This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ Letters To Wesendonck Et Al reprint Richard Wagner William Ashton Ellis G. Richards, 1899 Music; Genres & Styles; Opera; Music / Genres & Styles / Opera

This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1899 edition. Excerpt: ... As late as February 10--three days before her husband's death--Frau Wagner wrote me without any apprehension of a crisis. I had expressed a hope that the master would return through the Gothard, so as to visit me at Mannheim. It fell out otherwise. His homeward road was taken, as a corpse, over the Brenner again to his beloved German Bayreuth. If I abstained from depicting the profound impressions made upon me by the Festspiels, with still more justice may I withhold my feelings at the news of the great master's death, my sensations at his solemn burial in Bayreuth. Here, as so often in life, applies that deeply earnest word from the first act of Parsifal: -- "That ne'er is told."-- * * * Frau Wagner's condition remained so precarious for a long time after the master's death, that it was impossible for her to take any personal part in the festival of 1883. The sense of mourning was universal. How quiet every movement On the stage, what an earnest hush among the audience when it took its customary promenade before the playhouse in the entr'actes. The thought of the departed master was manifest on every face. Scaria undertook the stage-management. Every effort was directed to preserving the master's intentions down to the smallest detail. Remarks and observations of witnesses of the 1882 and 1883 performances, alike executants and spectators, were collected in a volume to be kept at Wahnfried. Forty pages here record those notes on the master's own rendering, and subsequent deviations, all tabulated under act and person. This chronicle has proved of the greatest service for retention of the original character of the performances. The Verwaltungsrath, reinforced by Friedrich Schon as administrator of the "Richard Wagner Stipendiary - fund, ..".

William Ashton Ellis (1852-1919) abandoned his medical career in order to devote himself to his Wagner studies. Best known for his translations of Wagner's prose works and of Carl Friedrich Glasenapp's multi-volume biography of the composer, Ellis published in 1911 this English translation of Wagner's Familienbriefe, spanning the years 1832-74. An inveterate letter writer, Wagner was the youngest-but-one of ten children and Ellis describes the character of these letters to his sisters, his mother, his brother-in-law and his nieces as a reflection of the composer in the 'driest and most neutral of lights', claiming that within the family it is impossible to be pretentious. An appendix by Glasenapp, giving brief biographical details of family members, is also included. Despite the stylistic idiosyncrasies of the translations, these letters remain of importance, capturing something of the tone of Wagner's prose style and shedding light on his extraordinary life.

The German actress Minna Planer (1809-66) was Wagner's first wife. Though it lasted until her death, their marriage, never an easy one, was punctuated by long periods of separation, and during its early years Minna was the main breadwinner. William Ashton Ellis (1852-1919) abandoned his medical career to devote himself to his Wagner studies. Best known for his translations of Wagner's prose works, he published in 1909 this collection of letters from the composer, translated from the originals in Baron Hans von Wolzogen's Richard Wagner an Minna Wagner (1908). Concerned predominantly with domestic and business affairs, many of them complaining at Minna's lack of support, the letters offer an intriguing and intimate view of this larger-than-life composer. Spanning 1842-58, Volume 1 covers the couple's period in Dresden, Wagner's hurried departure after the 1849 uprising, and the years in Zurich culminating in the relationship with Mathilde Wesendonck.

The German actress Minna Planer (1809-66) was Wagner's first wife. Though it lasted until her death, their marriage, never an easy one, was punctuated by long periods of separation, and during its early years Minna was the main breadwinner. William Ashton Ellis (1852-1919) abandoned his medical career to devote himself to his Wagner studies. Best known for his translations of Wagner's prose works, he published in 1909 this collection of letters from the composer, translated from the originals in Baron Hans von Wolzogen's Richard Wagner an Minna Wagner (1908). Concerned predominantly with domestic and business affairs, many of them complaining at Minna's lack of support, the letters offer an intriguing and intimate view of this larger-than-life composer. Spanning the period 1858-63, Volume 2 covers their uneasy, brief reconciliation in Paris, Wagner's concerns over Minna's failing health, and her return to Dresden in 1862, which marked their final separation.

Poor, frustrated, and angered by the “fashion-mongers and mode-purveyors� of art, Richard Wagner published The Art-Work of the Future in 1849. It marked a turning point in his life: an appraisal of the revolutionary passions of mid-century Europe, his farewell to symphonic music, and his vision of the music to come. Beethoven’s Ninth Symphony was unsurpassable, he wrote. Henceforth "The Folk must of necessity be the Artist of the Future," and only artists who were in harmony with the Folk could know what harmony was for. The essay became a touchstone for Wagner, his family, friends, and followers, as he sought to produce works that thoroughly combined music, dance, drama, and national saga. In addition to Wagner’s epoch-defining essay, this volume includes his "Autobiographical Sketch," "Art and Climate"; his libretto for an opera, "Wieland the Smith"; and his notorious "Art and Revolution." The concluding piece, "A Communication to My Friends (1851), explains his views on his first successes—The Flying Dutchman, Lohengrin, and Tannhäuser—and defines his agenda for later works. As spokesman for the future, Wagner spoke most of himself. In these works he set forth his ambitions, identified his enemies, and began a campaign for public attention that made him a legend in his own time and in ours.