Music and Majesty

Musical attributions at end of transcript

Here the ghost - or if you will - the spirit of Richard Wagner -  is reminiscing about his existence in 1864.  A struggling genius. A lonely king. One shared dream that changed the sound of Western music forever. In Music and Majesty, Richard Wagner and King Ludwig of Bavaria revisit the passion, faith, and madness that forged a masterpiece.

George

We left you in the last episode, Maestro Wagner, with you rather down on your luck - especially financially - in other words there was no way to make your dreams come true.

Transcript

Welcome to Celebrate Creativity - episode 490 Music and Majesty - only 10 more episodes till this podcast has had 500 episodes - not that there's anything especially significant about 500 - but it's one of those numbers that is frequently used as a milestone.  And the name of today's episode is Music and Majesty- an episode where we look at the relationship between Richard Wagner and King Ludwig of Bavaria - a relationship that made some of Richard Wagner's greatest works possible.

Here the ghost - or if you will - the spirit of Richard Wagner is reminiscing about his existence in 1864.  A struggling genius. A lonely king. One shared dream that changed the sound of Western music forever. In Music and Majesty, Richard Wagner and King Ludwig of Bavaria revisit the passion, faith, and madness that forged a masterpiece.

We left you in the last episode, Maestro Wagner, with you rather down on your luck - especially financially - in other words there was no way to make your dreams come true.

Ya, Herr Bartley, however, in 1864, I finally returned to Germany after years in exile, and my fortunes changed dramatically when I met King Ludwig II of Bavaria, a 19-year-old monarch fascinated by my music and ideas. King Ludwig became my patron, funding lavish productions and providing financial stability that allowed me to focus entirely on composition. With the King’s support, I completed Tristan und Isolde (1865) and Dee MY-stur-zing-er fon NYOORN-bairk Die Meistersinger von Nürnberg (1867) — works that further advanced my revolutionary ideas about music and drama.

2 Tristan und Isolde, WWV 90 - Part 1.mp3.  Accent on TRISS and ZOHL; “und” = “oont

As promised in the previous episode, I think it might be a good idea to have the ghost of - or if you will - the spirit of King Ludwig with us since he played such an integral part in the latter part of your life.

 3 Ghost Sound

This is quite an honor - your majesty, King Ludwig - I must admit that one of your greatest contributions to music was providing the finances that made some of Richard Wagner’s finest works possible.
           
Herr Bartley, that was definitely true. You see, unlike most monarchs, King Ludwig was more interested in culture than politics, which made him receptive to my ideas about music and drama. And King Ludwig saw me as a genius — almost a mystical figure — and quickly became a devoted patron.  

The king covered all of my debts, personal expenses, and production costs, freeing, me from financial worry for the first time in decades. King Ludwig’s support allowed me to focus entirely on composition, including completing Tristan und Isolde and preparing the Ring for performance.

4 Tristan und Isolde Music audio clip

Maestro Wagner, what seemed to be the general reception to the Ring cycle?

Ah, Herr Bartley, by this point, I was celebrated as a towering figure, though also somewhat controversial for what numerous people perceived as my artistic ego and political views. Herr Bartley, my Ring is no mere evening at the theater; it is a world, unfolding across four nights and more than fifteen hours.

Maestro Wagner, if I may be permitted a digression, your ring cycle might have a harder time today - you see, one must remember that our society currently is populated by people with relatively short attention spans when it comes to musicals and entertainment.

Ah, Herr Bartley, my Ring Cycle is not just an opera - or any other form of entertainment - it is a universe! Four evenings, fifteen hours—only then can the gods rise, love bloom, and Valhalla fall. If you grow weary, it is because you live in time. My music—my Ring—lives forever. Time is meaningless!”
Remember that I designed the theatre - Bayreuth- myself to realize my vision of total artistic control. Bayreuth allowed for innovations in acoustics, stagecraft, and orchestra placement, enabling my works to come fully to life.  And not surprisingly, the premiere was a sensation: audiences and critics were stunned by the scale, depth, and immersive power of the work.
But Herr Bartley, returning to your tedious terrestrial existence - during the final decades of my earthly existence, my music became deeply associated with German nationalism, although my philosophical and mythic ideas were broader and more complex than politics alone. I must admit that my health declined in the 1880s, but I remained mentally and creatively active, writing essays and guiding Bayreuth productions.  I left this earthly existence on February 13, 1883, in Venice, Italy, at age 69.

And yes, my life was marked by passion, scandal, exile, genius, and controversy, a perfect reflection of the intense dramas that I created onstage.

“Maestro Wagner, please do not forget the time limits that we podcasts must ultimately face!

Time? What is time to art? A clock ticks for men, but my music breathes for eternity.”

“And there it is. Wagner shrugs off my schedule, while we today live in a world where people can barely sit through a three-minute video. Maybe there’s a lesson there—or maybe I’ve just lost the argument again.”

Well, let me slightly change the subject - permit me to ask the same question of both Maestro Wagner and King Ludwig - how did you two gentlemen meet?

Ah, Herr Bartley, first I, Richard Wagner, was summoned to the Royal Court in Munich. I had heard about this young king who was apparently obsessed with my operas - though at first I was wary. You see, Royalty often claps politely and then vanishes into their gilded corridors. But this… this boy king… he listened as if each note of my productions were the very heartbeat of the universe.

And it was! I had dreamed of meeting Richard Wagner for years. Your music, your vision—it stirred me more than any book or painting ever could. I had to know the man behind the magic.

Maestro Wagner, did you believe him? A king so young, an individual that today we would call a fanboy?

(smirking) I suspected he might be just another admirer lost in romantic fantasy. But there was a fire in his eyes—a willingness to act on passion, to fund dreams rather than merely nod along. That… I respected.

At first did you feel King Ludwig was sincere?

As long as you asked, I have learned that royalty often claps politely and then vanishes into their gilded corridors. But this… this boy king… he listened as if each note of my music were the very heartbeat of the universe.

And Maestro Wagner, it was! It was! I had dreamed of meeting maestro wagner for years. His music, his vision—it stirred me more than any book or painting ever could. I had to know the man behind the magic.

(smirking) I suspected he might be just another admirer lost in romantic fantasy. But there was a fire in his eyes—a willingness to act on passion, to fund dreams rather than merely nod along. That… I respected.

And that’s why I pledged to support you, Maestro Wagner. Not just because your operas thrilled me and I was the king,, but because I believed in your vision, your mythic worlds. Bavaria needed these stories, and I needed you to tell them.

So from a first meeting of awe and mutual curiosity, the seeds were planted for an epic collaboration—and the legend of Wagner and Ludwig began.

Ya, it is said that I immediately invited Maestro Wagner to performances at my court, showered him with gifts, and offered personal financial support that was unprecedented. I funded the construction of the Bayreuth Festspielhaus, giving Wagner the theater he had long dreamed of for presenting the Ring cycle exactly as he envisioned.  Is that a fair description?

Ya, Herr Bartley. It was the theatre that I had long vanted.

You ask if that was a fair description - I must answer by pointing out that our relationship was rather complex: I, King Ludwig was quite sincere and devoted to Richard almost obsessively.  Permit me to quote from a letter that I wrote 2 November in 1865 to him:

My one Friend, my ardently beloved!
          This afternoon, at 3.30, I returned from a glorious tour in Switzerland! How this land delighted me! – There I found your dear letter; deepest warmest thanks for the same. With new and burning enthusiasm has it filled me; I see that the beloved marches boldly and confidently forward, towards our great and eternal goal.
          All hindrances I will victoriously overcome like a hero. I am entirely at thy disposal; let me now dutifully prove it. – Yes, we must meet and speak together. I will banish all evil clouds; Love has strength for all. You are the star that shines upon my life, and the sight of you ever wonderfully strengthens me. – Ardently I long for you, O my presiding Saint, to whom I pray! I should be immensely pleased to see my friend here in about a week; oh, we have plenty to say! If only I could quite banish from me the curse of which you speak, and send it back to the deeps of night from whence it sprang! – How I love, how I love you, my one, my highest good! . . .
          My enthusiasm and love for you are boundless. Once more I swear you faith till death!
          Ever, ever your devoted
                    Ludwig

And unfortunately I must admit that while I appreciated the support immensely, I could also be manipulative and controlling.  Some have said that I cultivated the king’s fascination deliberately, exaggerating his genius and personal importance to maintain his favor.  But on some level my feelings were extremely sincere.

And I must admit that while Maestro Wagner and I had occasional tensions and disagreements, I am proud to say that I remained Wagner’s most loyal supporter, giving him unprecedented creative freedom.

Ya, without King Ludwig, I might never have completed the Ring Cycle or realized my vision of a total work of art at Bayreuth.  For you see, the patronage of King Ludwig directly enabled the Bayreuth Festival, the innovative theater design, and the monumental first performances in 1876.
One might say we have considerable accuracy that my mature operas
were all shaped by the stability and resources that King Ludwig the provided.  And King Ludwig remained my devoted patron until my earthly demise in 1883.

And my fascination with Richard Wagner continued even after the composer’s death, and I helped preserve Wagner’s works. and the Bayreuth Festival tradition.

Could you tell us about the Bayreuth Festspielhaus Bayrot Play house the leave alone Whiteand the first Ring performance, showing how King Ludwig’s patronage made Maestro Wagner’s dreams tangible.

Certainly, I believe that it is one of the most dramatic chapters in my life.  Let me begin with Bayreuth and the first Ring Cycle performance.  I hope that such an account will illustrate King Ludwig’s pivotal role and the triumphant realization of my vision:

To start with, King Ludwig II funded my dream of a theater specifically designed for my works: the Bayreuth Festspielhaus.  And I must admit that I had very precise ideas about how my music should be experienced.  For example, the orchestra was hidden in a pit to blend with the drama rather than dominate it. And the theater had steep seating so every audience member could focus entirely on the stage. Lighting, acoustics, and staging were meticulously planned to serve the music and drama as a unified whole.  The effect was to reflect my idea of the ring cycle as a  “total work of art,” where every element — music, text, stage design — worked together seamlessly.

Now the full Ring of the Nibelung premiered over four nights in August 1876.  I personally conducted some performances and oversaw all aspects of production. And I must admit that the scale was unprecedented with the cycle running over 15 hours.  The cycle involved dozens of principal singers, massive choruses, and a large orchestra. And the staging brought gods, giants, heroes, and mythical creatures to life.

Could you comment on the guests attending?

Ya, Herr Bartley - Guests included monarchs, composers, critics, and the European cultural elite.

What were the reactions to your work?

Herr Bartley, I must admit that reactions were mixed at first — the work was so novel and massive that some were overwhelmed or even confused.
Others were ecstatic, seeing it as a revolution in opera, blending myth, music, and drama in ways never attempted before.

I'd like to ask for a few comments from King Ludwig II - were you at the first performance?

Surely you jest,  Herr Bartley.  I definitely was there in person, supporting the great Maestro Wagner throughout the production.  Permit me to add that my patronage was more than financial: my unwavering devotion gave Wagner the freedom to execute every detail exactly as imagined. And I also believe that my presence also lent prestige, attracting the European elite and securing the cycle’s success and legacy.

I'd like to ask you what you believe is the legacy of that first performance.

Herr Bartley, I strongly believe the Bayreuth premiere solidified Wagner’s reputation as a musical genius.  And the Festspielhaus was to become a pilgrimage site for musicians and music lovers.

Ya, Herr Bartley, and I would like to think that my ideas about leitmotifs, mythic storytelling, and orchestral integration became a model for future generations.

Maestro Wagner - we may have discussed this before but what is are leitmotifs?

Ah, Herr Bartley, have you ever noticed how my music seems to ‘talk’ to you? That ominous rumble might be a greedy dwarf plotting, or a soaring melody might be a hero about to save the day.  Here are some musical secret codes of leitmotifs from the Ring Cycle—so next time you listen, you’ll know exactly who’s sneaking, swooping, or scheming on stage! A leitmotif is a recurring musical theme associated with a particular idea, character, object, or emotion in a piece of music, especially in opera.
Here’s the key idea: whenever something or someone important appears or is referenced, the music plays a short, recognizable melody or motif that represents it. It’s like a musical “calling card” or signature.

I think I understand…

Permit me to give you a few examples from my works - 

In The Ring Cycle, the “Valhalla” motif represents the gods’ home.

The “Siegfried” motif represents the hero Siegfried.

A dark, ominous motif might signal the presence of the villainous Alberich or a looming danger.

Leitmotifs are powerful because they let the audience hear the story on a deeper, almost subconscious level, even before anything happens on stage.

Permit me to be even more specific -

Valhalla → Home is of the gods. Majestic, soaring, powerful. Think “epic palace in the sky.”

Siegfried → The young hero. Bold, heroic, adventurous. You’ll hear it when our hero is about to shine.

The Ring → The cursed treasure. Dark, ominous, foreboding. Danger is never far away.

Alberich / Curse → The scheming dwarf. Sinister, twisting, sneaky. Trouble follows him.

Fafner / Dragon → The greedy dragon. Heavy, menacing. Beware treasure guardians!

The Rhine / Rhinegold → The magical river and gold. Flowing, sparkling, sometimes calm, sometimes perilous.

Love (Siegmund & Sieglinde) → Human passion. Warm, lyrical, soaring. Tender moments only.

Death / Tragic Fate → Doom approaching. Slow, dark, inevitable. Heart‑stopping.

Wotan / Gods’ Power → King of gods. Noble, commanding, heroic—but sometimes conflicted.

Ride of the Valkyries → The Valkyries’ flight. Energetic, thrilling, action-packed. Think “storming the skies!”

Next time you hear a motif, ask: “Who or what is maestro Wagner hinting at?” It’s like a musical clue to the story.

Ah Maestro Wagner, like you're going to a motion picture and start hearing ominous music. You know that the villain will soon appear.

I have never seen what you call motion picture, but I do believe you understand the concept. But as you say, returning to the subject of the Ring - I know that without King Ludwig’s resources and faith, it’s unlikely  that the Ring could have been staged on such an unprecedented scale.
You might say this represents the culmination of my life-long ambitions: from a struggling young composer in Magdeburg to revolutionary exile in Zurich, to finally realizing the Ring Cycle exactly as I imagined, thanks to King Ludwig’s patronage and the creation of Theater Bayreuth.

You must've been ecstatic!

Ya, Herr Bartley, and permit me to emphasize that without the financial support of King Ludwig, the Ring Cycle would not have been possible.  Now after the monumental success of the Ring Cycle in 1876, I continued composing and refining my ideas about music, drama, and myth. My final completed opera was Parsifal (1882), a spiritual and mystical work exploring themes of redemption, compassion, and the transformative power of love. Development of that work took 25 years, and it became my last completed opera. It was premiered at the second Bayreuth festival.

4.1 Parsifal

From what I understand, Maestro Wagner, The Bayreuth Festival maintained a monopoly on Parsifal productions until 1903, when the opera was performed at the Metropolitan Opera in New York.

Ya, Herr Bartley, and even in my late 60s, I remained deeply involved in Bayreuth productions, mentoring performers, revising scores, and overseeing staging.  Perhaps this shows my lifelong obsession with total artistic control.

Maestro Wagner, could you tell us about your personal life in your final years on earth?

Herr Bartley, probably the best way of describing my personal life is to utilize the word - turbulent. My marriage to Minna Planer remained complicated, though I must admit that she was a steadfast presence.
And I also developed other relationships that complicated my domestic life. Now I can look back and see a lifelong pattern of passionate attachments and personal drama. Health problems began to affect me in the early 1880s, but I must admit that I remained mentally sharp and creatively active almost until my earthly demise.

And, King Ludwig, could you tell us about your later years.

Ya, Herr Bartley, perhaps the highlight of my life with my association with Richard Wagner.  As a king, I was expected to marry and father children - and I admit that at one time I was engaged - but I never married - some might say my concerns were with maestro Richard Wagner, his works, and my intense building projects of castles in Bavaria - castles with elaborate rooms whose walls were decorated with the scenes from Richard Wagner's operas.  There are those who eventually referred to me as mad King Ludwig and attempted to prove me insane - but many feel their motives were entirely political.

Maestro Wagner and King Ludwig - this has been a most stimulating conversation. In summary, for the benefit of our listeners, I would like to briefly go into the plots of each of the four operas of the Ring.  And let me ask Maestro Wagner to be very brief - and his words will be followed by a short section from that opera played by the United States Marine band.  Could you give a brief description - and I do mean brief description - regarding each opera.

Certainly, Herr Bartley, - without getting too - as you say - bogged down - in the details - the operas in the ring cycle are - with a brief musical excerpt played by the United States Marine band -

1. Das Rheingold – A treasure‑cursed ring sparks greed and betrayal among gods, giants, and dwarfs; it’s the origin story of epic conflicts to come – this is the prologue, introducing gods, giants, dwarves, and the cursed ring.

4 Das Rheingold

2 Die Walküre Dee VAHL-kyoo-ruh– Love, family, and divine interference collide as the mortal twins ZEEG-moont and ZEEG-lin-duh Siegmund and Sieglinde face destiny, while the Valkyrie Brünnhilde steps into legend.

4.1 Die walkure Dee VAHL-kyoo-ruh

3 Siegfried – The fearless hero Siegfried grows up to forge his destiny, slay a dragon, and claim the cursed ring—classic adventure meets mythic heroism.

5 Siegfred

4 Götterdämmerung – Betrayal, revenge, and tragedy reach a peak; the gods’ world collapses, and the ring’s curse exacts its final toll. This is the dramatic finale, depicting the destruction of gods, the curse of the ring, and the ultimate moral reckoning. Of course the entire plot is far more complex, but that should give you a good idea.

6.1 siegfrieds_funeral_march_and_finale_gotterdommerung.

Thank you and with help from the ghost - or if you will - the spirit of Herr Wagner, as well as the United States Marine band, I hope that makes things a little bit clearer.

Sources include:  Newman, Ernest. (1946). The Life of Richard Wagner. Cambridge University Press. 'History: The History of the Bayreuth Festival'. Bayreuth Festival. (Bayreuth, Germany), Rall, Hans (2006). King Ludwig II: Reality and Mystery, and of course ChatGPT four.  

Join celebrate creativity for episode 491 for a look at Giuseppe Verdi an episode called From Village to Glory that has an excellent 1908 recording of one of Verdi’s most familiar aria’s as song by the great Enrico Caruso.

I'd finally like to end this episode with a Wedding March by Richard Wagner period.  Now to make things clearer, you might remember a Wedding March by Felix Mendellson that I introduced in an earlier episode.  Mendelsohn's Wedding March is the traditional wedding march you usually hear after the couple say I do, and are officially married.  Wagner's wedding march is also known in some circles as here comes the bride and is usually played at the beginning of the service when the bride enters.  So in all fairness, I'm going to end this episode with the other Wedding March - the one by Richard Wagner

Tristan und Isolde
Siegfried Idyll, WWV 103 by Richard Wagner, Performed by Steve's Bedroom Band, Source: https://musopen.org/music/1963-siegfried-idyll-wwv-103/, 

Das Rheingold, WWV 86A - Prelude and Entrance of the Gods into Valhalla by Richard Wagner, Performed by the United States Marine Band, Source: https://musopen.org/music/search/?q=Das+Rheingold,  License (Public Domain / Creative Commons.

Siegfried, WWV 86C - Fantasie (band arr.) https://musopen.org/music/1964-siegfried-wwv-86c/ by Richard Wagner, Performed by the United States Marine Band,  Source:https://musopen.org/music/1964-siegfried-wwv-86c/ License (Public Domain / Creative Commons.

Siegfried’s Funeral March and Finale from Götterdämmerung by Richard Wagner, Performed by the United States Marine band, Source: https://www.marineband.marines.mil/Audio-Resources/Educational-Series/Music-of-Richard-Wagner/, License (Public Domain / Creative Commons.

Wedding March by Richard Wagner, Source: https://pixabay.com/
https://cdn.pixabay.com/download/audio/2024/10/06/audio_badc2d8e69.mp3?filename=wedding-song-247747.mp3, License (Public Domain / Creative Commons.