Wagner, Richard
Aiton's Encyclopedia (1910)
Richard (1813-1883), the most celebrated musical composer of Germany. A native of Leipsic. He was educated in the musical atmosphere of Dresden and Leipsic. Wagner is the acknowledged master of the orchestra, but as to his work as a composer there is a difference of opinion. One school holds that his music is too declamatory and that it is deficient in melody. Wagnerian music includes Rienzi, The Flying Dutchman , Tannhauser, Lohengrin, Tristan and Isolde, The Meistersinger, The Nibelung's Ring in four parts, and Parsifal. Wagner was an incomparable man capable of managing an empire. It was the ambition of his life to substitute German music for the French and Italian music to which Germany was accustomed. He held positions of prominence in Magdeburg, Dresden, London, and Munich. Toward the close of his life he settled in Bayreuth, a provincial capital in northern Bavaria, where he organized Wagnerian festivals. A theater was built for his special use on a hill overlooking the town. He made acting prominent in grand opera. Albert Lavignac, a recent critic, writes: One must go to Bayreuth to appreciate the intensity of emotion which can be produced by a Wagnerian drama, religiously played, and religiously listened to, without the interruption of applause, without the "Bravo! bravo!" without calling for encores,--all strictly prohibited there; with the scenery and the stage setting precisely as the master ordained it; with the invisible or chestra, its sonorities deliciously melting into each other, never noisy; with the auditorium in total darkness; instead of the foyer of the entr'actes, a verdant, rolling country; instead of the prompter's bell, a brilliant fanfare, sending to the four cardinal points of the sky the principal Leitmotiv of the following act. All this is intoxicating; ravishing to the supreme degree. See Bayreuth ; Orchestra ; Tann-Hauser
What Has Changed in the Last Century
Aiton's in 1910 could still report a live argument over whether Wagner's music was "too declamatory" and "deficient in melody"; that debate is long settled, and the ten canonical operas it lists are staples of every major house in the world. What the 1910 account does not mention is Wagner's antisemitism, set out in his 1850 essay "Judaism in Music," which is now central to any discussion of him: the Nazi regime made Bayreuth a showcase, Winifred Wagner was a personal friend of Hitler, and the festival was shut down from 1945 until 1951, when Wagner's grandsons Wieland and Wolfgang reopened it with stripped-bare stagings that deliberately abandoned "the scenery and the stage setting precisely as the master ordained it." Wagner's music remains effectively unperformed in public concert in Israel. The Bayreuth theatre on its hill still stands and still works much as Lavignac described, with the sunken orchestra, the darkened house and the fanfares before each act, and tickets are famously oversubscribed.
Written for this edition, 2026.