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Updated: May 24, 2025
The necessity for altering the finale by Mozart induced me to write an article for the Brendel musical journal on this artistic problem. These occupations did not, however, prevent me from working at the Rheingold score, which I quickly dotted down in pencil on a few single sheets. On the 28th May I finished the instrumentation of the Rheingold.
The story of the Rheingold was to be enacted over again, and the whole of the evils that followed in its glittering train to be exemplified in this voyage of discovery.
But before Wagner's day they had been employed with caution, not to say timidity. He was the first to realise their full poetic possibility. 'Das Rheingold, the first work in which Wagner put his matured musical equipment to the proof, is the first division of a gigantic tetralogy, 'Der Ring des Nibelungen, The composition of this mighty work extended over a long period of years.
"Granted that this is feasible, and that the farmers yield instead of raising the country-side against you, when you reach Frankfort what are you going to do? Eat and drink with the landlord of the Rheingold until he becomes bankrupt?
I was now in the best of tempers, and acted the host to Devrient for all I was worth. One morning I played and sang to him the whole of the Rheingold, which seemed to give him great pleasure.
This was undoubtedly difficult, but as he assured me he had a friend well versed in the German language and German literature, I gave myself the pleasure of presenting him with the recently published pianoforte score of Rheingold, the text of which would give him the clearest idea of the plan on which I had moulded the material.
He was diagraming with his pencil, on the back of an old envelope he found in his pocket, some new mechanical device to be used at the Metropolitan in the production of the Rheingold, when he became conscious that she was looking at him intently, and that he was talking to the four walls.
Wagner, with his conscientious habit of accounting to himself for everything that he did, found his artistic level more slowly than do most poets. When the stylistic crudities of his earlier productions had been overcome, he began the work of his maturer life with Rheingold, the most spectacular drama ever written.
The Festival opened on the thirteenth with "Das Rheingold," first of the Ring music dramas. On the following night "Die Walküre" was heard; then came "Siegfried" and "Götterdämmerung," the third and fourth dramas being heard for the first time.
Neat and precious copies of Klindworth's pianoforte score of Rheingold, as well as of some acts of the Walkure, lay ready to hand, and Baumgartner was the first who was set down to see what he could make of the atrociously difficult arrangement.
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