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Updated: June 28, 2025
Were it not for Liszt's letters, meagre would be the information regarding Cosima before her marriage to Wagner. But by going over his voluminous correspondence and picking out references to her here and there, I am able to give at least some idea of her earlier life.
The letter on p. 227 is most characteristic of a German. Siegfried's Death did not explain enough, so an explanation had to be offered; that explanation needed explaining, so a second explanation was made; this left matters in as unsatisfactory a state as ever, so, finally, the first opera of the four, the Rhinegold, was written and with that Wagner mercifully stopped.
It is here that Wagner unites with the greatest dramatists, and distinguishes himself from the contemporary heresy of Ibsen, whose only too probable people speak a language exactly on the level of their desks and their shop-counters.
The most important figure in the world of German opera to-day is unquestionably that of Richard Strauss. This is not the place to dilate upon Strauss's achievements as a symphonic writer, which are sufficiently well known to the world at large. His first opera, 'Guntram' , was hardly more than an exercise in the manner of Wagner, and made comparatively little impression.
Failing health prevented the completion of the drama until 1882. The first performance of this noble work was given on July 26, followed by fifteen other hearings. After the exertions attending these, Wagner and his wife, their son Siegfried, Liszt and other friends, went to Italy and occupied the Vendramin Palace, on the Grand Canal, Venice.
I lacked such strength and speed of mind and was caught as soon as I had seen the squadron, aided, probably, by the fact that upon seeing me the king had become excited and rushed at me with great speed. When Wagner had first turned around and saw me their prisoner, he looked crestfallen and hopeless, for he had no way to rescue me.
How, after the Kaisermarsch, could Wagner go back to his idealization of Siegfried in 1853?
In this book I have omitted many a dozen picturesque touches, simply because there is no proof of their truth and every probability that they are false. It is perhaps enough to remember that the hopes of liberty were crushed, that Roeckel, Wagner's assistant and friend, was taken and afterwards sentenced to a long term of imprisonment, and that Wagner had to run for safety.
Wagner, in his painting, is the Turner of music. He brings us nature, heroically exalted, full of fiery splendour, but nature as if caught in a mirror, not arranged, subdued, composed, for the frame of a picture. He is afraid of no realism, however mean, because he has confidence in nature as it is, apprehended with all the clairvoyance of emotion.
You close your eyes after reading La Bête Humaine and think of Eugène Sue, a Sue of 1880. Yet a master of broad, symphonic descriptions. There is a certain resemblance to Richard Wagner; indeed, he patterned after Wagner in his use of the musical symbol: there is a leading motive in each of Zola's novels. And like Wagner he was a sentimental lover of mankind and a hater of all forms of injustice.
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