By Francis Hueffer
Francis Hueffer (1845-89) was once born and studied track in Germany, yet moved to London in 1869 to pursue a profession as a critic and author on track. He edited the sequence 'The nice Musicians' for Novello and Co., was once tune critic of the days, wrote libretti for a few now-forgotten operas, and was once an early suggest and interpreter to the British of Wagner. among his Richard Wagner and the song of the longer term (1874) and his translation of the correspondence of Wagner and Liszt (1888), he wrote Wagner in his personal 'Great Musicians' sequence in 1881 (two years prior to the composer's death). The publication surveys Wagner's lifestyles and his musical writings, and a separate bankruptcy is dedicated to every of the operas (except Parsifal, which was once no longer played till 1882). this can be a attention-grabbing modern overview of the standard-bearer of the 'music of the future'.
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Additional resources for Richard Wagner
Again/' Wagner says, " I was thoroughly disheartened from undertaking any new artistic scheme. Only recently I had had proofs of the impossibility of making my art intelligible to the public, and all this deterred me from beginning new dramatic works. Indeed, I thought that everything was at an end with my artistic creativeness. From this state of mental dejection I was raised by a friend. By most evident and undeniable proofs he made me feel that I was not deserted, but, on the contrary, understood deeply by those even who were otherwise most distant from me; in this way he gave me back my full artistic confidence.
Wagner settled in Switzerland, reluctantly compelled to retire from active life in public. For a number of years he had no chance of witnessing, much less of conducting, one of his own works, and the existence of those works seemed threatened by the ruthless attacks on the absent man with which the German press never ceased to teem. This weight of misery would have crushed a weaker man ; Wagner's dramatic nature rose up in the contest. The conductor's baton was wrenched from his hand, so he took up the pen of the critic, attacking in their turn, and without distinction or mercy, all classes of society— musical conductors and authors, Jews, and critics, but 40 THE GREAT MUSICIANS.
The reader, therefore, must excuse a short excursion on metaphysical grounds. According to Schopenhauer it is the aim of all arts to express the eternal essence of things by means of the so-called " Platonic ideas/' or, in other words, of the prototypes of all living things to which individuals are in the relation of single phenomena. These prototypes, Schopenhauer says, are never fully realized by nature, but they may be distinctly recognized in actually existing beings, although seldom or never in one individual.