Part of the Wagnerism Audiovisual Companion. Most audio samples are by kind permission of Pristine Classical.
Wagner meets the Kaiser, from a Leibig meat-extract ad.
p. 190: Hans Sachs's final monologue, followed by the closing chorus. "Habt Acht!" begins at 2:20; "heilige deutsche Kunst" ("holy German art") is at 4:21.
Ferdinand Frantz in Rudolf Kempe's 1956 Meistersinger (Pristine).
Wolfgang Wagner's 1984 production at Bayreuth tries to tone down the nationalist element, with a midsummer-night fairy-tale tone predominating...
...whereas Katharina Wagner's 2007 production gives Hans Sachs a distinct air of menace.
p. 201: King Henry's prayer, from Lohengrin, supposedly heard as Wilhelm I toured the battlefield of Sedan in 1870.
Gottlob Frick in Rudolf Kempe's Lohengrin (EMI).
p. 202: Franz von Lenbach's Wagner.
p. 203: Hans Thoma's Wotan and Brünnhilde.
Gabriel von Max's Tannhäuser.
Hans Makart's Theft of the Rhinegold.
One of Franz Stassen's illustrations for Parsifal:
An advertisement for the Wavemaker "Wagalaweia!" bathtub:
A 1932 recording of Gottfried Sonntag's Nibelungen-Marsch, with a German military band led by Hermann Schmidt.
p. 209: Pauline Eigner's image of operagoers immersed in Tristan Act II, from the Munich magazine Jugend, 1900.
Gabriel von Max's Monkeys as Critics.
p. 210: Stefan George's "Schweige die klage," in his distinctive orthography.
p. 214: From Camillo Sitte's study of medieval plazas.
p. 215: Max Klinger's Beethoven statue at the Secession, 1902.
Sketches for Alfred Roller's Tristan.
p. 222: In German, Thomas Mann recalls the Wagner epiphany of his youth. At 0:55, he says: "I remember how, as a young person, as a boy, as a schoolboy, I heard Lohengrin for the first time, and then repeatedly, in the somewhat inadequate Lübeck Stadtheater, and these Lohengrin performances are ones I will never forget." Of the Act I Prelude, he says: "It is a splendid piece, the summit of Romanticism."
p. 227: Again, the prelude to Tristan:
From Furtwängler's recording of Tristan (Pristine).
