The Sacrament of Baptism
Parsifal: Die Taufe nimm, und glaub' an den Erlöser!
(Parsifal act three)
Judaism in Music
Right: portrait of the conductor Hermann Levi by Franz von Lenbach, 1882.
agner's relationships with his many associates and supporters of Jewish extraction were complicated by the virulent
anti-Semitism which he had expressed in his notorious pamphlet Judaism in Music. In this matter as elsewhere, we see that Richard Wagner was totally
indifferent to the feelings of others. Despite his ambiguous, indeed often hostile, attitudes towards the Catholic Church, Wagner desired that his Jewish friends
should undergo baptism as a first step away from Jewishness; but baptism itself was not enough:
[Judaism in Music, as it appeared in the Neue Zeitschrift für Musik on 6 September 1850.]
... such redemption as this may not be achieved through self-content or coldly indifferent
complacency, but that it must be fought for, by us as well, through sweat and deprivation, and through the fullest measure of suffering and anguish. Join
unreservedly in this self-destructive and bloody battle, and we shall all be united and indivisible! But bear in mind that one thing alone can redeem you from
the curse that weighs upon you, the redemption of Ahasuerus: going under!
[The Darker Side of Genius: Richard Wagner's anti-Semitism, Jacob Katz, 1986.]
In the case of Hermann Levi the collaboration with Jews threatened to
become particularly embarrassing. Levi was being considered as director of Parsifal because of his outstanding qualities as well as his position
as court conductor for the king of Bavaria. But Parsifal was not, for Wagner, an ordinary musical work. He called
the opera a stage consecration festival play [Bühnenweihfestspiel] and thereby indicated its religious objective. In fact,
Parsifal was deeply affected by the idea of redemption and made use of the central Christian symbols of the Crucifixion and the sacrificial
death of the Son of God on Good Friday. As artificial as this superimposition of Christian symbols on the saga of the Holy Grail may seem to us, Wagner was serious about the revivification of the primordial Christian experience. He had already expressed himself in
this sense on the religious function of art - his art - in the essay Religion and Art in 1880. Even if this essay is to be
dismissed as the belated justification for an artistic inspiration, Cosima's diaries testify that during the last decade of his
life, at any rate, Wagner held fast to the idea of Christ as an intermediary -
the noblest that humanity has produced - and the Christian mysteries such
as baptism and communion.
Below: the opening notes of 'Parsifal' with Hermann Levi's signature dated 1891.
Note that Katz accepts the view of many commentators, one that is based on a literal interpretation of Wagner's own statements about Parsifal in
letters to Ludwig, which regards it as a work with a "religious objective".
[Cosima's Diary entry for 12 December 1873.]
[Richard] earnestly reproached Malwida [von Meysenbug] for not
having her ward baptised. This was not right, he said, not everyone could fashion his religion for himself, and particularly in childhood one must have a
feeling of cohesion. Nor should one be left to choose: rather it should be possible to say,
You have been christened, you belong through baptism to
Christ, now unite yourself once more with him through Holy Communion. Christening and Communion are indispensable, he said. No amount of knowledge can
ever approach the effect of the latter. People who evade religion have a terrible shallowness, and are unable to feel anything in a religious spirit.
[Cosima's Diary entry for 27 April 1879.]
He says he cannot understand how one can hold out against baptism when one has been born into a
Christian community, though he does admit that if one has been born outside it, there is no point in seeking admission to it, since the church is now in
such a bad way. He can think of nothing more unbearable than a priest, but that has nothing to do with the act of baptism or the symbol of redemption.
et Wagner himself was to fashion his religion for himself. In his Religion and Art he tried to reduce Christianity to faith, love and hope. It was this truncated, Wagnerian Christianity
that Wagner now wished to bestow upon Hermann Levi, the son of a Rabbi. On 19 January 1881, Wagner informed Levi of this
intention. Like Kundry in Parsifal or the infidel Feirefiz in Parzival, Levi had to be baptised before he could enter the sanctuary of the
agner seems to have deluded himself that his version of Christianity could be palatable to Levi; who remained
indifferent. On 29 June, when Levi was once more in Bayreuth, Wagner unwisely showed him an anonymous letter that called upon the composer
to keep his work pure
and not to allow it to be directed by a Jew. According to Cosima, in a letter to her daughter Daniela, there were also insinuations about a relationship with
her. Levi was deeply offended and left abruptly. Wagner wrote to him immediately.
[Letter to Hermann Levi, 1 July 1881.]
Dearest and best of friends, much as I respect all your feelings, you are not making things easy
either for yourself or for us! What could so easily inhibit us in our dealings with you is the fact that you are always so gloomily introspective! We are
entirely at one in thinking that the whole world should be told about this shit but what this means is that you must stop running away from us, thereby allowing
such stupid suspicions to arise! You do not need to lose any of your faith, but merely to acquire the courage of your convictions! Perhaps some great change is
about to take place in your life - but at all events - you are my Parsifal conductor! So, come on! come on! Yours, RW.
evi returned to Bayreuth two days later. Wagner gave up attempts to convert him to Wagnerian Christianity and it
was Levi who conducted the first performances of Parsifal in 1882, to Wagner's total satisfaction.
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