasional works" shed light upon the experimental forms and ideas Wagner would later define as gesanftlamstwerk, and how this bold artistic concept.. that became the standard for future artistic innovations originated 9

LIMITATIONS OF THE STUDY

Wagner's "occasional works" genre is comprised of dedicatory compositions written for civil or

royal occasions and contains four works: Das Liebesmahl der Apostel (by far the largest and most

complex), Weihegruss. Gruss seiner Treuen and An Weber's Grabe. The study will include

Wagner's compositional procedures used during his tenure 21 the Dresden Court. however, all four

compositions in the "occasional works" genre were composed within a year-and-a-half of each other.

Das Liebesmahl der Apostel presents interesting problems in regard to execution. In the

last section, "Seid getrost ... ", an orchestra of considerable dimensions is intorduced for the first time in

the work. The reQuisite perfonning forces prohibited a perfonnance of the work in its complete fonn for the

lecturelrecitaI portion of this study. Therefore, the work received a perfonnance of only the frrst part 10

establish Wagner's compositional procedures.

The remaining three works were composed for festive occasions or as homage pieces. Dramatic

impetus, so important and prevalent in Wagner's works (especially in these homage pieces) is lost, or at

least diminished in any subsequent perfonnances. However, these pieces demonstrate musical worth,

integrity and insight. and help define the compositional procedures employed by Wagner during the

"Dresden years".

The procedure of the study is organized so that the influences of the operatic compositions of

Wagner preceding his "occasional works", and the resulting influences these works had upon his future

operas will be demonstrated through a variety of means: 1) the historical background and physical attributes

of the Hoj'kLJpel/meisler position; 2) attributes of the Dresden Court at the beginning of the nineteenth

century; 3) a brief biography of Richard Wagner, 4) the influences of his early operas Rienzi and Der

Jliegende Hollander upon the "occasional works"; 5) the influence the "occasional works" had upon

Tannhliuser. 10

PURPOSE OF THE STUDY

The purpose of this study is to survey and critique Richard Wagner's works written for male chorus and labeled by him as "occasional works" that were composed during his tenure in the Dresden Court as

Royal Saxon Conductor (Hofkapellmeister) to King Friedrich August n -February 1843 to May 1849.

This aforementioned time period, referred to as the "Dresden years", is a crucial period in Wagner's compositional, theoretical, literary and psychological maturity. The study will include an examination of the "occasional works" composed during the "Dresden years" in order to identify and define influences and salient aspects of Wagner's emerging compositional style. 11

CHAPTER I

A BRIEF HISTORY OF THE HOFKAPELLMEISTER POSITION OF THE DRESDEN COURT

In the seventeenth and eighteenth centuries the Gennan tenn Kapel/e denoted not only the singers and organist of a church, or the musicians of a court, but also encompassed all musical activities of a court

(opera, orchestra concerts and music activities for the church service). The Dresden Holkapelle was organized in 1648 by Moritz of Saxony and was comprised of musical organizations (instrumental and choral) united under one superior, the Hofiapellmeister. The Hojkapelle at the time of its founding, was comprised of eleven singers, but with the increasing secularization of the court (the inclusion of opera and an orchestra) the name Hofkapelle was expanded to the more inclusive title, Stadtkapelle.

The Hofkapel/meister was responsible for all the musical activities of the court (sacred and secular) as well as all music for the four major churches in Dresden: Kreuzkirche, Frauenkirche, Sophienkirche and

Dreikl5nigskirche. In addition fO these responsibilities and the separation of the Hofkapelle into two different ensembles (instrumental and choral), the Hofiapel/emeister became responsible for both, the instrumental Stadlkapelle, and the choral portion of the kapelle, the Hojkantorei. At the beginning of the nineteenth century, the Stadtkapeile, comprised of 15 to 30 musicians assisted the Ho/kantorei in perfonnances of O!

DreyMigsche Singakatiamie, Liedertafel and Orpheus.

Saxony's defeat in the Seven Years War (1756-63) brought to a temporary end the economic strength of the Court to finance opera Dresden, largely destroyed during the Prussian bombardment of

1760, including the princess' palace that contained all the musical archives of the Court (including many works by Heinrich Schurz and Johann Hasse) shifted its emphasis from the arts to the economic recovery and the rebuilding of the city. Due to these economic iestrictions, the Italian Opera, at the time presided 12

over by Ober/wpellmeisler P..asse, was reconstituted as a private enterprise but with considerable fmancial

support from the Court. Consequently, by the beginning of the nineteenth century, the Hojkapellmeisler

position included the supervision of the Hojkanlorei and Sladtkapelle, as well as the Italian Opera. In 1811,

Francesco Morlacchi was named Hojkapellmeisler of the Dresden Court

Primarily an opera composer Morlacchi occupied most of his time with the Directorship of the

Italian Opera, however, he demonstrated his compositional prowess in other genres as well. His earliest

compositions at Dresden include a Mass for the royal chapel and a passion oratorio on a Metastasian teXL

Morlacchi was brought to the Dresden Coun's attention through a letter written by the celebrated

contralto, Maria Marcolini, to a relative of hers, Count Camillo Marcolini (a Saxon Minister in the

Dresden Coun). Marcolini, who had recently performed the cantata, Saffo (written expressly for her by

Morlacchi) recommended Morlacchi to the Count. The political influence of Count Marcolini, coupled

with Morlacchi's growing international music reputation, secured the Hojkapellmeisler position for

Morlacchi.

Italian opera had long maintained a position of prominence at the Dresden Coun, originating with

King Friedrich August ("der Starke") and his conversion to Catholicism at the end of the seventeenth

century. King August's politically motivated conversion insured his claim to the crown for himself as well

as to his heirs. August "der Starke" entertained both Italian and French musicians and actors, but favored

the ans from Italy over the previous predilection for French anisans. The successor to August "der Starke",

August II, defmed and enhanced his predecessor's preference for Italian anisans by restricting French artisans

to panicipation in only the opera and ballet.

During the eighteenth century some of the world's most noteworthy musicians, such as QuanLZ,

Zelenka. Lotti and Hasse, were auached to the Dresden Court With the death of August "der Starke" on

February I, 1733, a five-month period of national mourning began. During this period of mourning, Bach presented the Kyrie and Gloria of his B minor Mass to the new Elector, Friedrich August II, in Dresden on July 27, 1733, as a "Missa in a set of pans", in the hopes of securing a position with the Court. 13

However, not until November 1736, and then only through the intervention of Bach's patron, Count

Keyserlingk, did Bach secure the title of Hofkomponist.

At the beginning of the nineteenth century the Dresden Coun remained Catholic, with a strong

Italian influence, compared to the Saxony populace who were predominantly Lutheran (German influence).

This separation and difference of religious and national ideologies created an obvious rift between the government and the governed. As one author states:

From at least 1730 music in the church culminated in the annual performance of an Easter oratorio, but was rather less in the public eye, as Saxony, the home of the Reformation, only tolerated its princes' conversion and failed to grant the Catholic church any significant status. 1

Morlacchi upheld and perpetuated this tradition by originating annual Palm Sunday concerts given by the royal chapel as a charity to aid the pension fund for widows and orphans of members of the chapel.

These concerts, Italian tradition and the dominance of Italian influence and ideology, will figure prominently during Wagner's tenure as Hojkapellmeister.

The continuance of Dresden's Italian musical traditions were due primarily to Saxony's disgrace in the war with Napoleon. After his disastrous Russian campaign of 1812, Napoleon planned to enlist the loyalty and aid of his vassal King August, and use Saxony as a base for the recapture of Berlin and the conquest of Prussia. King August saw this as an end to Prussian tyranny, and as an invaluable aid to the cause of German liberation. However, the King was taken prisoner during the three-day "Battle of Nations", his troops deserted to the side of the allies, and several mOJlths later Napoleon abdicated bringing the First

Empire of France to a close.

To circumvent Saxony's disgrace at being allied with the deposed monarch Napoleon, Dresden, as capital of Saxony, restructured its court so that it would have an honorable artistic position in the new

Germany and regain its previous enviable position in international opinicn. The influence of the court- supported Italian Opera manifested itself in the music and personnel of the chapel (Italian opera being the

IStanley Sadie, ed., The Grove Dictionary of Music and Musicians, 20 vols. (London: Macmillan Publishers Limited, 1980),20: 619.12 14

model of noble refinery and taste). MorJacchi enjoyed this influence and support and began rebuilding the

music establishment at the Dresden Court By auaining the position of Hojkape/lmeisler, Morlacchi

secured the Italian influence in the politics of the Dresden Court and the continuing dominance of the Italian

musical style.

The Hofkapellmeisler position changed drastically in 1817 with the appointment of Karl Maria

von Weber. Prior to this time MorJacchi had worked without opposition solidifying Italian musical

influence, but due to political, social and cultural tensions in Dresden, a situation emerged and changed not

only the attributes of the Hojko.pe/lmeisler position, but also contributed to the eventual downfall of the

Italian Opera establishment i.n 1832. The long and bitter rivalry between Morlacchi and Weber was more

than a mere dispute between egos; it was a rivalry of cultural and social ideologies.

Morlacchi, as director of the Italian Opera, enjoyed the influential support of the Italian party at

court, as we]) as the special protection of the all-powerful Cabinet-minister, Einsiedel.

Morlacchi was not left unaffected by the disastrous alliance between King August and Napoleon.

Although he kept himself at a safe distance, and lamented the fate of his patron in retirement, Morlacchi

became a pawn in political blackmail. Bya sudden order from Baron Rozen, Russian Minister of Police,

Morlacchi was ordered to compose a cantata commemorating the Tzar's birthdzy. Only two days were

available to produce the composition and Morlacchi, given the choice of compliance or deportation to

Siberia, finished the composition in the allotted time. Shortly after this, Morlacchi single-handedly saved

the Dresden chapel. The Russian government had abolished the Dresden chapel, however, Morlacchi

obtained an audience with the Tzar, and in consequence of the Tzar's representation had the abolition decree

reversed.

Italian snobbery culminated with the appointment of Weber as co-Ho}kappellmeisler. Weber's ascent to the

position was initiated and negotiated with great difficulty and political maneuvering by the Intendant of the

Dresden Court, Count Heinrich Vitzt11Um. Vitzthurn wished to develop a German Opera to counterbalance the Italian operatic traditions, thereby reshaping the entire politicaVmusical influence of the CourLand chose 15

Weber as his candidate. Weber, as Director of the Prague Opera, had scored a musical triumph with his

opera Abu Hassan and seemed a likely choice for the position. Through negotiations and Vitzthum's

political leverage, Weber was appointed to the Dresden Court. Upon his arrival in Dresden, Weber learned

that he had been given the subordinate rank of Musikdirekior. Realizing the politics involved, not to

mention the obvious bias to Italian preference, Weber resigned in protest. William Ashton Ellis, in his

book, Life of Richard Wagner, describes the scene quite eloquently;

At the beginning of 1817 Karl Maria von Weber arrived to found a German Opera in the midst of pigtailed and ltalianised 'Elbe-Aorence' ... he had his first experience of the hardships of his new position: summoned to Dresden as Kapellemeister ,he was put off with the subordinate rank of Musikdirekior. 2

The resignation of Weber allowed Vitzthum to skilfully manipulate the apparent set-back into a

political victory. Vitzthum argued that to have so prominent a musician as Weber absent from the

"prestigious" Dresden Court would be inconceivable. Vitzthum's argument succeeded in reslructuring the

Hojkapellmeister position. Morlacchi and Weber would share the position. While Vitzthum's political

goal of GeI!llan equality within the "Italianised" Court became realized, Weber's problems would become

apparent immediately (which will be detailed shortly).

Weber did not disappoint his Intendant in the least and immediately began to establish a German

Opera. Weber, known for his thoroughness. implemented reforms regarding every aspect of the theater: orchestral seating, scenery • lighting. and even a new system of rehearsal schedules. Weber declared his aims as being purely "German" by writing a manifesto published in the Abendzeitung. an extract of which reads:

The art-forms of other nations have always been better defined than those of the German. The Italian and French have made themselves an operatic form in which they move with ease. Not so the German. It is his peculiarity to seize the excellence of all the rest with eager curiosity and desire for constant progress; but he deepens everything. Whereas the others mostly make for the sensuous zest of isolated moments, he demands an artwork rounded in itself. where every part shall join to constitute a fine ensemble. a perfect whole.3

2William Ashton Ellis. Life of Richard Wagner. 6 vols. (New York: Da Capo Press, 1977), 1; 63. 3 Ibid .• 1: 64. 16

This quotation is significant in that it foreshadows the aims of Wagner, Weber's most ardent disciple.

After numerous harassments and all-too political manipulations (mainly from Morlacchi and his

supporters), a German <>r;:era was founded by Weber in 1817. Weber solidified the establishme-.nt of a

German Opera on an international scale with the critically acclaimed reception of his opera, DeT

Freischiitz. premiered in Berlin in 1821. This work elevated Weber's status to the elected champion of

the cause for a German Opera. Weber's Berlin premiere underscored on an international scale. the

political/stylistic differences between German and Italian ideologies. Whereas, the conflict between

Morlacchi and Weber. at the time in its infancy, was limited to the Dresden Court and Saxony, Weber

became embroiled in a conflict with the very personification of the Italian opera style: the elaborate court

opeC"cl of Friedrich Wilhelm III and the imposing spectacle operas of Spontini. Spontini had solit1ified his

reputation with the performance of his opera La Vestale in 1807, and in 1819, was namcd conductor of

the internationally renowned Berlin Opera. His tenure there was stormy and controversial, mainly because of

his temper and continual habit of promoting his own Italianate works (i.e. Olympie). The stage was set

for a "clash of the titans" - Italian vs. German, and while the premiere of Spontini's OIympie had been

critically acclaimed as "brilliant". Weber's Der Freischiitz scored a complete triumph with the German people. . .. in Berlin and soon throughout Germany ... this new manner of opera based on German folklore and country life, and in its idiom close to the contours of German folksong, the nation sensed that it had found its musical voice.4

The importance of understanding the flagrancy and severity of the Dresden Court political situation against Gennan opera and the German Opera establishment at the time of Weber is necessary to insure comprehension of the bigotry Wagner would face upon his appointment as Hojkape//meisler some thirty years later.

The physically frail Weber would be confronted with numerous obstacles in his desire to procure a

German Opera.

4 Stanley Sadie. cd .• The Grove Dictionary of Music and Musicians, 20 vols. (London: Macmillan Publishing Limited, 1980).20: 247. 17

To celebrate the fiftieth anniversary of Friedrich August's ascension to the throne of Saxony Weber had composed a 'Jubilre Cantata'; it was ,ttuck from thp. programme. For the marriage of Prince Friedrich he was commanded to compose a festival opera; the order was rescinded. The production of his Sylvana at Dresden was made impossible by intrigues against him; and when he returned to Dresden in the full flush of his Frelschiltz ' Berlin triumph he was greeted by his superfine Intendant with the incredulous question, 'Why' Weber! are you really so big a man?'S

The constant squabbling and political maneuvering continued between two apparently

irreconcilable ideologies: German and Italian. From the desire of one man, Vitzthurn, a political

manipulator par excellence, and his sole initiator and progenitor of "German" music policy, Weber, the

stage was set for both the usurping of Italian opera by German, and for L"'e most fanatical, ardent and vocal

disciple of Weber and "German" music, Richard Wagner. Weber's popularity with the Geifcianmiddle-c1ass

forced the Italian Opera to close in 1832. The downfall of Spontini in Berlin in 1841, after the death of his

patron, King Wilhelm III, (1840) as well as the death of Morlacchi (1841) and his colleague Rastrelli

(1842), led the way for German opera to rally under a new champion, Richard Wagner. Hojkapellmeisler

Wagner would solidify his mentor's goals of a German Opera, not only in Saxony, but in Europe as well.

The advent of Wagner's operatic ideals would mark not only an end to the supremacy of imported Italian

opera in German theaters, but redefme the genre on an international scale.

5WiIliam Ashton Ellis, Lire or Richard Wagner, 6 vols. (New York: Da Capo Press, 1977), 1: 86. 18

CHAPTER II

SPONTINI AND THE COLLAPSE OF THE ITALIAN OPERA

To underscore the constant aversion to Italian ideals and the striving for purely German ones, an understanding must be gained of the musica1/political situation prior to Wagner's appointment as

Hojkapellmeisler.

Gaspare Spontini (Luigi Pacifico) 1774-1851, was a dominant force in the growing controversy of

German vs. Italian opera. SponLini arrived in Paris in 1803, and despite his personality which is described as being "eccentric, autocratic and overbearing" ,6 received patronage from the wife of Napoleon, Josephine.

Through her patronage, Sponlini composed several operas comiques, the most famous, La Vesta Ie

(1807), made him one of the foremost opera composers in Europe. In 1819, King Friedrich Wilhelm III, a passionate admirer of Spontini's music, appointed him General MusikdirekJor of the prestigious Berlin

Court Opera. In 1821, Spontini became involved in the strong currents of artistic nationalism and political factionalism. TIle perfonnance of his opera Olimpie (revised and translated into German by E. T. A.

Hoffmann) was superseded by the successful premiere of Weber's Der FreischlJl7.. The Berlin Theater

Intendant, Count von Brilhl, bitterly opposed the appointment of Spontini as General Musikdirektor (the nature of the position encompassed far-reaching powers). He felt the position impinged on his own office of

Intendant Brilhl, an ardent admirer of Weber, had on several occasions tried to get Weber appointed to a post in Berlin. To funher complicate matters, Bruhl, in his ensuing disputes, betrayed his sympathies for

German art and was immediately identified as allied with Weber. Spontini, sensing conspiracy, used all his political strength to oppose and diffuse the Bruhl-Weber alliance. The conflict peaked (1824-25) when the

6S tanley Sadie, ed., The Grove'Dictionary or Music and Musicians, 20 vols. (London: Macmillan Publishers Limited, 1980), 18: 1'8. 19

politicruly astute Briihl party accused Spontini of deliberately trying to sabotage the Berlin Opera premiere of Weber's Euryanthe, an accusation that Spontini could not accurately disprove. Spontini's overthrow was prevented because of his respected relationship with the King; despite the King's favor, Spontini's grip on European operatic influence faltered.

Olimpie was perfonned in Dresden in 1825 as Weber's payment to Spontini for the perfonnance of Weber's Euryanthe in Berlin, and Paris where it was unsuccessful.

The newer styles of Rossini, Meyerbeer and Weber swept Europe in the 1820's and '30·s.

However, Spontini remained committed to the older fonnulae of lragedie /yrique. His predilection for the past began to undennine his popularity because of the progressive tide sweeping Europe. The falal hlow to

Spontini's career was the death of his strongest admirer, benefactor and supporter King Friedrich Wilhelm III

(1840). Spontini's fortunes deteriorated further in April of 1841 when he was fonnally charged in criminal court for personal statements made against Bruhl's successor. Count von Redeen. Finally. on April 2.

1841. Spon:ini conducted a perfonnance of Mozart's Don Giovanni causing a riot in the hall and forcing

Spontini to leave the podium after the overture. never to return. Spontini suffered the ultimate humiliation by living to see his arch-enemy Meyerbeer appointed his successor at the Berlin Opera.

The Italian Opera in Dresden officially closed in 1832. Its demise was due to the public's love for the new Gennan opera which supplanted the general dislike and apathy for Italian opera serio. Without the monetary and physical support of the Italian Opera, productions of Italian opera seria became financially unfeasible. 20

CHAPI'ERID

WAGNER'S PSYCHOLOGICAL REACTION TO FAMILIAL INFLUENCES: GERMAN VS. ITALIAN

The chronicle contained in these volumes has been taken down directly from my dictation over the course of various years •.. As the value of an autobiography put together this way depends upon its unvarnished ttuthfulness ... there could consequently be no question of its publication .•. until some time after my death and on this point I intend to leave directions for my heirs in my will. If we now nonetheless do not refuse a few reliable friends a look at this chronicle, it is done on the assumption that their interest in the subject is one of pure sympathy, and that they in particular would find it unthinkable to communicate anything further from its contents to anyone with respect to whom this presupposition would not be warranted. 7

So reads the forward to Wagner's autobiography entitled Mein Leben. Confmnation as to the date when it was started is found in two sources: the flfSt page of the manuscript bears the inscription

"Munich July 17th, 1865" and the initials denoting the combination of initials of Richard Wagner and

Cosima von BiHow (as she was still known in 1865); the second is a letter dated July 21st to Wagner's patron King Ludwig II of Bavaria which reads:

What do you think I was doing when your letter of yesterday arrived? To save you guessing, I will tell you: I was dictating my biography! Our friend Cosima does not cease to remind me of our Icing's wish.8

Wagner's autobiography is considered to be one of the most exciting and controversial of all autobiographies. As Andrew Gray states in his translation of the autobiography:

It is a work which bursts all normal bounds as emphatically as almost everything else undertaken by that remarkable man of genius, in whom immense vitality was partnered by a delicate physical constitution, it is a panorama of its age, epic in its proportions, a paradigm of nineteenth-century literary composition, adventurous and indefatigable.9

7Richard Wagner, Mein Leben, ed. Mary Whittall, trans. Andrew Gray (Cambridge: Cambridge Universi~ Press, 1983), p. ix. Ibid., p. 741. 9Ibid. 21

Wagner relates the story of his life from the date of his birth until his fifty-first birthday when the autobiography was published, and gives valuable insight into areas of his personal life which could be excluded from overall sbldies. One must bear in mind however, that as with all autobiographies, the commentary or events being described are seen from the author's point of view which at times varies or lacks objectivity from a non-biased individual.

Wagner's narration in Mein Leben seems affected, whether consciously or unconsciously, by his attempts to stylize his story. Despite the stylization, Mein Leben offers valuable insight into Wagner's life, theory and extenuating circumstances (in particular the "Dresden years") that playa crucial role in his compositional development.

Born on May 22, 1813 in Leipzig, Wagner was christened in Sl. Thomas Church (the same church that some seventy years earlier had been the home of J. S. Bach). Wagner's father, Friedrich, was the

Leipzig Registrar of Police and died six months to the day of Wagner's birth during a typhoid epidemic.

Friedrich, an ardent devotee of the theater, often took his wife to performances where Schiller and Goethe were present. Through his theatrical association, Friedrich became closely associated with Ludwig Geyer, a man who would have a direct influence upon young Richard. Geyer married Wagner's mother after the death of Friedrich and found himself in the difficult position of being the sole provider for seven children. Geyer moved his family to Dresden in 1815, where he secured an honorable and permanent position in the newly established Dresden Court Theater. His affection for young Richard is evident in that he wished to adopt

Richard entirely as his own son, so much so that Wagner states that he went by the name of Richard Geyer until he was fourteen. to

IOStanley Sadie, ed., The Grove Dictionary or Music and Musicians, 20 vols. (London: The Macmillan Publishers Limited, 1980),20: 104. The assumption that Richard Wagner was in fact the son of Ludwig Geyer (originating in Nietzche's Der Fall Wagner, 1888) has never been proven. Although Wagner at times thought of himself as Geyer's son, he would later reject the idea explicitly. "1 do not believe it. My mother loved him - they were kindred spirits." The question of familial lineage matters little; whether Wagner inherited his musical gifts from a line of Saxon Schoolmasters and Kantors beginning with Martin Wagner (1603), or from the Geyer family of musicians in Thuringia beginning with Benjamin Geyer, organist at Andreaskirche in Eisleben in 1700. 22

Geyer was an actor, a painter (he was commissioned to do portraits of the Royal Family) as well as a poet of some distinction. His most famous work, a comedy entitled DeT belhlehemitische

Kindermord ("The Slaughter of the Innocents") with the subtitle Dramtische-comische Situation aus dem

Kiinsterleben" (Dramatic-comedy situation of the Artist's life) is written in archaic prose (rhymed alexandrinen). The comedy was published, and performed often winning high praise from Goethe. Geyer's association with the Dresden Court brought him into personal contact with Weber. The rivalry between

German and Italian opera was at that point still in its infancy.

Another important person that would influence the young Wagner was his uncle, Adolf. Adolf. a noted personage in theology, philology and particularly German philosophy, the latter experiencing a revival at the time, exerted a strong influence upon the highly impressionable Richard. The influential combination of these two persons, Ludwig Geyer and Adolf Wagner upon Wagner, as well as other influences, are outlined in the following analysis that separates those traits delineated by the two dominant ethnic influences (notably German vs. Italian):

Positive reactions to German stimuli:

1) Ludwig Geyer - German actor, singer and poet 2) Weber - "the German of all German musicians" 3) early attributes and influences of Martin Luther (childhood hero) the crusader for a free-thinking individual not under the dictates of the Catholic Church that was under Italian influence

Negative reactions to Italian stimuli:

1) Adolph Wagner's love of the Italian language and literature. 2) choice of Catholicism of the Dresden Court, and by subtle encouragement and influence its desire to have its subordinates convert to Catholicism (hence. Italian philosophy as well.) 3) The political and social upheavals between German and Italian ideologies. 4) The ongoing disparity between Weber (Wagner's German ideal personified) and Morlacchi (the personification of Italian superiority and German alienation/subordination) - German VS. Italian. 23

CHAPTERN

EARLY MUSICAL INFLUENCES ON THE COMPOSITIONAL STYLE OF WAGNER

Wagner's early musical career was influenced by the great Gennanic composers, particularly Weber and Beethoven.

Several years after the Wagner family had moved to Dresden in 1815, Wagner visited the home of the founder and champion of German opera, Weber, being impressed by the great composer's "spiritual presence". Wagner credits Weber with "arousing in me a passion for music" .11 The close association of the

Wagner family with Weber is demonstrated in Wagner's flISt musical experience on the stage (at age 4) in a production of Weber's opera Der Weinberg on der Elbe. The young Wagner appeared as an angel.

Wagner's exposure to the symphonies of Beethoven confumed his aspirations to become a musician/composer. He attempted to teach himself composition enlisting J. B. Logier's Thorough-bass as a guide, and taking lessons from the music director, Christian Gottlieb Milller. In 1829, Wagner saw the famous singer Wilhelmine Schr&ler-Devrient in the title role of Fidelio. This was the same singer whom

Weber had admired as the creator of the role of Agathe in the Dresden premier of Der Freischiitz. She would become a leading force as the creator of soprano roles in future Wagner operas.

In 1830, Wagner became acquainted with the score of Beethoven's Symphony 419, of which he made a piano arrangement. Wagner submitted his piano arrangement to the publisher Schou in 1830 and in lieu of payment for its publication requested the following Beelhoven scores:

1) Missa Solemnis (D Major), full score and piano score. 2) Symphony # 9, full score. 3) Two quartets, score. 4) Beethoven's symphonies in the arrangement by Hummel.

llStanley Sadie, ed., The Grove Dictionary of Music and Musicians, 20 vols. (London: Macmillan Publishers Limited, 1980),20: 104. 24

Three times Wagner wrote to the house of Schott: once receiving no response, the second time being lmned down. The third time Schott complies with Wagner's request and while the they do not publish his arrangement they send the Beethoven scores Wagner had requested.

Wagner's obsession with Beethoven and his music was pervasive throughout his life. In Mein

Leben Wagner recalls the impact Beethoven had made upon him when he first heard his Symphony #7:

The effect was indescribable, especially since I had already been deeply affected by Beethoven's appearance, as seen in lithographs of the time, by the news of his deafness and of his solitary, withdrawn life. 12

When Wagner heard Beethoven's Symphony #9, he copied the whole score, line by line, and in so doing familiarized himself with the compass and characteristics of the various instruments, principles of harmony and counterpoint, and the treatment of the human voice. This exercise drew him closer to

Beethoven.

Wagner's brother Albert was a singer and actor with a theatrical company in the Bavarian town of

WUrzburg. In 1833, Albert arranged for his brother's first job as a musician: chorus master at the Wiirzburg

Stadttheater. A varied repertoire kept the inexperienced Wagner challenged:

Weber Der Freischatz; Oberon Cherubini Les Deux Journees Rossini Tancredi Beethoven Fidelio Auber Masaniello; Fra Diavolo Herold Zampa Meyerbeer Robert Ie Diable

The position of chorusmaster gave Wagner invaluable experience, but his thoughts were preoccupied with the composition of his first opera, Die Feen. While this opera was never perfonned during Wagner's lifetime, excerpts from the work were given at Wiirzburg towards the end of Wagner's third year there. The score demonstrates a young composer trying to assimilate numerous influences into a unified whole. Influences of Rossini, Mendelssohn, Weber, the ultro-romantic Marschner, and of course

Beethoven are apparent. As Rudolph Sabor in his book The Real Wagner states:

12Rudolph Sabor, The Real Wagner, (London: Andre Deutsch Ltd., 1987), p. 35. 25

unified whole. Innuences of Rossini. Mendelssohn. Weber. the uhro-romantic Marschner. and of course

Beethoven arc apparent. As Rudolph Sabor in his book The Real Wagner states:

... a tentative use of the Icitmotif, harmonic prospcclS of Die Meistersinger, a navor of the chromatic progrcssions of Tristan· with some robust dramatic writing thnt would be apprecintcd by mnny an amntcur socicly.13

The plOI of Die Feen is based upon La donna serncnte. a dramati7.ed fable wrillen by lhe eightccnth-century Italian wriler. Carlo G07.7.i. Wagner's familiari7.ation with the Ilnlinn writer occurred through his conlnct with E. T. A. Hoffmann. whose world of supernatural phenomena and fantastic spirils had held his imnginmion drawing him even closer to Weber and Freischiitz .

Wagner held his position at Wilrl.burg for one ycar and in 1834, he becamc director of music in

Lauchsl!ldt. Wagner began his second opera. Dns l.iebesl·erhot, based upon Shakespearc's Measure for Measure. in the summer of thm year. The differences belween the two operus Die Feen and Das

Liebesl'erbot arc immediately apparent. Wagner seems to have turned his back on the supernatural and in lurn extols the sensual pleasures of this world and rebellion againstlhe established order. Wagner would never again make such a drastic artistic leap as that from Die Feell to DtlS l.iebeSl'erbot.

In the ovenure to Dns l.iehesl·('rhot Wagner cmploys the same pcrcussion blend as he will use in the "Bacchanale" of Tn II II hiillsrr (paris version), namely: tamhourine. triangle and caSL.1nelS. In addilion 10 this similarity in orchestration there is a motivic link between the two opcrus as well: Ex. 1 Salve Regina coeli - "Nun's Chorus" - Dns l.iebeSJ·erhot

~l- \'t: n: - Ci • ,,:II cn.:· Ii! :\:01 'l'e:!

Ex. la "theme of forgiveness" - Tn",,"nuser

lJRonald Taylor. Richard Wagnt'r: His Life, Art and Thought, (New York: Taplingcr Publishing Co. Inc., 1979), p. 39. 26

1\ A 1\1\ A

-cr- . tp:- "l:T- f dim. P

In a leller to Robert Schumann Wagner Slntcs the following about Das l.iebesl'erbo/:

It has much to offer, and what I particularly like about it is iL<; shecr musicality and tunefulncss, which is more that cnn be said ahouttoday's Gcrman opcra~.14

Wagncr's complcte leller was publishcd in Schumann's innuential journal Neue Zcilschriftfiir

Musik but failed to produce the expectcd response from thc music community hoped by Wagncr. German opera houscs, including Leipzig rejectcd the new opera tnking offcnse at thc opcra's "indecency", dcspite

Wagncr's allempt at accepLnnce by rcnaming the opera The Novice of Palermo. Wagncr's hopcs of having the opcra gain nmional respect and midcllc-class accepwncc werc·dashed when thc prestigious Bcrlin Opera also rejected the opera.

In Berlin, the confront.11ional relationship wiLl) Meyerbccr bcgan in Bcrlin. In 1839, an unpublished nniclc, which Wagner had prcpared for a Frcnch journal, stmed thc following regarding

Meyerhcer: "He is still alive - no, hc is at the hcight of his powers .. _We are awaiting the new works which his genius will yet bring 10 Iigh!." 15

The aforementioned quote shows thc young Wagncr trying to support Mc),crheer, while althe same lime allempting to pcrhaps guide Meyerhccr into thc dircction of Gcrman opera. Two years earlier

Wagnc; had tried 10 personally cont.1ctthe innuential composer by first approaching his lihrellist, Scribe.

After sending Das l.iebeSl'erbolto Scrihe, and recciving no reply, Wagner wrote to Mcycrhcer:

14Rudolph Sabor, The Real Wagner, (Lon cion: Andre Deutsch Ltd., 1987), p. 71. J5lhid., p. 73. J 6lhid., p. 74. 27

Earlier in this correspondence Wagner had related to Meyerbeer how his admiration for Beethoven

had compelled him to make a career in music. He also admits that his early compositions were extremely

one-sided. Wagner ends his letter in a statement that in the very least demonstrates his complete servitude

to Meyerbeer:

How wonderful it must be for one who has obtained such a position, to look down and hold out his hand to those whom he has left behind, and allow them to come at least a little closer to him)7

Despite Wagner's lavish praise, Meyerbeer does not reply. However, in 1839, Wagner finally met

Meyerbeer in Paris and was successful in negotiating a performance of Das Liebesverbot in the Theatre de Renaissance. At this point, Wagner suffered one of the most severe blows of his career. The theater went bankrupt leaving Wagner and his wife Minna penniless in Paris and without a friend. Wagner, hoping to find an ally in Meyerbeer as well as a supporter to ease his dire fmancial straits, wrote to Meyerbeer and bestowed lavish praise on him, calling him "Lord and Master", and equating Mcycrbeer's favor with that of

God. Meyerbeer again helped Wagncr by attaining permission from the Paris Conservatoire Orchestra to perform Wagncr's Columbus Overture, a work that foreshadows the overture to his opera Der

/liegende Hlillander.

Wagner depended upon the benevolence of Meyerbeer for two more years and eventually earned the important recommendation that would take him back to Germany and to Dresden. Meyerbeer contacted

Baron von LOttichau, Intendant of the Dresden Opera in March 1841, to ask for his protection, additionally mentioning the possibility of performing in Dresden Wagner's third opera, Rienzi. In addition to his letters and recommcndations, Meycrbecr interceded on behalf of Wagner for the Berlin Opera's production of

Der j1iegende Hlillander. While the Berlin Opera premiere was not enthusiastic to the opera or its composer, Dresden responded overwhelmingly. In 1842, Wagner and his wife Minna left Paris ~.nd returned to Germany. Prior to leaving Paris, Wagner wrote a story printed in August of 1841 in the Gazette

17Rudolph Sabor, The Real Wagner, (London: Andre Deutsch Ltd., 1987), p. 74. 28

Musicale entitled,Un musicien etranger a Paris (the Gennan original, Das Ende zu Paris) as a sequel to his earlier fictitious story Eine Pilgefahrt zu Beethoven or "A Pilgrimage to Beethoven". Wagner's disenchanunent with Paris, French opera, and even Meyerbeer can best be summed up in the fmal request of the character of the story, who at his death remarks: "Now, one last word on my belief. I believe in God,

Mozart and Beethoven, and likewise their disciples and apostles." 18

In October 1842, Dresden received the premiere of Wagner's Rienzi, followed by the premier of his Der Jliegende HOllander on January 2, 1843. Both opera premieres utilized the soprano

Wilhelmine SchrMer-Devrient, who earlier had made such a lasting impression on Wagner when he heard her sing the title role in Beethoven's Fidelio. The premiere of Der Jliegende Hollander was monumental for Wagner in several ways: 1) he gained a national reputation, 2) the success of the premiere secured for him the Hoj'kflpellmeister position at the Dresden Court and 3) his goal to perpetuate the principles of Gennan opera originating with Weber and Der Freischiitz some thirty years earlier became realized.

18Richard Wagner, Gesammelte Schrirten (Prose Works), 8 vols. trans. William Ashton Ellis, Vol viii: Posthumous (New York: Braude Brothers, 1966), p. 55. 29

CHAPTER V

THE INFLUENCES OF RIENZI AND DER FLIEGENDE HOLLANDER ON DAS LIEBESMAHL DER APOSTEL AND THE RESULTING INFLUENCE ON TANNHAUSER

Wagner's first major operatic triumph Rienzi (1842) had been ..... rillen to surpass Meyerbeer and his Jibrellist Scribe on their o..... n ground. For this reason the opera is generally classified as a "grand opera after the French manner". Wagner's own libreLLo employs all the dramatic and scenic apparatus associated with French grand opera, (Le. historical subjcct of antiquity, large scenes ..... ith massive choruses and ensembles and visual spccl4lc!e). In this way. Wagner ..... as introduced to the opcrmic ..... orld as being master of a style ..... hose gre.1lest proponent, Meyerbcer. he ..... ould Imer renounce; and to the genre's style, he ..... ould become iL~ grealest vocal opponent.

The opera is filled ..... ith choruses. particularly those for men, in large part hccnllse the librello calls for Roman nobles, messengers of Pc::lce. PriesL'> and Monk!> of all Orders and Romnn soldiers. Atthe end of Act lIlt ..... o motives appear. The first. in the orchestra. is expanded to grealer length in Das

Uehesmahl der Apos/el. (ex. 2a). The prominence of this chromatic ascension occurs ..... hen Wagner introduces th? orchestra, ns the personification of the Holy Spirit toward the end of Uebesmahl.

Ex. 2a: Rienzi, Act III

\ A A

f f 30

The second moti\'e occurs in Act IV with the Monks intoning a hymn after the excommunication of Rienzi. (ex. 2b). The harmonic structure is mirrored in Uebesmnhl by the chorus of Disciples. (ex.

2c). Ex.2b: Rie"zi (Act IV Finale: Inlomllion of the Monks) A.. .I .~ . ~e, .~-- V~e, spem null:tm-r'n~Ie - die - tus fll- ve-at, Gehen-n:te ,fOe, spmurullammale -die - tus fo - ve-at, GC..nclL-fUJe I 14: '1Ii~"-'~ .... fi7 U ~ V~C, spem null~ Itl:tic - die - lus '0 -\'c.:\t, Gl.'hp. n - lI:te J&e, spem 7ml/ammnlc - dic - tllS fa - ve.at, G.:..nen-71ae ... .- d. .- .- .- ---=' ---=,. ~ ~ - eo; 1 v d- T:f 8-~.--.~--- ~--~--.. ~...... ~.-.-j- ~ -~ - - rictus ~:\mj.:l.m his - cit .. fllI.JII - -inC us! rictus his - cit' , flo7fl - - flS! JamJn.m - flU:: -

rictus j:\mJnm hiS - tit f1:l.m - - IIIC '- usr rictu.s iamjam llis - cit flo7fl - - file - liS! ----

Ex,2c: Dns l.iehesmnhl der Aposrel 1'P r;"\

~ Prcis sci - oem N:. m~o! Prnis~d 6e th~ LnrJ .. ' - Ann,,,! Lui lou lin ~. , tp - .;:...., - 'P.-.:

IU Prcis sci - oem ~ .. - mcn! Prni"d 6t: th~ LnrJ'I_ - nllme! A Lui lou lin - - ge! P.P - r;"\ t4. ' ...... --

Preis sei oem ~a _ mco! Prniud 'Itt: - I',,' LorJ's_ - ,uuTle! Lui all '~p lou - - - ~! r-J: 1\ Preis lei _ nem Sa",:"" . mcn! Pr.,i.r:tl 6~ thr: LnrJ'S_ nnm~! A Lui lou . lin . - (;e! 31

In both works, this "second" motive functions as a bridge in the dramatic action Ulking place. In

Rienzi, it closes the act and poigmmtly dramatizes the complete downfall of Rienzi. In Uebesmalz/, the

drama is heightened in the same manner. The three bar bridge serves to emphasize the disciples' warranted

relief at the presence of the apostles. whom they have waited for in high expecL.1tion to corporately praise

the Lord's name. Another aspect held in common by both works is the use of tremolo in the string parts.

Although Berlioz referred to' this type of composition as a "kind of intellectual indolence", Wagner seems to

have favored tremolo effects to heighten the unfolding dramn (in p:micubr the orchcstrnl personificntion of

the Holy Spirit, ex. 3). Ex. 3: Das Uebesl1lalll der Apostel (Pan III: "Seid getrost ...")

~ ~ ~ ~ n n ~~ £

t::::= '0::::1 ~ c::::: ~ ~ - .... ~ - cresco

.-0-______--e- -e-______-~ )1>.. Tenore I e II. S l' ----= v W:lch Drau - - !jell ~r - filllt WhItt rush - - in.q of wind Quel bruit rem _ plit Basso I elI. t. ~ ~ J. - -.. [\ p ==

1>.. S ~ ~ ~ !~ .., IV v~ 13= ?j" ?j v", ?i.... ?:t ~ ..... q?t ~ I cre!:c'l'rlcn {!-- !,rlC(} _ - .- ~ ~ - I _ ~ -

--0- - ::&t :;;;t :;st :;;t ------e- :? ~ 32

Wagner's next operatic triumph, though Jess than that of the reception of Rienzi, was Der

/liegendli' Hol/ander. The opera is in the tradition of Weber's Der Fre;schfitz, with nature animated by eJements of the supernatural. Wagner's Jove for male choruses is clearly demonstrated in the raucous choral ''battle" between the Sailors of the Flying Dutchman and those of a neighboring Norwegian ship.

He unites the expected confusion by employing a rhythmic figure to predominate one choir, while the other choir gives support with a harmonic structure in extended note-values (ex. 4, following pages). 33

Ex. 4: Der fliegellde Hlillander Act II - "Steurmann! Lass die Wacht!"

b :::.;... j ::..- '" fftl I:- ..... ~ .~

oJ --- Steu-'ermann, lass die "'lICht! ~1'eU-ermanll, her __._ Sleers-man! Leave the walch! Sleers-man! Come ... l ::.. l ::.. '" " "- u r , ffJ: ~t1" ::.. %'~ ~~ ::.. ~':::::=..

SItU -ermann, loss die WZIl'hl! SI eu-ermo nIl, her Sleen;- man! Lea\'e Ibe ~'alch! Sleers-man! Come 9 "". : "'t:

~ Kotnm, lass die Warht! Komm - . Come, Jea\"e tht' .....alch! Come --". - 1T't: G~lIo .H·"nlfG'"i"~ &:; / ... ::::::::-.... ~.I:::: I ~ [,'TJ,,,,, 10 .J~.J crCGc.

.~';J F" .!!, \'I

·oJ zu unsl Ho! ___ Hey! ___ Ie! Hal to us! Ho! _ Hey! ___ Hey! ___H;,! :::...--

.Q.J r , - I~ %U uns! Ho! to us! Ho! ~-

her %u unc! • here 10 us! Tho Crew or tho "Plying- Dutchman!' AJ} ff~------......

u, Hui ~~~~i~-~_~-~-~----"_J~:

" ."..,;/(/ It/llat;t f Tltlll -~ - '.liiid "- - - - fft 34 1'\ IJ ~ ~ .~ ::>---_.--.....

ICLJ Singet Jaut! SteU-ermann, lass Lettbem hear! St~rs~mr' leave 1'\ JJ ~ - CLJ Sln-g~t laut! Let them hear! . JI 1F,,~ .h ~- -.... :

Singe' laut! Steu-ermann, Jass . Lettbem hear! Steers - man, leaye .ah J..A1I "'\ · -~I r -- Sin-··et,.,. Jaut! ff Let them hear! J'I IS . . - - - - ,.-.. .. 1'\ JJ ,s~ Jr .. ~ . , CLJ - die Wacht! Steu-ermann! the watch! ,.-..- Slblrs~mah' 1'\ lJ

CLJ . ~- ~~JJ ~. - die Wacht! Steu-ermann! the watch! "-"-R-- s~e1m~! - ~ ,. II ff.~ -....., ,.

.fI IJ ..-- --.. t.~~: ~~: I . .. . ~-. . -F!;':;-" It) I - til ~ f Tutti - · . . 0-5 .. - .. .- - 35 i~t &; 2nd TENOR. >- >- ~ ~ . .;..~ Lt'l .... j. ItJJ J.~t'l .. .. ,j .. -,

I v Ho! He! Ie! Ha! Ho! Hey! Hey! Ha! i~t &; 2nd BASS. ::... . :> ... {; ::......

~ " IJ "...... ff~ --.....

1\ , - r'!IJ !oJ: A. A. ~~: . ( . . . Iq, 1 -I -< f f ",\,.., - t " . IJ. L -.-.-... --- . ------~ ~. '" I.J ..h ~ ~

IV , S~erm"ann, her zu uns! steers-man, come . fo us!

~~~ t£ I~ .(t ~

;. , " JJ ...... n. -'- _L . l _l - - =+;.

I' . f) U ~~: %. A . A

~ IlL I .. f I r, L ~Tr()I/I~t .....---;- _lJ 1#...... 1--. Ibn ~ " ",l?- (~, ~ '''j, - ~ 36

This snme typc of writing cnn be found in 1.iebesmalli without the nd\'nnt:lge of orchesLrnl accompnnimcnt. the division being three choirs with the third serving the role of orchestrnl accompnnimcnt, ex,S, Ex,S: Das 1.iebesmaltl der Apostei

Pan J: "Gegriisst seid. Bruder" I~ Chor./ Ier Ch pI Choir. I -, oeur. H )" 'Tcllord', elI, --== f

J\ommt hl'r, ihr, dir ihr o ~n,,'r. "II .vr trlan nel! ,'ous que 1" "e Jl.Q. Basso I e II, J. - i J j -=J =--H "

sfreul, .... ir ei. ni~' bId. brn! .""1''; our/rontlof II .. "inn! rer u. nis en Cri: • res! ,. .- It) " . dC'1I . nm'h ri . ni~' blei. ben! yt:t pr.:.lt:rur: OU,. nin,,! JOurs.' u. /lis en Cre·." res! ~: . ---- _:::x::v. ,,'ir den nodi ei ni:; blei • bert. \\:'hrli('h}~ dr;in:;h Un!! dip. ICC yelp'" .,,.n:t ,,"r 1/ Hioll! rru, Iy (lur fn"~ ill (". "V toujours u. nis ell _~~.r' res., En vi. ri • te, par t~ul nos

!'. bId. \\:,larlich, es di.ill.!:'o:( UIIS, es • bl'JI!, , u • n,n". rru. Iv UlC til',' "r. . I'r.t, nil" rrc . • res! En vi. ri.te nos joun. fillS HI' ~f

.--/ .N' lIch • • ren? l':Il'h UIIS • res P-I' L"~I Ulld • ver:' A( • • (C,. th,' II.'" nf (/.. , • dr.! A • prio3 les la.be'urs du ... ~I

beh • _ ren? XlIeh U/IS • res T;l • j:'1:~ L:.\~t ulld It: • _ 'Oc,., .4/ • • (C,. tlac /rut' • nllll nf Ih .. tu • _ de! A _ • rres 10:5 duu b.bcurs du p ~'1{ l~ •••• U'~ ,;, )7.,-_ .:=dESG:_p=1 beh _ _ rell? NlIth un, • rrS Ta • r.-r:s L:t~t U lid • 'D'-rr Af • • (tT tlar hur • i:lrn nf lIa" • de! A _ _ pres Ie, dun la.bcuu du l' ,~ -9ij _ ren!' !\~ch ,:-ca; L:\~l ulHl orr!' ~.r - • (er tlat' Io&lr • tlo. of tI,,: 37 1', ; /" . ~ I . - It) hun - . gert, die ihr dUr - l'tct! Zu hun - g,er and are thl"rlJf "ng! Tlurt _ {aim ot ae . ca - blent! Pour ;I. ~~ 5:lf - - ~ ,} J J J · p ~ I,. I1"fl

tV Es driin_~t UhS die Zeit ~it 'R-e are e _ set, toe are . he. ,. m/ Par· tout nos jOUla sont ex . po. . v Wa.h.r. lieh, Js dIan. ~ct uhs die Zeit, die Zeit mit TTft - l!{ our foc.~ In fu _ ry .rage, toe are he • En 1'0 :. ri _ te par-tout DOS JOurs sont ex . . po • p · . · Zeii, es dran get uns die Zeit mit • rage, toe are - - - be lIet • toe are be _ Jours, par - tout -nos - jours sont ex . po - 1'. - · . . · t\ dran - - Ket uns die Zeit tfiit Noth! Dcr .fOt:3 In lu - . - ry rage, a _ las! The Jours, par-tout, sont ex #. - po _ ses. Par ~" p = IV Noth nieht - mehr beim •day flO more (f) Jour n~ plus DOUS p - - " Iv Noth nieht mehr - beim .In.v no more to Jotlr ne plus ilOU9 p' : ·

I N~th niehl. mehr bcim day no more if) \. jour ne plus DOUS 1'.

~ Noth nieht mchr bcirn .day no more {o Jour ne plus DOUS I !!.- ~~ .J J J J---:J J",. .J .-

P j I · I 38

The influences of these two operas upon LiebesfTUllIl are at times obvious, at other times quite

subtle, depending how one translates Wagner's harmonic language. Wagner was in his own way outlining

his course to pursue Weber's unrealized dream in the establishment of a German Opera, not merely the

outward, physical personification of a German Opera, for indeed that had been accomplished, but a German

opera that did not dep"-lld on foreign models. During his tenure with the Dresden Court, Wagner was often

frustrated at the idea of not having Weber's "German" opera ideal, but one wonders if he would have been

satisfied with the establishment of a "German" opera under the sometimes less than cordial conditions of the

Dresden Court.

In 1834, prior to Wagner's drafting of an adaptation of Shakespeare's poem to be used in Das

Liebesverbot, Wagner wrote an essay entitled Die deutsche Oper (The German Opera). Despite its

youthful idealism, the essay contains many points of reference that Wagner would emphasize again and

again for the remainder of his life. Of particular notice is Wagner's explanation as to why the establishment

of German opera did not successfully continue after Weber's death. The essay contains sharp criticism

evident in a majority of Wagner's essays, and one immediately recognizes that the author in his own way, is

trying to create a totally unique art form that defines not only musical composition but the philosophy of

artistic life as well. The essay begins:

When we talk of German Music, and especially when we listen to talk about it, the same confusion of ideas always appears to prevail as in the conception of freedom by those old-German black-frached demagogues who curled their noses at the results of modem reforms abroad with just as much contempt as our Teutomaniac music­ savants now shrug their shoulders. By all means. we have a field of music which belongs to us by right. - and that is Instrumental-music; - but a German Opera we have nol, and for the selfsame reason that we own no national Drama. We are 100 intellectual and much too learned to create warm human figures. Mozan could do it; but it was the beauty of Italian Song. that he breathed into his human beings. Since the time when we began to despise that beauty again. we have departed more and more from the path which Mozan struck for the ideal of our dramatic music. 19

19Richard Wagner. Gesammelte Schriften (Prose Works). 8 vols., trans. William Ashton Ellis Vol. VllI: Posthumous (New York: Broude Brother!>. 1966), p. 55. 39

Two fundamental elements of Wagner's theoretical works written in the 1850's and later are already present in this essay written twenty years earlier: 1) his concern for opera as a unified work of art perpetuating the dominant principle of drama and 2) to appeal to the qualities of the Gennan Volk. These two elements are the very personification of the mystical national unity that originated so many of the splendors of nineteenth-century Gennan culture, but in addition, fostered numerous evils and calamities of nineteenth and twentieth century Germany.

One need only look at Wagner's opera chronology to perceive his evolving artistic attitude and the

Connulation of what became his greatest contribution 10 the artistic world, Gesamflkunstwerk. Die Feen had been his first attempt at opera and demonstrates immaturity and a compositional style desperately seeking unifonnity and purpose. Dos Liebesverbot is based upon Italian models while Rienzi, based on the formula of French Grand Opera and Meyerbeer, guaranteed the young composer national prominence, but not identification with the German ideals of Weber. Der Jliegende Holliinder did not enjoy the

SllCCesS of Rienzi primarily because it was Wagner's first attempt to assimilate the goals postulated in his essay, Per deutsche Opcr. However, with the opera Tannhtiuser, Wagner took his first step at applying his outlined artistic aims and ideals with the hopeful result to establish a true German opera

One month after the premiere of Hoillinder in Dresden. Wagner was appointed Koniglich

Siichsischer Hojkapellmeisler (King of Saxony's Hofkapellmeisler ) for life. Wagner was now in charge of all music for the Court and was in a position to institute his reforms on the newly founded Gennan Opera.

However, he would have to do a great deal of reorganization, as the German Opera was in considerable disarray after Weber's death in 1826. 40

The sonorous choral wriling in Talllllitiuser, p:lrliculnrly Ihe Pilgrims' chorus has ils origins in

Liebesmalll wrillen nearly IWO years earlier, (ex. 6a and 6b).

Ex. 6a: TallllMiuser, "Bcgliickl darf nun dich"

'" , I I ~ ~ I.J F-ii . - . I I II! .~ ~ The siD lIer's hlgh 0 Wl.\S- (comIng gndwilly Dearer.) - ~~ ~ Dorm Siibn' tlmL Bass' ~ hab'_ ~~ ,~l~' ver - .-.- . II I · '.~ I • 1 I 1 1\ I . o ·u-.;jJ. ... --;t 0 rw II t) "it. 0 ~i1. - "tJ~~ ---;fJ.~4> P · ~~. I , ~ ~ ,1,1,,,, .~ . - p. . ~ '" , J Fi1 r J A. I , 1.-1 ~ I J V .~ 8 "--' I I r I t-o~o heard, Ac - ccpt - ed_ by_ a gra - cious Lord, . 0 60nnt ~~o_ dem_ meio Her -0 ze_ Criibnt, del:..- Ibt?~;~ ;0,_ 0, _0 ,~ - I · ~ I 1- • [I -, "I , ~ 41.. ,,~ ~. ~ If ~ L ~~ ~ ~~ "" i r r ~f" . ~~~~ ll\..e- ,f'" h~.. Ll I · . . • I """'--. ---

'--'" fo_ jreD,.. 41

Ex. 6b: Das Uebesmalll tier Ap()s/e/ Part II: "Scnd~ uns d~in~ hcil'gcn Geist"

p Q 1'_ > =- :::::==:::: . I" L=-= - - -- :::.. uns __ ;v Sen.de 'UllS dei.nen heU' . . . gcn Gdst, sen_de St:llrlll~ Thy blt:$_:It!d Ho - - ly Ghfl,tt,Slllld IJ~' Thy __ Fais des.cen . . - dre rEs_prit sur nous, fais des_cen • ~ p -= " 1--= ==== .=-- - IV Sen. de uns dei-nen Geist,_ tien_de St:nrl TII.Y blt!~·t Ho.ly Ghost,_ SCII/I.n Fais des • cen • . dre l'Es.prit __ fais des. 1,1'-=;; ~~ ,;;. l~ b~ ,.. ... pr=

Sen. de uns dei. nen heil' gen Geist, sen_de St:nrf. n send us Thy Ho ·• ly Gho.tt, st'nd,n Fai, des. cen • dre l'Esprit Saint sur nous, fa is des. b~~ l:r- b;~ l- ~-r==

1\ Sen. de uns dei. nen heir · gen Geist, sen_de St:nd, o' lefld us Thy Ho · ly Ghost, b·tmd.n Q Fais des. cen • dre l'Esprit Saint Gur nous, .... fais des. ==- ." !If PiP'r p rt:::: 'br ~ '~r ~ ~ p l'~' p-= = -= =- 'r-= ~

>

deLnen heU' • • gen Geist, sen-de uns dei-ncn hei.Ii. gen blda...ed Hn • • 'y Ghost, ICt! be. $t!t!~" ___ Thcl' tn It!nd dmrn tn _ dre l'Ea. prit sur nous, fai.~ des. cen. • dre sur nous l'Esprit :::::>-: = plNp =

uns deLnen Geist,_ sen_de uns dei nen

u~ ___ ,end un_ to It;e bt!_lIct!~h Thee to • cen . • dre Bur nous __ l'EspritSllin.t, rEs prit --iJ;: p-= = ~IIIP = un.s deLnen heil' . gen Geist, send' uns dei nen lend u, the Ho ly Ghost, lac be _ st:uh Th,·t'. _ cen. dre l'Esprit Saint sur nous, rEs.prit Saint sur p-= =

uns d,eLnen heU' . gen Geist, ,end us the ~"fo ly Ghost, • cen.dre l'Esprit Saint lIur nous. 42

The uncertainty of tonal center portrays the drama in both works with clarity and aural symbolism. The dominance of male choruses in Tannllliuser and later, LoI,engrin, is not a purely dictatorial libretto prerequisite. The availability of the male chorus societies, which Wagner was composing for in his smaller ceremonial pieces, familiarized him with the attributes of the male chorus as an ensemble. Had the male chorus societies not been available to Wagner, or had these societies comprised both men and women, the

.outcome in his treatment of the choruses in his operas at this time could have been radically different.

Wagner's selection of stories as potential libretti contain characterizations and historical impetus that deal primarily with men: Rienzi, Holllinder, Tannhliuser, Lohengrin, Die Meistersinger and later, Parsifal.

Two reasons could perhaps facilitate an explanation as to why the composition of male chorus music, particularly outside of opera, disappears, or in the least, assumes a shape that distinguishes it as no longer a separate entity, but as part of the musical whole after 1849: first. Wagner was forced to flce

Dresden after the May uprising of 1849 because of his political associations, thereby ending his access to the male chorus societies; second, Wagner felt that composing for male chorus alone without any ulterior or exterior motivating factors was too monotonous. In Mein Leben, Wagner states his opinion regarding the composition of Das Liebesmahl der Apostel:

I had been given the job of writing a piece for male chorus, I decided that the monotony of such choral singing. which the orchestra would only enliven to a slight extent, could be made bearable solely through the introduction of some dramatic elements.20

2~ichard Wagner, Mein Leben, ed. Mary Whittall. trans. Andrew Gray (Cambridge: Cambridge University Press, 1983), p. 257. 43

CHAPTER VI

THE "BAPTISM OF FIRE": DAS LIEBESMAHL DER APOSTEL

Wagner was elected to a high position in what he called "the Dresden Glee Club"; in reality he had been elected as "fll'St Liedermeister" of the prestigious Liedertafel choral society. Wagner was asked to compose a festival piece to be performed at a gala performance.employing all the male voice choral societies in Saxony. As previously mentioned, Wagner considered the idea of a piece for male chorus, lasting approximately half-an-hour, as monotonous, even with the introduction of an orchestra, unless dramatic elements were added. Therefore, Wagner's dramatic solution for the composition was a large choral scene depicting the outpouring of the Holy Spirit at the frrst Pentecost and executed in such a manner that all parts would be sung by various choral groups in tum, thereby avoiding any real solo parts in accordance with the dictates of the situation.

In the dedication of Liebesmahl, Wagner expresses gratitude to his first "real" teacher of composition, Christian Thodore Weinlig, cantor of SL Thomaskirche in Leipzig, 1823-42, and his wife

Charlotte Emilie. Weinlig's wife appears to have taken an interest in the young musician. Wagner's dedication reads: "To Frau Charlotte Emilie Weinlig, widow of my never-to-be-forgOlten teacher. "21

The prose sketch for Liebesmahl is dated "April 21, 1843", and occupies one side of a folio sheet of paper plus a small part of the reverse side; the remainder of the reverse side is devoted to the draft of a Jetter to the Intendant of the Dresden Court Theater, LUttichau. This Jetter concerns Wagner's disputes with the Polish virtuoso violinist and konzertmeister of the Dresden Court-Orchestra, Lipinski. In addition to the folio sheet. a quarto sheet was discovered in the Berlin Library (1898) containing the end of the letter

21William Ashton Ellis, Life of Richard Wagner, 6 vols. (New York: Da Capo Press, 1977), I: 123. 44

to LOttichau, and a brief synopsis of Liebesmahl under the provisional title, Das Gastmahl der Apostei.

On the reverse side of the quarto sheet is Wagner's draft-report on a performance of Mendelssohn's Saini

Paul oratorio that had been performed in Dresden under the direction of Mendelssohn two months prior to

Wagner's appointment to the Dresden Court. Either on purpose, or perhaps by coincidence, Wagner labeled

Uebesmahl not an "oratorio" but a "biblical scene for male voices and grand orchestra".22 Was this title a reaction to Mendelssohn's oratorio since Wagner's criticism of the oratorio appeared on the same sheet that contained his text to Liebesmahn

Wagner's impression of the Palm Sunday concert of 1843, of which Uebesmahl comprised the second half, is described by him as being "signally brilliant". He goes on to say that by using the title

"oratorio" the true dramatic effect of the performance cannot be achieved.

The only thing to be regretted, is that such an oratorio cannot be wholly grafted onto our Protestant church-service, as that would be the only way for its true meaning to pass into the hearts of all believers; whereas without this basis, and especialJy in the concert-room, it comes to us more or less as a mere artwork of serious order, and its real religious efficacy can by no means be so salient as would be the case under similar conditions to those under which Sebastian Bach once gave his oratorios to the congregation.23

The text of Liebesmahl is Wagner's compilation of the biblical account of the fIrst Pentecost recorded in The Acts of the Apostles, Chapter 1: 4, 8,13 and 2: 1-4. Wagner paraphrases the story so that the actual drama of the Holy Spirit's arrival is perceived as an unfolding drama involving characters who are broken in spirit at the loss of their savior, and the tremendous suffering they endure because of their preaching in the name ofChrisl Dramatically, Wagner's aI!ention of the event is better suited for the natural rise in the level of intensity so prevalent in his works. Wagner outlines the dramatic action in such a fashion as to convey the transformation of dejection into one of jubilation heightening the paradox of emotion:

22WiIIiam Ashton Ellis, Life of Richard Wagner, 6 vols. (New York: Da Capo Press, 1977), I: 27. 23Ibid. I: 27. 45

The "Guest-meal of the Apostles"

1. Assembling. Mood of dejection 2. Bad tidings. Threatenings 3. Prayer 4. Inspiration. Grand communion of souls and goods24

Dramatic elements abound in Liebesno:;nl and it is !lot impossible to conceive a staging of the work. Liebesmahl contains characterizations of the Apostles, J:'isciples and an Angelic choir depicting the voice of God. TIle orchestra depicting the characterization of the Holy Spirit brings the work to a powerful close

In Part II, "Seid lIns gegrilsst", Wagner specifies in the score a small group of twelve singers to sing the four voice parts. Obviously, Wagner desired that a physical impression be made upon the listener

(i.e. the twelve performers visually symbolizing the twelve apostles). Another crucial dramatic element occurs at "Sende unds deine heil 'gen Geist", ("Send us your Holy Spirit) toward the end of Pan n. where the

Disciples and Apostles close their prayer of supplication. Their prayer is answered by. as Wagner indicates in the score. "Stimmen aus der Ht>he" ("Voices from on Highj depicting angels as messengers of God. giving comforting words of assurance to the assembly.

The logistics of the frrst performance stretch even Wagner's titanic dramatic conceptions. 1200 singers. on a rnised platform nearly filling the entire nave of the Frauenkirche. Dresden's largest church. were combined with a "concealed" orchestra numbering 100. The "Voices from on High" consisted of 40 select singers suspended on a platform from the top of the cupola of the dome of the church. Prior to the performance cohorts of singers marched into Dresden with fraternal colors flying and bands playing (perhaps serving as inspiration for, "Freudig begrussen wir die edle Halle". that begins the Tournament of Song scene from Act II of Tannhliuser).

24Richard Wagner, Gesammelte Schriften (Prose Works). 8 vols. trans. William Ashton Ellis Vol. VIII: Posthumous (New York: Braude Brothers. 1966). p.280. 46

Wagner's preparation of the work consisted of approximately a week's worth of rehearsals.

William Ashton Ellis, the noted Wagner scholar, relates that Wagner had anticipated a lowering of pilch

with the presence of so many singers and Iu!.d therefore taken the precaution at rehearsal.s to employ two

harps to sound the keynote from time to time. Wagner was so pleased with this added effect that he retained

it for the performance itself. Wagner assigned Uebesmahl to the category of "occasional works". In

Mein Leben, Wagner gives the following impression of the perfonnance of the work:

I was not displeased by the success of this work, particularly in the rehearsals held under my direction with the Dresden choral societies alone. When, therefore, twelve hundred so-called singers from allover Saxony grouped themselves around me in the Frauenkirche ... I was astonished at the comparatively feeble effect produced upon my ear by this colossal mass of human bodies. This experience convinced me of the inherent foolishness of such gigantic choral undertakings, and produced in me a decided antipathy to concerning myself with them in any way in the future.25

Wagner's realization of the dramatic and musical potential of his Uebesmahl "vision" would materialize

and become focused some thirty years later in the Grail scenes from his last opera, Parsifal. From April

to July the work was written in prose, composed, rehearsed and performed on July 6, 1843. LitLle wonder

that Wagner, writing to his sister C~cilie, states that he "often sat down and wept for quarter of an hour at a

strelch."26

The reception by critics of Liebesmahl was laudatory, excluding a few lablr.d as "Schladebachs",

who attacked the work as being a barefaced piece of realism. The group was nicknamed after the music

critic and author of the Universallexikon der Tonkunst Dr. Julius Schladebach, who was a reporter of

musical affairs in Dresden during the middle of the nineteenth century. Part of Schladebach's criticism

reads:

That the composer knows absolutely nothing of song and its principles, therefore does not understand writing for the voice, and least of all for the masculine choir, • of this an incontrovertible proof here lies before us. He treats the singing voice like any instrument ... one may judge how the human voice is strained by him against all natural limits. We can advise riO union whose members do not

25Richard Wagner, Mein Leben, ed. Mary WhittaIl, trans. Andrew Gray (Cambridge: Cambridge University Press, 1983), p. 258. 26William Ashton Ellis, Lire or ~ichard Wagner, 6 vo!s. (New York: Da Capo Press, 1977), II: 27. 47

positively desire to go out of their way to ruin their voices, chests and lungs, to get up one of Wagner's compositions; apart from the fact that this Biblical Scene - which bears an extraordinary likeness to a grand-opera fmale - demands a choral mass only obtainable through the assemblage of a large number of male vocal unions.27

Ellis comments, with perhaps a little bias, that the tendency of the older anti-Wagnerian tactics was founded on the premise that people should not even study one of Wagner's works. Despite

Schladebach's intense criticism and obvious prejudice against Wagner's liberal musical ideas, his statement that UebesmtJhl cannot be performed without "the assemblage of a large number of male vocal-unions"

(i.e. 1200 for the premiere) was refuted some ten years later. Franz Liszt, an early champion of Wagner's compositions and, at the time, soon-to-be father-in-law of Wagner, related his impression of a performance of the work in 1852 at the Ballenstadt festival. The letter reads:

Das Liebesmalll der Aposlel was satisfactorily rendered by the Pauline choir from Leipzig, under its conductor Langer. I mean to repeat this glorious work so soon as good opportunity offers. Though outward success and a certain 'relish' have become to me but secondary consideration with works that stand decidedly 'above' the public, yet it was agreeable to see that success and that 'relish' confmned to one's heart's desire. - The choir was not very numerous, about 120, but well balanced. and the whole sounded splendidly.23

Liebesmahl can be divided into three parts, each part designated by a shift in harmonic foundation coupled with changes in the dramatic situation:

Part I: "Gegrtisst seid, Bruder, in des Herren Namen!" Part II: "Seid uns gegrilsst, ihr leben Brilder" Part III: "Seid getrost, ich bin euch nah"

Part I is indicated in the score to be sung by the full chorus of Disciples, that is, those men not assigned to the chorus of Apostles (the Apostles start part II). Wagner's inherent sense of dramatic timing is evident at the very beginning. A single voice section (Ten. I) begins the drama with a greeting to their

27William Ashton Ellis, Lire of Richard Wagner, 6 vols. (New York: Da Capo Press, 1977), II: 381-82. 2&Ibid. p. 283. As stated in "Limitations of the Study" the obvious hurdle to a performance of Liebesmahl is securing nwnbers to adequately demonstrate the work's magnificence and dramatic impetus. In my performance (part I: first part) I utilized a male chorus contingent of approximately 20 singers. Obviously, so small a nwnber would not satisfactorily render a performance of the entire work, however, the smallness of the group coupled with a very sympathetic acoustic demonstrated harmonic clarity and pitch definition that is inevitably lost with a much larger group. 48

brothers in the Lord Wagner indicates a crescendo on the word "Herren"("Lord") to emphasize the importance of the subject of the disciples' devotion and to usher in the full complement of the chorus of disciples in harmonious unity ("name of our Lord"). Following this greeting, Wagner employs a hannonic structure that conveys a sense of mystery and divinity that depicts the communion about to take place, "der uns zum MaW in Eintracht hier vereint, damit inbriinstig Seiner wir gedenken" ("in His memory through this meal we are united in fervent devotion"). Continuously utilizing singular voice-part sections (i.e. Ten.

I, Ten. II, etc.) to introduce new text and to propel the dramatic action forward, Wagner increases the dramatic tension. His treatment of each "solo" voice-part section functions as a solo singer would in an operatic ensemble, (ex. 7). 49

Das I.iebesmah/ der Apos/e/: Part I

In ruJdger Hewegullg. Andante con moio. Ganzer Char der Jiinger'l . . J:'l It ,J. ",.J:'.D'. I Chceur complet des d1sclples. pU c"orus D./ lSC~p es. f. Tenore I. Ge • gruss.. t sel'd , BrU .der, in d~s Her. ren Na U~ grl'et ye, hretllren, in tlre name of Je Sa • lut, 0 fre. res, sa .1ut Of frl! _ Tenore II. 1m Na. men drs In Ris ho.ly .rAu nom du Sei. Basso I. = 1m Na _ men des In His ho. ly , nom du Sei. Basso II. I~ Na. mell d~!' In His 110. ly Au nom du St!i.

~?-::.::!2 V men! Sci«\ ge. S'rii" .. t~ ,(II"'.' Ir.t:l. comc 1111,' • res, ~:, hit ! ::::- . pp ..-:" " ~-=2-!..._,. In .- 4:?4f$¥¥¥ .. V Hl'rrn srill I!'I~. grusst! 1/'///1" led. co III t! ,,11.' • s'neul'! du Sf'j. g'Jlt'ur! ==- Pl' \ /":':.. .. -t- Herrn .. cin gc. griic;c;t! fie. griisst seid, DrU .dcr, in del; nfllne wt:l. cnn,t!. ,rll! m,· grCft y~, bl'cfll_ ren, ,'n tl,r .g'neUl'! du Sci _ lrw!ur ! Sa _ lut, 0 fre. res, sa :::::- p pp 1"':'\ -.- - ,--"-~ ., HCr'rn sriid go. grii. • • ssct.." I nl/lnl.' do u:r. gred yr..' • g'neul'! chers_ fre • _ res! 50

f. .1'-_____ 1":\ A ---- 1m !\a _ men des Herfll! III ll,-~' },,, - {.II nfl""', nom du Sei _ g'neur, AI,I pp "ff 1":'1

1m ~/I- men des Hcrrn, der In Hi:; },O • ~V nallle, ,r},o Au nom du Sei _ g'neur, qui_ ~ .D. :f.H~ 1":'1

Her - ren !\a - - men! nntne qf ,J" - Sits! _lut chers frc - res! - f.,;::=-- 1', p~ ---f " =

1m Xa. m('n dl'!i Berrn, im_ Xa _ men dl'~ Herrn, /" His ',0 _ '.v nnlnf':, in fill! Lord:.. }, () _ ly nll1lle, Au nom du Sei • g'neur, au __ nom du Sei _ g'neuf,

p .- der uns zum Mahl in 'I.I:},o },ere in love II _ =-qui nous u nit en uns zum Mahl in Eiutrllcht hier ver - ci . net, },1/1' _ /lin _ lIy - ".V fin's Feast in 11 nifeN_ I/,~, nous u - nit en eet _te a _ ga _ pe sain - - te, p - der uns in u:},o }'el't! in qui nous u _ p

d'er uns in u:ho },t:re u _ u _ qui nous 51

ff )A I :::::- B PE

,v den - - ken, der clu: - - r"~'h, our _ ni 0 ent, en ff~ pp ~ ==- .,A_-;, .. IV dcn - - lcC'u, den cllL' 0 0 ri:;h, whose _ ni ent, en - pp ~ l=:-' fP- n. -.;-::- - -'1--" den - - K('n, der von uns schied, den un _ ser Herz be _ 7/1,:/11' _ - ry, opr Lmrl II'hou las:; ench fiiith _ ,ful hem'i h,. _ - ent, en Lui, l'E lu que n.;us a _ vons pleu _ -;) - ==- - pp ~, '-I--i7ri '. - - '--'~i' \ den - - kClI, den r.he - - 7,/'"h, whose _ni - ent, que

}J p = (1----- De _ "on uns schied, d('n un ~er Herz weint; da _ mit in_ Lord lchn.

)" JI l'}I I. I-:.l'- = = ! J " IV ~ bi-Un . stig Sei • ner ",ir ge · dp.n . kcn, der von uns schiccl,-- ly His tnr!m' _ 171 ICt' IIlfly eI'r! . n'sh, /lim fl'" Iltll'r! lnst, Lui, nos d • mes com.mu ni ent en Lui, l'E lu, · - p - J\ = 'P = = ---'- = IIV v, briin.stig Sci. ncr ",ir 'S'e · den. ken, der von uns schied, ICe His me • fl/f). ry /11",7/ cnt:. rish, Him let' hm:e IMt, Lui, nos a _ mes com.mu ni _ ent en Lui, l'E _ lu, p - == pp .--f brun.stig Sci. ncr "'ir ge - den. ken, der ,"on uri!; schied, ly His 711r!lfI' _ "y /I:~ mrry r.hi!. rish, Him tI:e MVI! Insf, Lui, nos Ii.. mes eom.mu ni _ ent en Lui, l'E lu, p - ~ = pp -;;;; j\ ..... ir Sein ge . den. kr.n, d'er "on uns schied, mfl:'1 '-" - I'r "//1' _ ri.t/" Him fI''- !'//I'~ In.(f, mes com . - mu - ni - ent en Lui, l'E . lu,

)" ;.')1 If; €I -f'r:::: Iv dIm un _ s~r Herz, tin. ser HcTZ be. bl' _ ,,1,nlll 111:' _ 'OY h,:,lrt, 1:1"_ ry IUlIIrt qUI) nous 11 vons, nou:; 11 - vons pleu. l'P - :t " '9-~ Iv ~. r dl'n un • ser lIeTZ, un !;er lIen be . whnm el" • ry I":flrt, r!V' ry !,,,m'l h,~ - pp que nous a . vons, nous a . vons pleu - n~_ ~ f= --"I. i--' der ,"on uhs schicd, __ den un _ - ser Herz. be . Him fI:e hnt'e In.(t ___ whflm cv' . ry ll(!flrt ht1 • vons, __ - que DOUS a que DOUS Il VO~.5 pleu - pp .F !i~ 1\ dp.n ~ • s~r Hen, 'un ser Hcrz be • v:hnm tn". . ry helrr!, et! ry htflrt }If: _ que no us a - vons, nous 11 - vons pleu - 53

After the declamation of each succeeding "solo section", the rest of the choir responds to what has

been said thereby underscoring the text This procedure heightens the dramatic action.

The flfSt section of Part I deals with the mystical properties of the Lord's Supper and the strength

it imparts to the despondent disciples.

The second section of Part I divides the chorus of Disciples into three separate choirs. Wagner

specifies that Choir I is to be "numerically weaker" than Choirs II or III. Each choir is assigned its own

unique motive; however, Choirs II and III exhibit traits of shared motives and are the first two choirs to

enter. The last entry, made by the third choir (Choir I), Wagner carefully dispenses the rhythmic intensity

resulting in the following division:

Choir I serves the function of a quasi-cantus frrmus using the text of prime imponance in section I, "Come all ye that are hungry and thirsty that ye might partake of Christ's flesh and blood". Choir II serves as accompaniment and in many ways fulfills the role of orchestra - the text propels the dramatic impetus and states with urgency the disciples plight, "We are united despite our enemies attempt to destroy us". Choir III intones a quasi-chorale of desperation "shall not all of our number partake of this feast uniting us in one heart and soul?"

Part II begins with the arrival of the twelve Apostles divided into a four-pan texture for bass voices only. What follows can be described as an a cappella recitative between two sets of characters: Apostles and Disciples. The Disciples' characterization is given music more sedate and less strong than the Apostles.

The dynamic indications for the music of the Disciples contain crescendo and decrescendo, however, the overall dynamic never reaches a sustained fOrle. Iii stark contrast, the Apostles' characterization exhibits authority and command as demonstratl~ by unison or three-part textures. After the strong resolution of the choral-recitative on the text "bei Todcsstrafe" ("on penalty of Death''), the entire chorus, ("congregation") unite in a prayer of supplication, "Sende uns deinen heil'gen Geist" ("Send us Thy Holy Spirit").

Musically the prayer ends with a decrescendo in D major.

Wagner now demonstrates his mastery of dramatic elements. Indicated in the score as "Voices from on High", a three-pan chorus representing the voice of Gorl. sings the text, "Seid getrost, ich bin euch nab" ("Comfort ye! I am near!"). This choir, comprised of 40 of the most select singers, was suspended 54

from the cupola of the dome for the first performance. Wagner uses voicing and voice register to excellent advantage giving the impression of an actual raising of the tonal center, the key shifts from the preceding D major to C major heightening the dramatic intensity. As the "voice of God" tells the "congregation" to

"Machet euch auf' (''Rise and go forth"), the orchestra awakens from its prolonged silence and depicts the coming of the Holy Spirit The "congregation" asks the question. "Welch Brausen erfilllt die Luft? WeIch

T~nen! Welch IGangen!" (''What rushing of wind is heard? What tones! What ringing!"). With ever­ increasing joy and motivic imitation between orchestra and voices. the voices sing the text. "Denn ihm ist alle Herrlichkeit von Ewigkeit zu Ewigkeit" ("All praise to the Lord forever and ever") while an orchestral

"Amen" (plagal cadence) is heard bringing the work to a grandiose close. 55

CHAPTER vn

THE SMALL "OCCASIONAL WORKS: WAGNER'S RESPONSE AS SERVANT AND DISCIPLE

Compounding Wagner's stressful situation and "baptism of fm" into his new position as

Hojkape/lmeister with the order to compose LJebesnwhl, W::gner had to comply with a royal commission from King August II to compose a festal hymn to be performed at the unveiling of a bronze statue of August I (rendered by Ernst RietscheI1804-61) commemorating the late monarch's reign. The contradiction of immortalizing in bronze a monarch who had succumbed to the fatherland's arch-enemy,

Napoleon, and plunged Saxony into an unwanted and disastrous war seems paradoxical, but the Coun thought otherwise and ordered Hojkapellmeister Wagner to produce a suitable composition. The result,

Weihegruss ("Der Tag ersheim") was composed to a text supplied by Otto Hohlfeld, Coun Poet and

LitemreaL Mendelssohn had also been asked to write a composition for the occasion, and while the rivalry between the two composers was never flagrantly visible or publicly perceptible it was clear that Wagner did not care for Mendelssohn. This professional rivalry sparked a creative flame within Wagner to best the more renowned Mendelssohn. As previously mentioned, Mendelssohn visited Dresden in the Spring of

1843 to conduct his oratorio St. Paul in the traditional Palm Sunday concert benefitting the pension-fund of the Kape/le. Mendelssohn, in conjunction with Meyerbeer, had been distinguished with the title

Generalmusikdireklor by the King of Prussia Like Meyerbccr in Paris, Mendelssohn soon had his first

"run-in" with Wagner in Dresden. By 1843 Wagner was beginning to attain national recognition and occupied a different position in relation to Mendelssohn then he had in the past. Eight years earlier, Wagner had submiued a manuscript of his "juvenile" Symphony to Mendelssohn and made the following remark comparing himself to Mendelssohn: "Merely four years younger, yet only just making a toilsome 56

beginning; whereas the other was a fmished musician already, and socially could put us all into his pocket."29

Wagner's ego desired some sort of equal recognition and acceptance with Mendelssohn in the public eye. As Wagner states in a letter to his friend and supporter Lehrs:

I Imow on good authority that Mendelssohn - who also means to compose an opera - is more than jealous of me; and the Leipzig clique, unconditionally subservient to him, scarcely knows what sort of face to pull at me. - The asses! God grant that Mendelssohn may soon bring out a clinking opera; there'd be two of us then, and two could manage more than one.30

Wagner's comments demonstrate his desire to confront Mendelssohn in regard to dramatic elements rather than musical ones, confident that the confrontation would inevitably elevate his status in musicai opinion as a more accomplished artistthan Mendelssohn

Unlike Liebesnuzhl, Wtihegruss had to depend on exterior influences outside of Wagner's control for dramatic impetus. This was accomplished in a fashion perhaps not up to the standard with his concept of drama. Facing the statue an ornate box had been set-up for the royal family, high officials, and members of the Diet while the rest of the courtyard lay open to the public. As in the arrival of the choral unions preceding the rehearsals for Liebesmahl, guilds and crafts marched in solemn procession with banners and insignia. The actual monument was flanked by flfty-eight "damsels" clad in white and decked with oak-leaves, the number corresponding to the years of the "lamented" monarch's reign. Upon the

Highnesses arrival, canons were fired, trumpet fanfares were played - all while cheering crowds demonstrated their joy. Immediately following the procession, and prior to the usual oration and dedication of the statue, an imposing choir of 250 male singers, selected from Dresden's choral unions, performed Wagner's festal

"hymn". The ceremony closed with Mendelssohn's compositional contribution. Wagner affrrrns his apparent victory over Mendelssohn by describing the public reaction to the two compositions performed for the commemoration of August I:

29WilIiam Ashton Ellis, Life of Richard Wagner, 6 vols. (New York: Da Capo Press, 1977), II: 19. 30Ibid. p. 19-20. 57

I had produced a simple and inpretentious song for male voices, whereas Mendelssohn had been assigned the more complicated task of weaving into the male chorus ... the anthem 'God Save the King' or, as it is known in Saxony, 'Heil Dir im Rautenkranz'. My simple song seems to have sounded quite nicely in the distance, whereas I learned the effect of the more audacious Mendelssohn composition had been entirely negatory.31

Whereas Liebesmahl had been composed out of obligation for a special meeting of Dresden's

male choral societies and Weihegruss out of servialloyalty and royal command, the next "occasional"

composition, Gruss seiner Treuen, was completely initiated through an act of patriotism by Wagner alone.

King August II ("der Geliebtenj had held a special place for Wagner while still Prince Friedrich.

In 1844, August II was expected to return shortly from a lengthy IJ'ip he had taken to England. Quite unexpectedly, Tzar Nicholas arrived in England as well. In the Tzar's honor many festivities and military reviews were held. The modest August II reluctantly attended these festivities. He received enthusiastic acclamations from the English crowds that clearly demonstrated the their preference for him over the Tzar.

This international recognition filled the people of Saxony with heart-swelling pride and admiration for their

King. Wagner learned that plans were being made for a special reception in Leipzig to welcome the returning monarch. To enhance the celebration, a musical tribute by Mendelssohn would be offered. After

Wagner's musical triumph over Mendelssohn with Weihegruss , one questions Wagner's motivation for organizing the performance of his next "occasional work", Gruss seiner Treuen, as solely heart-felt patriotism for his monarch, or a personal inclination toward keeping the upper hand in the continuing rivalry. Through inquiries, Wagner learned that the King would not stop off in Dresden, but proceed directly to the summer palace in PiUnitz. To avoid bureaucratic hurdles, Wagner did not consult with his co-Kapellmeister Reissiger, nor Intendant LUttichau (at the time absent from Dresden) giving Wagner free reign to proceed independently. Wagner, as first Liedermeister of the Liedertafel choral union, employed his political power and called as many musicians as he could. Following these arrangements, he made a

31Richard Wagner, Mein Leben, ed. Mary Whittall, trans. Andrew Gray (Cambridge: Cambridge Press, 1983), p. 312. 58

bi~ to Pillnitz to organize the necessary welcoming arrangements with the King's Chamberlain in

Residence. The trip to PiUnitz to secure arrangements for the celebration and the perfonnance of Gruss seiner Treuen influenced Wagner's next opera Tannhliuser. In Mein Leben Wagner states:

This little trip there and back was the only opportunity I had to write my verses and compose the music, for by the time I arrived back in Dresden I had to hand them over to the copyist and lithographer at once. The agreeable sensation of speeding through the warm summer air and the lovely countryside, togetller with the ~incere affection I felt for our Gennan monarch which had prompted this effort, brought me to a high pitch of excitement in which I found the melismatic figurations of my Tannhliuser "march". This royal greeting was already imbued with these, anct ;.:-. the more fully developed form they were one of the means through which that march was later helped to become my most popular piece to date.32

Wagner assembled 120 musicians and 300 singers for the celebration. His colleague Reissiger conducted Wagner's "hymn" while Wagner sang tenor. The royal family, visibly moved by the perfonnance, asked to hear the piece again. Wagner decided upon an improvisation in which the first stanza of the strophic "hymn" was sung in the usual semi-circular formation. At the beginning of the second stanza, the musicians fLIed away so that in Wagner's words, "the fmal notes could only reach the royal ears as if echoing from a dream."33

Wagner would use this "improvised" effect to great dramatic lengths in :.'1: Pilgrims' Chorus,

"Begluckt dar{ nun dich, 0 Heimat" in Act III of Tannhliuser. Gruss seiner treuen also contains a quote from Liebesmahl demonstrating an obvious influence, (ex. 8a and 8b).

32Richard Wagner, Mein Leben, ed. Mary WhittaIl, trans. Andrew Gray (Cambridge: Cambrid~e University Press, 1983), p. 274, 3lbid. p. 276. 59

Ex. 8a: Gruss seiner treuell

/,,' p . poco creAr.. ~J:-_-t-. - .. rv S~i UII" c.,.griiDt! Sci UIIS ge. griillt in " , p j' puco CreAl:. f ~- --u IV S-;;i lIJl:3 gll_ griilll! s"t!l UUS go.gruBt iu P f P.O'O I:ruc. f " ~. I...... -!> Sci u:\:> go. gruBl! Sci uns go. grii13l iu i poco creae. I .. ~.

'\ _sriiDt! S'el UII! go. gru-0' t, lIet UII! ge _ gritBl ill DeLDcr

'nf .~::;;-:.'" -- - ::f:=:oI=f'$ DeLncr Lio • [J~" Mit. tl!, 01" rnf -c::::::

DI!LIlt!r Lie. btl" Mit. ttl, :u; rnf -==

Dci.ner Lio _ ben Mil. te, lUI rnf. -=== 1-rl-

• ben ~1it • te, 1\\1

." 60

Ex. 8b: J)as UebesmaflJ der Aposfe/ • "Machcl cuch .1Ur'

~_ .'1 ::===- --======:1 -0(> --. -- .'1 I~ .'1.... -

das nic in E wi:r _ kdl v~r . gl'ht!_ Ma.dld cuch auf! th'lt is ,",t! '·L' . II,. _ 1111')/'1: .• /,.,(, ",,!-- Ri.,·" (lilt! !/o ffl1·tll.' ri _ . I qui_ ne pe - ra_ ja malS._ Dis _ per _ ~wz VOIIS: - r."=_ .'1 ,--...... :::=- .1 .!L 9 .'1 -- III./:.. ;:::.. das e - ...... ig nicht __ "pr . ~chl:_ Ma.chd cllch Huf! IllIIt "0 ,.,. . 11I(,r,: ___ ~/,.,I' 11Il! _ Ri.\·,,' ,1/,,1 !1f1 .tiJl·tI,! qui ne pe - ri ra ja - lIIilis!_ Dis_ller_sez VIIU,.! :::::=- .1 '. ~,- .1 .1 -== ":t;~ ;::..' ;:::.. - -~ --- das e "Ii:,:- nicht_ "cr . ;;dl1!_ !\fa. chct cuch auf! - //Iort: ___ fllllt ro . fOr - >//1,[[ I".. !_ Rist: tlml !/f1 forth! qui ne pe - ri ra ja - lIIilis!_ Dis. pllr_scz vou!'!

.17 ", :-;-

v !\Ia. chct cuch Oluf! ~ra . ch.:t \'ueh auf! ____. ______fortl'! ______Ri.\·t· IIl1d go forth! J; i.v ""'/ fIn Dis. pel' _ s.!Z VOU~! Dis _ pt!f _ sez ,·ou!'! ____==::- _____ .'/ " . .J ~----::-.------=-:I ...... , f~ :£ i .. "--.",-" , . .-t:::+-. auf! ______'"'- __ Ma • chl!t euch IIUf! MOl • did cUt'lI forllt.' ______Ri.",: "lId 90 fortM /ti",r. 1/1/,/ !In VOUl'! ______Dis. per _ sr.z: vous! Dis. per _ scz .1.1' .~ - -, \ Ma. chet euch auf! MOl. chet cuch nuf! ______nis,; 'Inri go forth! Ri.~,.. nud !IO fnrIM ______Dis _ pel' _ sez vous! Dis _ per _ t;1!% vou!,! ______

1\ •

P.J f >­ i :, 1'1' .. ~ - 61

An Weber's Grabe ("Hebt an den Sang"), is the last of the four "occasional works" composed by Wagner and has the most interesting history.

In 1825, Karl Maria von Weber received an offer from the manager of Covent Garden to compose a new opera for that season as well as conduct his opera Der Freischii/z. Prior to this offer Weber learned that he only had a few more years to live and decided to accept the lucrative offer from London in order to provide for his family. Kemble, the Covent Garden Opera manager suggested that the new opera utilize the stories of Faust or Oberon. Weber chose the latter. Although Weber grew weaker during the delays of the

Oberon production, he fmally conducted the premiere on April 12, 1826. On June 5th, Weber was found dead in his room. Weber was buried in the Catholic chapel in the Moorfields known as St. Paul's Church.

In 184 1, a committee had been organized by Professor ~we, President of the Liedertafel choral society, to initiate the transfer of Weber's remains to Dresden. The transfer was made imminent when a traveler returned from London and reported that Weber's ashes were being preserved in a modem casket but were stored carelessly in a remote comer of the church. Numerous benefit concerts were performed to raise money for the cost of the project. Support was solicited from the theater management in Dresden. Intendant

Liittichau balked at the suggestion giving the following two reasons: I) the King had religious scruples about disturbing the peace of the dead; 2) a precedent would be established that in the future all former

Kapellmeisters of the Dresden Court would be given the same honor, entailing cost, pomp, and ceremony

(not to mention future embarrassment if the deceased Kapellmeister had not been liked or not executed his office satisfactorily).

At this point, Wagner offers his support. Wagner expected trouble from his superior Ltittichau for going against the King's religious scruples; but LOttichau realized that the King had great admiration for

Wagner, and due to the successes of Weihegruss and Gruss seiner treuen, Wagner's action would not be interpreted as insubordination. Fund-raising for the project was not exclusively limited to Dresden. The committee had enlisted Meyerbeer's help in securing a benefit performance at the Berlin Court theater of 62

Weber's Euryanthe. Lesser theaters followed suit. With the donations received. Weber's two eldest surviving sons went to London for their father's remains.

Wagner's text to An Weber's Grabe contains the joyful reference: "Gennan Earth at receiving her dear son whom she hud bore. once again taking him anew into her womb.,,34 underscoring Wagner's deep regard for the "father" of Gennan opera. Wagner carefully orchestrated the event to heighten the dramatic impact. After the arrival of the coffm in Dresden, an evening torchlight procession proceeded to the Catholic cemetery in Friedrichstadt. Wagner composed music for the procession making an arrangement of two themes from Weber's opera, Euryanthe. The following morning. December 15. the coffin was formally lowered into a prepared vault. Wagner and his co-chairman of the committee, Councillor SchulZ. delivered the eulogy. With this oration. Wagner realized for the fIrst time that he had the power of oratory.

Wagner had memorized his speech and despite the objections of his brother Alben, provided no copy from which he could be prompted should his memory fail. Wagner relates the following:

It happened this way: after I had begun my speech in a full and clear voice I was suddenly affected so strongly by the almost frightening effect of my own voice ... that I became completely transponed and felt as if I could not hear but also see myself speaking before the breathlessiy listening crowd as well. I fell completely into a state of tense expectation ... as if I were not the one who was really standing there and supposed to speak. I didn't feel the slightest anxiety ... yet there occurred such an inordinately long pause after the opening lines that whoever was observing me ... could not know what to make of it At last my lengthy silence and absolute stillness enveloping me reminded me that I was there to speak and not to listen; I started in again at once and carried my address through to its conclusion ... 35

After Wagner's moving speech, An Weber's Grabe was performed. Wagner relates the following impression regarding the performance:

... and though it presented many difficulties for a male chorus the combined efforts of our best opera singers achieved a splendid rendition.36

34Richard Wagner. Gesammelte Schriften (Prose Works). 8 vols. trans. William Ashton Ellis Vol. VII: In Paris and Dresden (New York: Broude Brothers. 1966). p. 238. 35Idem. Mein Leben. ed. Mary Whittall, trans. Andrew Gray (Cambridge: Cambridge University Press. 1983), p. 297. 36Ibid. 63

One immediately wonders that if Wagner felt this composition was difficult for the male chorus, what was his impression of Uebesmahl's difficulty being performed by 1200 singers, divided into three choirs, a hundred-piece concealed orchestra and 40 singers suspended for the cupola of the dome? 64

CHAPTER VIII

CONCLUSION

Wagner's four"occasionnl works"for mnle chorus are unique in his compositionnl output. They share thc snmc compositionn'llcchniqut's, hnrmonics and even mOlivic mnlerial, (ex. 9a, b and c).

Ex. 9,,: H'eiltegrllss

CL\4'A:I :i«:III1CUCr p / f I. • -,- r... r... > ". ,.. -~ ..0;.. ,.. ". ". ---- ... ---- I'" Gliick uae! Ruh ill S .. ch.leas --G .. u cu ein. Scin Na.mc Icbl_ e!urch "I. I~ Zeitell I- · p r... r...f". ".,..> • = I - / ...... ". 1.0" Iy Gluc~ . uae! Ruh I- in Sach.aen. G.u · au ciu. S.iu ~a.m= ,ICbl durch "I • Ie Zeilrn p f >. ~ tJ.- A :0;.. ~ ~ ~-t+ r... r... > ". >- >-

GlU une! Huh - ill S"rh.lCns G"u · cn cia. ~CiD Na.rna Icbt durch ~. Ie i~ 1 p / r... r:-f> ".a. -."'IP'L~ ""_J__. > '> >

. -..... '. '\ Glue\; Ulle! Ruh _ III Soch ••cu~ G.u. CII CIU. S"n N.•• mc Io:bl_ durcll .1. Ie Zelleu 65

Ex, 91>: Gruss s£'illC'r 1'1'('//('11

t!J' tid UIIS go. griillt puco cr~u, f

OJ S~i Ulld gl). griilll! S~i IIUS gil. grullt iu Dd.lltlr Lie. bon Mit.tt), :Ol P r p.co erne, f " "11' ~, ;:t~ Sd UIl:l go. grulll! Sd uns ge. griillt iu DeLncr Lie. ben Mil.II), 811 r poco crtlC, f n .rnf -=: $. -==+= \ • ,;riilll! Sei UIIS go. griilll, sei uns ge • griiBt in DeLntlr Lie. • ben Mil .te, '~ll

)/\ , > p ~ "'...... --- = = IV DOli .ner Ttlu. rtlll Brust, treu Dei.ucr Vii. ter S:t. te, Mh' Dd. nes Vo1.ke~ Lust, ge • " > p-= .f-- ~ IV DOli. uer TOlIl • reu trust. treu Dei. . • ner Vii . to!r Sit. . • teo p : > .(fL' ~. .(lI. " = ~ ~4f. ... " 'Il. ..

Dei .Iler Teu. ren Brust, Ireu Dei.ner Va. ter Sit. Ie, nah' Dei. nes Yol.kes Lust. ge • ".. i p ==:..:' = : ., .:: ., .. '\ Del. ner Teu. ren Brus.:-:' t , Ireu Del • ner Va. _ .Ier 'I . I e,

) , trt,c. A !. A A A di... , P it) .grull! Dei, go •• -griiflt, sei uns go. grulll, Du, Dei.nes v'ol. k~s Lust! Sei uns ge. grilllt!

11 ~,.ue. f"A dim. P

IV sei uns ge • grullt, sei uns ge • griilll, Du, Dei.neo Vol. • !tea Lust! Soi unll go. (I1.e, f~ A A A A dim. p ... '"

.grullt IIci, gO. griilll, Goi uns go • griilll, DeLnes Iv'ol . kea Lust! Sci uns ge. 5:"e. .(fL' A dim, p " flo

'\ Dei' uno g c. gruill. 5ei uns g e • g riilll, Dei-nes Vol . keG Lust! Sei UIIS ge. I" ertle, _ f -. .p. .;.;. "n---"" dim, .... 1':'\ IV Sd uns g;; • griill\! Sci uns go · grullt, Du, Dei. • nes 1'101 . ltes Lust! _II CTI'C. IfA A A dim. r."\

V .griill!! Sei uns gt). grullt, gu • griilll, Du, bei. • nes Vol. keG Lust! crl'C. " f /2' 4f. ffA A- A d,'m 1':'\ ~ L.-:z:::::= " - • griilll! Sd uns ge. griilll, go • griilll, Du, Dei. • nes Vol. kcs Lust! erNC". . In. ... (flo A d,'", , 1':'\ . .. \ . gru"Ilt! SCI u ns go. gruli t , • ge · g riilll Du Dei. • MS Vul • lies Lust! 66

Ex.9c: Das Uebesmalll der Aposle/: "Milchc! cuch ,wr'

--=====:1 ~:I<>. .... ======--."/ 'd"...,.. -,.'-:::--

das nic in E \Io'i::- _ kcit vl~r E:'cht!_ ~ia_du:t cuch auf! - I",! __ tJ",t is "lIIl ,of) - ,-r _ 11111 I'~ "".'[1 . , R;.,·~ !/o fflrllt! qui_ ne pe - ri _ ra._ ja mals._ Dis _ """per _ s.:2 VOllS! .1 ::::::- .., 17'=- -"", ...... --... III/.... ;::... ~ 3 -- das e ,,:ig nicht __ \'C'r - ~chl:_ Ma_chet cu\.·h Huf! - IlIr,r,: ___ III:! _ IllIIt I'V - ,-,-. - ~/,.,I/ /Ii:.·.: ,,1111 fl" for/II! qui ne pe - ri f:l ja. lIIais!_ Dis_Iler_sez VClU':! - -r::: "./.... '. r.\...._ .7 .1 =- :. - ~ d:t!> C \&'t.r nicht ___ \·r.r h,oht!_ Ma _ ellct cuch :.luf! - .. -- II/ort: ___ - I,,·! __ fllllt ro - rr - ,,1,111l Rist: IlIIa !lO forth! qui ne pe - ri ra ja lIIais!_ Dis _ pf!r_scz vou~!

A!lc'gro. ff .7 .7 :> .J------/11 ..... =-- .... ;, ::;- =t J - --- v Ma_chct cuch :.luf! :'If:. _ diet '-'uch :IUf! Ri:rt: nlld go forth.! /,.;.". nil" !In p,rt!,.' Dis _ per _ s.~z vou:;! Dis _ p.:r _ sa \'ou~! .,.. :? '. ~-.- -- -=-:t .r...... :I .,.. ~ .r~ 1 _i J - --~ .4t:-...... -.:- . .-i=t-. - . Ma _chl:t cudl Ruf! !lib. _ c-I1t:t cudl :.luf! Ri.• .: I/Ild go fori/,! "i.",~ tI,," !In fnrllt! Dis _ per _ sr.t YOu!>! Dis _ per _ sr.t YOu!'! f» .1.1>- .7 {!. ~ ~ ?' .,.. :> I·.!: - ::j ~ !\fa_ chet cuch auf! MOL_ ehet cuch Ituf! ni"c trnd go forth! Ril<'. trllt{ fl" fnrlM Dis _ per _ Get vous! Dis _ per _ au:.t 'IOU!;! , .Allegro. 11 1":\ 3 - -- ,- I/'.J + 4- .-. .:r .:: :> ~ / » y/> >- r ~ 1f'" 8 1'1' ..- ..-1 I r--t: - - ~. .- I \:I :st :sf: ~ :st 67

All of the "occasional works" were compose:! between April 1843 and December 1844. This year-

and-a-half served as an introduction to perhaps the most single creative time in Wagner's life, the "Dresden

years". During 1843 and 1844, Wagner laid the foundations for his future creative ideals and the realization

of an artistic philosophy that would influence the artistic world to the present day. The following is a

chronological list of Wagner's major projects priOi to his appointment at the Dresden Court and during the

first year-and-a-half of the "Dresden years":

1842: October 20 - fIrst performance of Rienzi 1843: January 2 - first performance of Der f/iegende Hoillinder February 2 - appointed and sworn-in as Hojkapel/meisler to Dresden Court April - begins composition of Das Liebesmahl der Apostel April 7 - poem becoming libreuo for Tannhauser completed June 7 - performance of Weihegruss July 6 - performance of Das Liebesmahl der Apostcl 1844: August 9 - performance of Gruss seiner Treuen December 15 - performance of An Weber's Grabe

The importance of the "Dresden years" is crucial in Wagner's development and maturity as a composer and artist. During this time Wagner either engaged in or had completed the following:

1) completion of Tannhliuser 2) wrote prose sketch for Die Meistersinger von Niirnberg 3) completion of prose sketch for Lohengrin 4) First performance of TannMuser 5) Wagner's performance of Beethoven's Symphony #9 in Dresden 6) wrote poem Siegfried's Dealh (basis for Die Gollerdammerung) 7) sketch for 'The Nibelungen-MYlh" 8) sketch for the abondoned opera Jesus von Nazercth

Without doubt, Wagner has created a lasting legacy for the music world that continues to influence the course of music history today. The intriguing aspect of Wagner is that in addition to his compositions, he left for an unsuspecting world voluminous writings that give the portrayal of the inner-workings of not only himself and his music, but aspects on society and philosophy. Too oflen, one treats a study of

Wagner from 2. perspective of the influence of the gigantic works (i.e. Der Ring des Nibelungen), the theoretical and psychological implications of Tristan und Isolde and Parsifal, or the philosophical signifIcance of his landmark c:>say, Over lind Drama. These works give an overall picture of Wagner on an 68

immense scale. However, to understand the man in his most simplistic state, one can tum to the

"occasional works". Although intended for a group of immense proportions, their foundational concepts are ones of simplicity.

A hypothesis must be tested to be proven as fact An assumption that postulates that the

"occasional works" are merely unimportant, sub-standard works written by an overworked Hofkapellmeister under the pressures of his office, can be substantiated only as far as the dictates of the music. Upon examination, the "occasional works" demonstrate compositional merit and Wagner's philosophical and artistic essence in a condensed and intensely focused form. These "occasional works" influenced Wagner's concept of the role of the male chorus. The most obvious fact supporting this hypothesis is that after the

May uprising in 1849, causing Wagner to flee to Switzerland (he was tried for treason because of his insubordinate political beliefs), the male chorus compositions cease. In addition, the male choruses that played so important a role in his early operas (i.e. Rienzi, Hlillander, Tannhliuser and Lohengrin) become less prominent, eventually evolving into a pseudo-character to support the dramatic whole, the exception being Die Meistersinger (1868) but skett:hed in 1845.

Finally, a careful examination of the "occasional works" does shed light on how they played a crucial role during Wagner's "~sden years", and the influence they exhibited upon Wagner's compositional thought. 69

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Barth, Herbert; Mack, Dietrich; and Voss, Egon. Wagner: A Documentary Study. London: Thames and Hudson Ltd., 1975.

Chancellor, John. Wagner. London: Weidenfeld and Nicolson, 1978.

Deatbridge, John; Geck, Martin; and Voss, Egon. Wagner Werl{-Verzeichnis (WWV): Verzeichnis der musikalischen Werke Richard Wagners und ihrer Quellen. Mainz, Germany: B. Schou's Stlhne, 1986.

Deathridge, John. Wagner's Rienzi: A Reappraisal Based on a Study of the Sketches and Drafts. Oxford: Clarendon Press, 1977.

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Eir.$t'!in, Alfred. Musk in the Romantk Era. New York: W. W. Norton & Co., 1947.

Goldman, Albert and Sprinchorn, Evert. Wagner on Music and Drama: A Selection from Richard Wagner's Prose Works. Translated by H. Ashton Ellis. London: Victor Gollancz Ltd., 1977.

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James, Burnett. Wagner and the Romantic Disaster. New York: Hippocrene Books, 1983.

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