LIST OF WAGNER'S WORKS The following are Wagner's operas and music-dramas, apart from the unpublished Die Hochzeit (three numbers only), Die Feen, and Das Liebesverbot (Das Liebesverbot was disinterred in 191o).
I. Rienzi, der letzte der Tribunen: grosse tragische Oper; 5 acts ( 1838-40) .
2. Der fliegende Hollander: romantische Oper; I act, afterwards cut into 3 (1841).
3. Tannhauser and der Sangerkrieg auf Wartburg: romantische Oper; 3 acts (libretto, 1843 ; music, ; new Venusberg music, 1860-61).
4. Lohengrin: romantische Oper; 3 acts (libretto, 1845 ; music, 1846 48). This is the last work Wagner calls by the title of Opera.
5. Das Rheingold, prologue in 4 scenes to Der Ring des Nibelungen; ein Biihnenfestspiel (poem written last of the series, which was begun in 1848 and finished in 1851-52 ; music, 1853-54).
6. Die Walkiire: der Ring des, Nibelungen, erster Tag; 3 acts (score finished, 1856).
7. Tristan und Isolde; 3 acts (poem written in 1857 ; music, 1857 2859).
9. Die Meistersinger von Niirnberg; 3 acts (sketch of play, 1845; poem, 1861-62; music, 1862-67).
20. Gotterammerung: der Ring des Nibelungen, dritter Tag; intro duction and 3 acts (Siegfried's Tod already sketched dramatically in 1848; music, 187o-74).
II. Parsifal: ein Biihnenweihfestspiel (a solemn stage festival play), 3 acts (poem, 1876-77; music, 2877-82, Charfreitagszauber already sketched in 1857).
As regards other compositions, the early unpublished works include a symphony, a cantata, some incidental music to a pantomime, and several overtures, four of which have recently been discovered and pro duced. The important small published works are Eine Faust Over ture (1839-4o; rewritten, 1855) ; the Siegfried Idylle (an exquisite serenade for small orchestra on themes from the finale of Siegfried, written as a surprise for Frau Wagner in 187o) ; the Kaisermarsch (1871), the Huldigungsmarsch (1864) for military band (the scoring of the concert-version finished by Raff) ; Fiinf Gedichte (1862), a set of songs containing two studies for Tristan; and the early quasi-ora torio scene for male-voice chorus and full orchestra, Das Liebesmahl der Apostel (1843). Wagner's retouching of Gluck's 1phigenie en Aulide and his edition of Palestrina's Stabat Mater demand mention as important services to music, by no means to be classified (as in some catalogues) with the hack-work with which he kept off starvation in Paris.
The collected literary works of Wagner in German fill ten volumes, and include political speeches, sketches for dramas that did not become operas, autobiographical chapters, aesthetic musical treatises and polemics of vitriolic violence. Their importance will never be com parable to that of his music ; but, just as the reaction against Ruskin's ascendancy as an art-critic has coincided with an increased respect for his ethical and sociological thought, so the rebellious forces that are compelling Wagnerism to grant music a constitution coincide with a growing admiration of his general mental powers. The prose works have been translated into English by W. A. Ellis (8 vols., 1892-99). The translation by F. Jameson (1897) of the text of the Ring (first published in the pocket edition of the full scores) is the most wonderful tour de force yet achieved in its line. A careful reading of the score to this English text reveals not a single false emphasis or loss of rhetorical point in the fitting of words to notes, nor a single extra note or halt in the music ; and wherever the language seems stilted or absurd the original will be found to be at least equally so, while the spirit of Wagner's poetry is faithfully reflected. Such work deserves more recognition than it is ever likely to get. Rapidly as the standard of musical translations was improving before this work appeared, no one could have foreseen what has now been abundantly verified, that the Ring can be performed in English without any appreciable loss to Wagner's art. The same translator has also published a close, purely literary version.
BIBLIOGRAPHY.—The Wagner literature is too enormous to be dealt with here. The standard biography is that of Glasenapp (6 vols., of which five appeared between 1894 and Of readable English books we may cite Ernest Newman, A Study of Wagner (1899) ; H. E. Krehbiel, Studies in the Wagnerian Drama (1891) ; Jessie L. Weston, Legends of the Wagner Dramas (1906). The Perfect Wagnerite, by G. Bernard Shaw, though concerned mainly with the social philosophy of the Ring, gives a luminous account of Wagner's mastery of musical movement. The highest English authority on Wagner is his friend Dannreuther, whose article in Grove's Dictionary is classical. A new study of Wagner's participation in the Dresden affair is set forth by Woldemar Lippert, Richard Wagner's Verbannung und Ruckkehr, 180-1862 (1929).
See also ARIA, HARMONY, INSTRUMENTATION, MUSIC, OPERA, and