he said amidst indescribable sensation, and then touched upon the Baireuth festival, and the Ninth symphony, in which the German soul appears so deep and rich in meaning. What a world of thoughts, what germs of future forms lie concealed in this symphony! He himself stands upon this great work, and from this vantage strives to advance further. During this period the ill-omened raven, Professor Hanslick, uttered his silly words about Wagner's "luck." But the victory was this time with the right.

In Baireuth meanwhile all was being prepared for the celebration. The Riedel and the Rebling singing-societies const.i.tuted the nucleus of the chorus while the orchestra was formed of musicians from all parts of Germany, Wilhelmi at their head. There the master for the first time was really among "his artists." "We give no concert, we make music for ourselves and desire simply to show the world how Beethoven is performed--the devil take him who criticises us," he said to them with humorous seriousness. The laying of the corner-stone on the beautiful hill overlooking the city, where the edifice stands to-day, took place May 22, 1872, to the strains of the "Huldigungs March,"

composed for his King in 1864. "Blessing upon thee, my stone, stand long and firm!" were the words with which Wagner himself gave the first three blows with the hammer. The King had sent a telegram: "From my inmost soul, I convey to you, my dearest friend, on this day so important for all Germany, my warmest and sincerest congratulations.

May the great undertaking prosper and be blessed! I am to-day more than ever united with you in spirit." Wagner himself had written the verse:

Here I enclose a mystery; For centuries it here may rest.

So long as here preserved it be, It shall to all be manifest.

Both telegram and verse with the Mannheim and Bayreuth doc.u.ments lie beneath the stone. Wagner returned with his friends to the city in a deeply earnest mood. On this his sixtieth birthday his eyes for the first time beheld the goal of his life!

At the celebration, which then took place in the Opera-house, he addressed the following words to his friends and patrons: "It is the nature of the German mind to build from within. The eternal G.o.d actually dwells therein before the temple is erected to His glory. The stone has already been placed which is to bear the proud edifice, whenever the German people for their own honor shall desire to enter into possession with you. Thus then may it be consecrated through your love, your good wishes and the deep obligation which I bear to you, all of you who have encouraged, helped and given to me! May it be consecrated by the German spirit which away over the centuries sends forth its youthful morning-greeting to you."

The performance of the symphony of that artist, to whom Wagner himself attributes religious consecration according to eye-witnesses, gave to this festival, also "the character of a sacred celebration," as had once been true of the great Beethoven academy in November, 1814.

At the evening celebration, however, Wagner recalled again the large-heartedness of his King, and said that to this was due what they had experienced to-day, but that its influence reached far beyond civil and state affairs. It guaranteed the ultimate possession of a high intellectual culture, and was the stepping-stone to the grandest that a nation can achieve. Would the time soon come which shall fitly name this King, as it already recognized him, a "Louis the German" in a far n.o.bler sense than his great ancestor? "Certainly no fear of the always existing majority of the vulgar and the coa.r.s.e is to prevent us from confessing that the greatest, weightiest and most important revelation which the world can show is not the world-conqueror but he who has overcome the world:" thus teaches the philosopher, and we shall soon perceive that this was also true of Wagner and his royal friend.

The fame of this celebration, which had so deeply stirred everyone present, resounded through all countries, appealed to all true German hearts. And yet, how many remained even now indifferent and incredulous! The "nation," as such, did not respond to the call. It did not, or would not, understand it, uttered by a man who had told us so many unwelcome truths to our face. It still lay paralyzed in foreign and unworthy bondage, and was, besides, for the time too much engrossed with the affairs of the empire, whose novelty had not yet worn off.

"From morn till eve, in toil and anguish, Not easily gained it was."

These words of _Wotan_, about his castle Walhalla, were only to be too fully realized by our master. His "friends" alone gave him comfort, and their number he saw constantly increase from out of the midst of the people whose leaders in art-matters they were more and more destined to become. The public interest was kept alive and stirred afresh with concerts and discourses. The Old did not rest.

The struggle constantly broke out anew, and for the time it remained in the possession of the ring that symbolizes mastery. The dragon was still unconquered. As the "people" in Germany are not particularly wealthy, slow progress was made with the contributions from the multiplying Wagner-clubs, and yet millions were needed even for this temporary edifice with its complete stage apparatus. It required all the love of his friends, especially of that rarest of all friends, to dispel at times his deep anger when he was compelled to see how mediocrity, even actual vulgarity, again and again held captive the minds of his people to whom he had such high and n.o.ble things to offer. "In the end I must accept the money of the Jews in order to build a theatre for the Germans," he said, in the spring of 1873, to Liszt, when during that period of wild stock-speculations, some Vienna bankers had offered him three millions of marks for the erection of his building. He could not well have been humiliated more deeply before his own people, but he was raised still higher in the consciousness of his mission. Truly, this love also came "out of laughter and tears, joys and sorrows," for the mighty host of his enemies now put forth every effort to make his work appear ridiculous and in that way kill it. A pamphlet, by a physician, declared him "mentally diseased by illusions of greatness." Even a Breughel could not paint the raging of the distorted figures which at that time convulsed the world of culture, not alone of Germany. It was really an inhuman and superhuman struggle around this ring of the Nibelung!

Nevertheless, in August of the same year (1873), the festival could be undertaken in Baireuth. "Designed in reliance upon the German soul, and completed to the glory of its august benefactor," is printed on the score of the Nibelungen Ring, which now began to appear. The s.p.a.ce for the "stage-festival-play" was at least under roof. But with that, the means obtained so far were exhausted, and only "vigorous a.s.sistance" on the part of his King prevented complete cessation of work. Wagner himself was soon compelled again to take up his wanderer's staff. He sought this time (1874-1875), with the lately completed "Goetterdaemmerung," to sound through the nation the effective call to awaken, and in doing so met with many decided encouragements. "From the bottom of my heart I thank the splendid Vienna public which to-day has brought me an important step nearer the realization of my life-mission." This was the theme which fortunately he had then only to vary in Pesth and in Berlin.

The preliminary rehearsals now began, and what Munich had witnessed in 1868 repeated itself ten times over in Baireuth during this summer of 1875. For weeks there was the same untiring industry, but also the same, nay increasing, enthusiasm. "Of this marvelous work I recently heard more than twenty rehearsals. It over-tops and dominates our entire art-period as does Mont Blanc the other mountains,"

wrote Liszt. The master frankly conceded that it was due to the "unhesitating zeal of the a.s.sociate artists as well as to the splendid success of their performances" that he could now positively invite the patrons and Wagner for the next summer. "Through your kind partic.i.p.ation may an artistic deed be brought to light, such as none of the dignitaries of to-day but only the free union of those really called could present to the world," he says. And:

"From such marvelous deed the hero's fame arose,"

sings Hagen of Siegfried.

The rehearsals during the summer of 1876 so increased the enthusiastic devotion of the artists to the work, that many felt they had really now only become such. Others, however, like Niemann as Siegmund, Hill as Alberich, and Schlosser as Mime, showed already in fact what heroic deeds in the art of representation were presented. The fetters of the maidenly bride were indeed broken that she might live. "We have overcome the first. We must yet consummate a true hero-deed in a short time," Wagner said, when at the first close of the Cycle silent emotion had given place to a perfect storm of enthusiasm, but, he exultantly added: "If we shall carry it out as I now clearly see that it will be done, we may well say that we have performed something grand." The little antic.i.p.ated humor in "Siegfried" developed itself in such a way under the leadership of Hans Richter, who was more and more inspired by the master, that one seemed indeed to hear "the laughter of the universe in one stupendous outbreak." That was the fruit of the "tempestuous sobbing" with which young Siegfried himself had once listened to the Ninth symphony. It was indeed a new soul-foundation for his nation and his time! Wagner himself calls an enthusiasm of this kind a power that could conduct all human affairs to certain prosperity and upon which states could be built. The patriotic enthusiasm of 1870 sprang from the same source and it has brought us the "empire" as that of 1876 gave us the "art."

The general rehearsal on the seventh of August was attended by the King. He had stopped at a sub-station, once the favorite resort of Jean Paul, and at the station-master's house the two great and constant friends silently embraced, giving vent to their feelings in tears. From that date to the thirteenth of August, 1876, the ever memorable day of the re-creation of German art, came the hosts of friends and patrons, from great princes to the humble German musicians. "Baireuth is Germany" is the acclamation of an Englishman on witnessing the spectacle. The head of the realm, Emperor William, was there himself welcomed by the festival-giver and hailed with acclamation by the thousands from far and near. The Grand-duke Constantine and the Emperor of Brazil were likewise present.

Of the effect we shall at this time say nothing for lack of s.p.a.ce to tell all; but, to convey at least a conception of the event which riveted minds and held hearts spell-bound until the last note had pa.s.sed away, while at the same time a whole new world dawned upon our souls--we present a short account of the work as pithily drawn by Wagner's gifted friend and patron, Prof. Nietzsche, in Basle.

"In the Ring of the Nibelungen," he says, "the tragic hero is a G.o.d (Wotan), who covets power and who, by following every path to obtain it, binds himself with contracts, loses his liberty and is at last engulfed in the curse which rests upon power. He becomes conscious of his loss of liberty, because he no longer has the means to gain possession of the golden ring, the essence or symbol of all earthly power, and at the same time of greatest danger for himself as long as it remains in the hands of his enemies. The fear of the end and the 'twilight' of all the G.o.ds comes over him and likewise despair, as he realizes that he can not strive against this end, but must quietly see it approach. He stands in need of the free, fearless man, who without his advice and aid, even battling against divine order, from within himself accomplishes the deed which is denied to the G.o.ds. He does not discover him, and just as a new hope awakens he must yield to the destiny that binds him. Through his hand the dearest must be destroyed, the purest sympathy punished with his distress.

"Then at last he loathes the power that enslaves and brings forth evil. His will is broken, and he desires the end which threatens from afar. And now what he had but just desired occurs. The free, fearless man appears. He is created supernaturally, and they who gave birth to him pay the penalty of a union contrary to nature. They are destroyed, but Siegfried lives.

"In the sight of his splendid growth and development the loathing vanishes from the soul of Wotan. He follows the hero's fate with the eye of the most fatherly love and anxiety. How Siegfried forges the sword, kills the dragon, secures the ring, escapes the most crafty intrigues, and awakens Brunhilde; how the curse that rests upon the ring does not spare even him, the innocent one, but comes nearer and nearer; how he, faithful in faithlessness, wounds out of love the most beloved, and is surrounded by the shadows and mists of guilt, but at last emerges as clear as the sun and sinks, illuminating the heavens with his fiery splendor and purifying the world from the curse--all this the G.o.d, whose governing spear has been broken in the struggle with the freest and who has lost his power to him, holds full of joy at his own defeat, fully partic.i.p.ating in the joy and sorrow of his conqueror. His eye rests with the brightness of a painful serenity upon all that has pa.s.sed. 'He has become free in Love, free from himself.'"

These are the profound contents of a work that reveals to us the tragic nature of the world!

At the close of the Cycle, there arose in the enthusiastic a.s.semblage a demand to see at such a great and grand moment the n.o.ble artist whose eyes had rested for so many years upon the spirit of his great nation "with the brightness of a painful serenity." He could not evade the persistent, stormy demand, and had to appear. His features bore an expression that seemed to show a whole life lived again, an entire world embraced anew, as he came forward and uttered the significant yet simple words: "To your own kindness and the ceaseless efforts of my a.s.sociates, our artists, you owe this accomplishment. What I have yet to say to you can be put into a few words, into an axiom. You have seen now what we can do. It remains for you to will! And if you will, then we have a German art!"

Yes, indeed we have such an art--a "Baireuth."

O, done is the deathless deed; On mountain-top the mighty castle!

Splendidly shines the structure new.

As in dreams I did dream it, As my will did wish it, Strong and serene it stands to the view-- Mighty manor new!

We have a German art! But have we also by this time a German spirit that sways the nation's life? Have we come to detest mere might which we have hitherto worshipped and that yet "bears within its lap evil and thralldom?" Has the "free, fearless man," the Siegfried, been born to us who out of himself creates the right and with the sword he forges manfully slays the dragon that gnaws at the vitals of our being and thus rescues the slumbering bride? This question has been hurled into our life and history by the "Ring of the Nibelungen." It will be heard as long as the question remains unsolved. If, according to Wagner's conception, Beethoven wrote the history of the world in music, then he himself has furnished a world-history in art-deeds!

Such is the meaning of this Baireuth with its Nibelungen Ring of 1876.

Let us see now what the life and work of this artist, for nigh unto seventy years, further and finally imports to us. He also was guided by Goethe's fervent prayer:

"O, lofty Spirit, suffer me The end of my life's-work to see!"

CHAPTER VII.

1877-1882.

PARSIFAL.

A German Art--Efforts to maintain the Acquired Results--Concerts in London--Recognition abroad and Lukewarmness at home--The "Nibelungen" in Vienna--"Parsifal"--Increasing Popularity of Wagner's Music--Judgments--Accounts of the "Parsifal"

Representations--The Theatre Building--"Parsifal," a National Drama--Its Significance and Idea--Anti-Semiticism--The Jewish Spirit--Wagner's Standpoint--Synopsis of "Parsifal"--The Legend of the Holy Grail--Its Symbolic Importance--Art in the Service of Religion--Beethoven and Wagner--"Redemption to the Redeemer."

"_Dawn then now, thou day of G.o.ds!_"--Wagner.

"If you but will it, we shall have a German art." It is true we had a German music, a German literature, a German art of painting, each of high excellence, but they were not that union of German art which floated before Wagner's mind in his "combined art-work" and which found its first adequate interpretation in the performances of the Nibelungen Ring. His object was now to make it permanent and to this end he sought the means.

Accordingly on January 1, 1877, the invitation to form "a society of patrons for the culture and maintenance of the stage-festival-plays of Baireuth" was issued. At the same time the "Baireuther Blaetter,"

which subsequently were made available to the general public, were issued in order to more fully and constantly elucidate the aim and object of the cause. Wagner had declined to acquiesce in a demand for a subsidy from the Reichstag, although King Louis had agreed to support such a measure before the Bundesrath. "There are no Germans; at least they are no longer a nation. Whoever still thinks so and relies upon their national pride makes a fool of himself," he said bitterly enough to a friend. As far as the ideal is concerned he was certainly right in regard to the Reichstag as well as the people. "He who can clear such paths is a genius, a prophet, and in Germany, a martyr as well!" are the words of one of those who at one time had contemptuously spoken of this "Baireuth" as a "speculation." And yet Wagner had to accept an invitation to give concerts in London to cover the expenses of this same "Baireuth." By the distinguished reception the artist met there, the consideration shown for his art, the spread of his earlier works over the whole of Europe, he felt that foreign lands had understood him, the German. It must have been very bitter for him to feel that the Germans as a nation knew him not. Among the mult.i.tude of the educated, faith was still wanting. They courted foreign G.o.ds. If it had not been so would it have required seven, fully seven years, to obtain the moderate sum needed even to think of resuming the work, and in the end a contribution of three hundred thousand marks from His Majesty the King to bring it to completion?

How slow was the progress of the society of patrons! People who, during the era of speculation had acc.u.mulated wealth rapidly, thought in these years of decreasing prosperity of something else than joining such an undertaking, and declared that they had to economize. And yet the annual dues were but 15 marks! Very singular was the answer of some whose rank or learning gave them prominence. They said that it was not even known whether the project had any real standing and they might therefore disgrace themselves by lending their names. Yes, when the bad Wagnerians dared to attack the tottering Mendelssohn-Schuman instrumental mechanics, Germans as well as others were induced to withdraw from the society which it had cost them so much struggle to join. Councilors of State and educators did not even respond to the invitations of the society's branches which were now gradually organized in a large number of cities.

It was generally known that a new work was soon to issue from Wagner's brain and soon everywhere from the Rhine to the Danube, from rock to sea, could be heard the Nibelungen! Wagner had, against his innermost conviction, consented to permit the use of the work by the larger theatres in the supposition that such personal experience of the "prodigious deed" would open heart and hand for a still grander one, the permanent establishment of a distinctive German art. Vienna came first. However excellent the performance of a few, for instance, Scaria as Wotan, Materna as Brunnhilde and the orchestra under Hans Richter, there was lacking the ensemble! The sensation of something extraordinary, of grandeur and solemnity, that in Baireuth had elevated the soul to the eternal heights of humanity, was not there.

It was often as when daylight enters a theatre; the sublime illusion of such a tragic representation was wanting, and Wagner knew that in this art it is the very bread of life. "The art-work also, like everything transitory, is only a parable, but a parable of the ever-present eternal," he said, in taking leave of his friends and patrons in Baireuth and his purpose now was deeply to impress the minds of his contemporaries with this "ever-present eternal" and thus make it permanently effective. The Holy Grail had first to give forth its last wonder!

Once more he diverts his attention from "outward politics," as he called the intercourse with the theatres, and collects his thoughts for a new deed. This was "Parsifal." With this work, performed for the first time, July 26, 1882, and then repeated thirteen times, he believed he might close his life-long labors, and a.s.suredly he has securely crowned them. It seems indeed as if this has finally and forever broken the obstinate ban that so long separated him and his art from his people. The success of the Nibelungen Ring had been called in question, but that of "Parsifal" is beyond doubt, as sufficiently demonstrated by the attendance of cultured people from everywhere for so many weeks! "They came from all parts of the world; as of old in Babel, you can hear speech in every tongue," said a partic.i.p.ant in the festival. With the final slaying of the dragon, there fell also into the hero's hand the treasure, inasmuch as the large attendance left a surplus of many thousand marks, thus a.s.suring the continuation of the festival-plays.

To be sure, the Nibelungen Ring had largely contributed to this success. At first performed in Leipzig, then by the same troupe in Berlin, it had met with a really unprecedented reception. Since the storm of 1813, since the years of 1848-49, the feeling of a distinctive nationality has not been so effectually roused, and this time it no longer stood solely upon the ground of patriotism and politics, but there where we seek our highest--the "ever-present eternal." England was likewise roused in 1882, with performances of the "Nibelungen Ring," and still more with "Tristan," to a consciousness of an eternal humanity in this art, such as had not been experienced there since Beethoven's Ninth symphony, and this enthusiasm of our manly and serious brethren sped like the fire's glare, illuminating the common fatherland from whence they had themselves once carried that feeling for the tragic which produced their Shakespeare. Everywhere was the stir of spring-time, sudden awakening, as from death-like slumber or a disturbing dream. "Dawn then now, thou day of G.o.ds!"

We will next give some accounts of the representations.

"'Victory! Victory!' is the word which is making the rounds of the world from Baireuth, in these days. Wagner's latest creation which brings the circle of his works in a beautiful climax to a dignified close, has achieved a success such as the most intimate adherents of the master could not well desire fuller or grander. The name of a 'German Olympia,' which had been given facetiously to the capital of Upper Franconia, it really now merited," was said by a London correspondent.

At the close of the general rehearsal, "the partic.i.p.ating artists unanimously declared that they had never received from the stage such an impression of lofty sublimity." "Parsifal produces such an enormous effect that I can not conceive any one will leave the theatre unsatisfied or with hostile thoughts," E. Heckel wrote; and Liszt affirmed that nothing could be said about this wonderful work: "Yes, indeed, it silences all who have been profoundly touched by it. Its sanctified pendulum swings from the lofty to the most sublime." Of the first act it had already been said: "We here meet with a harmony of the musico-dramatic and religious church style which alone enables us to experience in succession the most terrible, heartrending sorrow and again that most sanctified devotion which the feeling of a certainty of salvation alone rouses in us."

The German Crown-Prince attended the performance of August 29th, the last one. "I find no words to voice the impression I have received,"

he said to the committee of the patron society which escorted him. "It transcends everything that I had expected, it is magnificent. I am deeply touched, and I perceive that the work can not be given in the modern theatre." And, finally, "I do not feel as though I am in a theatre, it is so sublime."

A Frenchman wrote: "The work that actually created a furious storm of applause is of the calmest character that can be conceived; always powerful, it leaves the all-controlling sensation of loftiness and purity." "The union of decoration, poetry, music and dramatic representation in a wonderfully beautiful picture, that with impressive eloquence points to the new testament--a picture full of peace and mild, conciliatory harmony, is something entirely new in the dramatic world," is said of the opening of the third act.