Gutenberg Literary Edition #4234

The German musical genius Richard Wagner (1811-1883) could be considered to be one of the ideological fathers of early 20th century German nationalism. He was well-suited for this role. Highly intelligent, sophisticated, complex, capable of imagining whole systems of humanistic philosophy, and with an intense need to communicate his ideas, he created great operas which, in addition to their artistic merits, served the peculiar role of promoting a jingoistic, chauvenistic kind of Germanism. There are things in his operas that only a German can fully understand, especially if he would like to see his country closed off to outsiders. It is unlikely, however, that Wagner expected these ideas to achieve any popularity. Time and again he rails against philistines, irrational people and politicians in his letters. With great exasperation and often depression he expressed little hope that his country would ever emerge out of its "philistinism" and embrace "rational" ideas such as he propagated. Add to this the great difficulties he had in getting his works performed, and one might assume that he felt himself to be composing, most of the time, to audiences of bricks. Yes, his great, intensely beloved friend Liszt believed in, fully understood, and greatly appreciated Wagner's works, but Liszt was just one in a million, and even he, as Wagner suggested, associated with a base coterie incapable of assimilating Wagnerian messages. Considering the sorry state of music and intellectualism in Wagner's time and setting, he surely would have been surprised if his operas and his ideas achieved any wide currency. That he continued to work with intense energy to develop his ideas, to fix them into musical form and to propagate them, while knowing that probably no sizeable population would ever likely take note of them, and while believing that his existence as an underappreciated, rational individual in an irrational world was absurd and futile, is a testimony to the enormous will-power of this "ubermensch."

CORRESPONDENCE OF WAGNER AND LISZT, VOLUME 2

Yesterday (Saturday, January 7th) first performance of "Lohengrin" at Leipzig. The public, very numerous in spite of double prices, displayed much sympathy and admiration for this wonderful work. The first act went tolerably well as far as the artists were concerned. Rietz conducted in a precise and decent manner, and the ENSEMBLES had been carefully studied. The second and third acts, however, suffered much from the faults and shortcomings of both chorus and principals. Further performances will, no doubt, show an improvement, although the Leipzig theatre does certainly not possess the proper singers and scenic artists. The flagging in the second act, which I previously took the liberty of pointing out to you, was felt very much on this occasion, and the public seemed painfully and unmistakably tired. The tempi of the choruses seemed to me considerably too fast, and there was more than one break-down in this scene. Altogether, without self-conceit, I may say that the Leipzig performance is inferior to ours, as you will probably hear from other quarters. On the other hand the Leipzig public is in many respects superior to ours, and I feel convinced that the external success of yesterday's performance will prove very considerable indeed. The grand success of this work can no longer be denied; of that we should be glad, and the rest will follow sooner or later. The actors, Rietz and Wirsing, were called after the first act, and after the last the representatives of the principal parts had to appear again. T., who had come from Paris for this performance, was very dissatisfied with it. I toned him down, not thinking it advisable to impair the chief thing by detailed criticism. Before all, let it be stated that "Lohengrin" is the grandest work of art which we possess so far, and that the Leipzig theatre by performing it has done credit to itself.

If you have to write to Leipzig show yourself, to please me, friendly and appreciative of their goodwill, and of the success which cannot be denied. The only remark you might make concerns the quick tempo of the choruses in Act II., Scene iii., and of the "Lohengrin" passage in the third act