Act III. compared with sources, 282;

begun, 64, 273; book written, 273; cadence, dominance of, 284, 285; combat, use of sword in, 277; conception of, 51; "Der Fliegende Holländer," resemblance of story to, 283; "Der Schwanen-Ritter" ("Chevalier au Cygne"), story of, 274; dialogue, not recitative, 284; Elsa, character of, 276, 282, 283; endless melody approached, 285; finale to Act III. at Dresden, 70; first heard by Wagner, 117; first performances, 270 _et seq._; Godfrey of Bouillon, relation to, 275; instrumentation, significant features, 290; King Henry, character of, 277; letters on performance of, 91; Lohengrin's narrative, source of, 283; music, analysed, 283 _et seq._; _see also_ LEADING MOTIVES; music, classification of, 291; music, popularity, reason for, 291; music, when written, 273; old poem, 273; organic union of text and music, 284; original casts, 270, 271; original materials, 273, _et seq._; Ortrud, character of, 276,279, 280, 281; prelude, 285, 286; produced at Munich, 130, 131; produced at Weimar, 90, 91; power of Lohengrin to be taken away by a wound, 283; recitative, abolished in, 284; rhythm, dominance of, 291; score sold, 273; score sent to Liszt, 81; sources of, 272 _et seq._; sources, treatment by Wagner, 276 _et seq._; stage pictures in Act II., 280; story according to Wagner, 277; sword, Telramund felled by, 278; Telramund, character of, 282; Telramund, his death, source of idea, 283; time signatures in score, 290, 291

London critics offended, 100

London Philharmonic Society, 97 _et seq._

Ludwig, King of Bavaria, 122, 123, 128, 139, 148, 152

Lully, 170

Lüttichau, von, 44

Lyric drama, birth and development of, 168

M

Mackaye, Steele, 142

"Manfred," 50, 61; _see also_ "Die Sarazener"

Map, Walter, 296, 453

Meissen, Heinrich von, 333

Meisterlied, nature of, 234

"Meistersinger von Nürnberg, die," _see_ "Die Meistersinger"

Meistersingers, history of, 332 _et seq._

Metternich, Princess, 113

Meyerbeer, 36, 38, 43, 44, 89, 174

Meyerbeer, "Les Huguenots," 89

"Mignonne," 42

Minnelied, nature of, 334; origin of, 331

Minnesingers, history of, 332, _et seq._

Monteverde, Claudio, 169

Morelli, 113

Mozart, 170

Müglin, Heinrich, 335

Müller, Gottlieb, 7

Muncker, Franz, 138, 152

Munich Conservatory, 125, 126

Munich, new Wagner theatre, 128

Munich, proposed Wagner theatre, 126, 128

"Music of the Future," the, 114

Music, theories as to, _see_ Art-Theories; _also works under separate titles_

Mystic gulf, the, 141

Myths as subject for drama, 182

N

Neumann, Angelo, 145

Nibelungen Lied, 73, 369

"Nibelung Myth as sketch for a Drama," the, 73

Niemann, Albert, 113

O

"On the Performance of 'Tannhäuser,'" 86

Opera, birth of, 168; development of, 168 _et seq._; Wagner's study of, 181; Meyerbeerian ground-plan, 174

"Opera and Drama," 86, 88, 180, 181

Orchestra, concealed, 140

P

Pagan trilogy, 218

"PARSIFAL," 446 _et seq._; Arthurian legends, 450 _et seq._; Arthurian legends, entry of Grail into, 453; book completed, 447; book read to friends, 144, 477; Borron's story of, 457; Breton epic, 454; Chrétien's story of, 455 _et seq._; conception, 447; conception of, 51, 71; Celtic legend of Peredur, 449; date of production changed, 145; enlightenment of Parsifal, 464; ethical ideas in, 472; finished, 147; first performance, 446; garden scene, plan of, 468; Grail, nature of, 449, 450, 451, 452; Grail stories, origin of, 449 _et seq._; Grail, the word, origin of, 452; Kundry, character of, 462, 464, 469, 470; Kundry the temptress, 470; Kundry's wandering, 471; music, 473, _see also_ LEADING MOTIVES; music, plan of, 473, 479; music, second act, 479; music, when written, 447; original cast, 446; panorama's failure, 149; Parsifal's character, 471; "Parzival," Wolfram's, 448, 449, 457; Perceval, derivation of name, 452; pity, enlightenment by, 471; prelude played at Wahnfried, 148, 474; preparations to produce, 146; problem play, 473; produced at Bayreuth, 149, 152; Provençal versions of story, 452; question, not asked, 467-469; rehearsals begun, 148; ended, 149; relation of "The Victors" to, 470; religious drama, 472; score completed, 148; sources of, 447 _et seq._; sources of, compared with drama, 467; subscriptions for production, 148; Wagner's drama, story of, 461 _et seq._; Wolfram's story of, 457; working on, 145, 147.

Patron's certificates, 137, 139.

Peri, Jacopo, 168

Perl, Henry, "Richard Wagner in Venice," 150

Pillet, 45, 46

Plan for music school at Munich, 125

Planer, Minna, death of, 30; jealousy of, 110; Wagner's alleged neglect of, 130; Wagner's marriage to, 27; Wagner's separation from, 30, 119; unsuited to Wagner, 27 _et seq._, 62, 63, 83, 160

"Polonia," overture to, 40, 41

Praeger, Ferdinand, account of revolution of 1848, 76 _et seq._; relations with Wagner, 97; "Wagner as I Knew Him," 25, 35, 70

Prince Albert, 102

Q

Queen Victoria, 102

R

Rameau, 170

Recitative, early, 168 _et seq._

"Recollections of Spontini," 86

Reissiger, 45, 51

"Rheingold, das," _see_ "Das Rheingold"

Richter, Hans, 125, 130-132, 134, 144

"RIENZI," 221 _et seq._; Adriano, air of, 232; art-theories in, 52, 172, 176, 223, 225, 227, 228; Berlin performances, 70, 71; character of hero, 230; completed, 44; conception of, 223, 224; divided into two parts, 52; first performances to 1882, 221, 222; first mentioned by Wagner, 31; libretto begun, 224; libretto, nature of, 228, 229, 230; materials of, 176, 225, 226; music begun, 224; music, nature of, 228, 229; music, Rienzi's prayer, 231; offered to Dresden, 44; opera instead of music-drama, why, 225 _et seq._; performance of, suggestions as to, 47; prayer in, 230, 231; preparations to produce, 47, 48, 51; produced at Dresden, 51; Berlin, 52; Schuré's criticism of, 232

"Ring des Nibelungen, der," _see_ "Der Ring"

Rinuccini, Ottavio, 168

Rochlitz, 11

Roeckel, August, 53, 64

Rossini, 89

Royer, Alphonse, 114, 116

Rudolf of Hapsburg, 332

"Rule Britannia" overture, 30, 31

S

Sachs, Hans, 333, 336

Saemund the Wise, 373-375

Sainton, Prosper, 98

"Sarazener, die," _see_ "Die Sarazener"

Saxe, Marie, 113

Scharfenberg, Albrecht von, "Der Jüngere Titurel," 272

Schladebach, 67, 68

Schlesinger, 38

Schnorr, Ludwig, 125, 127, 128

Schopenhauer, A., 108, 184

Schroeder-Devrient, Wilhelmina, 18, 48, 54, 65

Schumann, Robert, 68

Seidl, Anton, 145

Semper, Gottfried, 126

Siegfried, date of his death, 370; character as conceived by Wagner, 403; German hero, 369

"SIEGFRIED," 402 _et seq._; _see also_ "Der Ring des Nibelungen"; bird's voice a soprano, 407; book written, 93; conception of, 93; conception of hero, 404; Erda, 408; first performances, 360; Forest Bird, voice of, 407; Forest Bird and the "Lay of Fafner," 376; free hero, 405; Mime, origin of name, 403; Mime, Regin compared with, 403; Mime's betrayal of himself, Act II., 408; music, 439, _see also_ LEADING MOTIVES; music, when written, 365; original casts, 360, 361; originality of Act II., 408; penetration of the fire, legend of, 409; produced at Bayreuth, 141; question scene in Act I., origin of, 405; Siegfried's nature and character, 403, 404; story of, 405 _et seq._; sword, power and name of, 409; "Vafthrudnersmal," 405; "Waldweben," 407; Wotan's plan in, 405, 408

"Siegfried's Death," 367

"Siegfried Idyl," 134

Smolian, Arthur, 265

Snorre Sturleson, 373

Spontini, 60, 68

Standthartner, Dr., 149

"State and Religion," 124

Symphony in C, 11, 12, 151; analysis of, 482 _et seq._; history of, 481

T

"TANNHÄUSER," 250 _et seq._; additions to story by Wagner, 258; Biterolf, 261; book written, 50, 252; characterisation in, 268; characters historical, 260; completed, 62; conception of, 50, 252; contest of song, origin of idea, 256; Elizabeth, character of, 257, 261; essay on performance of, 253; essence of, Wagner's words on, 269; ethics of the drama, 261, 262; failure of, 65; first performances, 250, 251; good and evil principles, 261-263; good and evil principles, music of, 265; grotto of Venus, 258; Heinrich of Ofterdingen, identified with Tannhäuser, 256, 259; Hermann the Landgrave, 256; Jockey Club of Paris and, 114, 115; legend of, 254, 255; leitmotive, absence of, 265; letter to Carl Galliard on, 65; Lord Lytton's, 264; man, a drama for, 263; misunderstood, 65, 66; music, analysed, 264 _et seq._; music, finished, 252; music, nature of, 264 _et seq._; music, principal ideas, _see_ LEADING MOTIVES; mythology, Roman and Teutonic, 257, 258; narrative of Tannhäuser, 263; original casts, 250, 251; original ideas in, 254; overture in London, 101; Paris version, nature of, 253; Paris version, origin of, 114, 115, 252, 253; praise of Venus, 259; preparations for production, 64; produced at: Dresden, 65; Munich, 130, 131; Paris, 112 _et seq._; Weimar, 81; Zurich, 97; provisional title, 252; Reimar, 260; relations to "Tristan und Isolde," 253, 269; "Sängerkrieg," 254; score completed, 252; Smolian, Arthur, pamphlet on music, 265; sources of, 254 _et seq._; Tannhäuser, character of, 258, 259, 261; "Tannhäuser Lied," 254; transition period, belongs to, 213, 252; Venus, 257, 258, 259; "Venusberg, Romantic Opera," 252; "Volksbuch," 254; Wartburg Castle, 255; "Wartburgkrieg," 256, 259; Wogelweide, Walther von der, 256, 260; Wolfram, 255, 256, 260; woman, the saving grace of, 262, 263

Tausig, Carl, 109, 110, 137

Text of Wagner Dramas, importance of knowing, 219

Thomas, Theodore, 139

Tichatschek, 48, 51, 131

"TRISTAN UND ISOLDE," study of, 293 _et seq._;