Musicians of To-Day Part 6

Nor was I alone in the experience. On the faces of the people round about me I saw the reflection of my own emotions. What was the meaning of it? The audience consisted chiefly of poor and commonplace people, whose faces were lined with the wear and tear of a life without interest or ideals; their minds were dull and heavy, and yet here they responded to the divine spirit of the music. There is no more impressive sight than that of thousands of people held spellbound by a melody; it is by turns sublime, grotesque, and touching.

What a place in my life those Sunday concerts held! All the week I lived for those two hours; and when they were over I thought about them until the following Sunday. The fascination of Wagner's music for youth has often troubled people; they think it poisons the thoughts and dulls the activities. But the generation that was then intoxicated by Wagner does not seem to have shown signs of demoralisation since. Why do not people understand that if we had need of that music it was not because it was death to us, but life. Cramped by the artificiality of a town, far from action, or nature, or any strong or real life, we expanded under the influence of this n.o.ble music--music which flowed from a heart filled with understanding of the world and the breath of Nature. In _Die Meistersinger_, in _Tristan_, and in _Siegfried_, we went to find the joy, the love, and the vigour that we so lacked.

At the time when I was feeling Wagner's seductiveness so strongly there were always some carping people among my elders ready to quench my admiration and say with a superior smile: "That is nothing. One can't judge Wagner at a concert. You must hear him in the opera-house at Bayreuth." Since then I have been several times to Bayreuth; I have seen Wagner's works performed in Berlin, in Dresden, in Munich, and in other German towns, but I have never again felt the old intoxication. People are wrong to pretend that closer acquaintance with a fine work adds to one's enjoyment of it. It may throw light upon it, but it nips one's imagination and dispels the mystery. The puzzling fragments one hears at concerts will take on splendid proportions on account of all the mind adds to them. That epic poem of the _Niebelungen_ was once like a forest in our dreams, where strange and awful beings flashed before our vision and then vanished. Later on, when we had explored all its paths, we discovered that order and reason reigned in the midst of this apparent jungle; and when we came to know the least wrinkle on the faces of its inhabitants, the confusion and emotion of other days no longer filled us.

But this may be the result of growing older; and if I do not recognise the Wagner of other days, it is perhaps because I do not recognise my former self. A work of art, and above all a work of musical art, changes with ourselves. _Siegfried_, for example, is for me no longer full of mystery. The qualities in it that strike me to-day are its cheerful vigour, its clearness of form, its virile force and freedom, and the extraordinary healthiness of the hero, and, indeed, of the whole work.

I sometimes think of poor Nietzsche and his pa.s.sion for destroying the things he loved, and how he sought in others the decadence that was really in himself. He tried to embody this decadence in Wagner, and, led away by his flights of fancy and his mania for paradox (which would be laughable if one did not remember that his whims were not hatched in hours of happiness), he denied Wagner his most obvious qualities--his vigour, his determination, his unity, his logic, and his power of progress. He amused himself by comparing Wagner's style with that of Goncourt, by making him--with amusing irony--a great miniaturist painter, a poet of half-tones, a musician of affectations and melancholy, so delicate and effeminate in style that "after him all other musicians seemed too robust."[108] He has painted Wagner and his time delightfully. We all enjoy these little pictures of the Tetralogy, delicately drawn and worked up by the aid of a magnifying-gla.s.s--pictures of Wagner, languis.h.i.+ng and beautiful, in a mournful salon, and pictures of the athletic meetings of the other musicians, who were "too robust"! The amusing part is that this piece of wit has been taken seriously by certain arbiters of elegance, who are only too happy to be able to run counter to any current opinion, whatever it may be.

[Footnote 108: F. Nietzsche, _Der Fall Wagner_.]

I do not say that there may not be a decadent side in Wagner, revealing super-sensitiveness or even hysteria and other modern nervous affections. And if this side was lacking he would not be representative of his time, and that is what every great artist ought to be. But there is certainly something more in him than decadence; and if women and young men cannot see anything beyond it, it only proves their inability to get outside themselves. A long time ago Wagner himself complained to Liszt that neither the public nor artists knew how to listen to or understand any side of his music but the effeminate side: "They do not grasp its strength," he said. "My supposed successes," he also tells us, "are founded on misunderstanding. My public reputation isn't worth a walnut-sh.e.l.l." And it is true he has been applauded, patronised, and monopolised for a quarter of a century by all the decadents of art and literature. Scarcely anyone has seen in him a vigorous musician and a cla.s.sic writer, or has recognised him as Beethoven's direct successor, the inheritor of his heroic and pastoral genius, of his epic inspirations and battlefield rhythms, of his Napoleonic phrases and atmosphere of stirring trumpet-calls.

Nowhere is Wagner nearer to Beethoven than in _Siegfried_. In _Die Walkure_ certain characters, certain phrases of Wotan, of Brunnhilde, and, especially, of Siegmund, bear a close relations.h.i.+p to Beethoven's symphonies and sonatas. I can never play the recitative _con espressione e semplice_ of the seventeenth sonata for the piano (Op. 31, No. 2) without being reminded of the forests of _Die Walkure_ and the fugitive hero. But in _Siegfried_ I find, not only a likeness to Beethoven in details, but the same spirit running through the work--both the poem and the music. I cannot help thinking that Beethoven would perhaps have disliked _Tristan_, but would have loved _Siegfried_; for the latter is a perfect incarnation of the spirit of old Germany, virginal and gross, sincere and malicious, full of humour and sentiment, of deep feeling, of dreams of b.l.o.o.d.y and joyous battles, of the shade of great oak-trees and the song of birds.

In my opinion, _Siegfried_, in spirit and in form, stands alone in Wagner's work. It breathes perfect health and happiness, and it overflows with gladness. Only _Die Meistersinger_ rivals it in merriment, though even there one does not find such a nice balance of poetry and music.

And _Siegfried_ rouses one's admiration the more when one thinks that it was the offspring of sickness and suffering. The time at which Wagner wrote it was one of the saddest in his life. It often happens so in art.

One goes astray in trying to interpret an artist's life by his work, for it is exceptional to find one a counterpart of the other. It is more likely that an artist's work will express the opposite of his life--the things that he did not experience. The object of art is to fill up what is missing in the artist's experience: "Art begins where life leaves off," said Wagner. A man of action is rarely pleased with stimulating works of art. Borgia and Sforza patronised Leonardo. The strong, full-blooded men of the seventeenth century; the apoplectic court at Versailles (where f.a.gon's lancet played so necessary a part); the generals and ministers who hara.s.sed the Protestants and burned the Palatinate--all these loved pastorales. Napoleon wept at a reading of _Paul et Virginie_, and delighted in the pallid music of Paesiello. A man wearied by an over-active life seeks repose in art; a man who lives a narrow, commonplace life seeks energy in art. A great artist writes a gay work when he is sad, and a sad work when he is gay, almost in spite of himself. Beethoven's symphony _To Joy_ is the offspring of his misery; and Wagner's _Meistersinger_ was composed immediately after the failure of _Tannhauser_ in Paris. People try to find in _Tristan_ the trace of some love-story of Wagner's, but Wagner himself says: "As in all my life I have never truly tasted the happiness of love, I will raise a monument to a beautiful dream of it: I have the idea of _Tristan und Isolde_ in my head." And so it was with his creation of the happy and heedless _Siegfried_.

The first ideas of _Siegfried_ were contemporary with the Revolution of 1848, which Wagner took part in with the same enthusiasm he put into everything else. His recognised biographer, Herr Houston Stewart Chamberlain--who, with M. Henri Lichtenberger, has succeeded best in unravelling Wagner's complex soul, though he is not without certain prejudices--has been at great pains to prove that Wagner was always a patriot and a German monarchist. Well, he may have been so later on, but it was not, I think, the last phase of his evolution. His actions speak for themselves. On 14 June, 1848, in a famous speech to the National Democratic a.s.sociation, Wagner violently attacked the organisation of society itself, and demanded both the abolition of money and the extinction of what was left of the aristocracy. In _Das Kunstwerk der Zukunft_ (1849) he showed that beyond the "local nationalism" were signs of a "supernational universalism." And all this was not merely talk, for he risked his life for his ideas. Herr Chamberlain himself quotes the account of a witness who saw him, in May, 1849, distributing revolutionary pamphlets to the troops who were besieging Dresden. It was a miracle that he was not arrested and shot. We know that after Dresden was taken a warrant was out against him, and he fled to Switzerland, with a pa.s.sport on which was a borrowed name. If it be true that Wagner later declared that he had been "involved in error and led away by his feelings" it matters little to the history of that time. Errors and enthusiasms are an integral part of life, and one must not ignore them in a man's biography under the pretext that he regretted them twenty or thirty years later, for they have, nevertheless, helped to guide his actions and impressed his imagination. It was out of the Revolution itself that _Siegfried_ directly sprang.

In 1848, Wagner was not yet thinking of a Tetralogy, but of an heroic opera in three acts called _Siegfried's Tod_, in which the fatal power of gold was to be symbolised in the treasure of the Niebelungen; and Siegfried was to represent "a socialist redeemer come down to earth to abolish the reign of Capital." As the rough draft developed, Wagner went up the stream of his hero's life. He dreamed of his childhood, of his conquest of the treasure, of the awakening of Brunnhilde; and in 1851 he wrote the poem of _Der Junge Siegfried_. Siegfried and Brunnhilde represent the humanity of the future, the new era that should be realised when the earth was set free from the yoke of gold. Then Wagner went farther back still, to the sources of the legend itself, and Wotan appeared, the symbol of our time, a man such as you or I--in contrast to Siegfried, man as he ought to be, and one day will be. On this subject Wagner says, in a letter to Roeckel: "Look well at Wotan; he is the unmistakable likeness of ourselves, and the sum of the present-day spirit, while Siegfried is the man we wait and wish for--the future man whom we cannot create, but who will create himself by our annihilation--the most perfect man I can imagine." Finally Wagner conceived the Twilight of the G.o.ds, the fall of the Valhalla--our present system of society--and the birth of a regenerated humanity.

Wagner wrote to Uhlig in 1851 that the complete work was to be played after the great Revolution.

The opera public would probably be very astonished to learn that in _Siegfried_ they applaud a revolutionary work, expressly directed by Wagner against this detested Capital, whose downfall would have been so dear to him. And he never doubted that he was expressing grief in all these pages of s.h.i.+ning joy.

Wagner went to Zurich after a stay in Paris, where he felt "so much distrust for the artistic world and horror for the restraint that he was forced to put upon himself" that he was seized with a nervous malady which nearly killed him. He returned to work at _Der Junge Siegfried_, and he says it brought him great joy.

"But I am unhappy in not being able to apply myself to anything but music. I know I am feeding on an illusion, and that reality is the only thing worth having. My health is not good, and my nerves are in a state of increasing weakness. My life, lived entirely in the imagination and without sufficient action, tires me so, that I can only work with frequent breaks and long intervals of rest; otherwise I pay the penalty with long and painful suffering.... I am very lonely. I often wish for death.

"While I work I forget my troubles; but the moment I rest they come flocking about me, and I am very miserable. What a splendid life is an artist's! Look at it! How willingly would I part with it for a week of real life.

"I can't understand how a really happy man could think of serving art. If we enjoyed life, we should have no need of art. When the present has nothing more to offer us we cry out our needs by means of art. To have my youth again and my health, to enjoy nature, to have a wife who would love me devotedly, and fine children--for this I would give up _all my art_. Now I have said it--give me what is left."

Thus the poem of the Tetralogy was written with doubts, as he said, as to whether he should abandon art and all belonging to it and become a healthy, normal man--a son of nature. He began to compose the music of the poem while in a state of suffering, which every day became more acute.

"My nights are often sleepless; I get out of bed, wretched and exhausted, with the thought of a long day before me, which will not bring me a single joy. The society of others tortures me, and I avoid it only to torture myself. Everything I do fills me with disgust. It can't go on for ever. I can't stand such a life any longer. I will kill myself rather than live like this.... I don't believe in anything, and I have only one desire--to sleep so soundly that human misery will exist no more for me. I ought to be able to get such a sleep somehow; it should not be really difficult."

For distraction he went to Italy; Turin, Genoa, Spezia, and Nice. But there, in a strange world, his loneliness seemed so frightful that he became very depressed, and made all haste back to Zurich. It was there he wrote the happy music of _Das Rheingold_. He began the score of _Die Walkure_ at a time when his normal condition was one of suffering. Then he discovered Schopenhauer, whose philosophy only helped to confirm and crystallise his instinctive pessimism. In the spring of 1855 he went to London to give concerts; but he was ill there, and this fresh contact with the world only served to annoy him further. He had some difficulty in again taking up _Die Walkure_; but he finished it at last in spite of frequent attacks of facial erysipelas, for which he afterwards had to undergo a hydropathic cure at Geneva. He began the score of _Siegfried_ towards the end of 1856, while the thought of Tristan was stirring within him. In _Tristan_ he wished to depict love as "a dreadful anguish"; and this idea obsessed him so completely that he could not finish _Siegfried_. He seemed to be consumed by a burning fever; and, abandoning _Siegfried_ in the middle of the second act, he threw himself madly into _Tristan_. "I want to gratify my desire for love," he says, "until it is completely satiated; and in the folds of the black flag that floats over its consummation I wish to wrap myself and die."[109]

_Siegfried_ was not finished until 5 February, 1871, at the end of the Franco-Prussian war--that is fourteen years later, after several interruptions.

Such is, in a few words, the history of this heroic idyll. It is perhaps as well to remind the public now and then that the hours of distraction they enjoy by means of art may represent years of suffering for the artist.

[Footnote 109: The quotations from Wagner are taken from his letters to Roeckel, Uhlig, and Liszt, between 1851 and 1856.]

Do you know the amusing account Tolstoy gave of a performance of _Siegfried_? I will quote it from his book, _What is Art_?--

"When I arrived, an actor in tight-fitting breeches was seated before an object that was meant to represent an anvil. He wore a wig and false beard; his white and manicured hands had nothing of the workman about them; and his easy air, prominent belly, and flabby muscles readily betrayed the actor. With an absurd hammer he struck--as no one else would ever strike--a fantastic-looking sword-blade. One guessed he was a dwarf, because when he walked he bent his legs at the knees. He cried out a great deal, and opened his mouth in a queer fas.h.i.+on. The orchestra also emitted peculiar noises like several beginnings that had nothing to do with one another. Then another actor appeared with a horn in his belt, leading a man dressed up as a bear, who walked on all-fours. He let loose the bear on the dwarf, who ran away, but forgot to bend his knees this time. The actor with the human face represented the hero, Siegfried. He cried out for a long time, and the dwarf replied in the same way. Then a traveller arrived--the G.o.d Wotan.

He had a wig, too; and, settling himself down with his spear, in a silly att.i.tude, he told Mimi all about things he already knew, but of which the audience was ignorant. Then Siegfried seized some bits that were supposed to represent pieces of a sword, and sang:

'Heaho, heaho, hoho! Hoho, hoho, hoho, hoho! Hoheo, haho, haheo, hoho!' And that was the end of the first act. It was all so artificial and stupid that I had great difficulty in sitting it out. But my friends begged me to stay, and a.s.sured me that the second act would be better.

"The next scene represented a forest. Wotan was waking up the dragon. At first the dragon said, 'I want to go to sleep'; but eventually he came out of his grotto. The dragon was represented by two men clothed in a green skin with some scales stuck about it. At one end of the skin they wagged a tail, and at the other end they opened a crocodile's mouth, out of which came fire. The dragon, which ought to have been a frightful beast--and perhaps he would have frightened children about five years old--said a few words in a ba.s.s voice. It was so childish and feeble that one was astonished to see grown-up people present; even thousands of so-called cultured people looked on and listened attentively, and went into raptures. Then Siegfried arrived with his horn. He lay down during a pause, which is reputed to be very beautiful; and sometimes he talked to himself, and sometimes he was quite silent. He wanted to imitate the song of the birds, and cut a rush with his horn, and made a flute out of it. But he played the flute badly, and so he began to blow his horn. The scene is intolerable, and there is not the least trace of music in it. I was annoyed to see three thousand people round about me, listening submissively to this absurdity and dutifully admiring it.

"With some courage I managed to wait for the next scene--Siegfried's fight with the dragon. There were roarings and flames of fire and brandis.h.i.+ngs of the sword. But I could not stand it any longer; and I fled out of the theatre with a feeling of disgust that I have not yet forgotten."

I admit I cannot read this delightful criticism without laughing; and it does not affect me painfully like Nietzsche's pernicious and morbid irony. It used to be a grief to me that two men whom I loved with an equal affection, and whom I reverenced as the finest spirits in Europe, remained strangers and hostile to each other. I could not bear the thought that a genius, hopelessly misunderstood by the crowd, should be bent on making his solitude more bitter and narrow by refusing, with a sort of jealous waywardness, to be reconciled to his equals, or to offer them the hand of friends.h.i.+p. But now I think that perhaps it was better so. The first virtue of genius is sincerity. If Nietzsche had to go out of his way _not_ to understand Wagner, it is natural, on the other hand, that Wagner should be a closed book to Tolstoy; it would be almost surprising if it were otherwise. Each one has his own part to play, and has no need to change it. Wagner's wonderful dreams and magic intuition of the inner life are not less valuable to us than Tolstoy's pitiless truth, in which he exposes modern society and tears away the veil of hypocrisy with which she covers herself. So I admire _Siegfried_, and at the same time enjoy Tolstoy's satire; for I like the latter's st.u.r.dy humour, which is one of the most striking features of his realism, and which, as he himself noticed, makes him closely resemble Rousseau. Both men show us an ultra-refined civilisation, and both are uncompromising apostles of a return to nature.

Tolstoy's rough banter recalls Rousseau's sarcasm about an opera of Rameau's. In the _Nouvelle Helose_, he rails in a similar fas.h.i.+on against the sadly fantastic performances at the theatre. It was, even then, a question of monsters, "of dragons animated by a blockhead of a Savoyard, who had not enough spirit for the beast."

"They a.s.sured me that they had a tremendous lot of machinery to make all this movement, and they offered several times to show it to me; but I felt no curiosity about little effects achieved by great efforts.... The sky is represented by some blue rags suspended from sticks and cords, like a laundry display.... The chariots of the G.o.ds and G.o.ddesses are made of four joists in a frame, suspended by a thick rope, as a swing might be. Then a plank is stuck across the joists, and on this is seated a G.o.d. In front of him hangs a piece of daubed cloth, which serves as a cloud upon which his splendid chariot may rest.... The theatre is furnished with little square trap-doors which, opening as occasion requires, show that the demons can be let loose from the cellars. When the demons have to fly in the air, dummies of brown cloth are subst.i.tuted, or sometimes real chimney-sweeps, who swing in the air, suspended by cords, until they are gloriously lost in the rag sky....

"But you can have no idea of the dreadful cries and roarings with which the theatre resounds.... What is so extraordinary is that these howlings are almost the only things that the audience applaud. By the way they clap their hands one would take them to be a lot of deaf creatures, who were so delighted to catch a few piercing sounds now and then that they wanted the actors to do them all over again. I am quite sure that people applaud the bawling of an actress at the opera as they would a mountebank's feats of skill at a fair--one suffers while they are going on, but one is so delighted to see them finish without an accident that one willingly demonstrates one's pleasure.... With these beautiful sounds, as true as they are sweet, those of the orchestra blend very worthily.

Imagine an unending clatter of instruments without any melody; a lingering and endless groaning among the ba.s.s parts; and the whole the most mournful and boring thing that I ever heard in my life. I could not put up with it for half an hour without getting a violent headache.

"All this forms a sort of psalmody, possessing neither tune nor time. But if by any chance a lively air is played, there is a general stamping; the audience is set in motion, and follows, with a great deal of trouble and noise, some performer in the orchestra. Delighted to feel for a few moments the rhythm that is so lacking, they torment the ear, the voice, the arms, the legs, and all the body, to chase after a tune that is ever ready to escape them...."

I have quoted this rather long pa.s.sage to show how the impression made by one of Rameau's operas on his contemporaries resembled that made by Wagner on his enemies. It was not without reason that Rameau was said to be Wagner's forerunner, as Rousseau was Tolstoy's forerunner.

In reality, it was not against _Siegfried_ itself that Tolstoy's criticism was directed; and Tolstoy was closer than he thought to the spirit of this drama. Is not Siegfried the heroic incarnation of a free and healthy man, sprung directly from Nature? In a sketch of _Siegfried_, written in 1848, Wagner says:

"To follow the impulses of my heart is my supreme law; what I can accomplish by obeying my instincts is what I ought to do. Is that voice of instinct cursed or blessed? I do not know; but I yield to it, and never force myself to run counter to my inclination."

Wagner fought against civilisation by quite other methods than those employed by Tolstoy; and if the efforts of the two were equally great, the practical result is--one must really say it--as poor on one side as on the other.

What Tolstoy's raillery is really aimed at is not Wagner's work, but the way in which his work was represented. The splendours of the setting do not hide the childishness of the ideas behind them: the dragon Fafna, Fricka's rams, the bear, the serpent, and all the Valhalla menagerie have always been ridiculous. I will only add that the dragon's failure to be terrifying was not Wagner's fault, for he never attempted to depict a terrifying dragon. He gave it quite clearly, and of his own choice, a comic character. Both the text and the music make Fafner a sort of ogre, a simple creature, but, above all, a grotesque one.

Besides, I cannot help feeling that scenic reality takes away rather than adds to the effect of these great philosophical fairylands. Malwida von Meysenbug told me that at the Bayreuth festival of 1876, while she was following one of the _Ring_ scenes very attentively with her opera-gla.s.ses, two hands were laid over her eyes, and she heard Wagner's voice say impatiently: "Don't look so much at what is going on. Listen!"

It was good counsel. There are dilettanti who pretend that at a concert the best way to enjoy Beethoven's last works--where the sonority is defective--is to stop the ears and read the score. One might say with less of a paradox that the best way to follow a performance of Wagner's operas is to listen with the eyes shut. So perfect is the music, so powerful its hold on the imagination, that it leaves nothing to be desired; what it suggests to the mind is infinitely finer than what the eyes may see. I have never shared the opinion that Wagner's works may be best appreciated in the theatre. His works are epic symphonies. As a frame for them I should like temples; as scenery, the illimitable land of thought; as actors, our dreams.

The first act of _Siegfried_ is one of the most dramatic in the Tetralogy. Nothing satisfied me more completely at Bayreuth, both as regards the actors and the dramatic effects. Fantastic creatures like Alberich and Mimi, who seem to be out of their element in France, are rooted deep down in German imaginations. The Bayreuth actors surpa.s.sed themselves in making them startlingly lifelike, with a trembling and grimacing realism. Burgstaller, who was then making his debut in _Siegfried_, acted with an impetuous awkwardness which accorded well with the part. I remember with what zest--which seemed in no way affected--he played the hero smith, labouring like a true workman, blowing the fire and making the blade glow, dipping it in the steaming water, and working it on the anvil; and then, in a burst of Homeric gaiety, singing that fine hymn at the end of the first act, which sounds like an air by Bach or Handel.

But in spite of all this, I felt how much better it was to dream, or to hear this poem of a youthful soul at a concert. It is then that the magic murmurs of the forest in the second act speak more directly to the heart. However beautiful the scenery of glades and woods, however cleverly the light is made to change and dance among the trees--and it is manipulated now like a set of organ stops--it still seems almost wrong to listen with open eyes to music that, unaided, can show us a glorious summer's day, and make us see the swaying of the tree-tops, and hear the brush of the wind against the leaves. Through the music alone the hum and murmur of a thousand little voices is about us, the glorious song of the birds floats into the depths of a blue sky; or comes a silence, vibrating with invisible life, when Nature, with her mysterious smile, opens her arms and hushes all things in a divine sleep.

Wagner left _Siegfried_ asleep in the forest in order to embark on the funereal vessel of _Tristan und Isolde_. But he left Siegfried with some anguish of heart. When writing to Liszt in 1857, he says: