File:Modern music and musicians - (Encyclopedic) (1918) (14779694695).jpg

Identifier: modernmusicmusic02elso (find matches)
Title: Modern music and musicians : (Encyclopedic)
Year: 1918 (1910s)
Authors: Elson, Louis Charles, 1848-1920
Subjects: Piano Musicians Composers
Publisher: New York : The University Society Inc.
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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a of that self-sacrificingfriend, Tannhauser was produced at anumber of theatres throughout Germanyfrom 1853 on. Wagners fame now spreadbeyond the borders of Germany, and in1855 he conducted a season of the Philhar-monic Society in London. A second assaultupon the operatic citadel of Paris, however,was little more fortunate than the first.After a series of three concerts, which re-sulted in a considerable deficit, he finallysecured the performance of Tannhauserby command of the Emperor in 1861; butthe opposition against the foreigner onthe part of a certain clique was so violentthat the work had to be withdrawn afterthe third performance, following a mostshameful exhibition of rowdyism in the au-ditorium of the Opera. At length Wagner secured an amnestyand returned to Germany in 1861. Mean-time Tristan und Isolde had been com-pleted (1859) and accepted in Karlsruheand Vienna, both of which cities the com-poser visited. The projected performanceswere postponed, however, and Wagner went
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LUDWIG IT. KING OF BAVARIA After an etching by Egusquiza into retirement at Biebrich on the Rhine inorder to work on Die Meistersinger,which was completed in 1863 in Vienna,after a concert tour to Prague and Petro-grad. These were years of doubt and strug-gle, during which the master often reachedthe point of despair. Harassed by debtsand disappointed again and again after per-formances of his works had been promised,he was, at the age of fifty-one, forced toseek the refuge of a hospitable roof—thehome of his friend, Dr. Wille. Suddenly in 1864 his most cherished plans came near torealization, for the young King Ludwig IIof Bavaria, who had just ascended thethrone, had long been an admirer of hisworks, and now, as one of his first acts asKing, summoned the composer to Munich,gave him a villa for his abode and promisedhim every support in the realization of hisideals. These included, of course, the com-pletion and production of the greatest of hisworks, which, as projected, was far b

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