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225:). The Artwork of the Future will of course bring forth the Artist of the Future who will be 'without a doubt the Poet.' Wagner points out that it is a matter of indifference whether this be a word-poet or a tone-poet, perhaps hinting at exactly what sort of a fellow this Artist must be. However the
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opined that Wagner's prose style in this essay and others was also heavily influenced by
Feuerbach, who was 'constitutionally prone to the antithetical'; whilst noting that within a few years Wagner rejected Feuerbach's philosophy for that of
229:(translated by Ellis as 'performer' but perhaps meaning rather the 'purveyor') of the Artwork will be a communal matter, a 'fellowship of all artists'. In this communal aspect of the Artwork of the Future, Newman sees an anticipation of the
93:. He wrote to his friend Uhlig on November 1849, 'This will be the last of my literary works'. On this, as on many other matters in his life, Wagner was to change his mind. The essay is dedicated to the philosopher
147:), outlined at the close of the essay itself, which he thought appropriate as material for his ideal music-drama, and originally intended to develop for production in
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This artwork will command all the arts – 'Architecture can set before herself no higher task than to frame' it, (an early prefiguring of the
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Millington (1992), p. 231; Wagner (1993), pp. ix, 69. All translations of Wagner's texts in this article are taken from this edition.
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The title of the essay was to haunt Wagner; thereafter his opponents were to taunt him as a self-appointed prophet of
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and crave only pointless luxury – true Art thus comes only from the atavistic needs of the
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Wagner goes on to talk of the three basic elements of art, which he lists as 'Dance, Tone
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they will be able to join to create the
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Immediately following the essay Wagner dashed off a draft
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Wagner wrote the whole essay over about two months in
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823:Das Judenthum in der Musik (Jewishness in Music)
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35:Not to be confused with Wagner's 1861 essay, "
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1066:Houston Stewart Chamberlain
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395:, Lincoln and London, 1993
276:Gregor-Dellin (1976), 85–86
108:The Essence of Christianity
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330:Wagner (1993), pp. 195–96
125:'the music of the future'
52:Das Kunstwerk der Zukunft
44:The Artwork of the Future
1391:Essays by Richard Wagner
912:Die Laune des Verliebten
359:Barry Millington (ed.),
339:Newman (1976) pp. 253–54
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1317:Wagner-Werk-Verzeichnis
1277:Nietzsche contra Wagner
1211:Richard Wagner Memorial
1206:Richard Wagner Monument
600:Der Ring des Nibelungen
548:Der fliegende Holländer
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354:Wagner au jour le jour
223:Bayreuth Festspielhaus
111:. Wagner's biographer
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78:of 1849. It follows "
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303:Wagner (1993), p. 77
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76:Dresden May uprising
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1125:Cultural depictions
1116:Eva Wagner-Pasquier
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844:Music of the Future
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137:Wieland der Schmied
134:, mostly in prose,
84:Jewishness in Music
39:" ("Zukunftsmusik")
37:Music of the Future
1301:Der Ring in Minden
1243:The Case of Wagner
1002:Bayreuther Blätter
795:Art and Revolution
714:Non-operatic music
671:Tristan und Isolde
377:, Cambridge, 1976
352:M. Gregor-Dellin,
211:Art and Revolution
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1152:(2012 film)
1144:(1983 film)
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981:Wagner tuba
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