German composer Richard Wagner struggled with depression and extreme mood swings throughout his life, and some retrospective diagnoses have suggested that he suffered from bipolar disorder. As I mentioned in an earlier post, in 1854 the composer was introduced to the philosophy of Arthur Schopenhauer, which profoundly changed his worldview. Wagner saw his depressions and inner struggles acknowledged by Schopenhauer's theory —that to live is to suffer— with Schopenhauer, as it were, giving him permission to feel such emotions. Not only on a personal level, but also artistically Wagner was influenced by Schopenhauer's ideas, inspiring him to compose his famous opera Tristan and Isolde (1859). While Wagner's music was initially subservient to the drama, with Tristan and Isolde the music became the drama.
In the following letter to his close friend and confidant, Hungarian composer Franz Liszt, Wagner discusses Schopenhauer and how he was "like a gift from heaven". The letter was written in late 1854, during Wagner's exile from Germany. (Wagner was living in Zürich, Switzerland, at the time and would not return to Germany until 1862.) The composer also talks about his four-opera cycle The Ring of the Nibelung (i.e. The Rhinegold, The Valkyrie, Siegfried, Twilight of the Gods), which he was then working on. At the time of the letter, Wagner had already conceived the idea for Tristan and Isolde, but would not start composing the opera until 1857 (to be finished in 1859). In 1857, Nibelungen was put on hold, and working on the opera cycle was only resumed in 1869 and completed in 1874— much later than Wagner had intended.
DEAR FRANZ,
I begin to find out more and more that you are in reality a great philosopher, while I appear to myself a hare-brained fellow. Apart from slowly progressing with my music, I have of late occupied myself exclusively with a man who has come like a gift from heaven, although only a literary one, into my solitude. This is Arthur Schopenhauer, the greatest philosopher since Kant, whose thoughts, as he himself expresses it, he has thought out to the end. The German professors ignored him very prudently for forty years; but recently, to the disgrace of Germany, he has been discovered by an English critic. All the Hegels, etc., are charlatans by the side of him. His chief idea, the final negation of the desire of life, is terribly serious, but it shows the only salvation possible. To me of course that thought was not new, and it can indeed be conceived by no one in whom it did not pre- exist, but this philosopher was the first to place it clearly before me. If I think of the storm of my heart, the terrible tenacity with which, against my desire, it used to cling to the hope of life, and if even now I feel this hurricane within me, I have at least found a quietus which in wakeful nights helps me to sleep. This is the genuine, ardent longing for death, for absolute unconsciousness, total non-existence; freedom from all dreams is our only final salvation.In this I have discovered a curious coincidence with your thoughts; and although you express them differently, being religious, I know that you mean exactly the same thing. How profound you are! In your article about the "Dutchman" you have struck me with the force of lightning. While I read Schopenhauer I was with you, only you did not know it. In this manner I ripen more and more. I only play with art to pass the time. In what manner I try to amuse myself you will see from the enclosed sheet.
For the sake of that most beautiful of my life-dreams "Young Siegfried," I shall have to finish the "Nibelungen" pieces after all; the "Valkyrie" has taken so much out of me that I must indulge in this pleasure; I have got as far as the second half of the last act. The whole will not be finished till 1856; and in 1858, the tenth year of my Hegira, the performance may take place, if at all. As I have never in life felt the real bliss of love, I must erect a monument to the most beautiful of all my dreams, in which, from beginning to end, that love shall be thoroughly satiated. I have in my head "Tristan and Isolde," the simplest but most full-blooded musical conception; with the "black flag" which floats at the end of it I shall cover myself to die.
When you have had enough of "Rhinegold," send it to Chorusmaster Fischer at Dresden, instructing him in my name to give it to the copyist Wolfel, so that he may finish the copy which he has begun. Your cheering words about the "Rhinegold" were splendid, and it has really turned out well. I hope there will be enough counterpoint in it to please Raff. My anxiety as to this troubles me very much.
Is M. ill? How can I do anything to help her? She should come in the summer to Seelisberg, on the lake of Lucerne. It is the dearest discovery I have made in Switzerland; up there all is so joyful, so beautiful, that I long to return—to die there.
There we must meet next summer; I mean to write "Young Siegfried" there, and you must assist me. Perhaps I shall assist you too. How full my heart is when I think of it! Many thanks to the Princess [Carolyne zu Sayn-Wittgenstein, a Polish noblewoman who had a 40-year relationship with Liszt]; at her desire, I send the enclosed autograph. Nothing about business! What do we care about such miserable things? When shall I see your symphonic poems, your "Faust?"
Farewell, my Franz.
Incidentally, I could find no source identifying "M" in Wagner's letter, but she is probably someone from Liszt's inner circle (perhaps the Princess' daughter, Marie ??).
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